In this series of videos, I show multiple ways of extracting photos, blending them and then changing the lighting with blending modes and dodging and burning. If you are interested in learning more about compositing in Photoshop, I created a very comprehensive tutorial called Sky City Project. 20% gives a nice plasticky look to the highlights and adds to the effect. I also clicked on the effects tab and pushed in just a little bit of light bokeh. The good thing about using a Smart Object is that you can change it later if you want to. I set the blur to 20 px, this will vary for each image, see what looks right to you. I also moved the top lines in a little closer to set a different fall-off point for the blur. I also wanted the cat’s face to be sharp. I wanted the blur to cut through the ferris wheel as its an important part of the image to me. Non CC users: Select all the layers and press Ctrl+Alt+Shift+E / Cmd+Option+Shift+E on Mac.Ĭlick and drag the pin and move it higher in the image. (If you are not using CC, then you will need to create a stamp visible/composite layer instead as Tilt-shift only works on a Smart Object in Photoshop CC). This makes sure all the layers get the effect. Select all the layers and convert to a Smart Object (see tutorial). You could add them afterwards, but it would look too fake. I also chose to do the compositing first, because I wanted the cat and the fish to be affected by the tilt-shift for a sense of scale. (A really good modeler, will compensate for wear, but its not as common). This has to do with the color paints used as well as the lake of dirts and grime that you see in the real world. I always increase the color saturation before doing a tiltshift effect, because toys and scale models are generally painted with brighter colors than you see in the real world. I also increased the vibrance of the colors in Camera Raw. To change the mood a little bit, I warmed up the entire photo using adjustment layers and curves. I also added a little ripple effect to the water. This matched the shadow/reflection of the boats. (I also added a slight dark reflection on the left of the arm. I extracted it from the background and put it into the composite. Next I grabbed the cat from DollarPhotoclub I wanted to make the fish appear underwater, so I Darkened the highlights and reduced the color saturation. I extracted it and dropped it in the water. I grabbed this image of a koi from DollarPhotoClub (Fotolia, now Adobe). I have done some very basic adjustments in Lightroom, really just setting exposure and contrast. This was captured on the DJI Phantom 3 Professional (I call mine Leonardo, yes I name all my quadcopters). Here is the original photograph that I captured very early in the morning (6:15 am) Because its before the sun breaks through there are no strong shadows to influence the image too much as far as lighting goes. Rather than just give you the steps (which I do), I wanted to talk through the thinking behind the image as well as a high level overview of the compositing steps. This is where the idea of doing a tilt-shift effect to the photo would work well. What if the cat and the fish are normal sized and I shrink down the harbor and make it look like a toy, or scale model. Rather than add a giant fish and cat to the photo, I decided to do something more creative. I used a quadcopter drone to capture an aerial photograph in Balboa, California. For this image, I wanted to do something different. I decided to continue on this humorous theme of destructive cat composites. The first one was a giant kitten destroying New York City. I started a series of images I call Catzilla.
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