The Gate Keeper - Photoshop Manipulation | Andrei Oprinca | Skillshare

The Gate Keeper - Photoshop Manipulation

Andrei Oprinca, Graphic designer

The Gate Keeper - Photoshop Manipulation

Andrei Oprinca, Graphic designer

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2 Lessons (59m)
    • 1. The Gate Keeper tutorial demo

      9:34
    • 2. The Gate Keeper EN

      49:49
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About This Class

In this premium tutorial you will learn how to compose a new background using different stock images.

I will also show you how to blend a model and some flying crows with the background and the ambient light using selective adjustments and layer styles. I will also show you how to create a soft light looking effect.

Compatible with Photoshop CS6 or higher

Meet Your Teacher

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Andrei Oprinca

Graphic designer

Teacher

I'm Andrei. I'm a graphic designer with 10 years of Photoshop experience specialized in photo manipulation.

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Transcripts

1. The Gate Keeper tutorial demo : Hello, my friends. I have a new photo shop tutorial for you. This time it's another manipulation. It's a bit more advanced. Not very, very advanced, but something a bit more advanced. And usually maybe. And what? I want to show you how you can create this sort of manipulation. I don't know exactly what my objective was here when I made this, but I just like this gate and I wanted to create this sort of depth of field, making this out of focus elements here. Ah, well, I think it looks nice. So I want to show how admit this how I got this light effects and everything. The images that I used here are mind so well, not all of them. The gate. And this destroyed houses here on the road, our photos that I took myself with my camera. And the model is from deposit photos. And some of the birds here are from their art and other places. So these are all the ways that we have here and let's get started. So before we start, I want to go to light room for a second because I want to share the image that I used for this to start with, I had the stock image on. This is what gave me the idea to make that manipulation. And this was actually a on HDR image. Um, and I edited info automatics and the result that I got from photo Matics was this Okay? And I did this in light room, and I got this result I'll give you this image so you can work with the already manipulated image. So what I will do is I will edit this in photo shop CS six. We might room adjustments, and this was my starting point. And the first thing that I did is I got rid of all the background here, and for that, you can use any selection method that you like. I think I used a quick selection tool because it's quick, as the name says, I don't remember if I have this wall. Yep. I still kept this wall over here. I will jump to the original from time to time just to see the exact, uh, parts of the image that I kept or effects that I added because I don't really remember everything. Okay, so with a quick selection tool, you can do a pretty good job here. Anyways, keep in mind that this part will be hidden by the woman, and here we will add more houses. So and also, this is a quite high resolution image. So, uh, it's actually, I think 6000 by 4000 picks. Also, don't worry really that much, Okay. Something will have a good, raw, rough selection. Here. I'll click the little mosque icon and I'll have to invert the selection. And I'll also have to refine the ad so rightly can choose refund mask. I just want to smoke in this a bit of about eight. Increase the feather slightly. 1.9 pixels. Shifty edge a bit and increase the contrast to sharpen those edges back. How about something like that? I'll click. OK, now, this is have this ah already extracted. But the problem that I see here is this chromatic aberration here. And the easiest way to remove that is pressing and holy the control key and click on the little mosque to select the edges of the selection of the wealthy boundaries of this object Here and now I'll have to invert this all go to fill in a select in verse. And now I'll have to move the selection a few pixels up. So I'll have to, um, shrink the selection and make it smaller soldier to select, modify and choose. Let's see if its contract or expand I think it is. So I have to expand this selection a few pixels. Let's say three pixels that see how that looks. That looks nice. Now you can see we have this part of the traumatic average and isolated. And what you can do is fill this with black, for example, and get rid of it. Or you can use the hue saturation adjustment layer or simply Desprez s so that the image itself press control Manu and simply dropped capacity or choose colorized and try to match the color of the wall on. That's it. I don't want to remove those pixels, so I just used the hue saturation to to match a bit. The color there. Okay, let's move on. While we still have to remove the sky here, um, I get the quick selection tool as well. Those plans there. We don't care about those. So get rid of that, Actually is was a destroyed