Fantasy Composite Part 1 | Creating the Background

everyone and welcome to phlearn my name is Aaron NACE and I'm so excited to be sharing this special project with you as you might have noticed we had a slight change of scenery here I'm actually at my house on roll up a safe and I'm wishing you health and love we're gonna be creating a composite fantasy image together called Baxter now I photograph this a couple of years ago and it's one of my favorite images that I've ever made and I thought well this is a great time for us to focus in our creative energies and work on our project together so we've got a relatively advanced composite photo that we're going to be creating throughout several weeks together so in today's video we're gonna be building our background literally changing day into night and matching multiple different exposures to make it look like it's the same scene and then in our next section we're gonna be adding Baxter into our image all of the download assets including sample images RAW files as well as Photoshop brushes are available completely for free if you haven't already done so head over to Florida comm you can follow the link on your screen or the description right down below you can download all of the sample images and asset so you can follow along with this tutorial I'm excited for you to join me on the journey of creating Baxter so we're starting off here in Photoshop we're gonna go to file and down to open and we're gonna go ahead to our download folder you're gonna see you've got brushes we're including the PSD for this so you can open up that Photoshop file and see everything we've done kind of dissect it and we've got our sample images we've got JPEGs and DNG RAW images so we're gonna be working with the raw images here now they're gonna be a little bit more intensive on your computer there are a little bit larger files so if you find that your computer maybe is struggling to keep up with these larger files you can always use the JPEGs that are included as well so let's go to our raw images and we're just going to go ahead and shift-click all of the images and open them up now because we're in Photoshop they're gonna open up into our camera RAW editor so I've got all these different images we're going to be using to create one final photograph so you can see some of these images already have some adjustments that I've made to them and those are going to be already embedded into these files that's a huge advantage of working with your RAW editors you can change things like your high light level shadow level exposure and even white balance non-destructively and you have a lot more control over those things than you would in Photoshop for instance so we're gonna be opening up all of these into Photoshop as RAW files so let's go ahead through the settings you'll need to know to bring these into Photoshop so down here on the very bottom of Camera Raw you see this little line of text go ahead and click on that and we want to make sure we're working in our color space is going to be Adobe RGB 1998 our depth we're going to be using 16 bits per channel and down here at the bottom where it says open in Photoshop as smart objects that one is actually super important okay this is gonna allow us to get back into our Camera Raw editor at any time so make sure you have this one checked let's hit OK there and then right down here it should say open objects okay because we want to open these as smart objects so for now we're just gonna click on the first image hold shift and click on the last image so they're all selected and this is going to say open objects so we're gonna go ahead and hit open objects there we go so as long as you've got smart objects checks it'll say open objects and you're gonna see how useful it is to be able to get back into our Camera Raw editor at any point in time so my images are opening up here in Photoshop I'm gonna hit ctrl or command minus a couple times to just zoom out of here you might have your images open up in tabs and that's totally okay my goal here is just to put all of these different images into the same document okay and then we're gonna organize them once that are in the same document so I like to just put one document here use my move tool up here on the top left you're gonna be for your move tool now we're gonna hold shift and click and drag from one image to another there we go and then close down that image so let's just bring all these again my goal is just to pull all of these images together into the same document there we go including mr. Baxter himself and we're gonna hit f4 fullscreen okay now we've got a little bit of organization to do here so let's go ahead and group Baxter with itself go ahead and name that group you can hit ctrl or command G do group layers together now we've got a few different images we're going to be pulling it together you'll see that some of these basically look like they're in the same scene and then we have this image here Baxter oh - and this is a totally different scene but we're going to be compositing this together with these other images here so we're gonna take this back Stroh - I'm gonna bring this to the top there we go right up there and group that with itself okay and we're gonna call this right side there we are and then I'm going to take the rest of the images so this is gonna be oh three oh four of five and oh six shift-click on all those controller command G and we're gonna call this left side okay so for now we can go ahead and make Baxter and our right side invisible our left side we're gonna go ahead and pull all these together and