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Creating Fantasy Landscapes

Lesson 8 of 8

Editing in Photoshop: Global Adjustments and FX

 

Creating Fantasy Landscapes

Lesson 8 of 8

Editing in Photoshop: Global Adjustments and FX

 

Lesson Info

Editing in Photoshop: Global Adjustments and FX

this next part. So here's Here's what was before and here's what in my mind I knew was going to do so once again. Usually earlier on, I will apply some blue filters so I could see where I'm leading up to, and that will change the look and feel the composition with what you dio. But in those cases, especially when you having much limited color palette something it's more monochromatic, or at least analogous. You can pay more attention to the contrast lights and darks in the tones or at the totality of the different pieces on. So you have to sort of ignore the color that's happening and just look beyond that. So it's a lot of pre visualization, but it's it's one in the end. So let's take a look at some of the things that I did for this. So in general, I think have a formula so weakened we can actually try it live here. So I typically like a warmer sort of fantastical field. But this one I went cold, but I didn't know that at first. So the first thing I do to really change color and bring...

things cohesively together is create a blank new layer. So if you're interested in sort of the effects order that I do here, Step one would be new blank layer hit G for my bucket tool again If it has the great into a whole downshift in that way, you can toggle through the Grady instill you get to your bucket tool then typically, I'll start off with some warm color, some orangish yellow, some kind, something bright. Then I'll hit you already have G. So I'm just gonna spill, which is great with a bucket you can't miss, right? You just spilled the whole thing's there. Um and so this is where I would change that color to overlay it would be too much. But this is typically, you know, we'll go and really warming something up and bring the A pass ity down toe, whatever it's going to be. In this case, the yellow was doing some very interesting things with the blues of the ocean like No, this is a blue world in my son's like blue Yeah, make it blue. Okay, now I have to go blue eso to do that Rather than spilling another color, I get to literally uh, change it, alter it to taste. I can create a new human saturation adjustment. This is so cool. You clip it to it and you can shift it to whatever color you want. So spill a color, right? Doesn't have to be the right one because we're in photo shop, right? And you can, in this case, I 180 degrees to the left to go blue. In that case, it just made those blues really rich and so I can increase the capacity right to something more intense There. Sunny ways, Yes. Spilling the color. I always play with overlay at the very end just to bring more cohesive this together also. Oh, let's see. Did I mention here all typically start with a black and white adjustment to limit that color as well. See, if I do that in this other version, I go down. Yeah. So the first thing I really do is is limit the color palette and then spill it. So in that case, what that looks like, let's take this off here. New black and white layer and it's clip just that we don't want either those clip to that, Um, if you want? Multiple? Was that coming Option? Shifty? No. Come in often, G. Anyway, there's a really great shortcut to take those off. Okay, let me delete one of these. Okay, So with this one little to black and white, right? Uh, unless you don't see color, then it's perfect. It's going great. But otherwise, I usually use us just to bring the color palette again. A little more neutral, little more cohesive. This will help a lot when you're trying to sync all these different images. Even if you did a lot of color correction and you got things just right. It's not always gonna be what you think it is. And you'll find that out when you limit that color palette in the end, with a black and white adjustment layer or d saturation black and white. Why choose this one? Sometimes I want to make certain colors a little bit darker. So this gives me a little more playing with many ways. So I create a black and white adjustment on this one, and then I add in the color, see that I clip it overly. Thank you. Black and whites still clipped to it. All right, all right. And then I added the adjustment, right Here we go and we want to clip it that way. It's just the color that has the overlay. Then we can apply whatever capacity that we want to this to get it just right. That's the idea. We'll see. What's the the next thing that we have here? We look at the other one, so I also do some. We can do this. Just take all these off here So some dodge and burn. So I always try to be aware of. I flow in general, create a blank new layer, change the blending mode to overlay just kind of how we did with the color. And I'll just paint with black and white at a really low opacity because too much capacity just right too intense. You have to make that sound effect to Is you applying blast? It s oh, we have ah, overlay blending mode. I call this one Dodge because it's lightning right. Have another one that separated that's burned. It's also set overlay eso these two together one just creating a Morven yet again. I want people to play go from here being led around over here shot over here in the back down. Right. So I really want to kind of