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Creating Fantasy Landscapes

Lesson 7 of 8

Editing in Photoshop: Flowers in the Foreground

Bret Malley

Creating Fantasy Landscapes

Bret Malley

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Lesson Info

7. Editing in Photoshop: Flowers in the Foreground

Lesson Info

Editing in Photoshop: Flowers in the Foreground

part of the composition itself. It was looking at it, just sort of one letter eyes off to either side. So I'll do some dodging and burning for the upper right hand corner. But with this area really wanted something to contain us and point us back around and really eventually lead us just to this waterfall where it's the most fun place, toe sort of high can play in any way. So I want that I to kind of investigate. So what, you're compositing. Always try to keep your mind on where you might go with things as's faras the composition itself. Let's take a look at where we're going to make it. So that's the idea on again. I know I'm gonna do a lot with color, so you'll notice is bottom one is to blue. Typically, If I didn't know what color direction I was going to get, I would do color balance and get those really all sinking together perfectly really matching up in this case, you know, again, I'm gonna be doing some effects if we get to it. So I'm not gonna pay too much attention to the col...

or other than getting things in the right ballpark. So in starting at it, let's start with that bottom section here. And that's actually that bottom section will notice is made up of two different parts here. That's see here. If it will update, show us. Oh, Flower Branch. I just have to read. Yeah. Okay, here we go. So we have this section and another section here, so and I happen to have have these already set up in the other one, so I'll show how those air put together here, take off visibility. They're bringing these ones. So I'm gonna start with the bottom one. Right? So you always want to work in depth. Whatever's closest needs to be on top. So in this case, uh, this this 1st 1 it's further behind. Therefore, it's lower than the other one. So layer Order really matters, so make sure that you're just on top of that, So I'm gonna start with this selection for this guy, and you know, it's not. There's a you know, several different ways you can do it. The easiest way for this is just use quick selection again. It seems like that's all I use, but it's not. I use other selection methods as well. But for these sort of things, it works pretty well. Let's zoom in carefully there without it exploding. Okay, Uh, let's see. And this was shot with the Sunni. So it's sharper than generally. What is shooting with my canon, which is interesting. So I'm gonna come over here and just add to this general selection here. So I'm gonna go around doing again the track pet. Uh, okay. And so we'll see that it it got some of that board so I can subtract by holding down command. Uh, let's see. That's anyone Okay? All right. Grab a little bit more, but doesn't need to be exact in this case, and I'll do some refining. So even with the grass, it's doing an OK. I say that minute doesn't different. Okay, Job with finding. And this is gonna be covered over here. So it doesn't need be that that important a Sfar is what I'm selecting. Uh, let's see. But I do want some pieces. So in general, I definitely want to bite into the subject. It's close enough, but there are some little board pieces. If I had time, I would go in very carefully. I always love to actually paint in my selections, you know, manually with it with a brush. But it takes a lot of time and selected mask. It's is there for a reason I'm gonna go into selected mask. Hopefully a lot of processing has to happen on. I'm gonna do a couple different things. Make sure I have it right here. Uh, I want to shift the edge over and add a slight feather on that really should do it for this one. Someone's human, so we can see just a little bit of what is You guys see that halo that's happening on there? Okay. Also in the other Composite Composite before this were there was a trouble spot in there. Didn't quite look right. So, you know, covering things up when you're when you're working with other objects is you have that option is a composite. Okay, so I'm gonna add a feather. Let's do What was I gonna say? 1.5. I say 1.2. Okay. All right. Let's just say one year ago, uh, I'm a shift edge until that kind of disappears there again. 40 between 45%. Should do it. Zoom in a little bit. Okay, so I'm gonna hit OK on there, and that's that's going to do in OK, OK, job with that. Um so I'm gonna hit Create Mass. Great. My ask mask icon. Uh And then if we look at it so that's that's the idea. Come back here. So there's one. So one thing I noticed that it's too light, so I would add some clipping adjustments to darken it down. I would do the same thing for the other one for this appear. And let's take a look at what that looks like when it's it's actually done here. I'll take that off. So again, if we're looking at this one, that's complete, we can see that I'm doing some clipped adjustments, just like I said it'd to a folder that has that foreground flower name there. One way darkened it down, then to where I just made the color a little more control. We can see just added more blue to it. More San shifted things over just in the mid tones. It should be fine. Um, let's say did that for the other. The other one is well and so Let's say we're gonna look just above the top here. Let's get rid of the already baked one and we'll go up to that foreground demo. So there's a couple different options with it, so use your blend modes, whatever you can, but sometimes they don't always work. Eso. In this case, it looked like, Wow, that backgrounds really light high. But that would just punch out if we just change the blend mode to darken. Which I don't know if anybody's watched any recent videos with us or seeing the class, but the blend mode of dark and will take out anything that's light on and make it. If it should. It's on here. You'll see we're not seeing it dark in What is this whole folder on there? Are we seeing it? It should. Let's try and multiply. It's not changing anything. Uh, what, is it gonna work anyway? So, in