Photoshop Compositing: Create Like a Pro! | Tom Kai | Skillshare

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Photoshop Compositing: Create Like a Pro!

teacher avatar Tom Kai, Photographer and Graphic Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (43m)
    • 1. Introduction

    • 2. Tool & Interface Overview

    • 3. Finding your Images

    • 4. Compositing your Images

    • 5. Color Correction

    • 6. Special Effects

    • 7. Saving your Image

    • 8. Final Thoughts & Conclusion

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About This Class


Learn everything you need to do start creating stunning Photoshop composites just like the pros! I will walk you through the process from beginning to the end and give you some useful tips and tricks that I wish I knew when I first started. At the end of this course, you will have created your own awesome Photoshop composite and have the skills to create many more!

I am Tom Kai, A professional photographer and graphic designer with an incredible passion for creating. I've been working in the creative field for the past 10 years and in that time i've learned a lot of useful information that I want to share with YOU! I am excited to help you get started with compositing images, to be like a pro, and to give you all the skills you need to make out of this world composite creations! If you want to see more of my work, I encourage you to check out my website HERE or feel free to follow me over on instagram @therealtomkai or you can just click HERE

This class is designed for beginners and really anyone who has any interest in learning how to combine images into composites in photoshop. I will be walking you through some shortcuts and tricks that i've learned over the years that have helped improve my workflow and that have helped me create pieces that caught the eyes of some very cool clients! Whether you want to create composites for yourself or to make money with, this class will be useful to all of you! And don't worry, I will provide you with all needed material for this project, including starting images and brushes. 

This course is made using the creative cloud version of photoshop, specifically Adobe Photoshop CC 2020 is what I use in this course, however the principles and skills taught in this course can and will apply to other versions as well. You can also download a free trial of Adobe Photoshop CC from

In this course you will learn:

  • How to use the photoshop interface and tools
  • Where and how to find completely free to use images
  • How to composite your images quickly and in a non-destructive way
  • Color Correction, learn how to properly color correct all elements of your composite so that it looks cohesive
  • How to add special effects to your composite, including clouds, smoke, particles, and more!
  • How to properly save and export your image for various platforms and uses

Meet Your Teacher

Teacher Profile Image

Tom Kai

Photographer and Graphic Designer


Hello there! My name is Tom and I have been in the creative field for the past 10 years! Over that time I have come to be very well versed in the whole adobe suite but especially photoshop and lightroom! 

I work mainly as a graphic designer and photographer but I also spend a lot of time helping clients and companies revamp their branding, create stunning advertisement material and provide them with a fresh set of creative eyes to solve their creative problems. 

Here on skillshare I will be teaching you what I wish I was taught a decade ago when starting out, from the basics of tools and their hidden features, to the more complex aspects of various content creation both for yourself and for potential clients. 

