Photoshop In-Depth Compositing and Design 5 : A Surreal Composition + Masking Hair Masterclass | Nawaz Shariff | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Photoshop In-Depth Compositing and Design 5 : A Surreal Composition + Masking Hair Masterclass

teacher avatar Nawaz Shariff, Graphic Designer • Art Director

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

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 (59m)
    • 1. Introduction

      0:52
    • 2. Color Range for Masking & Selections

      8:19
    • 3. Channels Panel

      13:20
    • 4. Calculations Command

      17:04
    • 5. Surreal Composition - Selecting Subjects

      11:18
    • 6. Background Scene Setup & Final Composite

      8:07
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

16

Students

--

Projects

About This Class

In this fifth installment of the Photoshop In-Depth Compositing and Design Course, we will create a surreal composition, by combining multiple images together and also tackle one of the toughest challenges that you may have as a compositer.

That is to select & mask hair and other furry/fuzzy details in any image, we will be trying out advanced selection techniques using the Color Range command, Channels panel, and the Calculations Command, going through simple to complex scenes.

After learning these selection and masking techniques we will start with the main artwork.

You Will Learn

  • Advanced Masasking and Selection Techniques
  • Color Range
  • Channels
  • Calculations
  • Surreal Compositions
  • Colour Grading

Meet Your Teacher

Teacher Profile Image

Nawaz Shariff

Graphic Designer • Art Director

Teacher

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 :)

