Photoshop CS5 Trickery & FX: Integrating Photography And 3D Objects - Part 1
27. Merge all the layers used to create the rounded architecture; then apply the Layer Styles Gradient. Use this setting as shown in Figure 5.26 as a starting point.
29. Add some warm color to it using the Hue and Saturation command and duplicate the procedures from steps 23 through 28 to create another platform on the left side of the composition (see Figure 5.28).
30. In the “mountains” layer group, you will establish a shallow depth of field with a mountain range in the background that blurs out slightly. In addition, you’ll establish a slightly stronger atmospheric haze that reflects the ambient color in the environment.
31. Make sure that the mountain layer is committed as a Smart Object. Next, apply Gaussian Blur to effectively blur the entire landscape scene. Since the Gaussian Blur is a Smart Filter, restrict the effects of the blur to the upper portion of the landscape by editing the mask that is associated with the Smart Filter. Create a gradient where black dominates the lower half of the image and gradates toward white in the upper portion of the image. This will restrict the blur effect to the background of the composition, which is the mountain range in this case.
32. Now, let’s create the atmospheric haze. Make sure that your foreground color is a similar color to the reddish hue in the sunset area. You can do this by using the Eye Dropper tool to select a color from any area on your image (see Figure 5.29A).
33. Use the Gradient tool (see Figure 5.29B) to apply that color to the mountain range only by using the Reflect a Gradient option on the Options bar (see Figure 5.29C).
34. This is a good time to add the beginnings of a light source to the underground city. Do this by way of a gradient that uses blue for the top portion of the city and yellow on the lower half of the city. To blend these colors in with the architecture, change the Blend Mode to Multiply. Then follow up by adding two more layers using the yellow as the foreground color that will gradate to a complete transparent pixel, as shown in Figure 5.30. Use layer masking to edit the layer to restrict the effects to various locations of the landscape. This breaks up the perfect shading pattern so that you can give the illusion that the lighting is affected by the geometry of the unique shape of each building.
Stephen Burns' passion for the digital medium as an art form is as great as his passion for photography. His background began as a photographer 28 years ago and, in time, progressed toward the digital medium. In addition to being the president of the prestigious San Diego Photoshop Users Group, of which there are currently 3,000 members, Stephen Burns has been an instructor and lecturer in the application of digital art and design for the past 13 years. He has authored several books, including the first two editions of this book, and has written numerous articles, including some for HDRI 3D magazine about using creative digital techniques with Photoshop and 3D applications. His work has been shown at fine art galleries worldwide and at www.chromeallusion.com.