Join Uli Staiger for an in-depth discussion in this video Placing the sky, part of Photoshop Artist in Action: Uli Staiger's Perestroika.
Now it is time to put in the new sky. It's easy to do, you just go to File > Open, and open the sky. Or you do another thing. Because if you do so, the file is going to be opened as a second file, it's not going to be opened as a layer inside this image. So this is the reason I go to Place. I just place the sky. So, you Place, go to the Sky right here in the Assets, sky.jpg and say Place it.
Yes. And as you can see, it is placed directly inside into the image, and it is placed as a Smart Object. In the Layers window, it's not visible already that this is a Smart Object. But you can guess that is a Smart Object because you can see those diagonals. And as soon as I say yes, you can see now here that's the typical sign for a Smart Object. Of course, the sky is not good (LAUGH) in this position, we need it right here. And now we can just move up a little bit. Like to this position, something like here.
Okay, of course, we don't need this old sky here so we have to get rid of this sky. And there are different possibilities to do so. I want to show you one. So I just go to the field, click on the field. Click on a New Layout Mask. Take a usual brush, and now I could just work myself through this image, of course not using white but black color. 100% Opacity. And this could get rid of this sky here.
There's a different way. We don't do it this way because I don't like this tip. I don't like to work with a normal tip. So I go to the Brushes and use a completely different brush. In the Brush Presets, you can find something that's called the Faux Finish brushes. This, so this is what I want to use. I want not to append them, I just want to take them. And one of these brushes is this one, it's called the Vining Feather 2, and this is one of the brushes are like really best. I really like this thing.
So I click on it, go to Brush, and have to shape it a little bit. I want to go to the Shape Dynamics. Click on them, then click on the word Shape Dynamics. So, then everything opens here, and the size jitter is not, doesn't have to be that big. The medium diameter should be around 50%, the angle jitter is important. Because if you sit this to zero, then you have this, and this is too similar. If you just change the size but you don't change the direction, the angle.
So please, go to an angle jutter, something between I would say 10 and 20, 15, 14, that's fine. The roundness jitter can set to zero because we don't need to change the roundness at all. But I also want to go the scattering because this is a little bit thin. As soon as we go to scattering, we can increase the count. And now it looks almost like a cornfield. This is what I wanted. I go back to the brush tip shape and just turn it around, so I just give it an angle of something like. Yeah, perfect.
127 degrees minus. And so now, this is the brush tip I want to work with. Of course, it's a little bit of work to do so, right? But as soon as I start brushing here, this is what I want to do. I don't like the horizon the way it is. It's too regular. And using this brush tip, it looks like a real cornfield. I know it takes a little time to create this horizon. But of course, it's worth it. So take your time and just paint the horizon with that brush tip.
And make sure you use the Layer Mask. Make sure you have black as your working color, and make sure you have an Opacity of 100%.
- Creating the basic panoramic file
- Placing the sky
- Masking the horizon by using a path
- Adding the helicopter
- Positioning and masking the sickle bar
- Providing contextual detail