TOP NOTCH Photo Compositing & Manipulation Course | Adobe Photoshop

1. Intro: Like this photo compositing photo manipulation thing is complicated and you don't know how to master it? Well, here's my promise to you. At the end of this video, you will learn how to master photocositing by simply following some principles. It's not rocket science. It's just simple steps together, build your own composites. Without wasting any more time, let's dig into business. Okay. 2. 1 What is photo manipulation: All right, guys. If you don't know what it's photo compositing or for a manipulation, it's basically combining and blending images together to create one message. It can be used for a book cover. It can be used for a movie poster, gaming panter, advertising designs, or even just for your own fun. Any sort of artwork. 3. 2 The Idea: I usually start with the idea, gathering the references, gathering the mood board. The main idea in creating this composite is creating a beauty shot, so the shot itself should be esthetically pleasing. It should look good, I should represent the car in a powerful way. This is number one. Of course, it should be realistic to seal the idea, and it should convey the message that this car is powerful and speed on the road. 4. 3 The References: So how did I start? Basically, every time I start any sort of photo composite, I go to Pinterest and be hands to create like my mood board, my main mode for the design. So what I wrote is just truck car ads. And then started to gather the reference, the angle of the car, the mode, the color palette, all this stuff. So I decided to go with this mode in coloring, this sunset sky. And the overall colors are reds in the shadows, some yellows in the highlights. 5. 4 Choosing the right images: So after gathering some references, I go to the next part, which is finding the proper images to use. And for this, I use Adobe Stock and Shutter stock. Those are paid websites, but they have a very good library of images. So type anything you want and you will find a good picture. But if you want a free alternative, you can always go to websites like Pizza B and maybe free pick. You will find very good stuff as well. Here is the images that I'm going to use. What I wrote basically is just road. Sorry to look for a proper image. That will be suitable for my composite. In choosing images, you need to be careful to choose proper images that will work together. Because some images will never work together, you cannot blend them. For example, if you want to create sunset soft lights into the composite. You should avoid an image like this because it has very harsh shadows, very harsh light. It's in a noon time. You'll put a ton of effort to make the images match each other. Instead, you can go with an image like this. It had already soft lights. The shadows are not harsh, and these reflections are good into your composite. And that's why I chose this image. And for the sky I just wrote sunset sky. I started to browse all the images. I'm here looking for a sky some level of details. So, for example, an image like this will not be suitable for my design because it is very bright. It doesn't have so much contrast. And at the same time, this one will not be suitable at all because it has very high contrast. So I'm kind of looking for an image that has depth, and at the same time, it has some level of contrast. So something like this would be good, or something like this as well. So I ended up with this image, and this one, I will combine both images together to create the sky part. And finally, I tried to find a proper truck image that has the same angle, the same perspective of the road. Because if they are not matching in perspective, you will put a ton of effort, and it will not look good at all at the As you can see here, the car has this 45 maybe degree perspective and the road has almost the same angle. Maybe we can tweak it a little bit, but overall it looks matching. This is the first part which is finding proper images. 6. 5 Putting images together: So let's open photoshop and start by creating the project. For this, I will go with four k size to give me flexibility in zooming in and zooming out and be giving attention to details. And I will go to 16 bit coloring to give me flexibility in coloring, of course. And if you don't have a powerful PC, you can use eight bit, and then press. All right. Let's start. You will find all the images that I'm going to use in the link in the description so that you can follow along with me. This is the best way you can learn. Just watch me what I'm doing and then apply it yourself. So let's start by bringing the images that I'm going to use. I will start by bringing the road and the car, let's put them into our canvas. And then let's start by selecting the sky of the road. So for this, I'll go to select and select sky. This will use AB AI to select the sky in seconds, and then press into this mask button. Press control it to invert the mask. And here you go. You have the road selected, press Control T to make it a little bit bigger and to fill the canvas. Something like this. The main thing I want to start with is creating a good composition. So what is composition, mainly, the composition is the arrangement of the elements into the composite to deliver specific message to focus on a focal point. So, for example, if you notice here, the car itself is a little bit shifted to the right. Why, why it's not symmetrically into