Introduction to Compositing & Bridge
Everything comes together in this very last course, this last lesson of the course, which is the Adobe Photoshop CC Bootcamp. We're gonna talk about compositing. Compositing is basically taking one image and putting it on top of another image. So you can see how all of the things we've learned about layers, masking, selections, Blend If, everything, it's all gonna come together right now. So really if there's certain things that you're not quite sure on, go ahead and review those things in the past lessons before coming to this because this is where it's all gonna come together, okay? So what is a composite? The combination of two or more images of different scenes, or environments, to create a story. I like to do this to create a story, but there's many different things you can do. It's not necessary to create a story. Sometimes it can be just replacing a background in an image, or replacing a sky in an image. But typically when I do composites, I think about things from, I guess I do...
n't really, they are composites if you're taking two images and putting 'em together, but replacing a background to me, or replacing a sky just doesn't feel like the storytelling type of composite that I'm talking about. And I want you to think like a painter. So if you look at this painting and you see how it's a series of events that are creating this entire story. But then you also have things that are totally different that you wouldn't see in normal everyday life kinda happening over here in this corner. Parts of the story are happening down here that are then being brought up into here. So the whole thing is coming together as one big story. And painters, they don't necessarily have to care about what reality looks like. They just paint whatever comes to their mind and then put it onto their canvas. The things that brought me into Photoshop were not necessarily compositing, but it was putting the pictures together that I had within the spaces that I would shoot. So I didn't even know what a composite was. I was just going to the zoo and I was shooting a rhinoceros. And then this is a building in San Francisco that's like a dome that has these lights. It's actually shooting up this way. It's like a greenhouse, but to me it looked like this other worldly type of, I don't know, collection of things that could blow up the world if I put 'em all together. This big silver ring right here is actually a part of a sewing machine. And then these are just little nuts and bolts that were sitting around my house. This is not a little seismograph that will predict the end of the world. It was a seismograph in a museum that I had taken a picture of and then put into this. Adding some text here to basically tell a story that maybe we're in this ship looking at the destruction of Earth, trying to find our new place that we're gonna live in. Just a story that's being told here. What's the story being told in this? I don't even know. I was just playing around and I was learning Photoshop. I was making a lot of bad rasterize decisions. (audience laughs) But it ended up teaching me a lot about Photoshop by just going off on my own, having fun with my images, and putting them together. As I was developing composites like this, I started to get a little bit better at photography, so I started to enjoy photography and kinda separate myself from these composites. This one was a challenge to myself to say, okay, how many layers can you use to make this image? And I think it was 115 layers that built this one composite. Here's another composite that we've seen before. I was at a little da Vinci exhibit in Kansas City. The Mona Lisa was at the end, and all of his drawings were throughout the whole exhibit. So I took a bunch of pictures of all his drawings and then I composited at the very end onto the wall to make it look as if all of it was somehow unified. It's really cool. It makes a really nice canvas print. There's the before. There's the after. So kind of a boring, just picture of the Mona Lisa, but compositing other images on top of it to make it more appealing. This is a really fun one. This is a cannon that's actually in Platte City, where I live. This is a howitzer cannon that actually just hangs out in Platte City at the end of our street. It doesn't, like nobody even cares about it, but it's so cool, the history behind this howitzer cannon just blew me away. So I composited together to make it look like search lights were going throughout the sky and make the image look a little bit older, almost some border edge on here, which I typically don't use borders. I don't really care for them, but this made it look like an old, maybe Polaroid or something like that, that was peeled off from a print. Here's what it looks like if you actually go to that scene. It's kinda boring. But when you add paratroopers to the sky and searchlights all over the place, it starts to tell a story. And the history behind this cannon starts to come out, almost as if it's shooting something over here. This is shaving cream. It's shaving cream spilled in my hand and then take a picture of it to make it look like smoke happening over in the distance, whether it's smoke from this cannon, or smoke from the war that's happening in this image. The paratroopers, as we talked about before, was a brush that I just brushed along the sky to create a bunch of different paratroopers really quickly. Christmas cards. Our family Christmas cards are the bomb. I challenge you to try and beat us on our family Christmas card, okay? There was another side to this, where here we are looking like this, and then on the other side we were all LEGO characters. So it was a two-sided card. But each one of these pieces to this is a different picture. It's very difficult to get my family to do what I need them to do, especially with three boys, to get them to do exactly what I say to do all at once and then take one picture. So I take them over a series of pictures on a white seamless, it's not actually seamless, it's actually, you know what that is? I'm like the total budget studio guy. I went to like Jo-Ann fabrics or something like that and bought the long piece of material that is typically used for like swimsuit liners so that I could stretch it out and then put weights at the bottom and kinda make it appear like it's a white seamless. But that way I don't have to worry about all of the crinkling of things and buying a white seamless all the time. So when we put that together, we take all of us off of our white backgrounds, I can very easily put a Christmas card together with a background behind us and make it look seamless and then also add text. This takes everything that we've learned throughout this course, puts it all together onto one Christmas card, so to speak. Every year I do these for our family and our friends. And they're the ones, they actually, people tell us that they keep these on the refrigerator all year-round, which I think is kinda crazy. But we have a lot of fun with our Christmas cards. But this is a composite. This is a practical composite. Before I was telling a story with some of those elements being pulled together. This is more of us just putting together a Christmas card that doesn't necessarily tell a story, but it is a composite of images. Instead of it being one image, it's a bunch of images with a backdrop behind it and make it look like it all fits together. So let's go and jump into Photoshop and do some compositing.