I encourage you to take a look at my soci... See full profile

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1. Introduction: Hello, everyone and welcome to Photoshopped. Compositing create like a pro. My name is Tom Chi, and I've been a graphic designer and photographer for the past 10 years, creating various composite work for clients and companies alike. We'll see some examples of my work going across the screen, but if you want to Seymour, please check out my website at www dot the real tom kite dot com or look me up on instagram at the real Tom Kind. I'll have links to both of those in the description of this course Today, though, I'm going to teach you the basics of how to create stunning composite images, and we will be creating this together today. I'm going to show you some tips and tricks that I wish I knew 10 years ago when I started in the creative field and hopefully give you a leg up. So get ready. In the following videos. We will be covering the creation process from beginning to end. So grab a notebook pencil and some water and let's dive into it 2. Tool & Interface Overview: All right, so here we are, loaded up Photoshopped, Adul BCC 2020. You might have different version and me and it might look different, but most of the principles will still apply in. It should work for you. So let's hop right in here to create a new document. This may seem a little bit daunting. There's a lot of presets, and some of these are recent different settings that I have. But generally speaking what I create, I create it for for Instagram. And I know a lot of you might do that as well. So instagram to utilize the most space you wanna have a four by five ratio image. So what I like to do is I have it in inches, and I do an eight inch wide by 10 inch high canvas with a resolution of 300 pixels per inch . I don't touch the color mode or the color profile. None of that right now. This is just the just basic art board canvas that I create. So let's create. And here we go. Now, your screen will probably look different than mine if you're loading it up for the first time, so I usually work in the essentials space, But let me reset the essentials when you loaded up the first time, this is what it's going to look like now. I don't use the learned tab, so I just excited that Take it off and I don't use the library tab, either. It's not something that I use and not something that I really need for what I'm gonna be creating. So now we can shrink the side a little bit. So when it comes to the colors, you have a color wheel here with hue, saturation and black level of any color. As you see here. As he add the black, it'll pull it towards the color black. So then we also have swatches with different set of colors, which is really useful depending on what project using we have radiance. We have patterns, but I generally stick to the color wheel gives me a lot of flexibility, so I just keep that the way it is now. Next. Down here you see the properties and adjustments. At this point, I don't really adjust the properties at all. I keep that the way that it is, and I usually just use the adjustments tab. This is where you have all your different brightness, contrast levels, hue, saturation, all of that fun stuff which will be getting into very soon. And now here we have our layers have I like to give this a so much space as possible so I can see all my layers so that that I'm working on and I don't really touch anything else there at this point. So let's go over to the left side and take a look at our tools. So first, well, here we have a move tool that's very self explanatory. It will help us move our image around and different parts of the image. So let's say if we have a layer and we painted on something here, short cut or move to is V. So I will be using shortcuts a lot in this video. But just be aware you can scroll over, and that will give you the short cut. So with the move tool, you can just move something. It is very, very simple. Next, we have our marquee tool. They're different shapes. You have rectangular, elliptical single roll single column. You may use this. I personally don't use this too much because there's not a lot of situations that there's an a perfect rectangle. We're square that I need to mask out. Um, but that is there if you need it. Shortcut is M from Marquis It's pretty self explanatory, and to decide is just control or command V. If you're on a Mac next, we have our last. So I used the last so a lot and get you some really good selections and again control or commanding to dislike. They get you very fine selections. And they're different ones there as well, if the polygonal last full lasso tool. But I generally just use the lasso. Next is a mute tool added in the recent update is, um, object selection tool. So, for example, let me get rid of this and let's go to a new layer. This is a super handy tool from asking out things that are very, um, I have a hard edge. So, for example, let's say you have just a shape like this. Okay, with this tool, you drag around your image, and it already created the selection. No need for pen tool, no need for last. So it is good to go. So this is one of my favorite tools and one that I use a lot nowadays and compositing. It's made the workflow very, very fast. So lets you control the get rid of that. Next, I will use spot healing brush tool to get rid of blemishes and marks that I don't want in the image. But most of the time I end up using the clone stamp tool because that honestly works a lot better for me. And I'll show you guys later how I use it now. I hopped over the brush tool for one reason because a really good tip that I found is you could go up to