Photoshop In-Depth Compositing and Design 4 : Alien Landscape | Nawaz Shariff | Skillshare

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Photoshop In-Depth Compositing and Design 4 : Alien Landscape

teacher avatar Nawaz Shariff, Graphic Designer • Art Director

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

6 Lessons (1h 9m)
    • 1. Introduction

    • 2. Concept and Compositing

    • 3. Adding Rocks and Blending

    • 4. Replace Sky & Custom Brush

    • 5. Creating The Planet

    • 6. Adding Monolith & Colour Grading

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About This Class

Compositing is a very crucial skill for you to have, it will help you both creatively and professionally. Whether you are working with products, Fantasy shots, creating concept art, or editing images. It is something you will utilize every day as a designer, and mastering it will take you far ahead as a professional artist.

In this class, we will enter the deep space of photoshop compositing and learn advanced tools and techniques required to create amazing concepts and designs by combining multiple images into a seamless composition.

You Will Learn

  • Creat conceptual art from stock images
  • Selecting objects in an image
  • Create Custom Brushes 
  • Add atmospheric depth
  • Match lights and shadows
  • Color Grading

So a lot of things to do, and a lot to learn, let's get started!

Meet Your Teacher

Teacher Profile Image

Nawaz Shariff

Graphic Designer • Art Director


I am a graphic designer and an art director from India, working professionally, and teaching various aspects of design for over 10 years. I have a great passion for Compositing, Typography, and Motions Design.

Now as I venture into training online, I am extremely happy for the opportunity to share my knowledge with the world, and also learn along the way.

Dream Big, Work Hard, and Keep Learning :)