then I want Baxter oh four on the bottom and you can make all these invisible so this is what we're starting with so let's go ahead and get started now this is a little bit on the advanced side I must tell you there but don't worry you've got this we can do it together it's gonna be great so we're starting off with Baxter oh four on the very bottom okay and I want to bring in some different pieces of the puzzle so this was photographed in a Chicago alley right around sunset and we see there's a car actually coming in to the scene this was not a planned saying this car just happened to be coming in and they're gonna open up that garage door to the left and that's this Baxter oh five okay I thought the garage door opening was actually a pretty cool effect so I want to I want to have that open garage in my final photo so what we're gonna do is turn that layer on so let's turn back stro five on then I'm gonna click on my layer mask in fact I'm gonna hold alt or option and click on that layer mask which makes a black layer mask makes everything invisible now we're just gonna use our brush tool so we'll just use a standard brush so hit B for the brush tool okay I have a brush that I made called Aaron's brush I'll include that as well you can just use a soft round brush if you'd like and we're just gonna paint white on our layer mask right over here where the garage is okay again my goal here is just to make the garage door look like it's open there we go now these files might not be in the exact perfect place so you can use your move tool and simply move them up and down and you can hit the up/down left/right arrows as well okay I'm gonna hit the right arrow and up a couple times there we go that looks pretty good there now there are some auto aligned tools in Photoshop but because we're using Smart Objects unfortunately those are not available to us but the advantages of using Smart Objects greatly outweigh the l-dopa line tools so look at that we just open that garage door boom pretty cool huh now we're gonna take this Baxter oh six and this image basically is gonna be used to remove this car from the background and get rid of Baxter as well because Baxter's gonna be in the final image but he's gonna be like 15 feet tall off on this side of the image and he's gonna be leaning against this garage on the right-hand side so for now we're just gonna make this layer visible here so Baxter oh six let's hold again alt or option and click on that layer mask and then we're gonna use our brush tool to paint white on a layer mask to we remove the car that he was you know that car was not a planned part of this photoshoot it just happened to be pulling in you know shooting this in an alley so you don't get to control whether cars come in and out of an alley I guess if you shut it down you could but this was done run and gun SIA will will say that alrighty there we go and you just want to make sure that you don't mask out your subject but there we go look at that very quick and easy removal of of the background there and then if I need to use my move tool to kind of line this up a little bit I can do that as well there we go let's just pop that to the left a little bit okay that looks really good so already we've removed Baxter in that car from the background as well as opened the garage door now this light that's right above our subject that's actually a strobe light so to give you an idea of the lighting for this scene we have one light that was just on a light stand up here and that's giving our subject a bit of a backlight which helps separate him from the background image you know it just gives it a little bit more of a visual separation and then we've got a light here in the foreground you can see we've got a sandbag and a big tall light stand here and there was a large softbox up here on the left side of the image and that's what's lighting our subjects face okay so we wanted to make sure that our subject is well lit but I actually don't really want this Babel bright light in our image I find it to be a little bit distracting so what I will do oftentimes is take a picture with the light and one without the light and we actually do have that picture right here but this was shot right at sunset and we were kind of like in a rush because I wanted to make sure the light balance was perfect so this photo with with that light removed you can see it's lighter it basically looks like day so what I want to do is I want to edit this image Baxter o3 to make it look like it's night and we can do that with our Adobe Camera Raw editor it's super cool so what we're gonna do is because we open this as a smart object we can double click right here boom double click right here on your thumbnail and I'm just gonna take my exposure and drag that way down now don't worry about getting it perfect just yet we can go in and change these settings at any time we're gonna bring our shadow levels up a little bit and I'm gonna bring my black levels up a little bit too and you can see how it's starting to look more like night so let's hit OK there and it's gonna automatically update so now just like we did before I'm gonna hold alt or option and click on that layer mask it makes a black layer mask and then I'm gonna use my brush tool to paint white on my layer mask just where I want this to be visible okay there we go we're gonna continue painting white on the layer mask just in this area again my goal is to remove that light there we go and that's looking really really nice there I'm gonna bring down the flow of my brush to about 20% so we get a nice natural fade from one to another