window and you open up the brushes window. Okay, it's gonna come out here. But then what I do is I drag it over to the left and it pins it to the left side of your screen. Now you can adjust the width of this so I usually have it showing two rows of the brushes. This makes it so easy to use when you're compositing because you can. You hop here, get a brush, do something, get a different brush, and it makes the process go so much faster. Next thing that I use is usually ingredient tool. I have a lot of radiance and my images of different colors and blending modes. Um, so grating tools one you're gonna come very familiar with. And of course, we have our eraser tool. We're going to use that at some point to erase different things we don't want in the image that one is very self explanatory. Uhm, and another one that I use is a paint bucket tool that is very useful. A za name suggests everyone knows paint bucket. It just fills the area with paint. And that comes in very handy when you're trying to do color correction in your image. So there we have it. This is a general overview off the tools and interface that I'll be using for this creation . If there's anything else that I'll be using, I will make it known later on in the video. But for the most part, this is what this is all you really need to create some awesome composites. So that's it for the tool and interface overview. In the next video, we're gonna be talking about finding images for your composite. He may not be a photographer. You know, you may not have a camera, so I'm gonna show you some really awesome free resource is where you can get 100% free to use images that are actually really good. So I'll be going over that in the next video and will be continued with our composite. 3. Finding your Images: all right, so we've gone over the tools and interface of Photoshopped, and now we need our images for our composite. So to great resource is that I usually a lot are on slash and picks obey. So first, let's look at on slash. This has, like, amazing free images for you to use from professional photographers. If you scroll down on the home page, you'll find us some trending and new photos for you to use. But I usually just go to the search bar, and I look up stuff like fashion that gets meteo some good model photos that I can use because that's a lot of what I use. But for the purposes of this, I've used these images a grass field I've used. I wanted to use this image but wanted free. Whenever you're looking for an image, always room in. Don't just download it because I noticed on this one it was not in focus. OK, so this would be difficult to work with, so I decided to not go with it. So what I decided to use instead was that this image, because if you zoom in, this model in the front is sharp, So that's what you want. Then I also wanted some mountains and a night sky in the background. I'm using this image and I wanted a moon just to spice things up. So I'm gonna essentially combine all four of these. Now, one reason why picks Abate is good because picks Obey also has professional photos from photographers. But it also has some things like spaceships. Like you could not find images of this over on on splash like if you wanted to create some more scifi esque composites, you can find some really cool things here. It takes a little bit of searching because they have a lot of unique images that may not suit your needs. But, for example, this one is very good to use, you know, has a shadow. It's nearly photo realistic. You can add some shading and yeah, so size like things like this. So, yeah, picks a base. Good first, more unique images. Now, one possible. I do like to take my own photos because it lets me control the lighting and the pose of my model or situation that I have. But for the purposes of this, I'm gonna be using completely free images that you guys can get as well. And these images will be provided with this course. So feel free to download them and load them up. Get them ready for the next part where we're going to start compositing our images. 4. Compositing your Images: All right, we're back in photo shop. And as you see, I already have a few images in here. I have three out of the four that was just to save some time. I'm gonna go over how to import your images who have the last one here. So whenever possible, I always go to file and place invented. So let's go and find our last image here. There we go and place. Now, when you place it, it immediately makes into a smart object. And that lets you do nondestructive editing, which is what I always always always tell everyone to do is nondestructive editing. You want to keep your original files the original files, so having it be a smart filter will allow us or smart object. Sorry will allow us to use our filters on it and adjust those filters. If they weren't smart objects, the filters would be applied permanently to your image. So let's go ahead and turn off all our layers and let's start organizing things, how we want it. Now let's do our new tool that I mentioned earlier Object selection tool and let's see how good of a job this does. Selecting in the grass area. You see that a pretty good job. So that's right up here. Okay, it's W and just drag certain square around your image and let's mask it out. This a little button down here? It adds a vector mask. This is super handy, and let's he edited and helps you to do nondestructive editing. The full image is still there. We just haven't masked out. So now let's see if we want to adjust the size So we do control or command t to give us our transform blocks here. And let's let's just make this a little bigger and drag it down. I kind of want