Creating Photo Planets in Photoshop


Filters and Creative Effects in Photoshop


Lesson Info

Creating Photo Planets in Photoshop

Let's combine some images together in more interesting ways here I'm just going to drag one image on top of another, and I'm going to try to get these to combine together based on the brightness of this image. If you look at this image, you noticed that there's an awful lot of black in it or just really dark content do you remember when we use the layer mask before in a layer mask? Black causes things to become hidden when white makes them show up where we get the opposite of that by inverting something, because if we inverted this picture made a negative of itself, then we would end up with a white dress. And if white makes things show up in a layer mask, we could make things show up where the dresses so let's click on the layer that contains her. I'm going to select on copy, then I'm going to go to the layer that contains what I'd like tio combined with this turning its eyeball on, and I'm going to end up adding the later mask, click on the layer mask. I kind of the bottom of the lay...

ers panel, and I want to pace the picture of her into the layer mask so it controls where this picture shows up in order to do that. You need to make the layer mask visible to make it visible, because right now I can't see it over here on the main image, you can hold on the option key and click on it, then as long as it's visible like that after option, clicking on the thumbnail on the layers pound, you can pay something and do it. If you want to see the effect of that, just stop viewing the layer mass by option clicking on it again. And now you can see that the brightness of that image is being used to control where the shows up got it largely in the background, though I would like the exact opposite of that. I wanted to mainly show up inside here, so all I'm going to do is with layer mask active in my layers panel is I'm going to invert it, so we have the exact opposite in there. If you watch in the layers panel and you see where the black dresses we should end up with white dress now and white in a layer mass makes things show up so I can start seeing it showing up inside of this, the only things that showing up in too many other areas, so all we need to do then is adjust the contents of the layer mask. And in a later mask, black hides things. And if I look at the layer mask right now in my layers panel there's not really anything that solid black in there so in levels, thie upper left slider forces areas to black, and if I pull it in more and more of the image should start disappearing, and we can kind of clean up the look of the image toe limited mohr to where I would like it, which is to her, and I kind of like it in that shadow behind her. You could also move the middle slider to control any transition that might be there, and then you can also manually paint. So if I don't like the fact that it's in the dark portion of her hair, all I need to do is grab the paintbrush tool paint with black and wherever I paint, it will be removed. So now we can have anything we want in that mask have it fill in the what used to be the dark portions of the image, and if I want to reposition it, you have to be careful. If he used the move tool, you'll find that you moved the whole thing and it's like not gonna line up anymore, but if you come in here and you click on this little link to turn it off now, if you make this part of the layer active by clicking on it, you can reposition this and that will stay lined up with what's under it, so just turn off that little chain symbol, make sure this is clicked on, and now I could use the move tool and see about movie not to wherever I would like and if it again there's any area where I don't like it, I end up just painting with black and maybe I don't like it within the shadow so I can paint it out, and then we could also invert the mass to get it in the opposite area, but I end up looking for images that have either a large area of white or a large array of black to be able to use in this way where I can use it as a mask and therefore limit where a particular image might appear let's see trying to think we have eight minutes left should we dio got like whole bunch of things I could do, we could keep going for hours and all right let's do a little puller planets. I want to show you how we're in a lot of advertisements these days and magazines I see in effect being somewhat popular in what it is is to create something that might resemble a planet here is one example that has not been cleaned up and I want to show you how can you do that? How should you think about it as well? Usually they'll end up cleaning it up so you don't have these artifacts in the corners and such I'll show you some examples where all he did was I took a image and I tested it I didn't do any of the steps that we're going to be doing to make it look good I just was testing to see with this particular image be appropriate and just see what would it look like when I bend all sorts of things now you'll notice in most of these there'll be a seam in here you see the scene right there and part of the technique will go through is retouching out the scene you see the seam again another seem there blatant seem so that's going to be part of our thing there's our seem again so let's figure out what do you do to create those and how do you avoid the seem so I'm gonna open an image to use? Will you end up using this guy? Close out some of the other images we had open and the first thing is we need a square document in the end but we want to start off with more of a panoramic image because it's going to end up distorting the picture when it ends up spinning it around, eh a circle and if we end up with starting with the normal image, it'll be even more distorted so I'm going to start off with kind of a panorama looking image what is going to do is it's going to connect the left edge of this picture with the right edge imagine you bent it all the way around just like a uh asian style fan you know what you found your face with how you can spread it out if you could spread it all the way around the two ends would touch well imagine you have your picture printed on that and as you spend it out in the end the two ends touched well that's going to create a seam where