PHOTOSHOP TUTORIAL: Creating Fine Art with Photoshop CC #32



hi I'm Glenn Jewess welcome to episode 32 and this week I want to show you how in Photoshop you can very quickly and easily go from this to this you Oh okay so rather than wait for the perfect day the perfect hill in the perfect location I've just come for a short 5-minute walk my front door across some of the local farmers fields and this is that the hill that I've chosen where I'm going to add in my tree now I know that maybe before now I could have just taken a photograph of any old tree and added it in but with the update of Photoshop on the Creative Cloud now this new pattern Phil we've got some trees in there I can actually use some of the settings to design the tree to look exactly how I want it to look so we're going to start off in Lightroom then here's just a selection of pictures that I took while I washed out on that walk this is one of their he'll I've cropped this running quite tightly just so it leaves that particular part of the top of the hill there in the lower third dish part of our picture we've got a little bit of a building over here on the right hand side we need to get rid of but while I was out I also took just a few pictures here to show some of these birds of prey that we have in the area called red kites all of them – these pictures here is just bright the more bright and the shadows just service the birds stand out just a little bit more but we're going to concentrate first of all on the picture of the hill what I want to do is just bring out some drama in this we've got some great clouds so to add some drama to the one get a gradient I'm just going to go to the gradient and I increase the clarity and we'll drag down right from the top all the way down to cover all the sky once we've put that gradients in we can then in real time come in and effect these sliders just to add or decrease the amount of clarity once in there but I'm going to take it right up and I think I'm actually duplicated actually needs more we can get out of there so I'll put my cursor over the little pin right click where it says duplicate and that will give me a little bit more of a punch I get a brush get the adjustment brush now and I might actually brush in some clarity as well so let's just put a brush just over that part the clouds again just increase or decrease it and this area here of the sky this is where I might want my light source to be so I'm going to get a new brush keep the clarity fairly high increase exposure just a little bit increase the size and make sure it's feathered to 100% and I'll just paint in just a little bit in that area there it's not going to do much but it's just going to add a little bit more punch that one particular part of the sky because that's where the sea main light source is going to be coming through the clouds okay so that's the sky I'm gonna add a little bit more interest now to the ground so again I'm going to get a gradient increase the clarity drag up from the bottom hold down my shift key so it comes up nice and straight something like that I bring down the exposure a little bit but we can really bring up the clarity and just a little bit of sharpening so not much that we need to do in Lightroom obviously playing around with all these things at the moment bringing out the clarity increase in the shadows has brought in quite a bit of noise so one thing might do as well before we dive over into Photoshop is due just a little bit of noise reduction not gonna take it all out because we are adding textures in later on to the picture and if I bring up the noise reduction too much it's also going to flatten out the detail we're getting in the grass so just a touch make sure that the plenty of detail is being shown through so that's about right I don't think looking at the picture now can see any kind of dust specks or anything that need to be removed from it using the Healing Brush so what we can do now is dive straight over into Photoshop so I'm going to go to the photo menu editing and choose edit in Adobe Photoshop cc there's not enough in this picture for me to warrant going over as a smart object so I take in a minute or two so I'm just going to head over to Photoshop as a Bach standard layer so now that I'm in Photoshop one of the first things I want to do is remove these little tracks here from a tractor that is obviously being going up and down the field so I'm gonna add a blank layer I'm gonna get my my clone stamp tool over in the tool bar here making sure that the hardness is way down not completely at zero but we'll go for around about 10% something like that and then increase the size of it and I'm going to click and sample and start painting over areas of the grass to cover these tracks here now when I do this I tend to do maybe a couple of samples from one side of the track and then I'll go the opposite side and I'll keep kind of diving over from one side theater so that we don't get too many repeating patterns now you might wonder if you're a Photoshop regular Photoshop user why I wouldn't be using something like the content-aware fill well when I actually did this picture I did try that try that a couple of times what attended to find was when it was covering these tracks it did tend to smooth out some parts of the grass so we lost quite a bit of the detail so I'm just finding that doing this particular way works really well for this picture and the great thing is because I've put this kind of the samples here let's just zoom in just at the top here decrease the size the brush and we'll just cover over those bits right at the very top there what's good about this particular technique is because these actual areas are the sample is on their own layer for just us what these bits here if they do smooth out at all I can always go to the filter noise and add just a small amount of noise just point five pixel radius of noise we'll bring back a bit of detail in that grass let's just zoom out let's go scope to the other side very quickly just get over these tracks here so I'll sample a couple of times from one side of the track then I'll go the other side as well just to prevent from having any kind of repeating patterns we're going to be adding some textures on to this picture later on so I'm not going to first if as if I was going to be doing a picture where no text was going to be added