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Welcome back. This is the fifth class in the Photoshop in-depth compositing and design series. In this project, we'll be creating a surreal composition by combining multiple images together. But first, we will learn to tackle one of the toughest challenges that you may have as a compositor, that is to select and mask out here in all its detail and glory. We will start from a simple scene and then move towards complex ones and use different selection techniques involving the color range command, the Channels panel, and the calculations command. Once we learn these crucial selection techniques, and we will begin with our surreal composition by masking out our subjects, creating a background for the scene and combining them together into a seamless composition. So a lot of things to learn. Let's get started. 2. Color Range for Masking & Selections: Open up the exercise files for Chapter number five. I'm going to select the stock here image. Now this kind of images, what I would call as a perfect short for selecting here, is that typically you would find such images on stock websites or through a professional photo shoot. And if we're trying to take your own photograph for compositing, try to replicate or whatever you can. As you've seen an image like this, which is having a really good contrast between the subject and the background, and having a pretty flat lighting on the background. Also. Now when dealing with the image like this, it has a good separation between the background and the foreground. You can use the coloring command or the Channels panel to create the mask. In this case, let's try the color range command. It's found under the selector menu. I'll arrange. And as the name suggests, this command uses color to create selections. For example, if I click on her hair, which are brown, so where you are, we have that similar color on the image gets selected. Let's change our preview to grayscale. Now how much of the color is selected depends on the fuzziness value. So if I increase it, we get more of a selection. And we want to contract the mass. You reduce the fuzziness value. Let's leave it in the middle. We also have another icon here with the plus sign. Now this is used to add more to our selection. For example, with this brown, suppose I click on her head and we get another color added. Same way with the lips, the shirt. So we can keep adding more colors to our selection. Now in this case, it's better that we select our background because it is one single plaid color. So we have metro selection that way. So I'm going to click on the eyedropper tool and click on the background. Now that has created a pretty good selection. But you can still see that even some parts of our subject have been selected. As you can see some gray values here, but we want it to be completely black. So let's try and adjust the fuzziness value. In this case, we have to reduce it. Alright, that looks good. We can try adding in these colors to get a, to get more contrast in the mask. Let's try that. But as you see, we are losing a lot of detail in the hair. So let's undo and just click Okay to get this election. To obviously want the inverse of this. So select the mask and hit Control I to reverse it. Now we have got our mask, but as you can see, there are still some gray areas in the mask. So the background is coming through here in this regions. So let's select the mask and then get rid of this gray values. To do this, I'll just use the brush tool and painting with black. The trick here is to change the blend mode to overlay. Let's turn the opacity to about 60 percent. Now these are really good technique to play out mask, as you can see now, I start painting wherever these grey regions, they get become black. But as soon as I reach into the subject is not affected. So only the gray areas get affected. And you are painting with the overlay blend mode. And whatever areas which are completely white, they are, they are safe. So it's a great technique to refine our masks. I have to be really careful while painting on this side because can actually remove the detail from the hair like this, for example. And do that. So be careful and just paint on the edges. Make sure using a really soft pressure while doing this. And I'm just clicking. I'm clicking and dragging on the edges. Now we do need to remove some part of the background in this region. So to do that is reduce the opacity to about 30 percent and start painting in slowly and reduce the brush size. As you see, we can maintain the hair detail in the background. And it's not necessary that you have to remove it completely. Fine. It still some parts of the masker still gray. So I'm fine with that. Let's go back to our image. Silicon is looking quite good. Now let's drag in the background to this image and go to File Place. Let's use this road image. We're going to transform it. Let's bring it to the end position and let's add the level such as mentor background because it looks quite dark. All right, I've got a pretty good selection, but you can clearly see the Israeli bad color fringing happening around the hair. Now, even though we had such a great background and perfect event, you're still going to get this color fringing. I'll show you a really nice practical way to deal with this issue. I'm going to create a new layer. Let's call it as color. And let's clip it to our subject and hold on the Alt key and click between the layers when this arrow appears, or it can just hit Control or G to create a clipping mask. Now whatever we do in this layer gets clipped to our subject below. In that case, what I'm gonna do is just sample colors around this region, wherever the fringes here. And then paint in with our brush. Make sure you use a really soft brush and start painting in as you see it getting covered there. So remember to change the blend mode of this colored layer to color. All right, lets you see the fringe colors is getting replaced by a lot more authentic. Make sure to keep sampling. And then from the nearby region. In just a few men getting a lot more natural. Make sure not to paint into any other areas other than the hair. Alright? And if you turn off the color layer can see it's a much better result. And we managed to solve the problem of the fringe colors. And that's it for this image. Let's look at another example. 