Compositing: Wash-n-Suds Part 2

 

Compositing 101

 

Lesson Info

Compositing: Wash-n-Suds Part 2

This layer is again. This is our blank layer. Remember, we created a duplicate of this. Gonna go ahead and group this layer that we call this and I'm gonna call it detergent as well. Okay, so this is our blank layer is well, this is like a just in case. I needed it anywhere. I have it back, and I can go ahead and use this. So this layer does anyone know what I remember? What I used this player for? Yeah, I think this one was the clock because his hand is not covering a medicine. So let's, go ahead and bring that clock in pretty attractive time, huh? There we go. Let's, bring that clock in. They actually do. I was just photographing with a with a clock, a product photographer just recently. And there are, like, preferred times tohave your clock set off, like, you know, quarter past ten or something like that is like the universally accepted, most beautiful time, just like, interesting. So you look at watch as now, and they're all like a quarter past head it's really funny, but this is p...

retty close, so we're just going to do the same thing here, I'm going to create a layer mask on this shift option command m to create that lame ass, we're going to paint black right over this clock. Oh, look, this I'm still on my giant brush that we had earlier. I don't want to be on that brush. I'm gonna right click gonna scrolled on the bottom. Just two normal brush here. All right? We're going to paint this clock away. You can see now we've just got that's so cool that you can do this. By the way, how can you not fall in love with frame compositing? Because you could just choose like yeah, I want this part to be visible. No, I don't want to talk to visible it's amazing. I'm gonna hit command I on that which is going to bring the clock back and now I can choose wherever I want this clock to be. I could move it up on the wall let's, just move it over here now because it is because I am actually moving the clock. I do want to do a few things that are going to help out making it look a little realistic earlier we didn't have to worry about masking these things that well, because we weren't moving them in this case, we are actually moving this talk, so but we're going to have to do is mask it out a little bit better I'm just going to use a marquee tool to do this so em for the marquis tool and I'm going to select out the majority of my clock here especially towards the bottom there we go that looks pretty good now we can go ahead and give this edge of our selection a little bit of a blur if we wanted to or we could apply that later so let's we have that selection I'm going inverse that by hitting shift command I we're gonna paint black on her lame ass right down there all right perfect and if we want to just create a selection right over here we can do that to right to get the last part of it shift command I there we go well d select that out and then we have a slight shift in coloring can everyone see that slight shift in color up there at the top? You could take care of that with your layer mask or you can take care of that using adjustment layers as well I'm going to continue on with the lame ass just because that's kind of what we're been covering today and I feel like it's a really great thing toe get a really good handle of going make a selection there it shift command I again and paint black are lame askar right up there all right, now we do have a little bit of ah unique shape with the clock because it's not perfectly, you know, it's, not just a circle in this case, we have, you know, some depth that we needed to kind of take into account as well. There we go. All right, shift command I on that will select us out. Could you use the pen tool to paint this sari to select out this clock? Most definitely. The pen too would be a great tool. It takes a little bit longer than a couple of marquis selections, but it would be a great toe. Now, can anyone see something that's a little bit wrong with my clock? We got a shadow in there. Don't weigh that is I know someone was gonna bring that up. So planet head the shadow was there from the actual from the plant. If the clock was back over here, that shot that would make total sense. Does a shadow in there makes sense now? No, it doesn't. So what do you suggest here? Here on audience. How do we get rid of this shadow that's going on here? What would you guys do? I would in the the white open area you could easily just clone stamp that when you get to the fork it's a little trick here definitely it's a bit trickier for I would definitely use the clone stamp area for this area when you get in before you can try using the phone stamp area or you could just grab a brush fool a lot of people are shocked when you see what you could do with a brush till I was going to say knowing you having sr retired you're just gonna paint it in and I was just going to paint it it it's not that hard the brush tool it's like everyone's like, oh, the brush fools just for like, you know, masking and things like that, but like a lot, a lot of professional rita cher's wind up using the brush tool for way more than you would think I've brushed tooled entire people's faces away like it's like you can repaint just about anything you can now at that point you're kind of just a painter you're not really