but it's also by doing that it's going to hide over quite a lot of the imperfections so we don't have to be too fussed about how brilliant this particular bit of clone cloning looks so let's just quickly remove them very very quickly painting over those there just to get rid of these nice and tight it's come right that's op sample here and we'll just paint across decrease the size the brush and we'll just sample in that bit area there as well okay so zoom out always just a little bit down here I've missed it so bring up the brush painting over these just to get rid of them very very quickly it's great clone stamp tool for sampling all the texture of the grass and bringing it over but like I say just be careful not to get too many repeating patterns so something like that that'll be fine okay one little bit need to do now is well over the right hand side adjust to remove this bit of the building so I'm gonna decrease the size my brush I'm gonna sample put my little sample here right over halfway into the sky and onto the Hat the the hill hold down my alt or option key click and then I can see within that sample area there now what my clone source is going to be so I'll line it up with the top of the hill somewhere round about there and then I can quickly come in and paint that away so the increase the size the brush clicking remove lifting the brush up and then pressing down again just to clone over something like that okay so that's tidied the image up the next thing I think is probably to bring the tree in okay so before we bring the tree in let's just rename this layer and I'll call this clone because that's where we've cloned out all the grass I'll then add a blank layer and then with the new update of Photoshop CC when we've gone to version fourteen point two on the Creative Cloud within the film menu when we in the contents area here choose pattern we also get another option down here cryptid patterns and one of them in here is tree so I'm going to click okay when I do that this dialog box here comes up and this is great we can choose all kinds of different trees from the menu tree type here where I stick with our elm tree and then we can sort of decide by using these sliders how much foliage how many leaves you want on this tree but I want this to be a tree that's got absolutely nothing on it but we've also got an option here at the top here called light direction and you'll be able to see in this little preview here this gives you an idea of where the light source is now you remember when we first of all did the work in Lightroom I said that the light source was virtually in the dead center of the picture so what I'm going to do although you see a very very small amount of difference with this I'm going to set the light direction here to 90 so it's right above our tree so you can see in the arrow here the arrows representing our tree and the light source by this little Sun symbol is directly above it you probably see very very little difference in the big preview on the tree and here but I think if it's there we might as well do it so there's nothing much else that I need to do at that at the moment I'm going to click OK that'll work for a few seconds or so and then it will bring the tree over into Photoshop so now that our elm tree has been brought into Photoshop let's just get the move tool obviously it needs a couple of things that need to be done – it needs to be resized so let's just go to edit and free transform get the transform handles hold down the shift + alt or shift + option key so we can scale it all in proportion and I think we'll probably go for something like that let's just move it around what around about that kind of size then it's good to be exactly in the center of our picture so I just got a guide on the or to view new guide when the dialog box comes up here it's always hidden vertical where it says position only type 50 and % and that's going to put a guide right down the center of my picture so now on the tree layer I can use my left arrow key and I'm going to push the tree so the middle of the trunk is right on that middle guide there so that's fine and we can get rid of that guide I might make the tree just a little bit smaller so it's go back to free transform and let's just bring the tree down just a touch more something like something like that press V and we'll bring it down just so that the bottom of the tree is just on that part of the hill now at the moment that doesn't look like it's really blending in that well so what we need to do is just mask away some of it so first of all I'm going to rename this layer to tree then I'm going to add a layer mask I'm going to get a brush making sure that my foreground color is set to black then I want to come to the very top here and I'm going to choose one of the default brushes at brushes that say within Photoshop and number one three four it's kind of like that all three pronged blades of grass here so I'm going to click on that go to the brush options and just take out all the settings I don't want to be any difference we can see in the preview down the bottom here what this brush effect is like the only thing I want to do is go to the brush tip shape and just change the spacing so that there is definitely a difference there there's a definitely sort of gap in between each of these different brush heads these different blades of grass so let's just close that down the opacity undertake to 100% using the left bracket key bring it all the way down and I'll just paint away just on the bottom of that trunk now it's going to be a such a small difference but this is look much more realistic than had I used just a nice soft edge brush it's going to help it to blend in a lot better so now we can see let's just zoom out looks a lot more realistic the way that it's blending in so I'm liking that I'm going to click on the thumbnail of the actual tree now the currents not right but I'm just going to darken it and down by going to image adjustments and levels will get the mid-tone slider and we'll just drag it to the right just to darken the tree down not quite a silhouette but certainly the majority of the way down there so somewhere around about there's fine and we'll click OK so the next thing I'm going to do because we've got this light source above the tree coming straight down we're definitely going to need some kind of a shadow