3. Channels Panel : Now let's look at another simple example. Open up this image, simple hair. Now we have a similar kind of image with a very good contrast between the background and the subject. But this time, instead of using the color range command, will be using the channels. They are right next to the layers panel Channels. Now any digital photograph is captured in this three wavelengths of color, the red, green, and blue, which is represented here in the Channels panel. And the red, the green and the blue. Now the way this works is we'll be using the information within this image to make our selection. In short, you could say that we are using the image to select itself. To explain this better, let me open up another file which you have created. If you look at this colors and it a shape layer. So I'll select the white arrow tool and the Direct Selection tool. It's called the tickets fill color. You can see we have 0 in green, 0 in the blue, and the max out or 255. Generally in a 8 bit color image, we have 256 values. Start from 0, so it's entered 255, and it is the pure red. And the other two colors are also the same way. It's pure green and blue or blue. And if you look at the channels that click on red, you can see that only the red is been highlighted. So whatever information of the red color we have in the image is represented on the red channel. Similarly, peck click on the green. Only the second square shows up. And same thing with the blue. Now when you combine all these three, you get the pete RGB image. Generally in an image we do not have exact reds, greens and blues. You know, they're always mixed. For example, if I select this green and to and its composition, we have 255 on green. Suppose I add about 40 of the blue click. Okay? Well usually nothing much changed. But if you look at the channels now, if I go to the blue, can see along with this last blue square, we also have that 40 percent, which we add it to the green. So in this way, the more percentage of a color there isn't an image, the brighter it appears, the lesser you have n goes towards gray. And if we have no such color and goes to black, when you combine, all these three, get the full RGB composite. And let's go back to our subject. Now, people usually appear the brightest in the red channel. Regardless of the skin tone, you always appear the brightest in the red. So in terms of Photoshop, you are all red. Okay. Now she's also having a red sweater, Red Book, her hair also towards the right shade. So this image is going to be the brightest in the rectangle. Click. You see she's very bright, almost similar to the background. Now when you are using the channels to make our selection, we have to select the channel which gives us the most contrast. So let's look at green has quite good contrast. You really, green is known as the detail channel. It has the most amount of detail in an image. And finally, let's take the blue. Alright, now we have to choose between the green and the blue channel. They both have a really good contrast, but I'm slightly ending towards the blue because an orderly it has a good contrast, but the tone is quite flat. If you notice the difference, we have more detail in here and the blue channel. So let's go ahead and duplicate that. Just click and drag it onto this plus icon. As you see, it has created a copy. And it is not a part of the RGB composite. Click on the RGB. All these three light up and it is turned off. Now you'll be clicking this. So the first thing we'll do here is to invert this because whatever is black is obviously gets a DC lactate, so I'll hit Control I to invert it. Now let's bring up our levels adjustment. I'll hit Control L and start increasing the contrast. And you see we have already lost their most of the background. And also move the white point value. And we're getting a really nice selection. And go about. Let's click Okay. And just as we did in the previous exercise, Let's get rid of this area over here and do it be to bring up the brush. And then right-click to the soft brush. Change the blend mode to overlay and paint with black. And you get closer to the hair to stay on the outside and keep clicking. You want to preserve as much detail as we can. While also getting rid of the background. All right, Let's get to it. When you're not dealing with the blend mode to normal and start bending with the hard brush. So I can just click. And once you get closer to the blend mode to overlay to the soft brush and start painting. Alright, let's, we'll have some gray areas in the image, like her hand and the book. So let's go back to the original RGB image and see if we can create an easier selection of these areas. And just use my Quick Selection Tool. Generally, I'd use a pen tool to create a really precise election. But in this case, I'm just going to use Quick Selection Tool. It's doing a good job. Make sure not to go on the outside it. I'm just going to click around here. I can click and drag to select for the book I'll be using the pen tool. Let's go back to the Control Backspace to fill it with white. And let's start painting on the inner part and change it to white color. Let's give it a lower hardness when you're painting inside. Mismatch, this curve. For this region, Let's use the pen tool and go back to the RGB image and hit Control Enter. Go back to our channel, fill it with white. All right. Now how do we load this? Tantalize his election? Generally can just control, click on it. And another way to do it, as you can see, we have a shortcut here to load up these different channels. For example, if I hit Control 2, That's the RGB, Control 3, the red channel, and similarly the green and the blue. Same way, Feed Control six, load up ARRA, the blue copy, and go back to the RGB by hitting Control 2. All you have to do is just include the ALT key into this shortcut. So if you hit control or six, loads up as a selection, go back to layer and click on the Layer Mask button. You can see it has created a really nice selection for us. And we obviously did a lot of work on it as well. But it's a very nice and easy way to create a selection. And most importantly, a very precise way to create selections. Now still have to test it like how it will look against the background. So let me pull up a background here. Go to File Place. Let's bring up this garden image. Let's bring it behind. Let me transform it. So when it looks good, but we still have some fringing from the background will take care of it. Let's add some blur to this background. Go to filter blur and Gaussian blur. Mode four is good. Now in the previous exercise, we added an empty layer and maybe paint it in with our brush tool by selecting the nearby colors. But in this example, I'll show you another way to do it, which is by using the clone stamp tool. So again, we changed it to color, but we don't have to change the blend mode for