the center. It's because I want to give it some space to the eye. I want to give the viewer some space to look at its destination, which is something good for the eye, you know? And at the same time, I want to show the relationship of the car corresponding to the environment. So I'm now showing the car, showing the surroundings showing everything in a pleasing way. And that is called the rule of third. It's basically dividing your composition into three sections, and you should put your main focal point into one of these four points. Okay? So the center of this car is kind into this line. Let's go to the car, and let's start to select it. I will use select subject tool to select it. I guess it's going to give us very good results. So let's try press into the car and then go and create a mask. Give us good results. It needs minor adjustments. So for example, this area needs some refinement. So it's basically bringing the brush and activating the mask and then starting to paint over here, and maybe here. Okay, that's very nice. Obviously, the car and the road are not matching in terms of the perspective. Let's try to rotate it by pressing control T and try to rotate it to match the same horizon line. 7. 6 Perspective correction: Even if we did so, it's not matching. There's something off here. That's because the focal lens of the camera that took the picture of the car has a wider angle than the lens that took the image of the road. So how can we fix this? Let's start by defining the horizon line. So what is horizon line? Horizon line is basically the level of the eye that is seeing the object again. If you have a camera, and you are taking a picture of something. Then the horizon line is the level of this camera, and it's how far is it from the ground? So this is the horizon line of the camera. This is the horizon line of my eye. So if we have two images that are taken in different situations, so you maybe have one image that has a lower horizon line than the other. So The way we are going to match these two images is by bringing this horizon line and matching it, okay? So how can I define the horizon line of an image? I will look for something that is called leading lines. What is the leading lines? I don't want to overclicate it for you. Basically, if we draw some lines of the parts that are parallel to each other. So, for example, this line of the road is supposed to be barrel to this because the road should be like two barrel lines. So the intersection between these two lines is defining something that is called the vanishing point. This is the vanishing point. The horizon line is basically a horizontal line that is intersecting with this vanishing point. This is the level of the camera that took this picture. That is very nice. This was for the road. What about the car? We will do the same thing. Let's try to find some leading lines. Another line here. This should be the vanishing point. Then we can bring the horizon line for the car, should be somewhere. Here. That's very nice. So if we hide all these lines, we should have two horizon lines of the two images. What I'm going to do is basically try to match these two horizon lines. So now the horizon line of the two images matched. That's very nice. The next step, if I want to make this car a little bit smaller, I'll just select the car layer, press and control t and then press and press into the horizon line. This will put the anchor punt of making the car smaller and bigger, which will maintain the same perspective. I will put it somewhere like this and pros. That is very cool. Maybe we can just play around with the shape or the perspective of the car. I will do this by right click, convert the layer into smart object of the car and then go to edit and prospective work. So let's try to define the perspective of the car. So what I'm looking for now is trying to draw barrel lines to the lines of the car. So let's put this like this, stoler the perspective, and at the same time, this line is not straight. So as you can see right now, we should make it the same direction as well. And secondly, I will draw some parts here. As well. So something like this. After finishing, I'll go to work and then start to tweak the car perspective a little bit. I'm going to just make it a little bit or longer, something like this. Zoom out. Something like this will be okay. Let's see before and after he is before, and here is after I think it's matching in a better way right now. 8. 7 Sky & fence placement: That's very nice. So let's just remove this part of the road. I'll select the mask and using the brush. I will just paint over this area. That's very nice. And I'll try to refine these edges using grass brush. So any grass brush you can find online, something like this would help. And then painting on the mask itself, Here, I'll just reveal some parts, but with this grass brush. Something like this would be okay. Let's increase the flow of the brush. That's better. That is very nice. Now let's go to the next part, which is the sky image. For this, I got these two images. Let's bring them here. Right click, flip this image horizontally, and the other one will be here as well. Let's put them behind our road, let's hide this, and let's start to match the horizon line of the sky image. So do you remember this horizon line? We should match it with the horizon line of this image of the sky. Of course, the horizon line can be defined as the line that is separating