Using Photoshop® to Extend Images

Lesson 5 of 5

Extend a City Scape in Photoshop®

 

Using Photoshop® to Extend Images

Lesson 5 of 5

Extend a City Scape in Photoshop®

 

Lesson Info

Extend a City Scape in Photoshop®

So this is overlooking Los Angeles. And I only had this one piece. And I had a big banner to do for CreativeLive. So, a lot of stretching. Now that I've told you where the stretching is, can you see the stretching? Okay. So you just grab what's there, stretch it, and then you can see me over here dancing around. Okay, too stretched, and then you just start grabbing parts, and go, hey look at this. One part that looks good. This 15%, look here. Don't worry about what's behind the curtains. And then, okay, you start darkening it in, and then lighten up that. So now that you know the tricks, you can start recognizing, huh? Alright, so that's that. This is the one we're gonna do. So a whole lot of copy and pasting. I tried to do, what was it, perspective warped, or perspective transform. Which is, you lay out a grid, and you start cutting and pasting in this grid, and I couldn't get it working so well. And I gave it a whirl. I really wanted it to work. I wanted to learn it. But, it's just,...

it's good if you're working inside an aspect ratio, and you work inside of it, but when you extend out of it, you lose control really quick. So, I gotta go old school on this, and start, you start drawing perspective lines like in art class, like one point perspective, like here's the end of your street, and then here's all your buildings. It's basically that, but all the windows have to line up. All the curbs line up. Not quite the cobblestones, but ... So we start with that, and just copy and paste. Start banging them in there. Oh, let's get to it. So again, start to finish. Here's all that empty space. I'm gonna use perspective lines. Everything will kind of go on that grid. We're gonna look for spots that aren't cool, and make them cool. And then finishing touches at the end. Hide this. Alright, cities, here we go. Open, Photoshop. Our canvas is found here. Holding down Control, touch touchbar, boom. Canvas size. We want 5250 by 3000. F. Alright, so our perspectives are going to be ... I'm gonna use a path and draw a couple of point lines. Definitely gonna need that one. I know I'm gonna need this one. And I want that one. And then when I do paths instead of leaving this thing live, if I were to go ahead and click over here, it's gonna connect that live point over here, so don't do that. So then just click off of it, and then start a new path. Paths are rad, dude. Once you get friendly with ... Once you get with masks, and then you get good with paths, that's another milestone. And then between the two of them, you can really do some damage. That, that, that, that, that, and I think we need this one too. Yeah, doing the exact same thing I told you not to do, aren't I? Okay. So, we gotta make this building on the left continue on. We got three windows to work with, so I'm gonna grab those three windows, make them bigger, right along those paths, and then mask them in. Gonna do it at least once. I think I gotta do it twice, but not a third time. And then at the end, I can kind of cheat it out. So, I make my perspective lines. Here's a new perspective. S-P-E-C-T-I-V-E. B for brush. And I'm gonna go here. What brush, this one. Green, go, go. That, paths. Stroke it. I'm gonna stroke those paths with a brush. That's why paths are so cool. So you can line up paths and then airbrush them. So there's my perspective lines. So I'm gonna grab ... Oh, what I do need to look for is this intersection right here. So, with my brush, this is where I'm gonna line up. I wanna look for that. And this is one, two, three windows. And I'm gonna line this corner up right here, with this, and then transform it. And then what I'm looking for is the bottom of this windowsill. When it gets big enough and starts lining up with this, then I'll know everything's to size. Then it's just a little tappy, tappy, tap, to get it in position. Mask it out, mask it in. So there's this pup. M. Grab all this. Command-J. I'm gonna grab this is going to go ... Ah crud. Paths. B. Perspective, paths, stroke that. There, paths off, there. D, there. And there. Good. M. J. V. Move that to ... So here's the corner of my good window. I'm gonna put it where the other one is, right there. And I'm gonna free transform this. This little inside, the free transform fella, wherever that is, you can see, leave this point, and transform everything around it. So it's good for rotating. Also perspective, but what we want it for right now, is I'm gonna say, I'm gonna hold Command-Shift-Option, I think? Ah, no, Option-Shift, and we're just gonna transform it, but this point stays right there. We lock that baby down, yeah? So I'm just gonna make it big, and when I see these windowsills line up with that line of the other ones, then I know I'm close, and it's probably good enough. So there's that one. So that's our left one. I'm gonna mask it out. Option, mask out. Turn that off, B. Hitting Control, touch on that, bring up this fella. Scrubbing it out. Ah, it's gonna work, look at that. Oh, isn't that nice? Yeah. Hey. Alright, there's that part. Okay, perspective. Now, there was that one, there was that one. Here's our new one. Make sure we're not drawing on the wrong one. Right here. I'm gonna wanna hit right there. So I'm gonna take our already floated one. Float it again. I'm gonna grab ... Deselect this one. Take that one, and move my one good window to the new spot. That goes there. I'm gonna free transform it again. Lock that down. And again, we're gonna look for these, the bottom of these windowsills, to line up with that perspective line, and it should hook up again. Not bad, not bad. Now from here, because it's on the edge, and we're gonna vignette and do all kinds of stuff, we can kind of cheat it. So I'm gonna just stretch this part. Now these are off, I can hit my perspective tool again, like the bottom, like the leaves, you always kind of make it bigger towards you. Works on sides as well. Command-Option-Shift. Hold this, and it's gonna just stretch out the bottom, and bring that into true. Bang. Wow, I don't even think I gotta mask this one. Hey. Alright, left side's done. Left. Alright, let's do the other side. Oh, save this. Drew, you wanted a copy of this too, man? Alright, alright. Made you that, D. Summer camp last- Appreciate that. Yeah, just for you, bro. Put Drew right on the side of it. Alright. So grab this. I'm gonna need that part. Command-J to float it. Bring this over here. Alright, so, that's