on the floor so what I'm going to do is add a blank layer I'm then going to hold down my command key and just click once on the thumbnail that contains our tree over the layers panel and when I do that you'll see that it loads it here as a selection we conceal these marching ants now that we've got that I can then just go to edit fill and from the drop down menu here of the content so I'm going to use black click OK and then we'll go select and deselect now for Tony Avery the layer off we can see we've got this black tree here so while I'm active on that tree on that layer let's just rename it to shadow oops make sure the Spelling's right known to shadow then I'm going to edit and free transform it handles up and drag the top layer down all the way down to roundabout there something like that's looking good and we'll enter let's just zoom in get more move tool by pressing V and just position that up just a little bit more like so now let's move out now if the light sources coming down onto this tree the actual shadow wouldn't be the exact same proportions it would definitely be wider at the bottom and this kind of stuff you'll notice if you ever you're walking around just look at shadows on the floor you'll get to see how they behave so to do that I'm going to go to edit transform and perspective and I'm just going to click on one of the handles here and we'll drag it outwards so that's going to stretch the perspective of our tree now just so it's not perfectly the same size as the original tree this is going to be a shadow something right there is fine I'm then going to go to filter convert for Smart Filters because the next thing I want to do is add a little bit of blur so go filter blur and Gaussian blur I only need a small amount around about 2.5 something like that maybe that's looking good click OK it's just Summa just a little bit more that's looking fine and then to finish that off I'm just going to lower the opacity of that layer right down now to something like 35 ish percent yeah something like that in fact let's just go a little bit lower just doing this by sight it just needs to be something there if there was no shadow it just looked like the trees been planted and was kind of float in there so just adding some kind of a shadow does add just a little bit more realism for when you're looking at it so yeah something like that's looking good now the next thing I want to do is to bring in those birds of prey the red kites so that we have a few of them circling around above the tree so I'm gonna head back over to Lightroom and over here in the grid view you can see that I've got a few of these pictures of the birds that I caught flying around it I think it's actually the same bird and I just took a few shots of it just to get different angle so while I'm in the gridview I'm going to click on the far left one shift and click on the furthest one and then press command or control e to send all four of these pictures over into Photoshop and then when they're in Photoshop all I need to do is just zoom in onto one of them we'll just choose this bird first of all get my lasso tool and make a very very rough selection around the bird so that we included a little bit of that sky and then with my move tool I'll just click within those marching ants click and drag so I can bring this over into my picture now obviously at the moment it's a bit big so we can go to edit free transform hold down shift and option or shift and alt to scale it in proportion bring down the size of the birds or something around about there's fine get my move tool and reposition it now we don't need to do any kind of cut out because on the layer now that contains this bird in fact let's just rename it to bird one just to the right hand side of that name over here in the layers panel when I double click that brings up the layer style dialog box and the very very bottom third we have the blend if sliders now the great thing is the sky behind the birds here's us photographing them have definitely gone to like a gray color so I can use the top slider here top here far right and I drag this over keep an eye on the bird here in the picture as I bring this slider over you'll start to see that that gray around the bird disappears but if I go too far you'll notice it the gray disappears but it's very very jagged II and you can see that it's obviously been removed but not very very smoothly so to smooth out that transition between the background is appearing in our bird I can just hold down my alt or option key and click on the slider that I moved over that then splits in two and I can just separate the two and just by eye I can just help it to blend in just a little bit more so something like that's fine so very very quickly I can cut the bird off the background there's the before and there's the after and click OK now I'm just going to jump forward I'm going to add in a few more birds and then we can carry on with the retouch okay so I've only added in 3 Birds as opposed to 5 in my original picture but you get the idea about how quickly knees it is to do that over in the layers panel we've got our three layers contain the birds so to keep things nice and tidy up once selected shift-click on the bottom one then go to the flyout menu a new group from layers and we'll call that group Birds everything's nice and tidy now the next thing I want to do is to add a black and white conversion now there's lots of ways we can do black and whites but one of my preferred methods is using Google's Nick silver effects Pro 2 now if I was going to do this normally what I would have to do is create a merge your combined layer at the top of the layer stack but that's going to be destructive retouching anything to do after that I'd have to redo if you wanted to make any changes further on down the layer stack so that we can work non-destructive and all the layers remain available to me with the upper group here selected I'm going to hold down my shift key and then click on the background layer when they're all selected again I'll go to the flat menu but this time I'm going to say convert to smart object now Photoshop does a very very quick calculation and then creates one layer with all the layers are still visible but they're contained inside this one layer now over in the layers panel it's kind of like the Russian dolls where everything gets piled one