to get rid of the colored grass in the front. I want a little bit of it, but not too much. I'm pretty much happy with that. So let's go with our sky layer hit V to get back into move mode so I can adjust this how we need on let's to control or command t again, and we're gonna want to make this is why does our canvas And then let's just drag it up somewhere about here. Now you see, it's over our grass. We don't want that. So what we're gonna do is here in our layers panel. It's going to drag that underneath our grass layer. So gonna have a little bit of mountains in the distance. I think I'm happy with that. So we're gonna we're gonna roll with it next. We have our moon layer. I'm honestly, I'm gonna put that on the very top layer and let's hit control or command t again just to get this into place. I'm not gonna want the moon to be too big. We don't want it to be too dominating, but we do want it to be there. So I think that place is good enough for it. And now finally, we have our models, so they're a little bit blocking right now, So let me turn off the moon layer. So I generally like to mask the models as well as possible before I resize it. So let's hit w. So we get our object selection tool and let's see how good of a job this is going to do. Sometimes this is a good job, but here you see, it has a little difficulty around the edges. But that's fine. Let's select our other model. Okay for that, you just hold down shift and it adds to the selection. You see, the little plus icon that comes up, it adds to the original selection. So let's go ahead and zoom in and let's refine our selection a little bit. Now, this is where I tend to use our lasso tool a little bit more so with less. So if you hold down the old key, you see a minus sign comes up. That means it's gonna take away from your selection. So what I generally tend to do is mask out as much as possible and add back as much as possible. I usually alternate between our lasso tool and the object selection such as W and L. Okay, so, for W I hold down the shift, plus add the sin. So what I'm gonna do now for the next couple of minutes is just refine our selection. You can do this in many ways. This is the way that I do it. Um, I found it to work very well, and this this part doesn't have to be 100% perfect. As you see, I'm leaving a lot of the blue sky here and I will fix that And the next step. So for now, enjoy. This little time lapse of me is going through and refining this edge. Oh, all right. And here we go. We have our selection made, and it's a simple as hitting musk. There we go. We haven't masked out. Not perfect. Believe me, I know, but we're gonna fix all of that. So now make sure you quick back to your age original image here in the thumbnails and hit control or command T. And we're gonna find a spot for these ladies. So let's make them a little smaller, cause they're way too big. As of now, let's go somewhere around this size I like, and we're gonna fix the color in the next part. But for now, we just want the basic places for these. Well, let's see how between like that let's turn the moon back on and I might want to make them a little bit smaller. Could actually you know what I know. I'm gonna keep them this size. I'm gonna commit to it. So now to refine these places where we still have some blue I usually hit be for brush and I go to a soft brush. And on the mask player I paint with black and I get rid of some of these edges with a soft brush. It makes the blend a lot nicer. So I'm gonna do a little bit of this in another quick time lapse very carefully. Honestly, the masking takes the most time for me, but it pays off because it proper masking will make the images just seem like they're meant to be, you know? So let's go ahead and do this and we'll be right back after another quick time. I'm so afraid of pause. A video are hot back after the time left at while you finish your masking and there you have it. Now you probably noticed that I did some things over here with the grass, so I did move them around just a little bit. So I wanted it to look nicer with the Graessle Zoumana suspect. So essentially what you do is on the masking layer with the black. You wanna have the grass be as wide or the brush be as wide as the grass and you just paint away the grass now Sometimes it looks good. Sometimes it doesn't. So generally, let me just use a different brush here. That's where the thinner brush here. Okay? And it's a matter of painting in a painting out. The color is that you want. Okay, so we have a little bit of grassed coming up, and I tend to follow the direction off the grass makeover for a little bit bigger. Okay. Oops. Wrong. I'm using the wrong color. You want to paint with black to get rid of the actual image? So it's you some down here for this as well? Okay. And we're going to deal with these other straggling pieces of grass in a second, so let's zoom out. And there we have it. So all I did was I just made our models at a little bit smaller in our image, but I think it fits a little bit better. So now what we're gonna do is we're gonna go in and take care of these little pieces here because you don't want that. So we hit this plus icon here to make a new layer. And if you hold down the altar key and hover between these two later to see that that's a clipping icon. So it's going to clip this layer to the image below. What that means is, anything that I paint or do will stay specifically on that layer. Okay, so this is super important when we use our Corning tool because we don't want toe paint some of her dress onto the grass. That's essentially So let's zoom in here and let's say it s for our for our four until we can make our