like a re toucher, but again most re touches I know are classically pain trained his painters as well. So a lot of the high end rita cher's are also very good painters because it kind of requires an understanding of light and shadow and things like that and if you do get a client who's like she's not smiling big enough, well, you know you've got to be able to make someone smile a little bit bigger sometimes okay, we do have a little preview here going on which person it's the default of photo shop with clones sam tool personally I don't really like this so I'm gonna go to a window and I'm going to go down teo clones source there we go and we're going to turn off where is it? Show overlay I'm going to turn that off because I don't really like that when it shows up there all right? So we're turning that off and now we don't have a little preview of what we're actually going to be clone stamping all right and even with the clones sam too I'm going to use a lower flow something around like forty percent I'm gonna choose a regular soft edge brush here and go ahead and example right up here and we're just painting so you can see a great example of wire me using flow instead of opacity is hears I'm sampling here and I'm painting it's you know not that far away but the more I go over it and over and over again it's just going to get you know become mohr mohr invisible so that's exactly we're using the same principles here that we had with a brush tool now with a clone stamp tool as well all right let's just get pretty small and painted away until it starts looking here we go and we're right up to the edge of the four cool, that was pretty good. Let's, go ahead and clone stamp that thing away to its source from over there and was used a small edge brush, and we have a little bit of a feathering on the edge of our on the edge of our numbers here too they're not completely they're not completely sharpe so we've got to keep that in mind, too, and we could use a brush tool or I could just continue to just use a clone stamp toe make it a little bit smaller if your tool is ever getting in the way thiss happens sometimes, like this round dot that circle there. I don't really want to see it because I like I would rather be able to see what I'm doing hit the caps lock tool in this case, it's not that different if you're using a large brush, oftentimes seeing a small cursor, you know the crosshairs is helpful in this case is about the same time side so you can make it disappear completely. Unfortunately, I don't think you can. Maybe someone else knows that that you can I would love to know. Actually, if someone knows the chat room, if you can make the display of your cursor go away completely, that would be awesome to know, all right, so we're just gonna clone stamp that away but again, we're zoomed into like, what, four hundred percent on a four and just like with the you know, the frills earlier like this is not one of the more important things to focus in on this photo shoot, but we can still do a pretty good job of getting it. Erin, there are questions coming in from the chat room a lot of people are having ah ha moments fashion tv over in singapore says that just brushed me away. But a good question that is just in the chat rooms now is from dd dd nine six seven, they say sometimes when I'm clone, stamping away a light stand or something, I find that I end up with a repetitive pattern from the area that have closed down the way. Are there any tips that you can share that to avoid that situation? Definitely the first is try to clone stamp as much as you possibly can at one time I don't want to call in stamp one little area over and over and over again let's say that I did have something that I wanted to get rid of on the wall. Here we go, this is just it'll stain that was put there on purpose, but let's just say I didn't want to get rid of that I wouldn't try to clone stamp excuse me a little area like this and then close stamp and then clone stamp again and in sample the same area and clone stamp again ah better technique is to grab a larger area sample here and then try to paint over the entire thing that way you're not really getting a repetitive technique sometimes it's really, really tough, especially if you're in an area that is really confined. You know, if I'm trying to think of an example here you know, if I had to like clone stamp away these magazines I would have to try to come up here on stamp down there and this would get really, really tough, so what I would recommend doing is if you if you do need to clone stamp away an entire area on dh, you start seeing your rip editing your pattern, repeating over and over again it's a little bit nontraditional, but I would usually use the brush fool to paint that away and I can I can I can show you how let's just let's figure out a way to some something that might have that area sorry that that same problem in response to your query apparently command q we'll do it which I just realized is actually a job because that will actually make you quit the application you you always got it, I got it, I dare you command you luckily, if I hit command q, it'll probably asked me if I want to save it, so thank you. That sounds like something I would do. Nice. All right. That's a good question. Let's. Go, sam fuld's clone stamp this guy out. This is a a good area of oh, actually