Merging Background with Model


Creating Your Reality with Composite Photography


Lesson Info

Merging Background with Model

So, I'm just gonna scan through, and I'm just in File Explorer. It doesn't really matter, I just need to see what's going on. So this one I kinda like. This is from standing. That's from squatting down, so this I can tell, higher, lower, you can look at the bottom of the image. You can see more information is bigger here, it's closer to the lens. Standing up these little rocks are quite small, so that's one of the ways that I like to tell where I was standing or whether I was sitting closer to the ground. So I'm gonna use one that was shot closer to the ground. I think I'm gonna try this one here. This will be pretty nice. We have some city crap to get rid of here. I'm not a big fan of that stuff, so we'll be digging through that. So 4443, doop-de-doo. Somebody in the comments yesterday, 'cause I read the comments, so all of you that are saying nasty stuff, you watch yourself, be nice. (laughs) Somebody said a comment about hey, she does the doop-de-doo thing. So yeah, I can't shut mys...

elf off when I'm doing this kind of stuff because my mindset when I'm editing is still pretty consistent and just instead of talking inside my brain, I'm talking outside my brain with a PG filter. (laughs) All righty, so let's pull over this one here, so Control A, Control C, Control, Shift V, so of course she's way too big. I'm gonna duplicate it and I'm just gonna hide one of these, so I'm gonna highlight this here, and I'm gonna call those high rows. So I know that if I squirrel around with this other size here I already have a layer that's saved that is exactly the resolution she was to begin with, and yes, I could work with smart objects, for those of you who are more Photoshop advanced, but this is not intended for you know, people who are as that advanced. So if you're comfortable with smart objects, use a smart object, but we're not gonna get into that today. So we are just going to go Control or Command T and I'm gonna hold Shift and make her a little tinier, and let's figure out where we want to put her. 'Cause remember there's my rock. I know right here I'm like okay, that's the spot that I focus because I made it something that I'm gonna notice, right there. That's what's in focus, so my playing area is right about here. So let's try this, I'm gonna put her onto overlay so we can see, multiply. I'm just changing the blending mode of my layer of the model, so that I can move her around and see kind of a little bit more accurately what's up. So in this case I'm turning a photo into a landscape, so in my mind, normally, she has a little bit too much information. I would have liked to have shot this, I did shoot this with the intention of making this portrait, where it's model in landscape as opposed to a landscape with model. But sometimes what happens, especially with compositing, and when you're doing stuff live, you change your mind. So in my mind she's gonna have a little too much information and I would've liked to have shot her a little bit smaller, but we'll probably be able to get away with it today. I just want to make sure that we have all the right information, so remember before we were talking about how she's facing the wrong way, because we would see more of this side of her body if we had actually photographed somebody there. So I am just going to go Command T, right click, and flip horizontal. So it's just kinda faking it, really, at the end of the day. And actually locking her in the middle isn't the worst thing. I spend a fair bit of time moving things around, and I'm pretty much okay with it. (laughs) How do you guys feel about this? Thinking that's sitting okay there? I'm totally okay if somebody says no, but in my mind that's looking pretty good. (laughs) I'm just zooming in here, looking at with the blending mode, I'm just looking here, so these rocks here are a little bit soft, just a teeny bit. Let's see if I can move her back a little bit more. In this case we're also probably running into a difference of lenses, so she's probably gonna be just a little bit sharper because it's a prime lens versus a zoom lens.

Class Description

With the right Photoshop know-how and studio shoot experience, you can merge fact and fiction into a reality that lives up to your imagination. Renee Robyn has made a career of turning everyday photos from her travels into eye-catching images. Robyn will teach you how to add people and other elements to your existing landscape photos using ethereal custom effects.

Join us for “Creating Your Reality with Composite Photography” and you’ll learn:

  • How to choose or set up a shoot for your background image
  • How to direct posing during a shoot, and work with directional light in studio to make your subject fit into the background image
  • How to composite your subject into your image using Photoshop

Photo compositing allows you to breathe interesting ideas into your photos. Open your hard drive, walk into your memory, and turn past experiences into fantastic new realities.


1Class Introduction
2Why You Should Sketch Your Composite
3What to Look for in Your Background
4Posing Your Model
5Communicate with Your Team
6Elements of Compositing
7Learning from Failure & Criticism
8On-Location Safety Tips
9How to Nail the Right Perspective for Your Composite Photo
10Gauging Light & Exposure On-Location
11On-Location Posing
12Cliff Shoot Location Final Thoughts
13Tips for Culling Images
14Culling Images Q&A
15Preparing Your Image for Composite
16Composite Image Cleanup
17Adding Background Image to Composite
18The Difference Between Flow & Opacity
19Composite Sky Elements
20Using Curves to Color Match
21Adding Atmospheric Depth to Image
22Using Color Efex Pro to Manipulate Color
23Using the Liquify Tool
24Color Theory & Monitor Calibration
25Adding Smoke Layer to Image
26Selective Sharpening
27Crop Your Image
28Goal Setting for Digital Artists
29Review of Location Composite
30Understand Angle & Height for Your Base Plate Image
31Base Plate Focus Point
32Base Plate Lighting Tips
33How to Use a Stand-In for Base Plate Image
34Capture On-Location Base Plate Image
35Student Positioning Demo
36Base Plate Sketching
37On-Location Sky Capture
38What to Look for in a Base Plate Model
39Building Composite Model Lighting
40Composite Model Test Shots for Angle Matching
41Composite Model Shoot: The Art of Fabric Throwing
42Composite Model Shoot: Working with Hair
43Composite Model Shoot: Posing Techniques
44Composite Test with Final Shot
45Lighting Setup Overview
46Culling Model Shoot Images
47Adjusting Skintone Colors
48Merging Background with Model
49How to Mask Hair
50Creating a Layer Mask with the Brush Tool
51Creating Shadow Layers
52Removing Visual Distractions with Stamp Tool
53Replacing Sky with Layer Mask
54Drawing Hair Strands and Atmospheric Depth
55Creating Contrast in Your Composite
56Adding Atmospheric Elements
57Using Particle Shop
58Selective Color Adjustments
59Cropping, Sharpening, & Final Touches
60Closing Thoughts