church. And, uh, this was the gate. The entrance, I think, I think. And make sure that it sticks there to the edge. Right there on. May be paint a little careful, a bit more careful here on this side, and that's pretty much it. And now, with a 30 30 capacity, I will paint out some of that because I printed too much. Okay. I want to have it a seamless as possible. Okay. Maybe even some who I was to darken it slightly. Okay, so we have the base of our, uh, composition here. The only thing we have left to add is the sky. But I still have seen a bit of the sky here. Right here. So I have to fix that. This is on the beach image. Andi. Let's fill that with Black as well. Actually, you know what was gonna We're going to get rid of that of this balcony anyways. Because not looking good. Maybe a bit of a like so I can tell you. Nobody I can tell. This was actually Belkin. You. Well, if you really pay attention to it, yes, you can tell them, but if you want to spend time, um, the leading describe between those bars. You can do it. I want to move on because I just want to show you how I made this. The next thing that that I added ISS the sky. I'll go back to my stock images. Is automatics okay? This is the image you can use any sky that you want. If you want to make it, store me or a 19 you can do that. And just I wanted to make a sunset or afternoon kind of scene there. This is another a picture that I took with my camera and his an HDR sky image. Let's put this below everything here and the same, it's sky and let's see how we can move it to and a bit of depth to our image about something like that. I don't want toe make those trees and bushes there visible salt, drag it down some curves to make the whole thing a bit brighter. Not too much. It's going to the blues on make us sort of split tone effect. Make the highlights a bit warmer and the shed of the big Kohler not too much. Just a touch like so at sea with the greens. What we can do any on a bit off sigh in there on the highlights and like that, that's too much sighing on the shadows and on the greens. Now, if you dragged us up, see this 45 degree line. If you drag the point up, you add green. And if you drag it below, what you do is at the opposite off green, which is magenta. Okay, and here you can see the history. I'm so, for example, if you want to add, you can see we have mainly made tones here if you want to add more, um, more green, for example, on the on the shadows, which is this left side of the off this graphic here of this history. And if you want to add more magenta, for example, you drag this below the 45 degree land lying. But here on the left side, where the shadows are okay, I don't want to do that. So I want to live it like so on. And that Andi, maybe, um, from my experience, the most sensitive of the three channel is the green and magenta, so have to be careful when you touch this cause you can ruin your image. See the before and after. Maybe it's even to green. 2. The Gate Keeper EN: Hello, my friends. I have a new photo shop tutorial for you. This time it's another manipulation. It's a bit more advanced. Not very, very advanced, but something a bit more advanced. And usually maybe. And what? I want to show you how you can create this sort of manipulation. I don't know exactly what my objective was here when I made this, but I just like this gate and I wanted to create this sort of depth of field making this out of focus elements here. Ah, well, I think it looks nice. So I want to show how admit this how I got this light effects and everything. The images that I used here are, uh, mind so well, not all of them. The gate. And this destroyed houses here and the road. Our photos that I took myself with my camera. And the model is from deposit photos. And some of the birds here are from there in art and other places. So these are all the ways that we have here and let's get started. So before we start, I want to go to light room for a second because I want to share the image that I used for this to start with. I had the stock image on. This is what gave me the idea to make that manipulation. And this was actually a on HDR image. Um, and I edited info automatics and the result that I got from photo Matics was this Okay? And I did this in light room, and I got this result I'll give you this image so you can work with the already manipulated image. So what I will do is I will add it this in photo shop, CS six with my room adjustments. And this was my starting point. And the first thing that I did is I got rid of all the background here, and for that, you can use any selection method that you like. I think I used a quick selection tool because it's quick, as the name says, I don't remember if I have this wall. Yep. I still kept this wall over here. I will jump to the original from time to time just to see the exact parts of the image that I kept or effects that I added because I don't really remember everything. Okay, so with a quick selection, so you can do a pretty good job here. Anyways, keep in mind that this part will be hidden by the woman, and here we will add more houses. So and also, this is a quite high resolution image. So, uh, it's