gonna be our part. So this is this line. This is this line. And once they both hit at the right spot, it should be in perspective. Uh, I got lost. Right, this goes here. So T, lock that down there. That's pretty good right there. That might work. I'm gonna do this in ... Yeah, let me see if I can do it. I'm gonna cheat it out and get her done on time here. Alright. So there's that. There's our whole fella. Ah, that's the right side, R-I-G-H-T. Mask it out. B, mask it in. Alright, bring this all the way in here. Yeah, let's leave it. Alright, so, next part we gotta bring in, is get this eaves happening. So I'm gonna grab part of that. Right, M. Here's that. Float that up. That'll go on top, so, we got a bulk of our stuff is happening. Our left is down, our right is down, now we just gotta tidy up right here. We can kind of let everything be messy behind it, because we're gonna have real sweet ... The stuff that counts is gonna look good, and then we'll kind of fudge in behind. Here's our perspective lines. Here, is that the one we wanted? Yeah it is. So then we can just lock this down, right on that line. Actually, we can probably move that up. That gonna be good enough? Nah, that's ... I think what I wanna do here, just leave that there, and just perspective it from there. Boom. Mask it out. B, mask it in. Okay, and then the last part is this other side, or the second last part's the other side of the building. So I'm just gonna grab this whole bit right here. Take off that. Float that. Left ... Left upper sky two. And then, this one also has these windowsills, so I'm just gonna see here. Command-R. You can bring up a ruler right there. I'm aiming for right there. And then grab my whole piece. Just scooch that up. And then I'll just mask that out. B, mask it in. Alright, so far so good. Let's do the alleyway real quick. Command-J. Command-J. There's that. Here's our perspectives. We go ahead brought that in there. And we should see these corners and curves and stuff, should follow right along those lines. So I'm gonna say, take it from my one point perspective right there, and just drop it all the way out. And I don't think I need a whole bunch. There's some of it came with the walls, but if it gets a little goofy ... This would be the deck. Mask it out. B. Mask it in. There we are. Alright. Perspective, we're done with that. Save it for Drew. And let's make ourselves a new notes. And look what's goofy. L, B. Alright, so, I'm seeing some goofiness here. These are step and repeat. On our practice, it kept getting this light, so, ah, you know what? Let's take that out. Um, this is goofy. Not bad. That's the best one we've done so far. Holy smokes. Ah, okay, here we go. Throw that away. Command-Option-Shift-E. And then we're gonna go in, and just circle with the lasso. And because we made a action, content aware fill, blam. Oop, not blam. Go over here, blam. Oh, for crying out loud. L. Boy, it's, ah, keeps on wanting to go down here. Alright, so, we're gonna have to do this old school. J, just clone it out for crying out loud. Geez, you don't wanna see me moaning. Alright. Now here's the other thing I was seeing, was ... I wonder if that does ... Eh. This is kind of looking goofy. Dark and light, so I'm gonna throw down some darkening, some lightenings. And with a brush on 20, 20, I'm just bringing some darks here. Maybe 14, 14. So let's darken this down. 21, 21. There's that. Darken this, darken that. And then the lightening parts, so you can just go in here and touch that. And then I'll ... Drew, when you asked me how to make the sky blue, and match the color, yeah? I'm gonna do that with this brick wall. So you got this hot spot, and this faded spot, so I'm gonna go ahead and hit M. Make a selection. Option, bring up hue saturation. This is gonna be brick color. B-R-I-C-K color. Colorize it. Not green. Not blue. Over here to brick. Little warmer, little warmer, little saturated. And I'm just looking to match that color that's already there. And then once I got that, close enough, all, Option-Delete, fill with black. Invert that. Deselect, B, I'm gonna run like 30%, 30%. And just wash that in over the whole thing. And that should straighten out those hot spots and those faded spots. And, once that's in there, then you can look at all your darkening and lightening, and really start tickling that if you want. And you can really start evening it out, and that will stay right with you. So there's darks. There's lights. Boom. And let's merge all, save for Drew. Command-Option-Shift-E. There's our merge. Make a content, we'll convert. Window, filter, alien skin, exposure. Put some loveliness on it. Yeah. What kind of frames we got in here? Then you just start playing. Whatever looks good. Sure. Add in some dusty bits. There you are. Do that one. Hit apply. One more in the books, my man. Just like that. Pretty awesome. Four? That's right, all four of them. Look at the time will ya. Will ya look at the time? Nailed it. Hey? So there's our before and after. There's before. There's after. Do that slow again. Huh? I can't go slow, bro. I don't move slow. You need someone slow, you need someone else for the job. You call Raible, you get Raible time, bro. Um, so, here, let's walk through this. That's what we started with. There was our right side. That was all done in one big fell swoop. Our left side was ... We did one middle, and then did the whole thing, and then stretched it at the end. And then this was our right side eaves. That was our left of our building. And this was the deck. We just smoothed that in. Then we merged everything, and did a little content aware. Or we didn't, because it messed up on me, but we just went old school and cloning with it. And we darkened in the hot spots on that wall. Lightened in the dark spots. Put a brick colorization over the whole thing. And then went up to alien skins. Exposure X three. And got the lovely hobby ultra killer, extra special. They make good stuff man. I gotta tell you. Those guys, 25 years, I've seen a bunch of filters, and they're like, eh, that's not bad, or, ah, I can work with that, or then they went out of business, or doesn't work with the upgrade. These cats dude, they've, they may- and they make one that's called Alien Skin Eye Candy, that does chrome. You can take a logo. So as soon as you're like, hey dude, can you do that logo thing? I was like, ah, alright, give me a week and a bunch of money. And you sit there and you load up the logo, and you go click, and it just comes out all chromey, and then you just start from like ... You're already pretty much there dude. It just works like clockwork.