between the sky and the ground. So if you have an open area, like a sun or an ocean. This is the horizon line. It's predefined. It's easy to find. So what I would try to do is just put it here and now everything is matching. Let's hide this line. That's perfect. And the reason why I got this image of the sky that I like how the warm orange looks. So let's just press control to right click flip horizontal, and let's put them here. I will just take this part from this area. Let's make this a little bit. Bigger, something like this, and then create a mask and using the soft rounded brush, I will just erase some parts. Let's make the brush bigger this part, and we should be good to go. That is very nice. The next step, I'm going to put a fence or any wooden fence here. Let's just open it here. Let's select it using polygonal lasso tool or pin tool or whatever you like. It's straightforward, but it's time consuming. I will just speed up the process of the selection and get back to you. Here's the final image after making the selection. Let's make it smaller. Right click flip horizontal, and let's try to match it with the perspective of the road. Press control to distort it a little bit. Press enter and let's put it behind the car. First, the prospective lines are not matched, so let's press control t again. Maybe we can convert the image itself into a smart object. Try click, convert it into a smart object, and then press control t and then let's start pressing control and start to tweak the perspective. Maybe we can select these lower parts or mask them using the same grass brush. So I'll just go to the layer of the fence, create a mask and using the same grass brush with the black color, I'll just paint over here, and to here. 9. 8 Correcting Lightness values: That's very, very nice. Now, everything in place, what we are going to do next is to put all the magic to blend these elements together to bring it to life. So let's start by creating a solid color, anything that is gray or black or white, anything that has zero saturation of color, and then turn its blending mode into color. I'm doing this to only focus on the lightness values. So what is lightness values is basically how dark the elements are. So, for example, if we created curves adjustment layer into this sky part and created clipping mask. And then if we make it very bright like this, you can notice now that there are huge difference between the lightness of this image of the sky and this image of the sky. What we will try to do is to match the brightness of the two images. Let's have a look and see. This image has more dark clouds. Let's go to the curves, and let's try to make this image a little bit darker. Don't forget to create a clipping mask to this layer. As you can see, it's now matching in a better way. I'm now shifting the brightness of the mid tones. Something like this. I guess we'll work. At the same time, maybe we can brighten this part of this image. We will do this by another curves adjustment layer. Let's just open up the absolute shadows, something like this, and then press control eye to invert the mask. Using the soft rounded brush, I'll just paint into the mask here. It's now matching in a better way. Let's see before curves here is before, and here is after. It's now seamlessly blended, and that is good enough. 10. 9 (Sky) Correcting Saturation & color: So let's just hide this image and see. Of course, it's not matching in terms of saturation and color. So let's start by matching the saturation. And what is saturation? It's basically how vivid the color is. So for example here is the red color in the scale of zero to 100. This is the saturation of the color. I'll simply go to saturation and desaturate the whole image until satisfied. And then I will try to match the color tone using color balance. Let's go to adjustments and create a color balance layer, which is the next step matching the colors. Let's analyze the picture. What is the difference between this and this? Let's go to the shadows, which are the dark parts into an image. In this image of the sky, It only has very canish bluish colors into the shadows, some gray bluish colors into the mid tones, and into the highlights, we have somehow bright yellowish orange colors. And that is exactly what we will try to shift the colors to match this image. Let's do it step by step. I go to the shadows. As I've already told you, we want it to look cyanish and bluish, so we will add cyan and blue. And if we want to balance this color, we will need to get rid of some agenda component in this color. We'll do this by increasing the greens. If you want to decrease specific color value, you can add an opposite color to it. Let's see some blues or yellows. I guess here in this image, we can add some yellows. And you can always use your eye to judge. It has no rule here because this is art and everything is possible, actually. It's not bad so. Let's go to the mid tones, and let's try to add some Ns maybe greens or maybe some blues. Let's see. We can now unhide the layers. Let's see, maybe we can desaturate the shadows a little bit. Let's go to the shadows and desaturate it like this. Next to go back to the color balance, go to the highlights, and maybe add some, maybe some greens and some blues. Can actually fade this part a little bit because I don't like how it looks. It should be something like this, and at the same time, let's make it a little bit brighter from the