did hit mancuso cool, actually is going to quit beaches reopened photos up here. Now I know exactly where my file is it's not going to take me that long to open it back up. Why? Because I'm using some really great ways to organize all my files together. File structure earlier. I can't believe I actually make you we both that was going to quit way to take a just epic failure on my part and turn it into a teaching moment. It's why you're a pro? Definitely a teaching moment and I can just go right back here to my master folder and hit open and I've got my file right back and ready to go. I don't have to dig through anything. I don't have to try to find it again after full screen and we're back let's, actually quoting step that up, it's pretty good, actually, okay, perfect let's, go back down here and she's a regular soft edge brush. And there we go we're going to just clone stamp this out as well. This is an area you could use a clone stamp tool here you could use a healing brush tool either one will probably work quite well there we go that looks pretty good pretty easy to do that it was just a piece of tape that was on the floor so we can go ahead and take care of some other things you know something like that as well this is not a gn area where you would want a composite I don't need to find another area of the floor that doesn't have a little piece of lint on it like this is literally hit j which is the keyboard shortcut for the healing barstool as well as a patch tool I could just sample right here and paint right over that I mean, it takes two seconds I used the compositing method when like that's the thing that you need for the for the job but like for every little piece does I don't think anyone would actually do that I just wanted to clarify look that's not the best time to do it okay let's look at what our other extras are there we have amanda as well so let's just go ahead and put a layer mask on that and I'm gonna brush tool this on black and we go we're gonna brush tool her out and I'm gonna hit command. I so she's back in now. Does anyone see an issue we've got here with with our selection? Well, we've got a we've got a cereal box we need to take care of. There we go and apparently we've got a leg that we need to take care of his well, all right. So how are we going to take care of this leg? Does anyone have any suggestions me to bring back the leg so that you can see the leg? Could you change the opacity just so you can see the leg underneath, so I couldn't see the leg underneath. Yeah, and then would you could pen tool it out? But I would probably just painting on the mast. You'd probably paying it on the mask. Is that what everyone would probably just who is painted? You call me, and when I do, I'm breaking out. Uh, cool. We do want to see this leg and we can just go ahead and make this layer invisible because I know for a second that we really don't need it out. This's, in my opinion, you could totally just paint it with a you could totally just paint this area with a brush. In my opinion, this is not actually that bad of a choice to use a pen tool for for this case, I don't really like this piece of fabric that's going to cover up a little bit too much of amanda's so we have another we have another example of a time we can actually like figure out okay, do I want to cut this piece of fabric off? I can do that with a pencil it's gonna look like it's a pretty weird transition if I just cut it off, I could do I could cut off half of it like I could cut off this half of it and then it wouldn't show up a little bit more, so this is kind of a decision so let's go ahead and create like a really quick plan of action here on what we're going to be doing to this will create a pen path that kind of comes down here up here and down in this way and then joins back up with our genes in something like this. So we still have what looks like the fabric it's ending naturally, but I'm going to cut off this area because I don't want that to cover subject and then I'll just call his stamp the jeans back over here and we should get something that looks pretty pretty natural okay, so let's go ahead into that we've already learned how to do the penta ll now we'll show you guys how to do the pento when you become comfortable with a pencil, this shouldn't take more than you know, a minute or two so this is something that you know, it might seem like all the mental takes forever and things like that but not really you know, you could do this pretty quickly and it depends on how how faster you know, like how, how much experience you have doing this and also it depends on if you really needed to be that good or not, you know, some of things it's like if it's a piece of fabric or something like this like it doesn't have to be perfect it's just a piece of fabric that we go and we'll just kind of bring that around there and I'm just using the same principles we talked about her they're clicking and dragging around it's really not that hard and when I started watching their float your florid prose, the one the two things that stood out was it doesn't have to be perfect and nobody knows what it looked like before anyways, those were the two things that right change my life exactly exactly no one knows what it looked like so it's like they're not missing anything because I could you know, that really didn't matter all