actually, I think 6000 by 4000 picks. Also, don't worry. Really that much. Okay, so I think we have a good, raw, rough selection here. I'll click the little mosque icon and I'll have to invite the selection. And I'll also have to refine the ad so rightly can choose re find mask. I just want to smoke on disability about eight. Increase the feather slightly 1.9 pixels. Shift the edge a bit and increase the contrast to sharpen those edges back about something like that, I'll click. OK, now, this is have this ah already extracted. But the problem that I see here is this chromatic aberration here. And the easiest way to remove that is pressing and holy the control key and click on the little mosque to select the edges of the selection of the wealthy boundaries of this object Here and now I'll have to invert this all go to fill in a select in verse, and now I'll have to move the selection a few pixels up. So I'll have to, um, shrink the selection and would make it smaller soldier to select, modify and choose. Let's see if its contract or expand I think it is. So I have to expand this selection a few pixels. Let's say three pixels that see how that looks. That looks nice. Now you can see we have this part of the dramatic average and isolated, and what you can do is fill this with black, for example, and get rid of it. Or you can use the hue saturation adjustment layer or simply just press so, like the image itself. Press control Manu and simply dropped capacity. Or choose colorized and try to match the color of the wall on. That's it. I don't want to remove those pixels, so I just used the hue saturation toe to match a bit. The color there. Okay, let's move on. While we still have to remove the sky here, um, I get there as quick slash into a swell. Those plans there, we don't care about those, so get rid of that actually is was a destroyed church. And, uh, this was the gate. The entrance, I think. Okay, so our gates, let's name this gate is ready. Let's add the background there. So I'll go to my STUCK folder, which is this one, and opened this other image. Also, I took this image also myself with the wide angle lens and first copy to my campus. And then we will delete the Bagram on the sky there. So let's paste that they're on and move it right there. I think I want to see the end off the street there. Stick with the original. Yeah, pretty much there, I think. Yeah, a bit lower. Something like that. The problem is that it's a bit distort its up press control committee and used to distort, too, to make to straighten this up a little bit like so great. Live it there and create a little mosque. Fruits. Let's name this background BG shorter and use the quick selection toe to get rid of the sky . Now it's quite easy to select. Um, I think this was also I'm not sure now if if it wasn't raw image Yeah, nature, the our image or just a simple raw file. But, uh, I added to descend light room as well, so I'll give you the edited versions so you don't have to spend time just opened them in photo shop and drop them on your campus. The selection he was not really good will fix that later on. And let's fill this with black now. Anyways, this edges here. Not really. Since they're just broken fishes of wood and stuff like that, nobody can tell that this was actually a bad crop. Okay, cause I'm lazy. Let's feel that as well. Couple of times on dwhite, good to go, Aziz said. It's not really that important. That part of the image is not the focus, the main part of the image. So go back to the gate image now and get the brush tool. And I just want to blend this a bit better with the actually, just get rid of this, you know, hopes like, so just make sure you keep the walls untouched, humps painting with black with white and always will drop another image on top of this. So it's not gonna stay like this. Always a lower rapacity of 50% to make hopes. And this hardness of zero just bland this but better here. That's it. And I said, I'll drop another image on top on top of it, like so, And the other image that I will put here is this one, and this is actually part of a panoramic shot that I took off all of this. I just need this part I copied on police it right here on top of everything, maybe. And I'm building on top of everything, actually like so and will create a little mosque black later mosque and now paint back with white, too. Paints that in with White, like so just the blind in a bit, that, uh, road. I don't think the little mouse can drop this down a bit like so, because the top texture here's a bit smaller, as you can see, and the perspective is a bit different on it fits a bit better, I think, and make sure that it sticks there to the edge right there on may be paint a little careful , a bit more careful here on this side, and that's pretty much it. And now, with a 30 30 capacity I will paint out some of that because I printed too much. Okay. I want to have it a seamless as possible. Okay, maybe even some who have was to darken it slightly. Okay, so we have the base of our, uh, composition here. The only thing we have left to add is the sky. But I still have seen a bit of the sky here. Right here. So I have to fix