this technique. So I'll select the Clone Stamp Tool. You can press the shortcut key. I can start adding more details and also getting rid of the fringe. All right, we've got so far with the clone stamp tool, but we still have some more friend left and I don't think the Clone Stamp Tool Wie take care of this. So let me try another technique which I use quite often while masking here, is to duplicate the original image and change its blend mode to Multiply. Can see it had some background depth and darkness to the image, along with increasing some of the volume in the air. Okay, and once you do this, I'll select the mask of the original limit which is on top of it. Use numbers to make sure you are on the overlay blend mode and choose a really low opacity of about 10. And twos, a really soft brush. And wherever you have the fringe, slowly start painting. Try reducing as much as you. Good. All right, we're gonna leave it at that and zoom out. I'm going to duplicate the immediate is blue one more time to get this effect. All right, So that's how I use the Channels panel to create a selection. 4. Calculations Command: All right, We have seen the color range command and the Channels Panel, which are great options to select the images which have a very good contrast and have quite flat background. But usually you don't get images like that. We have images with a lot more complex backgrounds like this one. Open up the image, tricky hair. And I'm going to also open up another image. Just call these simple calculations. So when it comes to selecting air on complex background such as this, which has the hair blending into the background. And you don't have enough contrast in the image to make selections by just using the color range or the Channels panel. So this is where the calculations command will help us out. Let me go to this simple calculation image. So there's quite a simple image which you can select by using the color range or the channels. But let's see how we can use calculations on this. Now the calculation command is directly linked to the channels in the image. So let's have a look at them. And we obviously don't have much contrast because typically humans are the brightest and the right channel, and even the background is white. So note how much contrast there. Green has good contrast, but I think blue will have the most contrast. So you have to review the channels in the image first and see you. We tell you are going to use to create a blend. So let's go to the calculations command. It comes under the image menu calculations, right? So you have the source one and source two. You have to look at them as though they were layers stacked on top of one another. And it's using the channels. Now since we have only one layer in this image, the background is showing up here. If you have multiple layers, you could select the individual layer or just select the merged composite as well. So in the second channel, so we have the red, so let's change it to green. For next, we have the most important thing which makes all this work, which is the blending modes. Now since the blending mode is set to normal, we are looking at only the red channel. As I've told you, these are like layers. So we have red on the top, so we are seeing only the red. Let's change it to Multiply. Now the red channel is being multiplied over the green. So whatever darker values we have offered are getting added to the black values of the green. Similarly, if we turn the blend mode to overlay, you'll get much more contrast because both the light and dark values are getting added together between the red and green channel. But suppose you want to see only the green channel for now. For reviewing or something, then you can just chain this opacity to 0. And now you are seeing only the green channel. I got to go back and get to a 100. And if you want to see only the red channel can go to normal. And this is for this review purposes only. Typically you want to blend two layers. Now let's cancel out of this. And let's see how we can use two of these channels to create our selection. We obviously can't use the red channel because there is not much contrast, but blue has really good contrast. And there is some good detail in the green. So I think we can use these two channels to create a new channel, which will give us a much better selection. So let's try that. I'm going back to the image calculations. And let's see in the first channel to green, the second one to blue. All right, Now the next thing is the blend mode. But when bored being normal, we're seeing through only the green channel. You can try out blend modes which either darken or add more contrast to the image, which would either be the multiply or the overlay. But as you look at the image, the hair appear in black. We want the opposite of this. We want the hair to be white and the background to go black, which is simple to do. You just invert the channels here. We're going to invert both the channels. And as you see, we have got a really good selection by just using the blend between two different channels. Let's also try multiply to see how it looks. And that's looking even better when it comes to masking out the background. Let's see overlay again. Okay, I think only is preserving more detail in the hair. So let's stick with that for right now when it comes to output, can either save it as a new channel or just as the election. I'm going to select a channel click, Okay. And now we have got the channel has an Alpha, I am going to rename it as what was it? Green plus blue. And it was overly alright. Just for reference. And there are still some gray areas. So what we're gonna do next is overlay painting. Select your brush, change the blend mode to overlay. I'm going to change the opacity to about 50. Makes your painting with black. Start painting it. I hit X to switch the colors. Go back to the RGB image. Select everything on the inside. No idea edges or clicking to get rid of these elections. Let's click on Add Layer mass. And if you remember the shortcut Control to select the channel, but if you add the Alt key, it creates a selection. So if I hit control or six, again, this selection and fill it with white, and then get this nice selection of the hair. Alright, so that is how you create a selection using the calculations command by blending two channels. Alright, now let's go back to our main image here, which is a bit more complex and has lot of background detail. It is blending in with the hair. And let's look at the channels on this image. Now. And secondary channel is the brightest. Since we have a person here. Green has nice detail, and