there we are so you can see our review I've removed my light and it looks pretty realistic and there we go I want to remove the reflection from the from that streetlight as well it's looking pretty realistic but I need to make my sky darker to match the rest of the scene so what we're gonna do is double click right here go back into our Adobe Camera Raw now I want to make my sky darker so we're gonna choose our settings right over here we're gonna go to our hue saturation and luminance adjustments okay now you can choose to just bring down your aquas or blues but you can also use this targeted adjustment tool there we go and you can choose here hue saturation and luminance this will change based on where what menu you have chosen but with my targeted adjustment tool I can actually just click here on the sky and drag this down and you're gonna see it's gonna take those colors and it's gonna make them a little bit darker okay so let's right over here and literally I'm just trying to make that sky darker so let's hit okay and see how it blends together now all right and that's starting to look pretty good let's go ahead and zoom out I'm gonna use my brush tool again just a nice large soft edge brush and I just want everything to blend together nice and smooth there we go I still think we could bring our exposure down just a little bit so let's double click here and I'm just gonna take my exposure for the whole image and bring that down and we'll bring our contrast down a little bit too as well and you can see what was a day image starting to look like night this is such a cool ability to be able to do this in our Camera Raw editor it gives us a lot more versatility than if we had for instance just been using a curves adjustment layer to try to get this done all right and there we go you can see it looks very similar to the exposure of the rest of the image right there we go let's go ahead and brighten that up so basically this image was pretty much daylight and we're making it look like night which also helps us to remove that that little flash there which is super super cool all right so here you can start to see the power of raw editing and already we're doing great so this is where we started pretty cool for just a couple changes right so we open that garage remove that car and then remove that light so this is just a great little lesson whenever I'm doing these types of composites you know keep your camera on the tripod it's okay to move some things around and let's say you want a light on your subject you can bring in a softbox and light your subject and then just take another picture with that softbox out of there blend those two exposures as you can see even if they're not perfectly like exposed the same you can make those adjustments in Camera Raw and then bring everything together so whenever I'm doing is scene like this especially if I know I'm gonna do a complicated composite I like to take you know try to keep that camera in the same place and then take as many pictures as you can with different variables and that allows you a lot of choices in post-production okay now we do have a light stand here on the left-hand side we're just gonna remove that with a clone stamp tool later there we are so let's go ahead and close our left side group we're looking really cool I really like the light in this photo already it's a very interesting mix between daylight and dusk the next thing we want to do is bring in our right side image and for this let's go ahead and open that group there we are we're gonna go ahead and mask out the left side of this photograph okay so let's click on our layer mask here I'm gonna go to my marquee tool and we're just gonna make a selection right around here let's go right to about there it doesn't have to be perfect we're gonna adjust this in a little bit and then on our layer mask we're gonna go to edit and down to fill and we're gonna fill this with black there we go and deselect by hitting ctrl or command D so now what I want to do is use my move tool so we're gonna click on V for the move tool and I want to move this right around we'll bring our opacity down a little bit I want to move this to about the place where everything starts to come together and my goal here I've got a couple goals I want you can see the ally kind of ends right here okay I want that to line up with this vertically because if you put it too tall or too high or too low you can see it's not gonna look that realistic so I want to kind of bring that together and then I want basically the telephone pole you can see there's the edge of a telephone pole I want that to match up with the edge of this building here so it's gonna give me a nice even transition from this photograph to that other photograph and I know right now they don't really look good it doesn't look real but it will in a second so now what we're gonna do is hit C for the crop tool and up here at the top you have an option for delete cropped pixels make sure that is not checked okay so if it looks like this with the checkbox uncheck it so it should look like this no check we're just gonna extend our extend our scene whoops there we go just click and drag this boom to the right a little bit and hit that enter or you can hit the little checkbox up there okay so now it's time to start blending these together now we're gonna bring our opacity up a little bit and on our layer mask I'm gonna use my brush tool to paint black so let's just paint black on our layer mask here with a nice large soft edge brush because I want this to be a smooth transition from one image to another that's my