curves. It's a process of going back and forth until you get the best results. Maybe we can add an overall look to the sky, by simply creating a color balance above everything, and maybe we can add some warmth to the midtones, some green shift, and some blue. Let's go through the shadows. One last thing, maybe we can brighten the sky a little bit. Using curves, we can make the sky a little bit brighter because it's very dark. Maybe we can decrease the brightness of this part of the sky using also curves. Let's create a curves adjustment layer, press control, and using the soft rounded brush, we can just paint over this area. Now it looks better. Very nice. I still don't like this part. So before matching the car, we can do some matching here manual matching. So I will do this using a solid color adjustment layer. And then choose some color from the sky, maybe this desaturated blue and then press press control to invert the mask and using the soft round brush, let's decrease the flow of the brush. I'll just paint over this area. Okay. I want to unify the colors. Maybe you can choose this color. This is better. Let's try to just paint over here, and we can then press double click into the layer, remove this color from the highlights by removing it from this slider. I'm now removing the color from the absolute highlights. Something like this. Let's see it's before. I guess this is better. Maybe we can decrease the opacity. But this is more consistent. We need to increase the blues here. It's not one time process, this color matching thing. It takes some time, back and forth because it's easy to your eye to be deceived. I'll just into the midtones. I will add some blues and some sans Maybe a touch of green. Let's see. It needs more blue and s. Yeah, it looks better. Now, let's see before and after, yeah. Now it's matching in a better way. 11. 10 (Road) Correcting Saturation & color: Okay. Next, let's go to the road and let's try to blend its colors. I will start with the lightness values. So let's create a curves adjustment layer. Let's make the road darker. Something like this in the mid tones, and maybe we can darken the highlights a little bit, something like this. What about the shadows? Maybe we can leave it as it is. Something like this before. After, Next, we can go to the saturation. Let's go to saturation. Maybe we can decrease the saturation of this green color. Let's select the greens and let's decrease the saturation a little bit, and maybe we can shift its color toward more of a magenta color. Something like this would be good. Very nice. Now let's create another color balance to match the color. Okay. And for this, I will just give it a touch of red in the mid tones and maybe a touch of magenta and some touch of blue. Let's go to the shadows. Let's try to give it some touch of CM, maybe magenta and blue. And maybe let's reduce this magenta. Something like this would be. Good. Let's go to the highlights. I think the highlights are good, but we need to remove some agenda from it, so let's increase the greens and they are good. Maybe add some blues and we are good to go. Let's see before, after after subtle, yet very effect. Oh, so let's go to the next element, which will be this fence, and we will leave the car to the end. So this fence will be easier to match because it doesn't have a lot of color. So I will just make it dark because it's in the opposite direction of the sun, something like this. And using color balance, I'll just give it a touch of hoops let's create a clipping mask. I'll give it a touch of red. So maybe magenta, and maybe some yellow or blue. I guess blue. Here we can add green magenta. Let's go to the shadows. This will get this scale just by intuition, doing and matching a lot of images together. You will know which color you should add it at each situation. Okay? So for now, I'm satisfied. Here's before and here's after. Let's bring the car. 12. 11 (Car) Correcting Saturation & color: Okay. And for the core, I don't like it's native color. So I'll just shift the color completely. I'll do this using U saturation. Let's create a U saturation adjustment layer, create a clipping mask, and then press colorize. I'll give it a color of maybe blue, Sanh blue, something like this. And I guess this is a good color. I will remove this color from the absolute highlights and the absolute shadows. So press double click into the layer, remove it from the absolute shadows from here. You can see now. Let's just make this very saturated because I want to notice it. So let's remove it from as you can see, I'm now removing it from the absolute darks. Splitting the courser to make the transition smoother. Something like this and remove it from the absolute highlights or something like this. And then press. Let's get the saturation back. Then using the brush, we can remove the color from some parts. For example, from the car lights itself, from the tires and from the bottom parts like this using the brush from these metallic parts as well. That is not bad. Maybe we can make it darker. Something like this will be better and I look a bit more saturated. But I want to make this part darker. I will go to curves and create a clipping mask, of course. Let's make this whole part darker like this. I don't like how it looks when it's white. I'll make it darker, press control, I to invert the mask. Using the brush, I can paint over this part. Simple as this. So let's make the color darker like this. Maybe we can go to the properties of the mask and feather it a little bit because I don't like how sharp is this. Let's make it a little bit father. Maybe we can bring this curves adjustment layer below the saturation. Now this is looking better. Let's just remove the effect from here using the brush and maybe from the stop lights. That's very nice. I think we need to shift the colors of the road into more canish colors because now the overall look is more bluish canish color, so let's try to match this to the midtones as well. Yeah. That is better. Okay. 13. 