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1. Introduction: Welcome to this class on advanced compositing in Photoshop. My name is Nawaz Sharif. I'm a graphic designer and art director with a passion for digital compositing, topography and motion design. As I've entered into training online, I'm extremely happy to have this opportunity to guide you through various aspects of design and be a part of your creative journey. In this class, we will enter the deep space of Photoshop compositing and learn some advance tools and techniques required to create amazing concepts and designs by combining multiple images into a symbolist composition. We will start off by adding are subject to the scene, plays distant drops into the landscape. Create custom brushes to add atmospheric depth. Replace this guy. Create a planet from scratch, plays an alien artifact into the scene, and finally, calibrate the scene. Learning how to manage the contrast in colors of various elements in the scene along the way. So a lot of things to do and a lot to learn. Let's get started. 2. Concept and Compositing: For this example, I'll be using the rocky landscape as our background. Before we begin, I have laid out an idea of what our concept is going to be. Now this may look really silly, but actually that's all you need. A really rough sketch can do it with your mouse. Or step one is going to be placing an astronaut in this region. And as we go along, you'll have some rocks in the distance. Be replacing most of this guy, adding in our own planet and also placing an alien artifact. And we'll also be working with a lot of different colors settings to make the clearly look realistic and very illusionistic planet. Go ahead and open up the astronaut file. I'll be using the astronauts one. Creating the selection is not going to be that difficult as we have a very good separation between the foreground and the background. So let's go ahead and try it with the selection tool. And hold on art and click selected regions. So it can hold on art. See if we can get it. Okay, it's going to be having a problem. They can use the pen tool to make that selection. Some extra stuff over here. So hold on art and click to select the regions. Alright, let's create a mosque and use our pen tool to refine it. Have some x's TOEFL yeah. Control. Enter your missing line. Let's fill it with light. Alright. Let's also refine it a bit more. Select the mass, go to Select selected mosque. Smoothness. Seeing how it appears on a black background. Adding some feather, seem to be missing some parts you can track on it. Can hold on. Crime. That seems good. We have our astronauts masked out. So let's drag him into our background and convert it into a Smart Object. Renaming. Let's find a good place to please him. That seems really good. They have some nice footing, but think they emit is too big. So let's go ahead and transform it. That seems to be a good ties. And onlys tended smart objects. So we only affecting its quality. We'll be working with a lot of assets in this chapter. So it's always a good idea to stay organized. I'm going to add the astronauts, ketone group. Astronaut. Lets also unlock the background. This will be our landscape background. And looking at the astronaut, the placement teams. Fine. Maybe we'll move it a bit. Retina. Let's go ahead and add in some contact shadows. Greater layer below the astronaut is hold on control and click on add new layer. I can name it as shadows. Using a soft brush. Can decide using the bracket keys. Make sure the opacity is at about 50% And you're painting with the mouse. And distinctly opacity gives you the shadow. Will be really close to the before and after. It's a tiny difference, but it helps us blend in the image. Lets, just in the brightness values on the astronaut. The astronaut seem to have too much contrast skies compared to the surroundings. So I'm going to add it now, Levels Adjustment. Make sure it's clipped to the astronaut layer. Let's start with using the contrast. That seems a bit too much. Now I think the right side of the astronaut needs to be a bit darker since the light is coming from the right hand side. This whole area, it's supposed to be a bit darker as compared to the background. So let's add in another Levels Adjustment. Clip it again. Let's reduce it. Now I'm going to add a layer mass to this. Let's turn it to black. Use our brush tool to paint in the areas which you want to dark and decrease the pressure size, start painting in. There's a lot of distraction for color. So let's add in black and white layer on top. I can see our astronaut is bending in well with the environment in terms of brightness and contrast. Still we want to adjust the brightness on this a bit. I'll go to the first Levels Adjustment and reduce a more contrast on this. Alright. Let's turn off the black and white layer and also rename these adjustments. Contrast. This one is darkening, so we'll call it dark. And I'm gonna do the opacity on this darkened layer a bit. About 70. That seems much better. Now we will be calibrating the entire scene later on. But for now, let's go ahead and try to blend in colors of the astronauts with the environment a bit. For this LB, just using a Curves Adjustment. Make sure you clip it to the astronaut layer. Go to a red channel. And this slightly reduce it. As you can see, the astronaut is a bit towards the warm side, looks a bit reddish and compared to the background, which feels a lot like clean. So really selecting the red layer, sorry, the red channel slightly reduced its value. And you see it's creating a really good then between the astronaut in the background. Now if you still have a difficulty in matching the scholars visually can use one-off for tricks which are used in our previous exercises. Let's add in a solid color, change it to write, read, and t and its Blend Mode to saturation. This lets you see the difference in colors. And as you can see, we are pretty close already from us, from our previous curves layer. Let's go ahead and reset it. This is how the actual image was. You can see there is a lot of difference between the astronaut and the background. And you can see our retinal is very strong. So let's go ahead and reduce it. I'm going to select the red channel here. Click in to create a point and just use the arrow keys to reduce it. Does clicking down. And right. Alright, now we need to have some more blues in it. Let's select the blue channel. Click in the middle. Let's use the up-arrow key to this entry is debit. And to go back and forth at times. So let's, I'll select our green channel and increase it a bit. That seems pretty close to our background. Let's turn the red layer off. As you can see, a matching in pretty well. We're gonna delete this now. Alright, in the next lesson, we'll add in some distant frogs. 