goal here make this nice and smooth there we go now as we can see our exposures don't line up at all do they it very much looks like we have two separate photographs but in just a few minutes it's going to look like we have one photo it's really really cool and we're able to do this all with the Camera Raw editor now if you don't get your layer masks exactly correct don't worry about it you can change that at any time okay this looks good when --have ctrl or command T let's go ahead and bring our control point here we're just gonna make this a little bit larger there we go and I'm gonna rotate it a tiny bit to the right it's just gonna fill our entire scene there okay and you can see we can continue to move it but we want it to be a bow in the right place and that's looking pretty good now I know our telephone wires and things like that don't exactly line up but that's not really that big of a deal especially right now in the process mostly I just want to get it about to the right place okay so it's looking pretty good right if you discard the color and light information the composite actually looks pretty good let me maybe rotate a little bit more to the right here there we go cool that's looking great so now my goal is to take this photo and make it look like it's the similar color and lighting to the photo on the left and they were taking maybe 30 or 45 minutes apart but because it was dusk you know very late at night we have you know a big change in light so rather than trying to do complicated masking with the trees and the wires and everything what we're gonna do is go into Adobe Camera Raw right here in Photoshop and I'm just gonna make this image I'm going to change the exposure and some colors and we're gonna make it look like the image on the left so let's go ahead and double click right here on the thumbnail again this is back in Camera Raw so you remember earlier where we had you click right here and then choose open and Photoshop as smart objects that's super important because that's what allows us to get into Adobe Camera Raw by double clicking on the thumbnail okay so what we're gonna go ahead and do is let's click on our little menu I'm going to go to Camera Raw default that's just going to be straight out of camera okay let's enable our lens Corrections again cuz that turn that off and now we're just gonna take our exposure and bring it way down okay we're gonna take our shadow levels way up and we're gonna take our blacks way up okay so again my goal is to take this sky and make it darker to turn it match the sky on the left okay so starting to look good now you're gonna notice my sky isn't looking exactly right and my ground is a little bit too dark I'm gonna focus on one area first being the sky and then we're gonna focus on the ground so I've got a couple tips for you when you're matching these things together these are really really helpful the first thing we're gonna do is create a black and white adjustment layer boom black and white adjustment layer now what does this help us with if I look at this image in black and white let's take a look at the sky here what that tells me is that the top part of this sky needs to get a little bit darker and the bottom part of the sky needs to be a little bit lighter I can see that here in black and white so go ahead and do that I'm gonna double-click here on our image I'm gonna go to my graduated filter right here okay let's go ahead and we're just going to reset these local correction settings so what did we just say that top of the sky needs to be darker and the bottom needs to be lighter so I'm gonna click and drag here from the top down there we are just like that and we're gonna bring our exposure down okay now I'm gonna click and drag from the bottom up just like this and we're gonna bring our exposure up there we are so let's go ahead and hit okay and see how that looks so you can see bam look at that cool change right so here's the before and the after right I'm starting to look a lot more similar notice I'm not even worried about color just yet let's just get our light levels right first and then we can work on color we want to make our ground a little bit brighter right it's not looking just right just yet so we double click there again go back to our graduated filter we click on this one here okay and we bring our exposure up a little bit more and I'm gonna bring this a little bit higher there we are and we'll hit OK now again it doesn't have to be perfect to see it's a tiny bit too bright let's go back there and go back to our graduated filters this one I actually want to make a tiny bit darker and this one we want to make a little bit darker as well now again it doesn't have to be perfect you just want to get it pretty close and that's looking pretty good let's go ahead and make this Center area a little bit brighter here we'll double click there I'm gonna go to a radial filter now we're gonna click and drag out there and we're gonna make it a little bit brighter all right and there we go we're looking pretty good now here's my general advice with this type of compositing if you can get it to look good in black and white then you've got a great chance of making your image look good as a whole but if it doesn't look good in black and white don't even start working on color just yet so first you get your black and white looking good that just takes care of your light level and then once your light levels are good then you want to focus on your color so at this point looking pretty good right not a hundred percent perfect but I'm pretty happy with that now what we want to do