brush bigger. And it's essentially, um, a case of patients here. You do an old click to select the area that you want to sample from, and then just paint in might have to undo a few times. You just paint in where you don't want things to be. So for me, and that is this piece of grass from the previous from the original image that these models air from, Um, I don't want those. I have my own grass, so let's go ahead and do that real quick. And this doesn't have to be perfect because you'll see in a second when you zoom out, you can't really tell some of these little details. Weaken tell. But you can't. It makes a difference if you must call this out and put in effort. So just spend a little time to do that. And personally, I find this part very fun. Cloning. And it's like trying to make a look decent so that we go for that one. What about her? Yeah, she has a few. And you want to be especially careful around skin because you want Make sure that it's still gonna look, um What's gonna want to make sure that it's still going to look, riel? So let's just get a little bit of that. And, you know, like I said, it's a little bit of trial and error and you want to go small, Okay? Just doing little little touches here and there. And, uh, it'll do the job, Bruce. Now, I was lucky, because the image that I actually Children this model, the background from the original matches the grass here pretty well. So there we go. We have the grass must out. So next we're gonna quickly mask out this Now, honestly, this is a very good trick for you to do. If you have a completely black background with your moon you want to go here to a blending mode and you're gonna want to go down until you get to screen You see how it got rid of all the black? That's essentially what you want and we can move us around a little bit, but on the sand might just keep it there and that gets her of the black It gets that a little bit of a glow, slight glow And yeah, so that is it for compositing. Next way we're going to do some color correction gonna make all these images actually blend together because I did see now these models have a little bit of a purple tinge to them The grass is way too light and it's a lot warmer to cue The sky is blue We just wanna marry all these images together. Make it one From the next part We're gonna actually make these images into one cohesive united image. So let's hop right into it. 5. Color Correction: All right, so we've gone and composited are images. But now we have to make them actually look that we have to do some color correction, make sure they blend together nicely. So it actually looks like it was done on purpose. You know, we don't want it to look Photoshopped, but we wanted to look like it was done in camera as much as possible. So what I like to do is I like to pick one of the layers that I want to play off. So usually from me, that happens to be the sky. And this one has some very nice blues and science going on here. But I'm just going to make a little change. Those guys, let's hit control or command you on our sky layer, and that will bring up a smart filter for hue and saturation. And honestly, all I want to do is I want to bring the hue down just a little bit, Uncle down to minus seven. Give it a little bit of science in this to it saturation. We can put it up ever so slightly by just one on likenesses. Well, we'll put it up by one. It's a very subtle change, but I think it's one that is a really good one toe have. So next we're going to go on to our grass, and obviously it's too dark. So let's go to our brightness and contrast layer and we want to clip it to the layer below by kidding. This Icahn here is gonna make it effect just the grasses. So I'm gonna affect anything else. So we want to bring the brightness down all the way down to minus 1 50 I'm willing to put the contrast up just a little bit up to 20. There we go. But we're not done yet. We're gonna make a hue saturation layer for that one as well. Clip it down again. And what we're gonna do here is make just a change to probably the saturation and the lightness. So for saturation, let's bring it down. Let's go down like minus 30 or so Ok, minus 31 is fine and for lightness. Let's make it a little lighter. Let's go up to plus three. Okay, that's already a lot better. Now a little tip that I like to do is I like to take a color that's from the original here and apply to every layer. It kind of melts it all together. So if we hit G, we get to our paint bucket tool. Now I have a specific color that I found works very well for this, and it's already selected, actually, so we have our hue. At 191 we have our saturation at 31% and we have our black level at 80%. So this is the color that I fill it with. Now you want to make sure they have all there's turned off an anti alias off. If you don't, this is what happens. That's what we have you on. It's gonna color just that specific color in that layer, and we don't want that to make sure you have all ears off and anti alias off. And then it should do it very nicely. Now, this obviously doesn't want that, So let's go and make it a soft light blending mode, and we're going to give it a capacity of Let's say we don't want too much. Maybe, like a 35% will go 36 you say it just gives it a little cool tones. OK, so now let's go to our models here, and we're essentially going to do the same thing. So let's give them a brightness contrast layer, clip it down to the layer below, and we're gonna go with a brightness of, let's say, minus 60 or so and for contrast, we're actually gonna bring the contrast down just a little bit we want because they're very contrast it. So we want them a little less So we're just gonna