control the I flew with this. And so you can do that with doing these sort of dodging burns with this one. I'm or stuck right over here, just sort of left hanging off. So by doing this, I can bring it back over and yet still keep it contained. A curves adjustment, right? It was just a little bit too dark in general. So I just did a general sort of boost while still keeping the darks a little bit on the darker side. And then finally adding a vignette at a little more intensity to make sure that we're staying in there. Um and that's that's the idea. Let's see when final curves to rule them all. Just little fine finessing. But that, in a nutshell, is how address this image was created and how I might go about other fantasy composites. Right where you're taking your own landscape images of whatever you have and then doing something imaginative, something that you're inspired to just create you create your own world so cool this one has missed gravity. Who knows? You know. I don't know what else is happening. Um, yeah. Any questions you guys have? This is more of a general question. At the very beginning, One of the images that you showed us there was a rainbow towards the left hand side. And I'm curious where the that was taken from an image or whether you created that rainbow full. That particular composition. Yeah. So that was an image. You can create specialist layer styles. You can create various effects, including rainbows of things if you have a selection. But that was actually a perfect one from anybody. Goes to Yosemite, Nevada falls on you go basically any time of the day and you'll see these beautiful rain bows from up above. And so it's matching that perfect angle. I was looking down low on something, had the right sort of look, and it had the darkness behind it that I was gonna put behind that anyway, so I could leave some of that back on waterfall, and it matched perfectly with an ethical waterfall. So in that case, finding all the rainbow shots that I have, I don't have very many rainbow shots. They're so beautiful, right? You're always capturing eso, you know, using those just sort of fun, fun shots, this case from a hike. And that was that was perfect. You can do a lot of things just purely imposed or from stock, right? Don't be limited by what you don't have yet. So either go out and shoot or find the images that are appropriate, or you can create a lot. I mean, um, you know, there's a lot of people that we saw during photo Shop week that can create things. Amazing things from nothing. Right? So it is possible. I just like to use my archive. That's my style. So great question. You know the question. Yeah. This is from Marta. Who says, Do you ever feel overwhelmed with very big composite projects? And if so, what? Do you do that? Yeah. Just abandoned. No. Yeah. No, it happens. Right? Because you're working with all this immensity, Especially that halfway mark where things just look terrible, right? And, you know, it's funny. My son, who's right. 4.5, he'll come over and that's like that doesn't look good. Daddy, That doesn't look right. I'm like, it's not done yet, you know, I have to tell him. That s so you have to tell yourself that too. Is your working on these immense composites? It's not finished until you put the final effects on. So you really have to bring a lot of hoof in your own imagination in seeing what its potential is. And so that's that's the part that just takes practice. Start small, right? Don't necessarily start with these. The's huge, immense ones do ones where it's just a couple images, right? Maybe a waterfall that couldn't actually be there with some cliff where something else and see, even get those needed Just right. Um, I get not to put my book too much, but there's there's a chapter in there with that, the final on With the Rainbow and all of that. That's the final chapter in the book where I go step by Step on how that one was created. So, you know, take a look at how other people made it but also start small. That was I had a summer, right. I'm gonna learn Photoshopped this summer, right? And so I could do that. Uh, but a lot of times, working in little pieces, breaking it down into smaller, manageable spots like I'm gonna match that color with that one right and just work on that. Don't get It's hard to say Don't get overwhelmed, right? But break it down into smaller, manageable bites and it's Ah, it's a lot easier if you're working on it. No, it's a process. Don't let your four year old say that. It doesn't look right. Just say yet. Look right yet it's getting there. So yeah, great question. Love it. All right. Well, can you tell us again where everyone can follow you? Everyone confined you. I think you have a slide for that. So again, Brett Malley Bret with one T If you goto malley dot com that should link Teoh. There's a little Facebook link. Don't search to spread Malli and try to do a friend request. I try to keep that just family, but there is a Photoshopped with Brett Malle or breath Molly Photoshopped. Put those in your words on Facebook. That's a good way to follow me with whatever I'm doing or when the books could be coming out or might do little screenshots of something or little videos of who knows what. So photo shop with Brett Malley For Facebook, that's probably best way

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

Reviews

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.

Lynda
 

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.