that. This is on the beach image. Andi. Let's fill that with Black as well. Actually, you know what? We're gonna We're going to get rid of that of this balcony anyways. Because not looking good. Maybe a bit of a like so I can tell you. Nobody I can tell this was actually balcony. Well, if you really pay attention to it, yes, you can tell them. But if you want to spend time, um, the leading describe between those bars, you can do it. I want to move on because I just want to show you how I made this. The next thing that that I added iss the sky. I'll go back to my stock images. Is automatics okay? This is the image you can use any sky that you want. If you want to make it, store me or a 19 you can do that. And just I wanted to make a sunset or afternoon kind of seeing their. This is another a picture that I took with my camera and his an HDR sky image. Let's put this below everything here and the same it's sky and let's see how we can move it to had a bit of depth to our image about something like that. I don't want toe make those trees and bushes there visible salt. Drag it down like so Okay. And you can see I cannot extend it enough to cover this forcible created duplicate of the image. Andi, move that there and actually remove everything else because otherwise the image will become Really the size of the document will be really big. So I try and trying to to make this as small, that can. But I can see a need to remove this part here. So using the brush tool and masking this part out and this other part is from here, so have to mask this out as well. Looks like I painted with read, but anyways, let that they're okay. So we covered this part as well. Great. So have our sky. We can actually merge this. And, uh, you can see what we have here on the sky with Anyways, it's not visible, so that's what what matters. And now let's move on and at our model. So let's go back to our stock folder. And I had this to images. I didn't know which one to use. Um, this woman was not really looking that good. Actually, I'm gonna show you because of the perspective of the image. So I wanted the woman to look a bit more straight to the camera. So having it here, um, you will see it is not I don't know. It's not looking that good, at least for my taste. And also, the light was not on the light, actually, is not really that big of a problem, because we can manipulate that. Uh, I'm like a rough caught here, just so you can take a look at how it looks. Delete that on and you can see it's looking weird. The position of off her body and, uh, the position of the body with the background name. I mean, so it's, I don't know. It's not looking that good. That's why I went ahead and I used this other one. It's pretty much the same, but it's in a different angle, and the woman is looking straight to the camera, which is what I wanted, So I will use this one instead. Let me make that quick crop so you can see on that looks hopes right there. Delete that. Not a part of filter and you can see it looks way better. It's better it integrates better with the with our background there. I think so. That's why I used this one. Okay, let's go ahead and undo it and crop it properly. Let's delete that other in there. That same this model and, yeah, we can actually use the magic wand. We're working with high resolution images. So for this kind of resolution on background this quiet, Um, I'm decreasing the tolerance because when I click here, I can see it selects the pistol as well. We're working with high resolution images. The background is a solid color, and it's it's easy to select with the stool, and on top of that I'm going to use the refine edge. As what? Also not worrying about that too much. This bottom part of selected with the quick selection. Okay. My dad on like that. Okay. And that's that to the selection. And we have our selection already. Check the edges. Not worrying too much about the hair. We're gonna take care of that quick. Earlier mosque iPhone and now inverted. Oops. Looks like the pistol was also selected. Let's try to select it again. Okay. I just made a selection with the Magic Wand Tool. Now I reactivated a little Moscow Invert the selection on and paint with white to reveal the pistol, but not the the other part of the background. Okay, so have the picks, the pistol back, this part there and maybe a small part here on now this paint out again. Great. Now I have to get a duplicate of this because we have to name this one here. The top one and we will delete little mosque delete. Just make sure you don't move them. Just makes you have both of them want on top of the other. OK, so actually, I'm going to select them. Right? Click and choose Linkletter's just so I don't move them. I'll hide the stuff clear for a second, and I just want to move this down a bit. I don't remember the size of it lists. The good part is that if you link layers, you can move one and the other one will move with it. See that it just moves both layers at the same time, and we'll have to select both of them on. And actually let's make let's turn them into smart objects just in case. And this one us Welcome that this month object after we resize them