3. Adding Rocks and Blending: Alright, on to our next step. Let's add in some rocks into the distance. Go ahead and open up the rocks file. As you can see, there is quite a good contrast between the rocks and the background. So I think the Quick Selection Tool will work best here. Just two clicks and our selection. And I won't disrupt to be on separate layer. So once you have created a selection, hit control g to bring it to its own layer. Will do the same with this one. Make sure if elected the background. Alright, control j. Let's go ahead and bring these two rocks into our landscape. And them do their own group. Let's call it rocks. And let's number them to a Smart Object. Let's find a good spot for the control object selector directly from the liters. Just having a rough placement. Go ahead and blend in later on. Maybe we can flip this and create a interesting one. Duplicate this, hit control-C to duplicate the layer. Control T. Flip horizontal. That looks more interesting. And probably this one we can bring in around here. Something interesting to look. All right, and let's go in and blamed in those rocks into our environment. We seem to be having some buses and cars running out. That's not good for a spacing, right? Let's go ahead and take care of it first. And we're going to turn off the rocks group and open up the background. And a layer on top, we're going to name it as clean up. We'll be using the clone stamp tool to clean this up too good in silica. The reference any part of the image. Painting. Painting. If you have a soft brush, hardness, is part of the image. But anyway, let's make it as smooth as possible. A few more here. Now the same thing, colon old and click the reference. Zoom out. Before. That look great. Let's turn back our rocks and start bending them in using the layer masks. Starting with this row. And Lear mosque. Soft brush. And slowly entered with the soft brush brush which we use in our second chapter. It will be helpful in adding in some organic details towards the edge. Loading the clouds brush size. Start painting in really nice edge to it. To add in some fault details. Let's move on to the other. Let's pick it up. Depending on the data you're painting in. This part, I think we need a bit of a harsh it. So I'm going to use a hard brush and just shape it. And so we seem to be missing some part of this mountain here was actually covered with water in the original limit. So let's select that original image and painting our own detail using clone stamp. When I add a empty layer, name it as 2s are loans time to make sure it's set to current and below that sample from the rocks about when painting it in. Now the edge around this seems a bit soft. You can see there is a mismatch between the mask. And you can see there's a clear difference here. So let's use our sharpen tool and atom trap nets to this area. Is the sharpen. This dot painting. This is our dispersion. Well let's link these two leaves together. Because you don't want to move this rho can deliver feel behind. So Sarah, go the layers rightly. Right click on this. Indeed here. Click link layers and they'll move together. Let's try to position these rocks and it better. These two seem to close. So let's let her rock one. Alright. Let's try to blend in the brightness and color values. As you see are forgone disk has a lot of contrast. And as we move along, the contrast reduces due to the atmospheric particles and the fog. If you sample the foreground, see how dark it gets and how light it's getting. You try the same thing in the background. You see there's very low contrast. And in order to match these rock as something in the distance, needs to have a similar kind of contrast in it. So starting out the rocks are quite dark, so we need to lighten them first. Let's go ahead and add a level suggest spent, please it outside the loop and clip it to the group. That way it affects all the rocks at once. And also rename it as rocks contrast. Let's try reducing in the contrast. We're trying to match the pipe may somewhere close to these hills. Let's turn on the Black Noise layer to help us out further. That seems good. And the same way we can also adjust the color. So let's add in a Curves Adjustment, clip it. And just as we had tested our astronaut, need to lower the rates, the rock seems a bit read. Let's click on this icon. Is used to sample the point very near to it as the colors in the rocks. And when you click it, the point gets added to the curves adjustment. I can use the arrow keys to this radius it down. There's gonna use my arrow keys down u times. Okay? Well let's elector blue layer to the same thing. And in a, and this raise its value. And as always, you can add in our solid layer to be more precise. Select this solid t and its Blend Mode to saturation. Alright, we are pretty close down. Other point. Alright, let's turn it off. All right, there's our rocks. Last part seems a bit dark. So let me adjust the brightness on it to just the contrast layer thing. It's too dark, so let's increase it a bit. That will bring on debt engine to the character. Alright, so now we will continue with our next step is to replace this guy and add in some details. 