12 Painting the Highlights: Now, we need to care about painting the light and the shadows. So how can we paint it? For the highlights, I will use a solid color adjustment layer. Let's just pick any color, create a clopping mask. And then I will pick the color from the sky. So let's choose some orange reddish desaturated color like this, and then change its blending mood into screen. Next, I'll double click into the layer, remove this effect from the absolute darks and press out to split the cursor like this. Something like this will be okay. This is the layer with which I'm going to paint the highlights. And then press control it invert the mask and now I'm going to paint the highlights using the pen tool. Why the pen tool because this is a very reflective metal surface. So we should avoid painting highlights using soft rounded brush like this because it will give us not great results, flat lighting and all this stuff, especially in these areas. It looks so amateurish. So for example, we will select this area using the pen tool and then press control enter to turn this into selection. And using the brush, I'll just paint the lights like this. Press Control D. Now the lights look more realistic. Let's paint the highlights for this part. I assume that you know the basics of photoshop, so you know how to use pin tool. Just try to separate the car parts into specific planes. Something in this area, and then brush control enter using the soft rounded brush making it big. I will just paint high lights like this. These are the lights coming from the sun. Let's see. Here is before, here is after. Maybe we can fade these edges a little bit. Something like this will be okay. Let's do the same thing to different or various parts of the car. Maybe I will speed up the process of this part because it's time consuming, but I guess you got the point. Okay. That's very nice. So let's see here is before, and here is a before and after it gave us great results. And the next step, we will just put some final specular lights. We'll do this by simply bringing the maybe orange or more saturated color like this. And paint, give it one touch like this. Change the blending mood into screen, and I will start to just press shift to change its shape. So let's try to put it here. Maybe we can warp it from here, so like this, To match the shape of each part. Something like this, I guess. Give us this shyness into some parts. Let's press to bring it here. Maybe we can shift its shape again. Depends on the surface, its shape, and its reflection characteristics. Let's bring it and put it here. So that's very nice. Let's put all this into a group and let's see before and after, before and after. That is very nice. 14. 13 The Shadows: Now it's time to paint the shadows. So how can we paint the shadows for the car? It's basically consists of two parts of the shadows, the cast shadow and the contact shadow. What is the cast shadow? It's basically the shadows that's resulting from the main source of light, which is the sun hitting the car, and it should create some shadow like this. But the ambient shadow is the shadow that's resulting from the colors of the sky, the surroundings. Okay? So let's start by the cast shadow. I'll do this by pressing control and pressing into the layer of the car. This will give me a selection around the car. Then let's create a solid color adjustment layer and the press. Let's put this solid car behind the car. So here is the solid color layer. Firstly, let's choose the color of the shadow. I'll firstly change the blending mode of the layer into multiply, and then change this color into some color from the ground because the shadow is basically the absence of light that is hitting the ground. Let's choose some color maybe like this. That's good. And then press okay. And then press Control T, right click flip it vertical. Let's try to match the shape of the shadow. So let's analyze how the shadow should be. So it's basically here is a source of light and it's hitting the car. And the car is banning the light from reaching to the ground. So the shadow should be something like this because the sun is now in a low angle. So let's try to mimic this present control and start to distort the shape of the shadow to match the perspective that we want. Press. Let's see. That's not bad. The next part, I will decrease its opacity. Let's go to blend. Double click, remove the effect of the shadow from the highlights like this and split the cores to give it more realistic shape. You can see you cannot it here. Can you see it now. Something like this would be great. Then press. Now, that's very nice. Maybe we can fade or soften the edges a little bit. Of course, it should be sharp but not as sharp as it is now. I'm going to go to the mask and feather the mask like this, a tiny bit. This is the main shadow. Of course, we can also soften the edges. Soften some edges