is go ahead and turn this black and white layer off and we can see uh you know what our colors aren't exactly right but we know that our light levels are pretty good so I've got another tip for you what we're gonna do is grab another solid color adjustment layer okay we're just gonna go right up to a bright red now I'm gonna change the layer blend mode here from normal down to hue okay bear with me on this because I know it's a little bit like what are you doing right now but when I set this to hue what I see in my image because now it's all the same hue it's basically all red so what I'm seeing is actually relative saturations right like the sky on the left hand side is not very red but the sky on the right hand side is very red so what this is actually telling me because there's the same hue now like this red layer is literally just making them all the sankyou so what this is actually telling me is that the sky on the right side is more saturated than the sky on the left in my ground on the right side is actually less saturated than the ground on the left pretty interesting stuff here now I know it's a little bit of like a Creek right but we've got these cool layers like this black and white layer and this layer they kind of help us along our journey to match these different images alrighty so what I need to do now is I need to take the saturation of the sky on the right hand side I need to bring this saturation down and I'm gonna try to bring the saturation of the ground up so how do we do that well we just double click right here okay we're gonna go to our hue saturation luminance let's go to saturation I'm gonna go to my targeted adjustment tool right here and I'm gonna click on my sky and we're just gonna bring our saturation down okay and we're gonna click on our ground and bring it up there we go let's hit OK actually the ground will just leave where it is because it was doing some weird stuff but let's let's look the sky and hit okay oh look at that it's starting to match much better right so let's go ahead and turn this red layer off and look at that so here if I just do the before and the after look at that that is just a saturation change okay this is less sorry this is more saturated and this is less saturated and look how well it matches in fact I think I made it a little bit too much I did a little bit 2d saturated so we're just gonna add a little bit of saturation back now let's hit OK and look at that it's starting to match a lot better this is such a great technique because when you look at the image off the bat it's tough to know is your image too bright or too dark is it too yellow or to blue is it too saturated there's so many different variables and that's why we have these layers I call check layers that help you eliminate some of the variables so by putting the black and white layer on there it just allows you to focus on your light levels when you put this color fill layer and you have this set to saturation what that does is it allows you to just see relative saturations so now just in this area I'm gonna lower the saturation of this photo so let's double click here okay we're gonna go back to our graduated filter and look I already have one right here that's targeting the area that I want so right here I'm gonna just click on that one and we're gonna take our saturation and make that a little bit lower in that area let's hit OK there and see how that looks you can see we had a saturation change looks like it's not enough so I just go double click there back to my graduated filter and we go back to saturation now again you could do this with like curves adjustment layers and hue saturation adjustment layers but being able to go back in Adobe Camera Raw is actually a lot more powerful look how well they match now I'm just gonna bring my graduated or my radial filter we're just gonna make that a little bit larger and check that out that's a pretty nice match so here in black and white we're looking pretty good here in our relative saturation levels we're looking pretty good as well now my ground maybe we want to make this a little bit more saturated okay so we're going to double click here there we are we're going to use an adjustment brush and I'm just gonna paint here on our on our image with our adjustment brush let's just turn our mask on so we can see what we're doing here there we are we're just gonna paint there just choose a large soft edged brush and then we're gonna bring our saturation up a little bit with that so let's hit OK there alright and we can see the saturation went up a little bit brighter maybe we'll make that a little bit there we go maybe we'll make it a little bit warmer as well let's go back to our adjustment brush and bring our color temperature up a little bit let's bring our saturation up just a little bit more as well all right so look at that now the saturation on the right-hand side is starting to match the saturation on the left and I think it's a little bit too bright so let's go in here and go back to our adjustment brush click on this one and then we're just gonna bring our exposure down just a little bit it's all about matching okay pretty close not perfect but looking pretty good so what we've done is match this in our black and white levels not perfect but pretty good and then we've matched it in our relative saturations okay so now really the only thing left is basically our color temperature right when it comes to color you've got hue okay and hue is just like red blue green you've got the saturation and that's the concentration of your color and then you've got luminance and that's