go minus 10. Soften that up a little bit and let's hop right into our hue saturation and pull this to the side here. And for this one only really want to adjust a saturation. I feel like they're very saturated. So gonna pull that down to about minus 40 2% and again make sure it's clip down because, as you saw, I forgot. And it was just in everything. We don't want that. So we're gonna go down minus 42 or so for this and again, we're gonna add our little color layer in here. Make sure we clip that down. If you hit g paint, it should already have the paint. Same color from before and again, we're gonna go give it a soft, light blending mode. And this time are opacity is gonna be very low, maybe 5%. It's a very, very subtle coolness that it adds to the image hoops. So, yeah, there we go. This is essentially it for the color correction. Um, next up, we're gonna actually add some little special effects. We're gonna add some backlighting from the moon. We're gonna add their shadows on the ground, some clouds and birds and everything to make it really start to come together. So this has been the color correcting portion, and next, let's move on to some special effects. 6. Special Effects: All right, So we've gone and done are color correction. Now we want to create some special effects just to touch this up, make it look that much better. We're gonna add some clouds, some smoke, some Grady INTs, some backlighting toe are models of glow around our moon, some birds. So let's hop right into a But before we do, ah, highly recommend they always organize your layers into folders. So when you have a layer selected, you can hit control or command G. It's gonna make it into a group double click that and rename it. I'm gonna call this one sky so we know what's in that layer. Now, if you select the layer, hold down, shift and click another layer, it's gonna select everything in between you going to do control or command G again, The vocal com net. And I'm gonna call this one grass. We're gonna do that same thing again for models control G. Call that one models, and I'm going to do that for the final layer. Just control command G for the moon and just call it simply so let's get into our special effects. First thing one at a little shadow right in front of these ladies. They're being hit. Would like from the back. So they're gonna have shadow in front of them. Some benefit that between the grass and the models. Okay, We're gonna make a new layer there. And now, easy way to get a perfect selection off them is to open up the models. Layer and control. Click the mask. This is a perfect mask of them. We can close our model layer, Make sure we're on the new layer. We just created hit G to go into our paint bucket tool. And if you hit D, it will give you the default colors of black and white. The one filled us with Lex tonight you control or command V to de select. And what you're going to do is control or command J to duplicate that, I'll show you why in just a second. So let's hide the 1st 1 and go to the bottom shadow layer. This is gonna be the shadow for our model on the left. Okay, so let's zoom in a little bit so that we can actually see what we're doing. Okay, So going to do control or command t and it's gonna come up with the transform box. Now, what I like to do is I like to hold down control, cause that, like, excuse the shadow just a little bit. So I'm gonna pull that underneath her and drag some of these corners a little bit until you find that it meets the dress at the points. You want it to some happy with that? So I don't really want this shadow here of her model. It's not close enough to her. So we're gonna hit e far Racer Tool, and I'm gonna have a harder brush and throw opacity up. We don't need it low for this, so just erase that one, OK, so let's move on to our other shadow. This will be for this model over here. So again, make sure you're on the proper layer and control or command T, and we're gonna do the same thing. Hold down control and bring it down until the shadow works and turns upside down. We're gonna pull it up to the proper location, and then we're gonna drag, drag these notes a little bit until it lines up where you want it. Okay? Gonna pull us up a little bit. Dragnets corner down. It does take a little bit of ah, finessing, but you can find it a decent wait. I have it some happy with this. I'm gonna hit again for a racer tool. We don't need this shadow over here. Okay, so next, what you're gonna want to do is next thing that you're gonna want to do is kind of Lindy's out to look better. So in the 1st 1 we're going to go to Filter, Blur Gaussian Blur. That's gonna blur this just a little bit. I'm happy with the 4.7 pixels. Let's make it an even five pixel blur. We're gonna go to our other shadow, and the most recent Tokyo used will be up here. So we're going to use and cost. The employer is gonna play a five pixel Gaussian blur to her shadow down here. Well, that still doesn't look good enough. So what we're gonna do is we're gonna group these together hit control or command. Gee, I'm gonna make a group called Shadows. Oops. I misspelled that. There we go. Shadows, and we're gonna add a mosque to that layer Now. Why? Shadows tend to taper off as they move away from the subject. So we're gonna have a bigger brush here. Let's see something around this site this size will be good. When is you mouth and you're gonna want to turn opacity off that Russia down to, Let's say, let's say 40%. It doesn't have to be anything specific, but he's going to go with a soft brush paint away a little bit of that, the edge for both of them. For the one in the back. On these, A little bit smaller brush. Taper that