then blue has the most contrast. If you also look at the blue channel, there's lot of noise in the image, which typically occurs in the blue channel. And if you look at this ending in the green channel is quite smooth. Now one thing you have to remember is when you're using the channels are the calculations to creators election. We're focusing mainly on the areas which are difficult to select it, like the hair. And to select the subject itself, you have to use either the Quick Selection Tool. And to be more precise, you have to use the pen tool to create our selections, which are easier. So let's go to the calculations, come in. And let's use our green and the blue channel and get this effect. Let's also try out soft light. That is not getting much contrast compared to overly. Let's also try hard light. In a lot of time you have to just experiment based on what you're trying to do in this image. We are trying to create a more contrasting channel. So that's the reason I'm using or early. You can also try the darkening modes like the multiply color burn. But you see in this mode, so do you see your leasing model for here retail, especially on this lower regions here. So I'll go back to the overlay and send it to a new channel. Right now if you compare the two channels, blue and the one that you created, you can see this clearly, a big difference. And we have a lot more contrast which will help us in silicon the hair. So I'm going to rename it by double-clicking and then just call it green, blue overlay. Now we still need to add some more contrast. I'm going to hit the levels Control L and bring up the white point and reduce, decrease. To be careful and not overdo it. To try pick triangle using it too much, we lose lot of hair detail. So look for the sweet spot. Nothing we need to touch the black adjustment here. All right, I'm gonna go with that. And the next thing as you know, we need to the overlay painting. So I'll choose my brush. Change the blend mode to overlay opacity of about 50 and painting with black. And when you were closer to the hair, does go on the outside and just keep clicking until you see a reduction in the gray values and don't overdo it here. So gave some part of the background is still visible in a composite. You're not going to notice it much on this area since it's a completely white overlays not going to help us here. So let's change the blend mode to normal. As 8200. Let's go back to covertly and start painting on the inside here. Right now in this region here, quite dark because of the shadows. So we need to paint in with white. So I'm going to hit X to change the color to white and start painting in here. The blend mode to normal. Increase the hardness of the brush. Painting on the inside. Right now we have the air. So let's go back to the original limit. When I use the Quick Selection Tool. Click. Let's use the lasso tool to add in some more regions by holding down Shift and try and get in. All right, let's go to select and mask and refine it a bit. I'm going to add smoothness and add in some feathers with the muskets will not perfect, but this is just a demonstration. Typically you would use the pen tool to create a more precise selection. So I'm going to add a layer mask. And to fill in the hair retail, use the shortcut Control Alt six to load in our channel. I'm going to fill it with white. Again, this effect. Alright, and I'm going to Alt click on the mask. And there's still some gray areas in the image. So let's fill them in to bring up the brush tool. And just painter can the orderly more than the capacity of 50. Visually in these regions? Let's have a smooth brush. Let's use our levels again. And click OK. And let's add in the background to this to see how they're doing. Let's bring it back. All right, the hair detail is looking quite good, but we have some fringe coloring which is coming from the background. So let's get rid of that. There is going to add a new layer, clip it to the subject, call it color. In the blend mode to color. Use our brush from around here and start painting in the blend mode, back to normal. Slowly paint in those regions. I'm also gonna do that on the inner region because as you can see, the light from our previous background is getting reflected. And that light was kind of a pretty warm, but the background we have no here has quite a neutral lighting. So to get rid of that is going to paint in and gives a grayish look to it. Blending in with the environment better. So wherever you see the red tie to get rid of it. All right. If you turn it off, you can see the clear difference. So that's how you use the calculations command to create complex elections in an image. So in the next lesson, we'll start out with the main composition for this chapter. 5. Surreal Composition - Selecting Subjects: Now let's get on with our main composition for this chapter, we are going to create a surreal image by combining multiple images together in a composition. Open up the surreal folder under the Chapter 5 exercise files. So these are the images which we are going to use. Let's open them all up. We have a forest here, another forest and mushroom, and that person in a dynamic pose. Now of course, you can experiment with these images to come up with your own unique composition. Well, my idea is that down, I love is to create a selection of this person and also a separate out this mushroom and probably composite them on a background. This, and maybe this one. So let's get started. We'll start with the selections. Selecting the mushroom should be really easy. Can use the quick selection tool. Click and drag, and zoom into some more precision here. And let you see it's creating a really nice selection. It has some good to edge detection here. Alright, that looks good. Let's add on the layer mask for this. Let's crop this a bit and then mature into a smart object. All right, let's go back to our main subject here. Now since we have a pretty good contrast in this image, you should try out color range command and see how the selection goes. Since the sky is mostly blue. And as you know, people are the brightest in the red channel. They are quite dark in the blue tangent. So there's good separation. So either we can use the channels command. But as you see, there's not that much contrast here. So let's try out the gallery increment. So let's go to the Select menu. Click on Color Range. Alright, so I need to select this guy. So I'll use the sampler here and click on this guy. Let's add into the sky. I can. All right. I think the fuzziness is too high. So let's try reducing it to about maybe 45 and click on some more