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Matching composite images


From:

Photoshop CC Selections and Layer Masking Workshop

with Tim Grey

Video: Matching composite images

Creating composite images obviously involves taking a little bit of artistic license. Creating a scene that didn't really necessarily exist, and that might even be impossible to happen in reality. But that doesn't mean that we don't want the two elements to blend together smoothly. Part of that involves creating a high quality mask that perfectly defines the subject. But part of it also means making sure that the subject looks like it fits in its environment. In this case, for example, I have lots of very warm colors and yet the turn appears to be slightly coolish. It's color doesn't seem to match the environment and, so, I'd like to change the appearance of the turn.
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  1. 1m 27s
    1. Welcome
      1m 27s
  2. 46m 26s
    1. Selections, alpha channels, and layer masks, oh my!
      5m 48s
    2. Anti-aliasing and selections
      6m 6s
    3. The case for not feathering selections
      6m 50s
    4. Adding, subtracting, and intersecting
      7m 31s
    5. Inverting a selection
      3m 4s
    6. Mixing and matching selection tools
      2m 32s
    7. Using Deselect and Reselect
      3m 47s
    8. Temporarily hiding a selection
      2m 7s
    9. Saving and loading selections
      6m 14s
    10. Using the cursor for selections
      2m 27s
  3. 51m 42s
    1. The Rectangular Marquee tool
      8m 24s
    2. The Elliptical Marquee tool
      6m 2s
    3. The Lasso tool
      4m 55s
    4. The Polygonal Lasso tool
      6m 27s
    5. The Magnetic Lasso tool
      10m 9s
    6. The Quick Selection tool
      5m 33s
    7. The Magic Wand tool
      10m 12s
  4. 38m 38s
    1. Selecting the border of an existing selection
      1m 50s
    2. The Color Range command
      7m 19s
    3. Focusing a Color Range selection
      2m 55s
    4. Selecting faces with Color Range
      2m 31s
    5. The Pen tool
      5m 40s
    6. Selecting by luminosity
      3m 39s
    7. Selecting from a channel
      6m 13s
    8. Transforming a selection
      4m 4s
    9. Quick Mask mode
      4m 27s
  5. 50m 46s
    1. Combining layers into a single document
      1m 49s
    2. Layering images manually
      1m 55s
    3. Assembling a panorama automatically
      3m 1s
    4. Advanced blending
      4m 0s
    5. Painting to hide and reveal
      3m 24s
    6. Creating a selection-based composite
      2m 43s
    7. Select, then paint
      3m 28s
    8. Advanced mask cleanup
      6m 18s
    9. Creating an edge-fade effect
      2m 23s
    10. Using a filter to add an artistic edge
      3m 6s
    11. Using a brush effect to add an artistic edge
      5m 30s
    12. Transforming a masked object
      1m 51s
    13. Unlinking image and mask
      2m 53s
    14. Matching composite images
      2m 17s
    15. Adding layer effects with masks
      2m 21s
    16. Reviewing layer masks
      3m 47s
  6. 28m 58s
    1. Painting in an adjustment
      3m 20s
    2. Shades of gray
      3m 14s
    3. Using the Gradient tool
      4m 4s
    4. Adjusting a selected area
      1m 42s
    5. Creating a vignette effect with masking
      2m 13s
    6. Using a layer group
      3m 34s
    7. Working with multiple masks
      4m 5s
    8. Refining an adjustment mask
      6m 46s

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Create a Layer Mask in Photoshop - A Photoshop Tutorial from lynda.com
3h 37m Beginner Jun 25, 2013

Viewers: in countries Watching now:

Learn how to use selections and layer masks in Photoshop to create composite images and apply targeted adjustments. After covering the key concepts behind selections and exploring Photoshop's selection tools, Tim Grey delves into a variety of advanced techniques that will help you make accurate selections, create seamless composite images, and apply adjustments that do exactly what you want them to do.

Topics include:
  • Basic concepts
  • Selection tools
  • Advanced selection techniques
  • Creating composite images
  • Applying targeted adjustments
  • Creating a vignette effect with masking
Subjects:
Photography video2brain
Software:
Photoshop
Author:
Tim Grey

Matching composite images

Creating composite images obviously involves taking a little bit of artistic license. Creating a scene that didn't really necessarily exist, and that might even be impossible to happen in reality. But that doesn't mean that we don't want the two elements to blend together smoothly. Part of that involves creating a high quality mask that perfectly defines the subject. But part of it also means making sure that the subject looks like it fits in its environment. In this case, for example, I have lots of very warm colors and yet the turn appears to be slightly coolish. It's color doesn't seem to match the environment and, so, I'd like to change the appearance of the turn.

I'll go ahead and add a photo filter adjustment, for example, to warm things up. So, down at the bottom of the layer's panel I'll click on the add adjustment layer button. And from the pop up that appears I'll choose Photo Filter in order to add a photo filter adjustment layer. You'll see that I can add a warming filter for example, or a cooling filter. But as I apply these changes, you can see that I'm affecting the entire image. I'm affecting both the bird. And the background. I only want this adjustment to affect the bird.

The whole point here is to change the bird so that it better matches its surroundings, not to change the overall image. In this case, I think I want a warming filter, so I'll go ahead, and choose, for example, the 81 warming filter. I can then adjust the intensity of that effect, but still you'll notice that I'm effecting the entire image. Instead I want to put this adjustment layer, my photo filter adjustment layer into a clipping group with the turn layer. So with that photo filter adjustment layered directly above the turn layer On the properties panel I can simply click the first button at the bottom of the panel, in order to add that photo filter adjustment layer into a clipping group with the turn layer.

You'll see that I have an icon indicating that this layer is in a clipping group with the layer below. And now as I adjust the intensity of the effect, you'll notice that only the turn is being affected by this adjustment. The background is not. So I'll dial in a little bit of a stronger adjustment here. So that we get a bit of an orange glow on that turn. And now while it might be a completely fake scene created from two different images, at least the overall color is matching up.

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