general, what would happen? I'm not sure why, but there's an easy gotcha. What? That Thank you. Yeah, De select. Uh, thank you. Yeah. We're currently honest elections to command D that whenever you can. Um Okay, so let's see. So in general it would when you do punch it out. It wouldn't quite work correctly. Anyways. It would leave off some of the pedals. So instead, I'm gonna do. Ah, general selection. Kind of I was doing. But we get to use the magic one tool, especially for something that's fairly uniform. This is gonna work pretty well if it works here. I don't know what's quite going on with this. Okay, that is the layer, right? Um so in this case, I'm going to and I want to not sample all there's command d to de select. So I'm gonna pick just some of this this sky out here and this is a tolerance 20%. That's where tolerance really matters. Eso tolerances how sort of liberal it is and, you know, picking similar pixels with it. So is it being really, really picky with one tolerance right where there's only a one pixel variation was it proved pretty tolerant with 100 pixel. So in this case, I'm gonna add to a 2020 pixel tolerance or tolerance, so I wanna make sure that all of that selected, but I'm also going to go in here and again. There's many different selection ways but this works pretty well with just a few clicks. Can probably count them on. And what I'm going to select a little bit, literally. Just, Ah, one or two pixels in on this. So I'm gonna hold down shift so it adds into that pixels and you see, without tolerance, it bit into it quite nicely because there's some sort of phasing that got sort of the yellow side of it. I also want to get some of this blue side, so I'm gonna go over to where there's a little bit more blue and click on that and that will expand those blues a little bit as well. Let's see how that did other places. Yep, so expanded into it just enough. It got rid of some of these pedals here again, people don't know what the pedals looked like before, so there's a lot that we can do that's different. But in just a short order, as we move all around, it got pretty close to for what we're doing. So in this case, I'm going to select a mask. If you this ever happens, or when this happens, it's great, they added. This little invert button I could also do command shift I to invert selection ahead of time, But it's great that it could just have that in there. So a couple things I want to do is to make sure I'm doing it. Tolerance supply. Okay. Yeah. I want to shift the edge inwards and add just a little bit of a feather. Right. Asai usually dio that's like feather. Right. So this is something I would want to clean up afterwards and shift edge as needed. So I'm gonna do OK, and then finally make my mask onto that. Okay. So, again, some cleanup work. For most part, that works pretty well then I could make adjustments to it. Some things I would want to do is is lighten it up in general with some parts. So I might do this everywhere. Oh, and we'll notice that there's some footing. Branches. Right. So this is where we can come over to a mask. It be for a brush tool, command T make sure there's no selection on there. Um, and then paint with 100% capacity changed my brush. Takeoff transfer that way. Everywhere. Paint, no matter what, and you'll notice you see that line that was there as well. That's some digital Greece that that sort of builds up, just like in cooking. It's really is a cooking show. Put us up cooking with Brad Mallie. Okay, Uh, so so with this, Get rid of your digital Greece. Keep your clean kitchen here and with this right then we're just left with that. Let's say only like that for some of the highlights. I can invert this with command I and just sort of paint this in manually. So brush tool, Let's bring back our transfer. And then I can just paint in some of these highlights and paint with X, and I just kind of again channel your inner bob, make these happy little pedals and bring out some of those those highlights of it in there. So before after, Right So you can really, completely customize your light and feel you can do that with all parts. So let's skip ahead here to a little bit of the end. Minimize that. Bring that back up like that. It's done, so this is actually done with a couple different methods for that. But it's similar, and again, there's no one way to do it. I I did a bunch of different selection methods. And that one with the magic long actually was one of the better ways to do that image, which was a little bit under exposed. So, um okay, so there's there's that. So we have the foreground flowers and the road in drums, and this one over this other one here eyes is well.

Class Description

Most photographers have a ton of landscape images stashed away on various hard drives from vacations, hikes, or from actually pursuing landscape photography. These images are just a starting palette for our own imagination as we composite the impossible in Photoshop. Bret Malley will show how you can evolve landscape images into a new fantasy landscape of your making using custom brushes, textures and, other tools within this magical program.

Software Used: Adobe Photoshop CC 2017

Class Materials

Bonus Materials

Bret Malley - final image for Creating Fantasy Landscapes

Ratings and Reviews

Student Work

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Timary Lee

This is a great class. Bret is a terrific teacher and speaker. This is fast paced, however, and he does move quickly through things but that is actually a pro instead of a con to me. I absolutely loved his thoughts about creating your own gallery of 'stock' images, background and textures. I feel inspired by this class and capable of creating my own fantasy landscapes. Thank you!

a Creativelive Student

Very clear, practical and easy to understand tips that make significant and amazing changes in what otherwise will be regarded as a normal photograph - he brings normal to extraordinaire in a very clear and organized set of steps. Very well organized workflow. I loved this class.


This was very good. I know Bret knew what he was doing when he was zooming through his layers, but I found it very hard to follow and really understand everything he was doing. I nice chap and good class.