whatever is on the right side of the picture if it doesn't line up with what's on the left side of the picture will see a blatant scene so first let's go and look at that scene what's make it visible here will be that with the filter called offset offset means just move when I choose offset there's just a setting here I'm going to change called horizontal and I'll move it around until the the edge of the picture looks to be somewhat near the middle doesn't have to be exact the main things that's not near the edge of the picture the all that did was move it over the number of pixels that's typed in here then I wanted to act as if this is printed on a conveyor belt and whatever went beyond the edge just looped around and and filled in the other side and I use a setting here called wraparound to accomplish that, so I'll turn on wrap around and that's what will cause whatever went off the edge of the document to fill in on the other side and there is where I can see my seem you see that blatant seem now? This was nice of these mountains were really close to the same height and that's what's important is to find an image that we're on the left side of the image and the right side of the image whatever's there is about the same heights and would be close to line up so it's not just any image this will work with and in this particular case ended up looking at images and finding ones or the mountains and the horizon line where brought the same height on both ends of the picture? I mean and then use the spot healing brush to try to retouch out that scene. I'm just going to paint across it like this and I'm going to try to avoid important content or if I hit important contact going completely covered up so it cannot try to deal with it there's going to paint like that and see if it can do it didn't do too bad and some of these areas but I usually will spend more time fine tuning this in this particular case, I'm not going to spend a lot of time because we only have a little bit of time left in this session, but right now I'd spent a lot of time getting this smoky stuff to kind of naturally progress over to this smoky stuff for now just try one big swatch and see if it will be nice enough to give us some sort of that's not terrible some sort of transition that looks more realistic than an abrupt transition, but usually they'd make that even better then after we have largely retouched out that seem next we need the document to be a square. If it's not a square to begin with, then we're going to end up with an oval instead of a circle friend result so to make it a square what I'm going to dio is but also remember in our sky can you tell us guys darker right here, then elsewhere there's going to be a dark spot in the end result? Then I would usually even out the brightness right there you could make an adjustment in there or you come in here and if I this isn't the best tool to use but it's an easily accessible one over there bright on that a little but if there's any thing where it's not even in brightness you're going to see it in the end result so I'm going to go here tio image size and when I'm in the image size I'm in a copy the larger of the two numbers that are in here either the width of the height copy what everyone's larger then there's a little chain symbol here which makes it so the aspect ratio of her picture remains consistent going to turn that off by clicking on it and I'm going to select whatever number was lower and I'm gonna pieced in what was the higher number I'm making it a square by taking the higher number and getting in both fields in order to do that the chain symbol must be turned off and this check box called re sample image has to be on that's usually on by default click ok and in a moment we should end up with a square document that looks stretched because we just took a panorama and made it uh square by stretching it then we need it to be upside down because whatever is at the top of the document is going to be the center of our planet and whatever is on the bottom of the document is going to be the quote to the sky and so this doesn't goingto be right so we're going to take this in simply choose see image, image rotation flip canvas, vertical that just means make my picture upside down now we've done all the prep work we need and next time you apply filter the filter is called polar coordinates and with polar coordinates there are two settings. The default should be rectangular polar, but I played with this last night, so it was on the other one and let's see what happens now when I click that we just made a planet. Now there is a seam, and here I think it's right about here and that's, where this kind of smoky ish areas suddenly seems to changed a little bit that's where I didn't spend a lot of time with retouching also this part of the sky right here just looks a little different color that's where I brighten that just a little but wasn't overly careful, right? There was where our scene was, we retouched out had we not retouched out, we'd see a crisp one there. Sometimes after doing this, I want to change it a little bit more and also apply something called pinch and I'll tell it to pinch it about fifty percent and that just means pull the middle in, you see what that just did if I choose undue pinch but that's how we can make a little planet, what do we do? We did offset so we could see the seam retouch it out we stretch the image into a square in, flipped it upside down. Had we not flipped it upside down, I'll show you what it was a looked like, and then you'll realize why polar coordinates this is if we didn't, will have a donut, uh, it's. Now the skies in the middle instead of the outside, so we needed to flip it. Otherwise, this would look pretty cool, though. If you re touched at the outer parts, you put some trees out there or something.

Class Description

Photoshop can do more than bring out the best in your photo-realistic images – it can be used to produce wildly imaginative images, as well. Let Ben Willmore show you how it is done in Filters and Creative Effects in Photoshop.

Ben will demonstrate how Photoshop filters can produce an unlimited number of creative effects including: painterly treatments, faux infra red, cross processing, antique treatments, double exposure effects, and more.

Software Used: Adobe Photoshop CC 2014.2.2