like this, maybe erase it from here. You can see that, this is a good shadow, but you think something is off. It's not realistic, and the reason for this is that there is no contact shadow. The contact shadow is the shadow resulting from two elements touching each other. For example, this element, when it touches another element. There should be some dark pixels between them, and that is exactly what is contact shadow. So how can I paint it? I will do this by creating another solid adjustment layer, and let's choose some color from these colors, something like this and press control to invert the mask. Using the soft brush, I'll just change its shape to make it more elongated like this, decrease the flow of the brush to something like 10% and let's try to paint the contact shed. I'll just paint it like this. Paint over these areas, this color should be more canish shift colors and maybe darker, something like this. Here, it should be very dark and it should be faded away in the areas that are not touching each other. Something like this, good. Let's go to this part, increase the intensity of the shadow here, this part because the tire is touching the ground here, but now we can feed these parts like this. Let's do the same thing here. We can decrease its opacity, or maybe we can play around blend to bring some details into the shadow areas because it doesn't have any details at all, so something like this, I guess will be okay. So let's see here is before contact and here is after. Here is before any shadows and here is after. That's very nice. One last thing I'd like to do is to create another layer here and pick any color from the bottom part from here, and then let's create a clipping mask. Then I'm trying to get some color from the ground and paint over the tires. This is making the to images matches in a better way. It's very nice. Before, after, after. It's now blended in a better way. That's cool. Now, let's try to paint some cast shadows from this fence. So I'll just do it the same way we did with the car. So maybe something like this and then change its blending mode into multiply, decrease its opacity. So like this. 15. 14 Car lights & glow: The next part, we will try to give the lights some lights. Of course. I'll do this using again, solid color. Maybe this time it will be saturated orange, something like this. Press control to invert the mask and using any lens flare brushes. Maybe something like this will be okay, increase the flow of the brush and change the blending mode of the layer into screen. Let's try to give it a touch, something like this. Let's see, another one here. This color is very saturated, so let's just make it less saturated, something like this, and we can paint it again, make this smaller. Let's go to these slides, make this very small, something like this. Smaller I want it to look subtle not that harsh lights. Maybe as well, we can give this. This is very bright, small tinier reflection, something like this. One final thing. Let's create a glow around this, using a saturated color and the same screen blending mode. Press control using the soft rounded brush this time. I'll just give it some touches, but let's decrease the flow of the brush or something like this. Make this bigger. Let's give this one. Another one. Let's see here is before and here is after. That's very nice. Next, we should paint some shadows to the car again using curves. At this time, I will just paint the shadows into the surfaces that are not facing the lights. Here we should have some shadows and here and here as well. So I will do this basically by just selecting these parts roughly using the pin tool. So this part. And this part as well. Press control enter to make a selection, create curves adjustment layer, and let's try to make this dark, create a clipping mask force, and then we can make this mask softer from the feather right here. Of course, we can lower the effect by reducing the opacity, where it's before and here's 16. 15 Motion effect: After. Now it's time to bring some motion to the composite. So if there's a car that is in a road and it's very speed, the road itself will have sushi and bluer, but the car will be very sharp. The wheels will have sushi blurre but the far parts will not have this motion blur effect. The farther you go in destince. For example, these elements doesn't have this blur effect because it's far from the car itself, as well as these parts of the tree. Of course, the sky as well. So we want to avoid making ushmblur everywhere. We will just make it into these parts that are closer to the core itself. So how can we do this is by simply selecting the ground area only. So let's select the ground with everything above it. But we will not select the shadows. Just select the elements and the adjustment colors of it, and then press control, Right click and then press merge layers. So we have now a merged layer. Here we can play with. Let's press convert to smart object. Let's go to filter bluer gallery and something called Path Blur. And here we want to match the shape or the direction of the car. So the car is running into this area. So I'm going to draw some arrows into the same perspective lines. So I'm putting one point here, another one, and then press scape and do another one like this, another one here, and another one here. Because if I didn't do so, the shape will be distorted. So for example here, I will change the shape to something like this. You can now see the distortion that is happening right here. You know that motion effect coming from far distance and going to here and maybe we can reduce the length of this part because I want the effect to look like this, something like this, I guess. Yeah, that's very nice. Maybe we can draw one final here. That's very nice. Let's remove the center of the blur and let's decrease the speed to something like 25, maybe or 20. That's nice. This motion effect is bringing it to life. So let's have a look before and after. So here is before and here is after after. One final thing, I guess we miss we're missing the shadows of the fence. So let's put this there behind the shadows of the fence here. Maybe we can father these shadows a little bit to match the motion effect. Here and this one as well. Okay. 17. 