right, so I selected out that area. What I'm going to do is hit shift command I tio inverse these election out and then we're just gonna grab our brush tool and I'm gonna paint that in with our white paint brush now sorry with black to make sure that the leg disappears from that selection there we go and we can see it's just a nice selection back there now probably the underside of amanda sorry the underside the leg is well, we'll need to be taken care of let's see on which areas that needs to be taken care all right? And with some of these things like you khun totally just fudge them like some of these things will matter like a person's face is pretty much always going to be something you want to get right, but a lot of these other things it's like me that doesn't really matter that much. All right, so we'll go over those examples now. Ok, so something like this where it's just like, you know, a bit of dark fabric that's going to wind up joining up for that dark fabric I would totally just use a brush till here and just painted in just like, ok go now it looks like, you know, you know, that looks pretty good there and again we resumed in quite a bit there's not really going to be anyone toe look at this and say this is right or wrong uh, there we go, we're going to do to do the same thing here, okay? And then this is a nice piece of fabric there we'll just make sure that is a visible with a nice soft edge there there we go. So wondrous using a brush tool now something like that. Um, you know, the goal here is to, like, get the job done but don't don't spend forever doing this sort of stuff because it's it'll just take away from your creative process. That's you know, that's not something you really need. There we go now, we've masked in our subject. So there were a lot of questions earlier about the order of these things and like, you know what? What layers and things like that should you use like before and the after and things like that amanda's second legally technically behind our subject in this case, but she's on top of she's being layered on top of her as faras the layers go, but instead of layer masking in the boot, we just let him ask it out from this layer. I was kind of the worst explanation of anything I've ever given anyone know what I just said no thie internet is a uproar on dhere we have to decide to like is it worth this little thing that's kind of like flying in your face what do you guys think? Should I try to give her that too? Not really a big deal, okay, because I can get rid of this too. But that's another thing that we would have to decide if we don't decide to get rid of that the only thing we have to do is clone stamp in right over here is so open you could create a new layer bringing use our clone stamp tool as for the clone stamp tool and I'm just gonna call it stamp it right over here where we go just choose a smaller diameter rush and right up until that and now we got our concept when we could just fix our lame mask up a little bit here where we matter later massed out a little bit just got a little bit farther away from the jeans. Okay, pretty cool. So we've just got a piece of fabric that's flying in the air right over top of amanda and we just called stamped in that little guy there so it's all these little problems, you know, like figuring out how am I going to do this? We want like a nice little transition area and things like that and you know, figuring out okay, well, we'll just you know, instead of having this whole thing be visible all the way out to there, we'll just cut off the top, bring it down, it'll still look like it's, you know, a natural piece of fabric this actually is an edge, which is nice and then we've got the rest of it kind of coming in there too, and if you wanted to get rid of the entire piece of fabric, you could totally do that. I would just call in stamp in from the right to the left and a left to the right. We could just remove that entire thing entirely in the case of if I was working on this image and I wasn't teaching it live right now, I would actually probably get rid of this entire piece of clothes in my opinion a little bit distracting, but that would take probably twenty minutes to do. All right, there we go. So let's, go ahead and group all those things together and look what we've got now. So here are our extras. If there's anything we missed, is there anything that bothers anyone about the photo like, is there anything that we miss? We put our clock back in the only thing that I noticed that the kind of bothers me is the sweet marks of the detergent on the floor a sweet mark of the detergent on the floor yeah, I think they could easily be discounted rate of yeah, these guys right here that's a pretty good point that something that really wouldn't be there originally, right? I'm pretty easy to take care of what I would recommend doing is not necessarily trying to get rid of old detergent it's ballsy that edges right its edges that buddy so you want to grab your clones, sam sorry healing brushed pool and just like painting the edges there. All right? A couple a couple notes from the chat room david g the light reflection in the glass in the washroom door and then somebody else pointed out there is a blue speck of the chair a blue speck of the chair yes. Okay, cool. I'll take a look at that in a second. What chair? Under amanda's