regions. Actually getting a really nice mask for the image. Let's try some more regions. We obviously want the inverse of this, so I'll click on the checkbox here. Now this has created a really good mass for the subject, but when it comes to the hair, the edges have completely gone. Yeah, the DTL is not really good. So again, do one thing is keep them ask for the subject using the color range. Build a separate mosque for the hair. So I'm going to just click OK to make that selection. And I'm going to click on the Add Layer Mask icon. Alright, you have some nice detail here. The hair look quite good, but as you see, there's a lot of laws in detail. So we'll build it separately. When it comes to the body itself is really, really nice. Moscow. So let's get rid of this. I'm going to use the Lasso Tool. Black. Hit Control Enter to create a selection control shift I to inverse it and fill it with black. All right, now we do need to add in some shadow detail here, but we'll be doing that after we composite this image. Let's add in a background layer to see here are the missing areas. And I'll just fill it with black and zoom in. And we need to fill in some of the areas here. So I'm just going to use my pen tool. You need to apply multiple techniques. For the inner radius. For this regions we can actually use the technique is one brush and painting with white. Fill in those regions. All right, Let's zoom out. I'm going to click on the mass, will bring it back. On the edge of this image is still quite harsh. So let's click on the mask and go to Select and Mask command and add in some smoothness to it. And a bit of a feather. Maybe try to shift the edge a bit on the inside. Think about minus 20. That looks much better. Click OK. And let's get rid of this hair from here. I'm just going to use the lasso tool to circle out the haustra hair and just fill it with black on the mask. Let's hide our mass by shift clicking on it. And have a look at the hair and the Channels Panel. And letting blue once again has a much better contrast. So I'm just going to duplicate the 210 here and add in some levels. Let me just cancel out of it and invert the channel first so we can have a better understanding of what the eyes are getting selected. So I'll open the levels again, increase the light value, bring down the grace. And the black point. That seems like a good spot. So I'm going to click Okay, and now let's start with the oily painting. Change it to black and start painting. I'm going to hit Control to try to inverse and fill everything with black. So I need only the hair from here. And let's check it the levels one more time until there's bring this up a bit. Click Okay, and go back to the RGB image selector mosque. And if you remember the shortcut Control old 6, we load in our channel. This fill this with light to bring back our hair. Alright, now let's look at the mask. When all click on it. And you can bring in more of the hair Painting Brush tool. And the passage about 20. Clicking here. To bring in some data. That's enough. I'll click on it again. Roma Zotero are two subjects. In the next lesson, we'll start working on the background. 6. Background Scene Setup & Final Composite: Alright, in this forest image, and this is what will be our background for the entire composition. Let me extend this guy a bit. Need to have a more Romania. Let's remove this guy is going to use the Magic Wand Tool and make a quick selection. I'm going to Alt click and get rid of that. We need to add in some depth to this image. So I'm just going to duplicate this image one more time, writing or Control J on the layer. And let's move this layer which is below. And let's duplicate one more time and shifted to the left. All right, now let's just group these together. Call it the forest. The forest. And I'm going to add a layer mask to this and add a gradient to blend them in. To add a background layer and fill it with light. And I can see it clearly. Just going to add the gradient to try to make them look something a bit far. It has some fog detail. And thing like that. If you turn off this mask, looks a bit odd, but to get the mass, it looks much better. Now let's bring in the second forest image to the bottom. And it's also add in a layer mass to this. Do the same thing. Make it look like something which is really far right now that are general background for this image. And let's bring in the washroom and to rename it to our forest. I'm going to bring in between the two and d, one right there in the middle letter. And I'm going to create a new layer on top of this. And let's clip it to the mushroom. Call it as a blend. And in this layer I'm just going to use the clone stamp tool. Try and blend in the mushroom better here. When I hit S to bring up the clone stamp to make sure the sample is set to current and below. I'm going to click on the region. Too intense. So let's reduce the opacity to about 50 percent. And we'll use a really soft brush. I'm just going to Alt click and simply dragon. Creating a nice blend here. Adding something like mouse to the lower parts of the image. You can see that it's creating a better blend there. All right, now for the next step, let's bring in the modelling. Really nice with the background. So let's convert this into a Smart Object. Transform it. No need to fill in some shadow details. Control G, Pose and control. Click on the layer below it. Shadow. Change its blend mode to multiply to the soft brush and start painting in that dark brown color. In sampling from the mushroom itself and just create a darker version of the capacity and get that effect. Alright, now let's add in some details, I want to add a new layer, call it fog. And use our clouds, brush the very low opacity 20, and slowly start building up in the foreground. All right, That looks nice. And let's reduce its opacity a bit. 2%. Maybe 70. We're also noticing that the shadow on the model is too harsh. So let's go ahead and reduce its opacity to about 50 percent. Now I would like to add some gradient to the background instead of having this white color. So I'm going to double-click on our background. Gradient too early. In the color here. Something a bit warm, right? I like that. All right. Finally, let's bring in the Cloud. You can spin them in using the clouds brush by 10. This case, I like to use this. Let me also duplicate them so that they look more intense. I'm going to combine them by hitting Control E. All right, one last thing. Let's add in color grade to the entire composition. I'm going to use the color lookup table and lead to three strip. So I'll hit eight intensity. And that's our final composition.