and have them skilled to the right proportions, we will rest. Arise them. Okay, so I'll have to just like both of them and make them slightly smaller about this big. I think it's OK. So about 75% of the original size and put them right there. Okay, so that's high. That want for a second and see Oh, this is positioned. I think Here it's OK, but more to the left, you know, I'm gonna rest arise the bottom layer. So right click and restaurants later. And that's because if you take a look, you can see you have small parts that are not deleted. I'll just use the razor till and get rid of those and again select everything to see if I cropped it correctly. And that's it. Now, for the hair is what we're going to do. We're going to drag this later. The here, there, below the model there, and I'm gonna rest arises as well. And now I will turn it into black and whites. I'm gonna press control, command you to open the hue saturation and the saturated to 100 miles 100%. And now what I will do is I will turn this well, I'll change the buy more of this hair later to multiply, and you will see that everything goes away, while not everything will have to deal with the background. But what we need is this, uh, this flying hairs. I don't know if you can say from here, but, uh, yeah, see, this flying cares. This is what we want to keep. So, for the hair there, I'm going to use some levels on the background. As you can see, if you go back to normal, it's gray. So I have to make it brighter because with the multiple abdominal, it will go if it's right. So, um, just drag this but this mid tone slider, we just care about this part here, not the outer edge will mask that, but just this part here and then also the highlights and maybe a bit this part as well. So and let's leave it like it is. Let's reactivate the model there. Make sure that they're both wings just to make sure we're not moving them. Now get the little mosque for the hair earlier, and with a soft brush, I will mask everything out, actually can use this one and inverted Andi a mask, everything out like that. And now I'll have to reveal parts of this with white like so you can see it's darker, but we will take care of that. Don't worry. Okay, so we have something like this Now. Next reactivate this back. The model area can see on the model. There would still have parts of the old background. So what we need to do is great and later mosque for this one as well and mask this part out with black. Like so just with a soft part of the brush. OK, now, don't do something like this. Just with soft part of the brush on the edge there. All right, so and as you can see, that's fix This aren't as you can see now, the only thing that we have left is those flying hairs on the bottom there. But have this darker line. See that? So we need to open the levels again. So I select the hill there again. So what I will do now is with the highlight slider. I will move this like so maybe if it the Midtown as well. Not much, actually. The middle that leave them to 0.8 is okay and click. OK, ok, so let's eat before and after. You can see we're still preserved most of those hairs. And now it looks like the hair is all there. Okay, so that's how I added the model here. Of course, now we have to make a lot of adjustments, make shadows and maker blend with the background a bit better. So we're going to use adjustment layers for that. So let's make some adjustments to the model and make her blend a bit better. with the Bagram here. The first thing I want to do is change a bit delight. One thing that I don't really like is this light on her right arm right here. You can try and bank that or something like that, but it's not really very, very noticeable. I think so. But it is. I used a greedy int overly, and I use the 180 degrees scale of 49% and I change the blend mode to multiply. And I used a really dark yellow like this, okay? And I dropped the A pass ity of this that see something like that. I think it's OK. Just add a bit of shadow there on her back. Maybe even this is too much. Let's move the great Inter bit like so OK, and now let's add more adjustments. That's that. Curves adjustment later and I'll jump into the channels here and I'll get the values that I have for this. So, for the Blues, I have 1 58 and then one. I just added one point there at 1 58 and 1 53 Okay, just add a bit more off yellow, then a green on the Green Channel. I have another point at 1 35 then the output to 1 36 So just very small adjustments. And then on the Red Channel, I have another. I actually have two points here. The 1st 1 is at 86 with output at 85. And then another point with input 1 64 and output 1 68 Okay, Now I forgot to clip this to the woman to the modelers and right click and choose Create clipping mask because I only want affect the woman. The change is not very, very noticeable. If you take a look at her skin, you can see it becomes a little more yellowish. Okay. And then on the RGB, I raised this point here just to make the darks a bit brighter on output 12. And then I have two other points. I have one point without foot 1 25 and, um 1 29 Another point with input 213 and outputs 207. And then