chair. Oh, that thing. Oh, yeah, I was doing that and I was like, what is that thing? Okay, I would just grab a new layer in either brush tool or a clone stamp tool and you know, we don't even have to go back on that layer make the leather mask clean it's not it's not really worth, you know that time is just like, okay, cool now it's not there anymore and call it something cool thanks for the suggestion also what's going on here in the reflection of the washing machine so we can get rid of this using a couple of different ways we could try you know, some of the information that's going on over here I could copy this and move it over there we could use a close stamp tool to get through this or I could use a brush will what do you guys want me to do? The pressure's on kohnstamm okay, like I don't care why would I care about that clone stamp? All right, close up it is now when our clothes that I usually use a different combination the clones sam tool in the healing brush tool healing brush who is really great for a large open area is something like this but you can't you can't go upto edges with the healing brush tool because it'll make everything really fuzzy. So what I usually do is our clone stamp part of something if it's a personal habits this large a clone stamp away part of it just like that kind of like isolate something out there we go and then you can either use your healing brush tool, which is j or you can use the spatula so our clothes stepped up this isolating that out and then I'm going to use the healing brush tool there we go sorry, I need to sample a little bit farther out here I'm going to use the healing brush fool to get this entire thing to be gone if you can find a clean area healing brush tool if you can't separate out even more. Um, it seems like a weird technique, but the reason I'm not using a clone stamp tools because the healing brush tool does a much better job at gathering the color that's actually around the area that you're healing. And if you are doing in a large area like we have that question earlier, this is another technique that's going to help you out, not get something that you have a repeating pattern over and over again because it doesn't much better job it actually like getting the color that you want. All right, I can probably take some questions while I do this because this is pretty doesn't require a lot of brains cool before before we get to the questions to let you know the other thing kind of a big one, the bottom of the stool that is holding up, shawn. Yeah, I was hoping someone was going to say that I was kind of surprised that no one did. There is the bottom of the stool it's holding up shop, we should go ahead and take care of that, let me just camera two this really quick we've got about ten minutes so I should probably just go ahead and skip onto that. So while you're while you're doing this studio modern do you ever use content aware film? Uh no okay he's answered I don't use it I don't use it I don't use almost anything that's come out since like c s three that's just because I think that in some applications they're kind of cool do they work reliably every single time? Not at all so what? I don't want to rely on a tool that doesn't that isn't reliable, so no, I don't use them I figure out different ways to do basically the same thing okay, now you're in our extras I do believe we brought in a one of the image is of a piece of flying clothing did we make sure we exported that out a piece of flying clothing? Okay, I think we did a swell now in this case, if you wanted to do this like very simple, simple, easy way, that's what I would do is I would cut that piece of flying clothing out and slap it right over top of the stool because that would be pretty easy to do and it would make sense as well if you don't want me to do that, I can close happened to you guys have a preference the reason why I would close happened. I should probably say this is well, I do have this layer with it blank. However, there are no shadows here. There are no shadows. If I just lay a mask this area in the bottom of the the school, it wouldn't look right. We can see it's not the same. So we have a couple options other clone stamp it in or bringing the other piece of clothing. Do we really care either way? Okay, cool. I can't. I don't see the other piece of clothing here. So what we're gonna do is I'm going pull up light room real quick. We're going to re export that out and then pull this back in. Really won't wind up taking that long, all right? And we can take some questions while I do this. I think the clothing was in the same shot as mcgill's feed that we used. I don't even need light room. All right. And now, here's, another reason why I don't really let name my layers. I know where miguel's feet are, and I know what the lame ass looks like. That so it without searching around. This is the layer with miguel's feet I'm gonna hold, downshift and click on there. Yes, it is it's right there gave you got a good memory, dude. All right, we're gonna hit command j on that. And I'm gonna bring us all the way up to the very top of this layer group. There we go and let's, assume out and bring our layers back up. Just bring this up a little bit more command and close bracket will do that. Okay, we're going to paint white on this lame ass. And then I want to cut this piece of clothing out