how bright or dark it is so we've already taken care of our luminance the bright and dark we've already taken care of our saturation really what's just left is our hue and we can do that in Camera Raw but you can also do that right here so let's go go ahead and show you how to do this we're gonna create a new layer let's grab a hue / saturation adjustment layer okay I'm going to clip this to my to my right side image and when I clip this let's just change this you'll see what it does is it only allows you to edit that image right so that's the cool thing about being able to do this with what's called a clipping mask because if this is not a clipped look it's going to start changing everything so go ahead and click on this little icon right here or you can right-click and go to create or release clipping mask see if it's a release it's gonna change the color of your whole image but if you make a clipping mask by right-clicking this a create clipping mask boom now it only affects this layer that it's clipped to so what we're gonna do is start matching the hue from one image to another and guess what this has its own layer mask right so for instance I'm going to focus on the sky first so let's go ahead and get the sky where we want it I'm gonna invert the layer mask on that and then I'm gonna just paint white on the layer mask here okay so this allows me to just get the hue of that part of the sky to match right and then I can just kind of make my adjustments here and get it to match with that image on the Left I can even change things like my saturation if I wanted to like you know obviously we already matched our saturation with Adobe Camera Raw so I don't really have to do that but there we go you can see how our hues are starting to match much better as well how cool is that so the skies are looking really good okay now what we're gonna do is take our there we go let's go back to our brush tool and our layer mask I'm just gonna fade that out a little bit more now we want to do the same thing with the ground so I'm gonna grab a hue set saturation adjustment layer clip it so let's click on our clipping mask here and I want to start adjusting the ground to look like the ground a left there we go and that looks pretty good right it changed it from this looked a little bit too red there we go and now that fits and you can invert the layer mask and then this just paint it visible here on the ground all right I think the ground here just needs to be a little bit darker so let's double click here ok go back to our adjustment brush and there we go we're just gonna bring our exposure down a little bit cuz I want to match one side of the street to the other and that's looking pretty dang good now there are definitely some things that we can do to help them match a little bit better but right now I had to say that's looking pretty good so let's see here in black and white we're looking pretty good and here as far as our hue as Conservation's looking we're looking pretty good as well so now let's go ahead I'm going to turn the black and white on again we're gonna do a couple curves adjustments layer just to do some fine-tuning here most of our adjustments I want to do in Adobe Camera Raw because it's super powerful and then for the fine-tuned adjustments then we can use hue/saturation and things like curves or levels so let's go to our curves again I want to clip this so let's click on our clipping mask so I only want to affect the right side image there okay we're just gonna bring actually I'm gonna take my light levels here we're just gonna bring those down then I'm gonna invert my layer mask on this because I really only needed to be visible like right there right and look how well that starts to blend together now it's almost like magic there we are now I'm going to take the same we're gonna do another curves adjustment layer we're gonna go ahead and clip this and make it a tiny bit brighter okay let's invert that layer mask and make it just visible there see how there's the before you can kind of tell right it gets darker here and then lighter but now looks like a smooth transition okay we're gonna do one more here so the curves adjustment layer make sure to clip it again there we go make it darker we're gonna invert the layer mask and then paint with white right over there there we go so here in black and white I mean look at that it's looking really really good that it looks like one photo but it's not right very clearly it's not one photo okay and now here in color let's go ahead and take a look at this we're looking really good as well now there are a lot of different things you can do with your color here one more thing that we're going to do here is I'm gonna create another layer okay we're gonna clip this so we right click and say create clipping mask and I'm gonna go to my brush tool and just sample this color and paint right over here there we go and then I can just change this from normal down to hue alrighty there we go you can see I painted a little bit too much but that's ok we just put a layer mask on this and then fade it out and then here look at that we basically have an exact hue match from one image to another isn't this incredibly cool now the right side image here I want to be a little bit more like yellowy here ok so what we're gonna do is I'm gonna create a new layer go ahead and clip it I'm gonna grab this orange e color here and paint it right over top of these buildings because I want a little bit more of that orange e color we're gonna change this from normal down to hue okay and then we're gonna lower the opacity of that