inside the other inside the other they're still there but they're hidden within each other ok so now that I'm going to go to the filter menu go to Nik collection and Silver Efex Pro – and this is great we can use plugins by third-party companies like Google and topaz which ones I typically use we can use them non-destructively but we can also use them with smart filters and then go back in and make changes now what I'm going to do here on the presets the one that I want to use is high structure and harsh I'll click on that this is the look it gives me on the screen here and then I'm just going to click OK to send that back over into Photoshop lots of noise being added in here but I'm quite happy with that this is the kind of look that I want but I don't want it to be completely black and white I need to desaturate it over the last panel now there is only one layer if I'll just close up the smart filter here there is only one layer so I can't use opacity because that will make my picture disappear however when we've used smart filters we do get this little icon just in the bottom right hand corner if I double click on that it brings up a little dialog box that allows me then to dial in the opacity or the strength if you like of the filter that I've just applied so here it says opacity click on that bring the slider and I'm going to take it down to around about sixty percent something like that and then click ok and the great thing is that's always available to us now I want to give this picture that aged weathered kind of look so what I'm going to do is to go to something that you'll probably see in a previous episode and that's Adobe exchange which is available from the window menu from within there I've downloaded and installed Adobe paper texture Pro so I've got loads and loads of free textures available to me now so what I'm going to do is just randomly click on a few of them to add them onto my pitch and you can see straight away the kind of look that's going to give me and all I'm going to do is just go through adding more and more changing the blend mode on some of them and also changing the opacity over here in the layers panel to see what kind of effect I can build up so that's one of them indoor let's just go down here let's just choose this one click on it if it brings in too much color what I'll also do is click on the thumbnail and then shift command you to desaturate it just so that I'm left with the texture as opposed to the coloring and then I can bring down the opacity like so so again I might just add a couple more then we'll jump forward with the retouching so just jumping forward is I've just added just a couple more of these textures but now I've had enough I'm gonna close that all these textures over here in the layers panel now top one selected shift-click so they're all selected and again pull all these into a group so new group from layers call that texture and now you can see when I turn that on and off the kind of effect that's having now just a couple of things I want to do to finish this picture off I want to throw a darkened down maybe add a little bit of a vignette and then a little bit of blurring so again I want to do this non destructively so what I'm going to do is just put both of these layers now into a smart object so convert to smart object and then what's Photoshop done that I think first of all I'll go to filter and choose Camera Raw filter that'll bring me into Camera Raw so that I'm just going to use the radial filter and exposures the only one I want so I'll bring the sharpness back to zero just double click in the middle there to bring everything to zero pass the exposure click somewhere in the middle click and drag outwards like so and now we can add just a little bit of a vignette around the outside of the image some that's good click okay and then I had just a little bit of blur so from the filter menu we go to blur and I'm going to use iris blur and then once in here we've got this little dialog box we've got these controls in the center where we can control how much blur and where we want the blur to be positioned so let's just stretch this out just a little bit the dial in the center here controls how much blue we have and then control these little pins in the middle here control the feathering of how the blur goes inwards to the middle so somewhere around about there looking good and then we'll click OK so there you go we've created our own piece of unique art we have made at a location that basically didn't exist but the great thing is because the way we've done the retouching non-destructively if we want to go back and make any changes we've always got the filters available to us so it could maybe let's say if we wanted to change the Camera Raw filter I can just double-click on the name of the Camera Raw filter it brings me into Camera Raw and then I could also then come in and change the look of that actual vignette how much of that vignette I wanted to darken it a bit more or maybe not quite so dark click OK and it sends me back if I want to see all the other layers from the previous parts of the retouching I just double click on the layer the paint contains the smart object icon on the bottom right and when I double click on that it then does a little bit of thinking and it starts to bring back all the layers and we can go all the way back in the retouching to go back right to the start of the image stay go something completely different for this week but hopefully it's giving you the push to want to grab your camera and get out and create something that is totally different to what you normally would do and create a picture that you'd like to see hanging on the wall in your home or in your office there are so many benefits to doing this so many hidden benefits I mean you're going to start using your camera in a different way but also when it comes to the retouching side of things you're going to find yourself using techniques that you maybe wouldn't do in Photoshop so you're going to learn more and more and more so it's a win-win situation but hey that's all for this week so thanks for tuning in make sure you click on the subscribe button and also let others know about this video and also my youtube channel and now the podcast because obviously we're live now on the iTunes podcast store but hey for this week that's all I'll see you next time you