now because we actually are going to be moving this piece of clothing as well. This is not going to be the final place of this piece of clothing. The best thing to do with this would be to cut it out using something like a pen tool. If you guys are super like against the mental, you can always use a glass or two. And if you know if it's something like a piece of clothes where it could be like a little bit of like, you know, it doesn't have to be a perfect edge. The last tools usually probably fine if you're shouting out something like a car where those like edges are really what makes the car beautiful, don't use that don't use last on tool, please, because it'll just look horrible. So what I'm gonna do is basically make, like, a pretty poor selection here with a lasso tool, and I'm just holding my left hand on the space bar key, so whenever I need to move it, like right now, baseball key, move that around, okay? So I'm going to do basically, like, a pretty bad job of this, and then I'm gonna come in and fix it up with the with just a regular brush it's a little bit quicker than just doing the entire thing with the brush. The reason is I don't have to worry about, like, did I select out any areas inside of this? This we're going to one solid selection that I can use its a bit quicker than the pencil and then I could just clean up with a brush. All right, command I on that layer mask and command again. Let's, go ahead and move it now so it's like, oh cool covers up the we rotated around? Sure, because it's just peace calling it is, we can't rotate around light damn you light way can't move it around, but we can make sure it does start to cover at least most of it what was that, oh yeah, we could make it a little bit bigger to come auntie make a little bit bigger as well we could put it right there if we wanted to, which covers up most of the stool we could put it right there. I think that's probably fine and then we can go ahead and make sure we take care of this edge. Now, a quick way to do this click on your layer mass to select refined mask bring in a little bit of feathering remember, make that edge a little bit softer and suck it in just a little bit. There we go, let's bring our feathering down just a tad there we go now it actually looks like it's in the scene. We would just go in here with a brush tool and kind of fix some of these edges up a little bit great something like that anywhere that bothers you if it doesn't bother you, you know, don't probably not worth your time cool and then underneath this let's just go ahead and take care of the clone sample quick, all right? And we're just gonna close down this. You can use a cologne sample here. You could also use a brush hole to just brush till this away and usually if it's a small area like this and you've just got like, a dark area, you know, just like a dark texture it's something that usually you won't notice the lack of detail there's brush tool in a lot of my images and no one has ever said anything, so if I could get away with it you could probably do it too. All right, here we go let's just paint this on there I'll just use the brush to also be for the brush tool and we'll just sample this color painting right there and paint on what looks like a shirt from dark color they're like oh who looks like sure kind of painted in there cool yeah dark colors over there's this shirt comes on down there from dark colors over there just holding alter option and kind of sampling these things out there we go. Maybe this kind of continues in there cool. It looks pretty nice there. Just grab that dark color there. Pretend like there's another shirt blob over here I mean there's no rules in this we're just painting like blobs of color which could be clothing or not. There we go and we'll get that right now will create a new layer on stamp. We want to do the current and below and I'm just gonna clone stamp that in from the left to the right and in what four or five minutes we're taking care of the whole school problem let's make that invisible there to arise there we go and let's see if that's visible they're pretty not bad all right now obviously went pretty quick here with the whole using the brush tool thing if you wanted mohr if you want more detail in there, just create a smaller brush and you come in here and actually like to create a little bit more detail there we go pretty cool yeah, I'm just having fun painting a shirt why not get to say that I'm a artist? I'm a painter it's cool had another thing on your resume you paint to really see from your paintings yeah, in this photo, check out that very tiny detail that sure I painted that pretty cool right? And there we have that painted out and the stool is completely gone pretty cool wait didn't do the final details with lee in the shop, but I'm pretty happy with how this image looks I don't feel like adding to lease over here would have made this image a whole lot better the only things that you know I want to look at it with this image, we're not going to get like two in depth, but we are going to add just a couple of things to make this just a bit more dynamic let's just play around with curves a little bit I think you guys would be excited to see what you can do with curves just a bit occurs will completely change your image we're gonna make this a little bit brighter here and then we're going to