another point with output. Well, it's a top one. Okay, Out. Input to 55 output 2 49 This is just to make the highlights a little darker. See the before and after before and after. You can see we have a bit more, um, of lighting on the dark's. We reduced a bit the contrast and made the whole image a bit yellow er, so that it fits a bit better with the this yellowish background here. And then another adjustment. A selective color adjustment layer also clipped right click and just clipping create clipping mask. And here the only thing that I changed our Dwight's neutrals and blacks, and for the white to have minus three on the Scion zero plus six on the yellows and zero and then for the neutrals. I have 00 plus two in minus two. So two and minus two. This is just to reduce a bit of light. See that from the neutral. That's why have this to Monastir and a bit of yellow on the neutrals that on the blacks we have 00 everything to zero, but minus one here, also reducing, adding a bit of light on the Black Sea. That the same thing that would it here on the curve so minus one. Okay, so he's not the the adjustment that I made to the model so you can see the before and after . And now it fits a bit better with the background. Okay, the next thing that I want to do is make some shadows here on the bottom. Okay. So great. The nuclear below the woman and the hair. Actually, elk select all of this layers on created group, which I'll name model. Okay. And here, out said this to shadow on the way a pain Shadows is using the low capacity 40 and 40 for the flow and capacity there. Andi, uh, let's use a bigger brush hardener, zero color black. And what actually will start with a small brush and just being the bit of a stronger shadow right here where the shoe touches the ground like So since I'm using the the panel, the tablet, I'll use the like, the way the pen pressure, you can do it with the mouse, just lowering the capacity even more and then just making several passes. But, uh, I'll use this, then pressure that because I can do it with the tablet That'll make the brush bigger reduced this bit and maybe I'll have to reduce capacity to 30 and 20 and then just pain. Some really soft shadows right here, paint a bit more around the shoe and then just fade off. Ah, like that. And that's it. No, just a touch. See that before and after. It is not necessary to paint a really visible strong shadow because you can see even here on the scene, there's barely know shadows. Very soft shadows. Okay, so we're done with the model that's collapsed this group, and let's move on now and add some. Well, we still have another thing to do. I forgot to do that are creating Mueller and creep it above everything and only in this light. And the reason why I do this is because at a bit of ah, light glow here and I want to see that on the woman's body. I'll change the buy more of this to screen, and I'll get the capacity and flow to, let's say 50 and 50 and use a really dark turn off orange and we'll see how that looks and I'll make a big brush. Make it bigger, really soft, and I pay with not even touching her with the soft part of this. Maybe it's too dark, so I'll make it brighter. I'll select everything and deleted on. Do it again. It looks OK. It looks like there's nothing data. But actually, if I deactivate that, you can see that soon in a bit more before and after. Okay. Just the bit off off glow there on. And some thing right that when we will add that light glow here, uh, this will start to look a bit better. Okay, so now we're done with the with the model. Okay, let's add now, those flying crows here, I have a lot off. I used a lot of stock images for that. You can see I got a lot of images, some of them from their art. Some of them. Ah, I'm also them from living art. So what I would do instead of placing each of those curls there, I will get this folder. Okay, on and move it. Move the entire the entire folder here to my image. Let's click. OK? Yes, I have it on 16 bits. And I think those are on eight bit format. Yeah, I had to change my my that there, but anyways, um, this is how this looks now. Um, you can see I use several of them. You'll have all of them on the resource is folder. What I did is I made some of them smaller. This ones are, um actually three d renders I duplicated made him smaller. Flip them around. And that's how I added them here. You can also see that, um, some of them are actually blurred, and that's just to create that fulfilling and sit. This one here is the same that I have here, but it's flipped a bit and I just have the wing there, and that's this one as well. This is, actually I think it's this one. Yeah, it's flipped around, and that's it. I just wanted to have the wing out of focus to create a bit more off the depth of field and the one that I have here in front this one. Ah, I like how the wings are, um, opening and this one as well. These are the focus, the one that you pay attention the most. And did this one's over here? I don't know if you can notice it. I added some. I added some color overlay because when some something is out in the distance, it's usually a bit. Has a bit more light on it because of