away, taking that away, doing any riel hard edges. And we're gonna turn opacity of that down down to, like, 60 5 70%. Something like that work. OK, so we have that now. Next thing I want to do is to create a haze and foggy look to this image right between the sky and the grass or the mountains and the grass. So let's zoom in a little bit. And if we hit g gonna go into Argh, radiant tool and may default to the paint bucket the they use the same key bind. So feel free to switch over to this to the radiant tool. And we're going to use this specific one. This uses the foreground color and growth and goes to nothing goes too transparent. So let's make a new layer between our sky and grass. And we're in our radiant tool and all you're gonna do hold down shift. So we get a straight line, add a little bit of a haze back here. That's good enough. And we're gonna bring the opacity of that way down. You don't want this to be very harsh. Very subtle. Around 20 29 30%. We're gonna go with 29 for now, but we're not done yet. We're gonna use the same color hit. Be far brush. Now, I'm gonna provide you with some brushes for you to use. I'm gonna use some cloud brushes. Okay, so let's get our clouds. And again, we're gonna want a capacity down fairly low in the same 26%. And we're gonna add some clouds right between here. That's a little bit too it. Okay, so let's do that. Not too much. We can put the opacity of that down as well. Okay. Very nice. And now we want to add a little bit of that on top of the grass as well. So we're gonna zoom out and let's go to the layer above our grass and our shadows. OK, so this will be between the models and the grass. Let's be we're going to start to add from clouds to make the birth figure another C. I used one brush. I mean, I'll mix it up in a second, but you can use one brush for a lot of this. Let's put the opacity down on these. Very nice. It's adding a little bit of atmosphere, and now we want to go above our models. Okay, because we're gonna want to bring a little bit of that. We'll use different with this time. A little bit of that to go over our models. Let me find a good one. Let's go over this one, and I'll bring opacity down even more, just like 11%. Just like incorporate them a little bit more into the environment. Okay, don't go overboard with this, but we're also going to want to add some clouds up into the sky. Something's going Do that. Don't go too crazy as all of this and I I usually start with a low capacity and build it up as I need. Okay, so let's add a few happy little clouds here. What you see from up here and a little more haze of top. So I'm happy with that. You can add as much or as little as you want to this I'm not that much. Turn opacity down just a little bit, okay? And now we're going to go ahead and add some other details. So, first for the moon, I want to add a glow around the moon. Now, this is incredibly, incredibly simple to do your son a soft around brush. It's gonna be a little bit bigger than the moon. So won't, ah, rapacity to be 100% for this. And I sample the color off the moon, which is usually white for this. Just look of that. We add a little Hayes. Now, that is obviously way too much. So we're gonna go down until we find one. Networks stuff. Light works very well for this. So, you know, put the passage of this down just a little bit down, like 57%. Maybe even more. Let's put it down to like 40. Besides, a little glow around our moon. So we're not done yet. We're gonna have a few more details, a few little birds and some particles. So for the birds layer, I'm gonna provide you with these as well. I have some bird brushes. Makes it so easy. You don't have to Moscow any birds, nothing. Just paint them in. So birth are very small. So I tend to use the color of the darkest part of the sky and just got a few around here and here you can get creative with. This is you want have little flocks going. You don't go overboard with this either. I usually like to add some. Going right by the moon gives a sense of depth. You don't go too crazy and make too many, cause look, now that looks kind of like a things. So you want to be aware of that? Make things as clean as possible. Might even replace some of that little bit like that. I'm happy with that. Next, we're gonna add a few little particles. So the art last layer with special effects and I will provide the brush for this as well. So it's this one that I use particle one, and what I'm gonna do is I'm actually gonna sample the bright, warmer tones of the mountain. Now, I'm gonna bring that up just a little bit like that. Let's zoom out. So I like to make this be fairly large, covered them and you don't need to much of this, even this is a lot. But what I'm gonna do is go into my eraser tool, have it be soft capacity down and then with the larger brush, gently just brush out some of it, especially the part that's covering the models here. You know, it adds a little bit of extra detail for us. So now, before we finish, we're going to do some final color corrections over our whole piece. So at this point, what I do is I can mind every single layer into one, and I call that my piece. So what we're gonna do is first, we're gonna add an overall brightness contrast because to me it seems a little bit dark. Still, someone put the brightness up by let's say 50 55. We want to bring the brightness up and for the contrast, gonna put it down ever so slightly and next we're gonna do a really cool felt that many people use. It's called the color Look up adjustment. So they hit this. It brings you this menu and there's so many different color. Um, presets, kind of that you can use these a cold lutz. But I use these