4. Replace Sky & Custom Brush: Let's go ahead and replace this guy. I'm going to turn off the rocks group. And let's use the Quick Selection Tool, two selectors, guy, I'm going to select the landscape. Let's use the Quick Selection Tool to select a sky. Alright. Hold down your Alt key and click on the Add Layer Mask. Looks great. Let's add in a layer below our landscape, fill it with light. Alright, let's bring in our sky. Go ahead and open up sky. Let's bring this in to a Smart Object placement of it. All right. We don't want this guy to be in full intensity, so I'm going to add a layer mass to it and use a gradient to blend this in. Black to white gradient is drag it up. Right? I don't want these Center Hill to be visible here. So I'm going to use my pen tool to mask it out. Okay? Now the next thing I would like to do is to add in some details around these rocks. As we look further into the landscape, you can see this fog buildup, turn up the mass per second. You can see the lot of foreground is region. Need to add in the form detail to make the rocks appear more believable, and also to show that they're at a further distance. So to add in that detail, I'll be using the clouds brush. Before that, I'll just show you how I allocated it. So you can use that technique in your own projects and create multiple variations of such brushes. So to do that. Go ahead and open up the clouds file. How to make this work. We need to have a clear selection of the clouds and this image. It's going to be quite easy to do that because there's a clear separation between the background and the clouds. Now will be using a technique which is used a lot in the selection of hair, will be using our Channels panel. So selecting the channels. And let's look at our channels, red, green, and blue. How many to select a channel which has the most amount of contrast. And that appears to be the red. So let's go ahead and create a copy of it. Alright, made some more contrast to have a clear separation. So I hit Control L to bring up the levels. And as dragon the dark values, how many To get a selection of these clouds. So to do that, just hold down the Control key and click on our channel. Now it has loaded in all the white values in our image and ignored all the blacks. Now click on the RGB image again. Go back to the layers. Let's create a new layer. And we need to fill this in with black. Black is my foreground color. Just hit backspace to fill that in. Control D to Deselect. And let's create a solid layer below the clouds. Let's fill it with white. So it's very important that in order to have a proper brush, to place the content of the brush on a white background. Let's name it as clout. And we do not need a at the end, all the clouds. I'm looking for main Cloud which is here. I'm just going to use the lasso tool to have a selection. Click on the layer mass two isolated when this up in the middle. Let's clean this up a bit more. Using B. Use my brush tool, capacity 200 and hit 0 to bring your pathway to a 100. And let's pin this in. Don't want any harsh edges on this. Let us try to reduce some of the contrast in this cloud and hit Control L to bring up the levels. Slightly. Bring up the contrast. Let seems good. Alright, let's crop this in a bit. Too much space around. I hit control a to make a selection. Go to edit, click on, Define Brush, Preset plots to the cookie. And now we have our cloud. Let's go back to our landscape. Let's add a new layer. You right-click. And here is our cloud. You paint it with flight. And this painting in leg, this is not going to help us. Does the brush settings in order to make it usable. So go to window, click on Settings, and go to Shape Dynamics. Let's add in some science teacher, flip it on X and Y. X a minimum diameter of angle tutor. You see these settings have a huge impact on holder brush works. Let's go to scattering. And in a bit of scatter will taxes. Let's go to the brush tip and until this pacing as well. And it is just our flow similar to much, much better. That tells a nice buildup to it. Now the next step is to say about the settings. For that you go to this flyout menu, click on New. And we'll call it clouds. Can name it anything. Click on capture where size and preset. Click OK. And we have that setting, sable with the brush. Alright, let's get rid of this layer. So let's create the layer again. And you can use any of these. Let's use our nucleated brush. We're going to reduce your passage to about 30% and start building up default slowly. Reduce your debt to the rocks and blending in really nicely. Done it all. See a clear difference is going to be some spilling over in this region. So when Anna layer must to default layer to the normal brush and painted with black to hide some of the regions. All right, for the next step, we'll create a planet from scratch here in Photoshop added to our sky. 5. Creating The Planet: Building a planet, going to turn up the fog layer for awhile. And let's start with an ellipse. Hold down the Shift key to create a circle. The size. In Photoshop, 20-20, when we have some great options using this shape tools, just like it works in Illustrator. We're going to turn off the stroke had in any color. It's just add, just add a light color. Anyway, we're going to replace it with the texture, right? I let us name it as shaped and add it to its own group plan. Let's bring this down below the fog layer is just going to be a placeholder for our axial planet texture. So go ahead and open that. You have it here texture. Let's bring this in. And we're going to convert it into a Smart Object. Texture. Clip this to our Shape layer. We can move this around and transform it in some more variation. Okay, good. We'll need to add some depth to this planet. So open up the layer styles. And I'll be using the gradient totally on this. So I want something which is darker on the outside and lighter in the medulla. So let's add in a gradient is 2L and darker color. And bite on the other side. Click OK. Let's choose the radial style for that. Alright. Alright. I'm actually on the inverse of what's happening here. So click on reverse to the gradient for the right. To make this work, all we have to do is change the blend mode to multiply. Really nice lighting effect on our planet and Dragon. Let's spread it a bit further. Increase this K value. Alright, once you have satisfied, then this click OK. Our text itself feels a bit dull. So let's increase a brightness on this late control l to add in the levels. Alright, click OK. Alright, let's try to add some glue on this. So for this, I will be selecting the