the well, sort of a fog simulation. I guess I wanted to add here. That's why I made it that way. That's why I had this color overlay. And I also added bit off Gazi Ambler. Ah, sure. You that. Okay. Ah, that's the Gaussian blur. 0.8 pixels and then some, um, motion blur to mimic that they're actually moving or flying. I forgot to add the same effects that this one let's drag that they're okay. Something like Okay. And that's how I achieved this effect. Just the ones that are more far away. Okay, so say, and this one should be a bit brighter. So I would probably use, uh, just levels on, make it something like that. Okay. And I, as I said, I had a bit of Gaussian blur, but just to the ones that are a bit more far away, Okay, this one's are not out of focus. Okay, Now, one other thing that I did is I wanted to make them a bit brighter because they're too dark and they're not, um I wanted to add a bit off the ambient light's to to them. Okay, so what I did in photo shop, CS six. I'm not sure. In photo shop CS, if in photo shops Yes, five. You can do this. If you don't like on a group, you can add layer styles to the whole group. So what? It hears the added some color overlay and Grady in color. Overly. That's ad. It's actually sample color from here. Something like that, but a bit darker. Let's change this to Q and see how that looks. Yeah. See that? It gives them this sort of warm tone, which is what I want to take a look, especially at this one over here. Let's see if I can zoom in a bit. Okay. Um, so before and after, it just changes the tone, okay. And then you can also add some inner shadow. Change the angle. I'll assume the light comes from the top left, but you can You can add the life from whatever you want. Just based on this light here. And this light here. Over here. Okay, I see something. You know what that is? I'll take a look in a second, and what I did here is I changed the color to something like this. Let's see, color to color dodge and the distant is too much, Let's say eight pixels, maybe, and the size to about eight as well, Really. Even last five and you can see the effect. Um, here, especially on the Wannsee on the top. That's too much effect, actually. So I would probably probably made the color a bit brighter and reduce the distance to just half the distance and probably decreased capacity quite a lot. It's still there. The effect, if you can see it. Okay. Now, the problem that we have with this layer styles is that we also by the style to this two out of focus wings and also to this lower part of the wing. So we don't want that. Um let me see if I can show you that. See that we don't want that. We just want that on the top part of the wings. But not for this one. Just for the ones that are here. Out of the gate. This ones are behind the gate. Let's say so. They should not have this effect for the way that you fix that is you can turn this layer styles into their own layers. So what you do is right. Click on this FX icon and choose create layers. This can be done in any Photoshopped version. Okay, it's not just in CS six. You can do this in any Photoshopped version and also like the crows in a shelter, you can see we have the same bland mode for the inner shadow, um, and have the same capacity while actually, it's the Phil and we'll get the layer mask for this. Get the brush toe said the capacity and the flow of the brush to 100% make it brush a bit bigger and just get rid of the effect where you don't want it. For example, I don't want it for this one, but I have the Pam pressure on so the active it that so just make sure you the you get rid of the effect on the parts of the image where you don't need it. Dumps like that okay for this one as well. Okay, so that's how you can turn layer styles into their own layers. One other thing that I want to do is reduce a bit there, contrasts or create a levels adjustment. Well, actually, it's great. Some curves clip them. You can see I have this three effects clips to the crows group. Okay, So what I want to do here is at a bit more on the shadows. Not too much, something like that. And maybe go into the channels and reduce some of that blue and add a bit more off yellow. But I think I reduced. I added too much light on the shadows, something like that. So that before and after and actually, this is, I think, more on the highlights part. Okay? That's how I added this. Ah, I made this cross here, but this blue it's too low. Just a touch of yellow. Okay. And that's that's pretty much it. Let's now move on and make the final color and the glide go there. Let's make the likely Well, first, I'm gonna fix this. Think You know what that is? Yeah, this is Yeah. This is the shot. The shadow of this crow here. I wanted to create the illusion that this one is actually close to the wall. So I painted. I actually duplicated this layer. This one. Okay, I duplicated that layer. I throw it out of focus using Gaussian Blur. And then I used the outer wall just here, using this layer to mask that out and just leave the shadow on this part here. Okay, so that's how I painted that was actually not painted. It's It's the same layer out of focus, okay, To create