to color. Grade my images so you can click them and scroll through. You see, they add different tones. Some are good, some are bad. You can tone down the opacity to find one that fits for you. What I'm going to use is one that is called Fuji Terna 250 D. Kodak. I'm gonna use this one. It's made by adult be. If I'm not mistaken, it is. We can check it. Here's well, who made it and everything. So I'm gonna use that. But I'm gonna turn opacity down just like 75 ish. Don't go too crazy with it. But you see, that's a little bit of pop of color and makes it very nice. And the final final touch that I'm gonna do is going back into my Grady int tool. I'm going to sample the darkest part of my sky. And this time I'm gonna bring it up from the bottom. So let's go with that. Might even want to make it a little bit darker. Okay? And then bring the opacity of that way down. Just add a little bit of dark edge to the bottom, and you can move that around. If you hit control or command t on that layer, you can just adjust that if it's going up a little bit too high. So I'm gonna leave it at that. So there we go. We have our finished image. What I'm going to do in the next videos, I'm gonna show you how to save this properly. You don't want to file to be too big, and depending where you post that, you need to be aware of a few different things. So I'm gonna go over a few quick tips on how to explore and save your image. 7. Saving your Image: All right, so we're done with our image. Next thing you want to do is probably you want to say that you want to upload it. I want to show it off to your friends, your family. So first things first you want to make sure that you're saving this as a Photoshopped foul . You want to keep your original working file in case you want to go back, create any changes. So to do that is very simple. Just file save as and this save menu is gonna come up, see it as a Photoshopped PSD. I don't make any changes. It's safe already. Have one called that I'll just override. It's not a problem. And you just want to hit okay for the compatibility screen. So you have your big file. Next, where do you want toppled this website to your portfolio to instagram A lot of the times. If you put it to a website you want to say for web, you want to make sure this is gonna be a smaller file sizes possible so that your website can load fast. So what I'd like to do for that is you go to file you goto export and safer Web legacy. So if you click that another dialogue screen comes up and you consume out, this is our full image here. Now you see, if I say this is a JPEG, it's gonna be 1.7 megabytes. That's fairly big for a website. So let's see, What can we do to change this? What I do is I actually change the resize percentage here. We're gonna make our image smaller, so I want to keep the quality high as high as possible. So let's start by putting the quality down to, let's say, 80%. It's going to take a second to re calculate everything. And there we go that has already made it go down to 1.5 megabytes. That's a little too big. I usually go down to even a small 60% you see, Now we're 582 kilobytes. This is 1/3 of the size, a little less than 1/3 of the slides that it originally waas. And it's not gonna lose any of the quality for website. This is going to be fantastic as you see the width and height still 14 40 pixels hot wide Sorry by 1800 pixels high. So this is gonna be great for your website. You're gonna hit, save. It's going to save it as a JPEG. You're gonna call it whatever you want to call it. You're gonna save. And you have that ready for web. Now, this also works well for instagram posts. But for instagram posts, I personally tend to upload either J Peg or PNG files P and G pills for me have been highest quality that I can upload to Instagram. We're gonna go file, save as again, we're gonna go saving as a PNG. No. Call this final image. There we go. Nor the teen years need to meet. I need to be made. You're gonna hit Just okay. Here. You don't want to change anything else Here it okay? And that is ready for instagram. So there are three ways you can save. You want to make sure as you go through the course that you say as often as you can. I've had times when Photoshopped freezes up on me or some which happens, and I have to restart it, so make sure you save as much as possible. So you lose as less as possible. So in the next video, I'm gonna go over some final thoughts with you and finish up our lesson. 8. Final Thoughts & Conclusion: and there you have it. We've completed our composite from start to finish. Hope you've learned a lot from this honestly, and I would love to see what you've created using these techniques and where these principles have taken you and you're thinking so. Feel free to drop images you've made into the student images for this course, almost likely to give you some feedback to what you've made. It's always good to hear constructive criticism, so I'm more than happy to give it if that's what you want. If you want to see more of my work, feel free to check it out at my Web site at www dot the rial tom kite dot com. Or feel free to follow me on instagram at the rial Tom Chi to see my work as always, behind the scenes videos of my creations. You can also find the links to those in the description off this course, so make sure you keep an eye on my profile here on school shirt. I will be uploading a lot more Photoshopped graphic design and photography related courses . Thank you and your work to the next level sofrito. Leave your own feedback about this course in the comments. I'm always open to critique and bettering what I do, and I hope to see you again in another course. Take it easy.