use the same kind of brush fools and using that flow again kind of to find something someone hit command I on that curves adjustment layer and then we're going to be basically just make this area that's a little bit brighter looks like it's being lit by there all right and maybe faded out just a little bit cool so now we get some like, you know kind of coming from their paid it out a little bit there make a little bit more natural you know? So doing stuff like this in a photograph it's it's more like illustrative illustrative I don't know if I could say that work directly but it looks a little bit more like a illustration but it's just like you know I'm doing this corporate stuff like it just kind of makes image is a little bit cooler in my opinion let's just bring that down just a bit if you want to take away some you know areas where a little bit like distracting like weird around the edges we just kind of create like a rough vignette as well I just you know, kind of paint that in this a little bit darker around there there we go dark that area back there may be dark in this wall a little bit large brush on dh soften that back in as well so we're kind of creating just like a little bit of a vignette here let's just bring this back down so you can see there we go and everything so we could just see that often on maybe we'll make this a little bit less dark if we did want certain things to stand out let's say the red dress we wanted to stand out even more but I would do is grab a curve adjustment layer well actually you could do this in a few ways the easiest way would definitely be to do this through a huge saturation layer gravity adjustment layer goodhue saturation we're gonna choose reds and I'm gonna choose this eyedropper tool and actually choose the reds that are in her dress and I can choose to drag up the saturation which is going to bring up the saturation of the reds in my image specifically focused on her dress if it's selecting out more you can see it's kind of affecting the walls and things like that as well she was this minus eyedropper and make sure you hit the minus eyedropper so it does not select out things like the walls there we go all right and if you still need to do so here we go you can see pretty much just affecting her read her dress there if you still need to do so what I would do is he command I on that layer mask and then paint white here we go right on her dress so we're really nice saturated dress all right, here we go doing things like that that's something that I would do probably for a few different elements of this photo his face and body looks a little bit dark in my opinion so I'm gonna grab the curve adjustment layer bring that up just a little bit he command I on that and we're gonna paint white right over top of him all right kind of feeling these shadows here and make sure we get the almost clean kind of here we go all right ain't there so we can see just by like, you know, just a quick curves adjustment layer we can fix he thinks that's you know, we want to get our exposure and everything mostly right in camera but if it's like you know, a quarter of a stop off you can see like that's really not that hard to do we could do the same thing with her was just group grab occurred adjustment layer right in that area up and I'm gonna hit man die in there, grab a brush, fool all right and then paint this bright right around her stephen you generally don't want to go just on a person because it's gonna look a little bit weird so I'm gonna go like a little bit larger here okay, and we're gonna make that a little bit a little bit less, right? Very cool, all right? And you can see already. Let's, just shift, click all those layers and I'm gonna hit command. G it's a very quick thing, but we can see it. It's already started to shape this image. This looks a lot more straight out of camera and this looks like something that has a focal range. You got that really nice saturation and address she's a little bit lighter, the dark edges a little bit darker and it's pretty amazing what you could do in like two seconds. We totally shifted the focus of this image, like being flat looking directly at our subject, which I think is just really, really cool. All right, well, that's. I would probably do some other things, like dodging and burning, a little bit of retouching on face and things like that. Those things would take a little bit of time not opposed to doing them, but this is mostly about compositing. I think we've done a really good job there.

Class Description

Compositing is about making complex, visual masterpieces driven by your creative vision. Through mastering compositing, you will deepen your understanding of color, light, and movement — vaulting your photography skills to the next level while bringing more value to your clients and your pocket.

Instructor Aaron Nace has taught millions of photographers at every skill level how to construct vibrant images through photo manipulation. This 3-day introductory course will teach you everything you need to know about compositing — from basics to mastery.

During this in-depth workshop, Aaron will show you how to conceptualize the idea, plan out your composite, photograph and light each piece of the puzzle, and artfully combine the many parts using Photoshop.


Software Used: Adobe Photoshop CS6, Adobe Lightroom 5

Reviews