7. Next I used the Elliptical Marquee tool to select an area
that would fill in the missing part of the car's shadow. With the top
layer set at 100 percent Opacity, I used the Curves command (Image>Adjustments>Levels)
to darken the selected area making the unshadowed parking lot as dark as the
car's shadow. At this point, it's time to put the finishing touches
on the car with the Eraser tool, including erasing part of the car's windows
so the background shows through.
8. The Imaging Factory's Convert to B&W Pro Photoshop
compatible plug-in was used on the background and foreground images to make
their monochrome hues identical. The plug-in also let me change the color response
to reflect my favorite monochrome film, Ilford's Delta.
9. At this point I had a composite image but I wanted to
make it more realistic and dramatic. I flattened (Layer> Flatten Image) the
photograph merging foreground and background into one, then used the Photo Effects
Set from the Pixel Genius PhotoKit plug-in (File>Automate>PhotoKit) to
apply digital ISO 400 speed film grain.
10. To give the image warm, rather than cold, tones, I used
the B&W Toning Set from PhotoKit, applying the Sepia #1 (very slight) toning
to the images. All of PhotoKit's various effects are applied to a separate
layer so the original image remains untouched at the bottom of this growing
stack of layers.
11. Finally I used Photoshop CS Burn tool to darken in the
sky and finished off the image with the PhotoKit's Burn Tone Set and burned
all four corners of the photograph.
12. All during this process I "Saved As" some
of the steps as a Photoshop (PSD) file with different names, usually just adding
a number to the file name. This preserves all the layers as a different version.
This final image was the third and final file, but I can go back to any of the
others to make any future changes without having to start from scratch.
Adobe Systems Inc.
LaserSoft Imaging, Inc. USA
Pixel Genius LLC
The Imaging Factory