Class Description

Sometimes, in order to achieve the perfect composition, we have to extend our images. In this class, Simon Raible will help you master transforming, liquefying, rendering, illustrating, Content-Aware and vanishing point techniques, which are valuable not only for extension exercises, but innumerable other photo manipulation challenges as well. You’ll learn how extending tasks can be prioritized from large to small to best economize your time, and you’ll discover several professional-level techniques to feather your artwork in problem areas.

Reviews

ValeriaArdiyants
 

I LOVE this class! Let me preface this by saying that it's not for beginners. IMO you should be at least intermediate-advanced to keep up with the fact that the instructor assumes you understand how layers, channels and shortcuts work. Having said that, he's a fantastic educator. As someone else mentioned, it's refreshing to see someone who is teaching exactly what the course name promises, he doesn't hold back and he doesn't try to sell 3rd party products. It was interesting to learn how he goes about his edits considering there's 1000 ways to do one thing in Photoshop. I would love for Creative Live to give Simon a full course on advanced Photoshop techniques since he's funny and clearly knows his craft. For the price of this course, I highly recommend it!

Zolti
 

Dude, I really like this instructor's style! He is funny, he explains what he does, doesn't spends time selling his own business, like many instructors do here on Creative Live. The class itself is right on point, explaining how to use the various tools to create way bigger scenes from scenes you already got, but maybe they are not big enough to fulfill your needs. The use I saw in this class is, for example, when you do a big panorama, and somehow part of it is missing, then you can complete it with examples presented here. Also, recommended for making posters, or big wallpapers. If I understood correctly, the attached files contains step by step instructions how to achieve exactly what he does, which are handy for practicing. He is definitely one of my favorite instructors from Photoshop 2018.

Paul Vincent Farrell
 

After the incredible value of his Business of Professional Photo Retouching class, I was itching to gain some hands-on Photoshop instruction from Simon Peter Raible in this class. I honestly don't think I've ever had more "wow!" moments or learned more immediately useful techniques in my many years of watching CreativeLive courses than in this class. I've immediately been able to do things I'd never known in 15 years of using Photoshop. Simon is also such a laid-back, relaxed instructor it's a pleasure to learn from him. An absolutely must-watch course.