subtly and put a layer mask on this and then mask it away from the building her from the sky because I really just wanted to affect my buildings right wow look at that really it looks like one image doesn't it it's amazing so all we have to do now is go in here and work on our layer mask and just make sure that everything lines up with our layer mask there we go so we're just gonna paint this in here there we go looks like one image there we go I just basically need my telephone pole right here look I'm just painting black and white on my layer mask here and that's what's allowing me to there we go let's do a smaller brush here just painting black and white on my layer mask here and that's what's allowing me to bring these two images together alright we got this little barrel looking thing over here okay and then I just need to make this a little bit darker here so easy to do just grab a curves adjustment layer clip that and we'll just bring our light levels down right to about there let's invert that layer mask by hitting ctrl or command I and then we're just gonna paint white on the layer mask right here so we're just blending these two exposures together there we go and without without any real magic I mean we've got some Photoshop magic together we've done a great job blending those exposures together so now let's go ahead and save this shift command s okay we're just gonna go ahead and save this here in our PSD save this out as Baxter and we are looking great so we're almost done with this now these two layers here wasn't that cool with this black and white adjustment layer and this hue layer we're gonna go ahead and group those double click here and call these check layers because we're gonna come back to them and use them with Baxter so check this out let's just make all those layers invisible I know it's like a lot of layers but the amount of things we were able to do with this I mean I don't know if you remember this original layer in fact I'm gonna create a new smart object via copy to show you what this original layer look like we're just going to go ahead and Reese that just a camera RAW default so hit okay there okay this is literally what it looked like straight out of camera does not look like it was gonna fit right but check it out we went ahead and did some exposure adjustments some color adjustments and then came in here with all these little settings here and each one of these helped bring everything together and by the final man it looks like we have two sides of the same street such a cool effect so all we have to do to finish that off let's just create a new layer in here we're just gonna remove some of these little wires here so hit J for your Spot Healing Brush tool there we go now you can remove these wires if you want which is what I'm gonna choose to do right now or you could go in here and there we go we got to remove that tree too because it's like a ghost tree ooh ghost tree it's like not scary at all it's just a tree there we go we're just gonna remove some of this stuff and you can add your own wires if you want to as well there we are so everything is nice that looks right we just need a patch this together so let's go ahead and remove that to clean it up right now we'll create a new layer ask for the clone stamp tool you want to make sure your sample the current and below okay and then I'm just gonna sample this little wire we'll we'll just paint it right over there change our layer blend mode from normal to darken and then check this out I can just move it right over there boom right then it's like okay cool well it's not exactly really the right place room but look at that we just moved it right over there and all of our wires make sense again can you believe that right this what could have been a problem that could have destroyed our entire composite we just spot healed out a couple wires and extended some couple wires with a clone stamp tool and then all the sudden look at this our background looks fantastic oh I'm so excited about this tutorial it's really coming together I hope you enjoyed this so far we've got a lot of really great things coming up together so our next section which is going to be our next video we release we're gonna be bringing in Baxter so let's take a look at Baxter now keep in mind he's photographed in the studio ok and we're gonna make him look like he's 15 feet tall behind this building so we're gonna be cutting him out with a background we've got a really cool custom brush we're gonna be painting hair can you believe that painting hair in Photoshop and it's gonna look completely realistic so we're gonna put Baxter in this image and then to finish it all off we're gonna give the whole photograph beautiful color tone we're gonna make it blues and purple and really bring the dusk feeling we're gonna add some light into the flashlight and clean up the image as a whole it's gonna be really really great so I can't wait to see you in our next section and I'm so happy to be able to join you together to create this really fun project alrighty thank you so much we'll see you in the next video bye everyone

Channel: PHLEARN

Views: 32,135

Keywords: Phlearn, Photography, Aaron Nace, Photoshop, Adobe, Tutorial, Help, Tips, How-to, Education, Adobe Photoshop, Class, Course, Learn Photoshop, blend images in photoshop, color match in photoshop, adjustment layers, photoshop compositing, match subject with background, change background, how to composite in photoshop, photoshop tutorial 2020, photoshop tutorial manipulation

Id: 72_dJf6Wm7E

Length: 43min 5sec (2585 seconds)

Published: Tue Apr 21 2020