Shape Layer and open up its Layer Style. You can try the outro glue, but I don't want to use that in this example because as you see it affects the entire shape. And I want the load to be only on now one side of the planet. So I'll use the drop shadow and make it work like Cl2. Now to do that, let's first select the color, something from the planet, but a bit bright. Usually the drop shadow comes in a darker color and with a bend mode of multiply. And to reverse that and make it into a blue will be using a brighter color and tending the blend mode to screen. And the advantage of this is we can actually move in the glue. Alright? And that seems a bit too much. So let me reduce the opacity to about 50. Okay? Let me try to rotate the texture a bit. Right? Next thing I'm gonna do is add in now blur to try to simulate some form of motion to the planet. Although that's not necessary, but I think you'll add in some interesting element to the planet. So let's try some blur. I'll be using the radial blur. Let's try this one. All right, that looks nice. And since we are working with smart object, it's quite easy to adjust these values anytime you want. To reduce the opacity to about 15. Okay? Let's add in some rings to our planet and use the Ellipse tool to have a reference for our drinks. Alright, that looks good. Turn off the ellipse. Alright, let us control click on the ellipse to load another selection. And let's create a solid color. And that creates a solid with a selection as it's mask. The 2's a nice bright color. Right? The control click on the ellipse another time, load it again. Select the mask on the solid. Hit M to bring up your Marquee Tool. Right-click and click on transform selection. And we are trying to cut out the inner ring. So let's drag in this election. Hold on the Alt key to drag it from the center and Shift key to clip it proportional. I'm also using the arrow keys to shift my selection upwards. To create this tapering edge. Enter to make a selection and select the mask and fill it with black. And have this effect. All right, and let's go ahead and edit its colors using the layer styles. And to name it as going to use gradient awkwardly, the color it lets you the blend mode to normal screen. And in some bright colors, maybe sampled from the sky itself. Let's also add in a blue. Outer blue is fine for this. Let's reduce the size. Click OK. Let's try reducing its capacity to about 70%. Let's duplicate it. Hit control C, control D to transform it in second ring. And then district's capacity to about 50%. And it's bringing it a bit outward. Duplicate it one more time for a third ring, and transform it, it. Let's see in this opacity to 30% and still a bit too bright. So I'm going to reduce the capacity of the first drink to 60%. Then 20. Let's group these three together. Call it rings. Let's try rotating them this way. Alright. How many to mask out the outrage of the rings? So I'm going to load in the shape player of the planet. Only worried about half of this election is going to use the Lasso Tool. Hold on the Alt key to remove the selection or you're not need. Alright? On this election, I'm gonna select the ring through and hold on the Alt key and add layer mask it away. The ring still feel a bit too sharp. So let's add in some further to them. Can do that by just selecting the layer mask of the ring, double-click on it to bring its properties. This add-in, some further value of six seems too much. So try five. And we can keep reducing as we move into the rings. We try four. And let's see. Okay, that looks much better. Alright. And reduce some of the saturation of this textured cell. So until like the texture and adding librarians layer on top of it, let's clip it to the texture and reduce the librarians thing minus 25. Looks good. Let's collapse the entire loop. Try repositioning our planet. Right? So there's a planet. Let's turn on the fog layer. Alright, the next step we'll add in an alien artifact and give some final touches to our composition. 6. Adding Monolith & Colour Grading: Alright, onto our landscapes for this composition. Placing in mysterious artifact into our scene is actually inspired from the 19682001, a Space Odyssey. We'll go ahead and open up the file called monolith. This dark, dark which appears. And that will be interesting to put this in here. Of course, you can have your own design, your own artifacts to putting in your scenes. Let's drag this onto our landscape. To its own group. Recall the monolithic. Let's convert this into a Smart Object. A Muslim, this is quite easy. We just need our magic wand tool. Just click on the criteria. Hold down your Alt key and click on the Hadley Mosquito. Control T horizontal. But to find a place to position it. And this seems to be a good area. Slightly the astronaut is actually looking at me to transform this. Let's make it a bit smaller. It is a bit too dark, so let's add in some levels Control L to clear up our mascot. But as you can see there, some line showing up. Let's check our mosque. It's coming from this empty area around here. So let's fill the entire thing with black marquee tool to select out the outside regions. Hit control chip tied to inverse it, fill the entire thing but black. To take care of those tiny lines. Or click again to come back recompilation level somehow. So let's apply them again. Select layer and hit Control L. Let's increase the electron values. And we need to take care of some of these halos around this edges. So I'm gonna select the mass. Go to select and Moscow feather. That looks good. Okay. All right, now we need to blend in this monolith here. I wanted to replace behind this tiny it. Ok. So let's get our placement. So let's get our positioning on or turn it off and make a selection of this area. So let's use our quick selection tool. Make sure San Paolo layers are checked. This click. Alright. Let's turn our back on the mascot black on the right. Let's go ahead and think in some shadows are architected. We're going to control click on the Add New Layer icon to create a layer below. Just rename it as shadows. Soft brush. Black, capacity of about 20. Just beaten. And slowly build up or shadow. Make sure you set the blend mode of