27 Replies to “PHOTOSHOP TUTORIAL: Creating Fine Art with Photoshop CC #32”

  1. Thanks for this one in particular. I've been trying to do something like this for a while and now I have been shown how much can be done.well done and keep sharing.

  2. Great tutorial!!!! Simple and effective!!! Red Kite?!?!?! so we are living more or less in the same area!!!

  3. I love compositing and loved this tutorial (32).  However, even though I'm running PS2014.2.1, I cannot access 'scripted patterns' under the Fill dropdown menu.  Is there some plug-in I can download or what's up with that?  I wanted to use that Tree brush but it seems not available to me.  Help? 

  4. I'm just working my through your videos Glyn, your work is awesome and the tutorials are brilliant! Thank you!

  5. Exceptional instruction, very impressive. Can't believe how much I learned about PS in this one video, wow!!

  6. can anyone help me? 
    I have Photoshop CC 2014 (Portuguese), and do not possess the "fill" (fill) inside the menu "Edit" command.

  7. This is amazing! I'm new to photography and I'm interested in creating/learning Fine art, as my style is documentary at the moment. How would I learn to use all your tools? You've clicked here and there a lot. Can one buy Photoshop CC outright? Or is it just monthly? I have Lightroom 4, what Photoshop would offer me the most options for fine art photography? 

  8. This was awesome. The first time I found you channel and videos, Glyn. Thanks for sharing what is, I am sure, hard-earned knowledge, skill, and style. Looking forward to going through your earlier videos. Thanks!

  9. Video Flash-Back! 
    Great day for getting out with the camera too; there's blue stuff and a yellow circle in the sky 🙂

    PHOTOSHOP TUTORIAL: Creating Fine Art with Photoshop CC #32

  10. Thanks Glyn.  I enjoy your style of instruction.  Always interesting and done professionally.  Cheers.

  11. Love your tutorials, great pace and great explanations.  Any chance you can do one incorporating more/different lighting effects?  Greetings from New Zealand.

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