16 Final Touches & color grading: All right. We are here into the final stages. What we're going to do next is to create a bloom atmospheric effect in this area, and then we can go to the color grading. That is the last thing. Let's start by creating sw solid color adjustment layer, and then of course, it will not be clipped to this layer. Let's change its color to somehow saturated, maybe 50% saturation orange color, something like this. Then let's put it behind everything maybe here. Let's change its blending mood into screen. First control I to invert the mask and we can do this glow effect by simply using the soft rounded brush with a low flow, something like 30% and make the brush big, something like this. Maybe let's decrease the flow, something like this. We can create a glow effect around the car, which will separate it from the background and it will put the focus on it. Some glow effect like this, maybe this is too much, we can race it from some parts. There you go. Let's see here is before, and here is after. That's very nice. Next we can put some lens flare effect from this picture. Let's bring it and put it above everything at the top. Let's change its blending mode into screen. Control T, make it big, make this very big. I just want just a tiny touch of the lens Something like this. Maybe press control to desaturate it because it's very saturated. Something like this would be. Maybe we can mask this part out. One final thing I like to do is to select everything and press control T, and I think we can rotate the canvas a little bit. This gives the visual more interest. It's something called Dutch, I guess, angle, which is when the horizon line is now tilted a little bit, has some angle. It's not completely horizontal. This gives it more interest and look better. That's perfect. Now, let's go to color grading, the most exciting part in which we bring everything together to get the final look. So we can do this using camera row filter. But what I like more is to create an empty group and put everything on it. And I'd like to make color grading using adjustment layers because that gives me more control. If I want to edit anything into the car, for example, it will be applied the whole image automatically. So I start with creating color balance adjustment layer and start to tweak the color. Start with what I think it's settled down and I already know, which is the highlights. I'm sure that I wanted to look like more yellowish and reddish. That's why I started with it because I'm not sure what I like most in the mid and the shadows. But the highlights, I wanted to look warm and somehow reddish yellowish colors. That's why I started with the highlights. Then let's go to the shadows. Maybe the shadows needs some Yeah, I like how it looks when adding reds. Let's add some reds. What about greens or magenta? Let's see. I guess Magenta gives it a good look. Maybe some yellows or blues? No, the yellows are better. Just preference. It's just your taste, you know, something like this is okay. Maybe the highlights is very reddish, so let's decrease this red a little bit. That's okay. What about the midtones? I guess the midtones should be somehow neutral salt, increase the greens. Maybe give it a touch of something. And maybe a touch of blue. So let's see here is before and here is after it's now more crisp. And next, I guess we should give it more contrast. So I'll do this using brightness contrast adjustment layer. So let's just give it contrast like this. What about the brightness? Yeah. I guess this looks nice as well. That's awesome. The next part is I'm going to shift the highlights and the mid tones. But this time, I'll do this using curves. Let's just go to the red channel. Let's add to the highlights. I'm just adding a little bit of C. What about adding some reds into the shadows. The great. Let's go to the greens see some greens to the highlights, and some Yeah, some agenda to the shadows. Let's go to the blues, adding some maybe a little touch of yellow, what about the shadows? Maybe. I should add some yellow. Let's see here is before everything color grading and here is after. That is really nice. All right, guys. That wasn't it. I know. But if you want to create amazing results, you need to put a lot of effort. There's no shortcuts. All the AI tools, the automatic tools are okay, are good. They are increasing your efficiency. But if you want ultimate results, the best results, you need to practice a lot actually, and you need to know the tools, the techniques, how to create everything manually because you will have to do things manually. Believe me, guys. See you in the next tutorials, peace