the shadows layer to multiply. Blend like this. Let's apply some texture onto its surface. Can go ahead and open up the stone pile is don't texture. Let's bring this in. And we'll call it, Let's transform it. And there's actually a seamless texture. So I can keep repeating it and not have any sharp transitions. It enter. And that's duplicated one more time. To align it lines up perfectly. Let's get another of these copies and lend it to the bottom one. Alright. Select all the 3n. Again. Make sure I'm going to combine this way hitting Control E. So now let's clip it to our monolith. The Blend Mode to orderly. That looks great. Texture. Alright, our monoliths completed. Let's bring this down. Oh yeah. I'll do the final touches. And I want to change the color of this planet. It's a bit too, coming off as too strong as a visual element and now it's not gaining in well with the sky as well. So I'm gonna select the texture of the planet. This chain, the pinMode, too hard light. And also then attain the bipeds value. Kind of a drastic change. But for the composition I think there's much better. Can I didn't use saturation layer on top of this to affect the colors of the planet. I'm going to just leave it at that. Onto our final step. Let's take care of the color in the scene. I think to make the planet look really screened and need to have a different color values in the highlights and shadows. Usually in a normal environment, you'd see the color from the highlight speed into the shadows. But for this image to make it look really alien, need to have different colours in the highlights and shadows out. To do this, I'm just going to add a color valence layer on top of everything. From here, you can select the region you want to. In fact, I'm going to choose the highlights. And let's move it towards green. Little blue for the shadows will add more blue in it. And also a bit of green. And I'm gonna change the blend mode of this layer to color. That looks much better. Quite alien like. And also our sky seems to be too bright. So I'm gonna select the sky. It control l to bring up the levels and dark on it a bit. And I'm going to select the green channel and increase its value. All right? So I'm going mainly for a greenish thing. You can have your own colors. And I also want to change the color on this lakes. Seems like its water, but since it's an alien planet. So let's see in the color of this liquid. So I'm just going to use a magic wand tool. Select car, landscape, and click on the liquid and hold down shift to add in more of this election. And so now with this election, let's go ahead and create a solid layer. Will add in a mosque porous with that selection. Let's choose a greenish color. Or maybe blue. Lingering looks like okay. And I'm gonna change the blend mode again to color. Let's add some further to the mosque. Double-click on the mass, keeping the base properties and add enough whether a value of about four low, there seems to be some missing areas. Let's paint them in the brush tool. Selected layer mask it P to bring up your operation. Using a soft brush to paint invite into our mosque. And some of these heres will still be wide because it's reflecting the light. And since we have seen the mode to color, it's not going to affect the areas which are completely white. And we also need to remove the green from some of these outrages. So start painting it black. Passage about 50%. Sorry. Two, Paint it Black. Hit X to switch your foreground and background color. Can start painting. Another technique you can use to get rid of this color from the dark areas is to use something called as the illuminance blending. To get that option, you just double-click on the layer and go down here. These are our Blending Options. And from the underlying layer, we want to exclude our top layer from the darker areas. Just click on this icon and keep trying it until you see the alert disappear from the darker areas. As you see it's working. Okay, I have a software Blend. Hold on all ten separate these two arrows. And let's drag in this one. I think that's working fine here. Click OK. Well there's still a bit too intense that reduce the opacity to about 70, hitting seven on the number pad. That looks better. Color blend mode is not working so well for this biter areas. So I'm gonna just end the bend mode back to normal and reduce the passage to about 50. Writing phi on the number pad. I think that's much better. I'm gonna add curves are just meant to the entire composition to increase the contrast with it. Right? And 19, the opacity to about 50%. Another great way of experimenting with color integrate new ideas is to use the color lookup table till adjustment layer for color lookup. And you can cycle through this lead files which can also download from the internet. There quite a few is just cycle through this to get different looks for image can give you really intense and a completely different look on your composition. See how different our images looking. I'm going to use the three strip Look here. It's adding a very mild saturation to the image. And you can see, now I want to turn the Blend Mode to Color effect to have it affect our emits likely for after the slight change in our sky. Light saturation increase. All right, now before we call it definition, let's turn on our black and white layer to check if the brightness values are consistent. And clearly forgot to manage the brightness values on our monolithic. So go ahead and select the levels on the layer and double-click to open it. And change the output levels of the Black to produce a contrast. Alright? And this point, it seems to be matching with the contrast of the rocks around it. Click okay. None of the black and white layer. That's much better. And let's also turn on red fill layer to check for the color values. The colors here on the monolith tends to e two saturated. That's coming from our stone texture. If you isolate it, can see it has some red color onto it. So the best way to deal with this is to just desaturate this layer control shift. You know, it has a much natural blend now and operate with. And you can see it's trending in really well. And that's our final composition for this chapter.