that shadow. Now for that, like glow, I'll continue later, get a big, soft brush, and, uh, she's a blend mode of this layer to screen, and we'll use a really dark tone of yellow orange tone. Something like that. Let's see how that looks opacity and flow to 100%. Let's make this brush a bit bigger and just paint one something like that. Yeah, that looks nice, but a bit bigger go like that. And maybe in the center, I'll make this, uh, brush smaller just a bit and use a slightly brighter tone. Okay, Just here in the center. Okay. And if you want to add the glow also behind the wall, accurate the nuclear between the gate and the BG later, which is the background and I'll use a broader tone like so and just hopes you make. This changes the screen and you have it have that little glow there. Maybe it's even too much. That's 80%. Okay, that's how I created that light. Go there. Now let's go on and, um, make some final adjustments. I think this curves layer is actually too bright. Picks the crow still bright. Live it there. Okay, so the first adjustment that I will add is a solid color. This is a technique that I used in other manipulations. Uh, let's make sure that it's on top of everything and we will use a really dark blue tone like this, and we'll change the blend mode of this to exclusion. Exclusion and you'll see, will create this sort of, ah, soft effect that adds a bit of warmth on the shadows and some yellow. If I accent, if I use a a brighter tone, you can see the effect. I'll have to use a slightly darker tone, like so that looks nice that I created Grady Int feel well, ingredient and I used the same tone that I used there and used it on radio like so and make sure this is black. Okay, so black to this. Sort off yellow here and change the blend mode the screen. And that's how I created even a bigger, softer glow light. See that, like so next color. Look up And I said this to Foggy Night. I think that's if I can find it. Yep, and said the capacity to normal in just 20%. I made this a bit darker and some bluish stones there, maybe 15%. That's OK. And finally, some curves, um, to make the whole thing a bit brighter. Not too much. It's going to the blues on make us sort of split tone effect. Make the highlights a bit warmer. And the shed of the bid. Kohler. Not too much. Just a touch like so it's see with the greens what we can do any on a bit off. Sigh in there on the highlights and like that, that's too much science on the shadows and on the greens. Now, if you dragged us up, see this 45 degree line. If you drag the point up, you add green, and if you drag it below what you do is at the opposite off green, which is magenta. Okay. And here you can see the history. I'm so, for example, if you want to add, you can see we have mainly made tones here. Ah, if you want to add more, um, more green, for example, on the on the shadows, which is this left side of the off this graphic here of this history. Graham, if you want to add more magenta, for example, you drag this below the 45 degree land lying but here on the left side, where the shadows are Okay, I don't want to do that. So I want to live it like so And that Andi, maybe, Um from my experience, the most sensitive of the three channel is the green and magenta. So have to be careful when it touched this cause you can ruling your MSC the before and after. Maybe it's even to green a bit like so. And let's go to the RGB and maybe just had a bit more of contrast, like so it looks like we didn't do that much, but it actually has some effect there and the final touch of everything while you can do dodge and burn if you want. For this one, I did not do it. But you can spend a good half a now or one hour dodging and burning this and get re cool. A cartoon effect. But I didn't do that. What I did, it stands. I used the ah, the oil pain fielder. Now I know that in photo shops you see this feel there is no longer available, so you'll have to finish to skip this step with while. Actually, this is the last time, so here would end the tutorial. But let me show you how I did that. So I got a filter. Choose oil paint and because this is, Ah, very high resolution image when you apply the oil pain filter and then you make the image smaller and sharpen it, you get a really nice effect, at least in effect. I really like. So the first thing that we want to do is reduce the shine to zero. That's why Ah, we saw those ugly lines and you see, we get a sort of a digital painting effect. But this is too extreme soul. I reduce the stylization quite a bit. Increase the cleanliness. Then build it back and let's click. OK, now, the image. Well, it's kind of the store to the bid because of this oil paint filter. And what happens is when you apply this, if you pressed controlled man, L U c you lose the brightest highlights, okay? And so you have this gap here, so have to recover that by dragging this lighter here to where the this graphic begins. Where the pistol Graham begins now. Ah, at 100% this is too much. We lose a lot off rial thing here. So we got sort of this sort of cartoon effect, which I like, but this is too extreme. So what I will do is I will decrease the still of 50%.