Compositing Simple Swaps and Group Shots in Photoshop
I'm going to start swapping this limb like we talked about so before we had this wonderful pose. Um, with this sort of hand, that looks really crazy. We're gonna pretend like her face looks not crazy, too. And what we're gonna do is swap this hand. So pretend like this. This is exactly how she wants to look on her wedding day. And this hand is not how she wants to look on her wedding day. So we have our blank shot. If you guys recall we shot this, we didn't have her arm there. That way we can use this as the blank image to add in, and we also have this shot. So what is the problem here with these two pictures? If we were to just use them? The problem is that her hand is contained to this area, whereas the other hand moves up through here. And I don't have anything to replace that with if I don't have a background shot. So if I don't have a background shot than I would have to clone that or I would have to reconstruct in photo shop and that does not sound like fun. So I'll show you what...
it looks like if I take this hand and move it. So I'm gonna do that with the lasso tool or l on my keyboard is the short cut. And I'm just going to select really generally just this whole arm just cause you never know what you're gonna end up sticking on there, what you'll need. I almost never will go around specifically like tracing something. I try not to do that. It just frustrates me. I'm not very good at it. If you're making a selection and add to that selection, you can hold shift and you can dragon draw. And that will add to your selection just the same holding, alter or option. You can get rid of stuff from your selection. So if you happen to close your selection too soon, you can always add or subtract from it. So now I'm just going to copy it. Command C and then paste it. Command V. Hey, the There we go. OK, now, if I hit V on my keyboard without hitting any of the control commands, then that brings up my move tool and now I can move this around. So what's going on here. If I put that in place, then obviously we have a lot of hand where we don't want hand. One way of taking care of that is to just select more. So we can just use this as the background shot. If we want Teoh Weaken, just select all of this area and replace it. Let's pretend like we can't. Let's pretend like something changed. It just wasn't gonna work. We have this background shot toe work with. So before we even bother with this arm, I'm just going to go over here to this blank shot of his chest and I'm going to choose my lasso tool. And I'm just gonna go like this, make a big selection there, copy it and paste it. And now with my move tool, I could just move that into place. Now it might not be exact. He might have moved just a little bit, but we don't even know yet because we need to lower the opacity on this layer so you can see layer to here. I will say that's the chest. Then we can lower the opacity on that layer so we can move it and see where it matches up and where it might not. So it zoom in just so we can see some anchor points here. And the anchor points would be the tie, the vest, different things like that. You know, he moved just a little bit, but that is not a big deal. We know that we don't need this area. We know we just need right in here. So that's more important to me to get right right about there. Not so much up here. All right, So zoom out a little bit and will take that opacity up and I'm going to blend this first. So something that I see a lot of people trying to do is to put this in place the chest, then put the hand in place and then say, Well, I haven't blended the chest yet, but let's just see if we can get it all the work and then we'll start erasing the hand and try to make it all blend. But I just want to make sure each part is done perfectly, even if it doesn't even get used in the end. So I'm gonna create a layer mask on this layer on the chess player and I'm going to choose my brush tool by right clicking. I can make that size lower. You can also use your square brackets on your keyboard to make it bigger or smaller. But I'm going to go ahead and make it about 300 pixels and Amman black my capacities at 100%. So now I can just start to erase. And I'm on a really soft, fuzzy brush. I was on 0% hardness. So I am just erasing, erasing, and I'm making sure that I can't see her hand anymore. I don't mind if I see her arm here and her wrist, cause that was all fine and good. That's good. See, you guys can see a lot more details, so let me know if something's really wrong over there, but Okay, so I think that's pretty good. Unless I messed up his collar. No, that looks good. Oh, I see a finger. Hold on. Let's go get the finger. You see it? I see the finger. Ok, now, in this case, I just brought back some of the best, so I just want to make my brush a little bit smaller and go in there and get rid of it. All right, so we're kind of well blended over here. Just gonna fix the tie area because I'm feeling really picky today. All right, so we've got him all nicely composited there. We have a new chest on his body so we can see what that's done. Not too much just sort of blended the hand away. And now I'm going to be able Teoh, click on my arm layer. Now the arm has been covered by the vest, so I just need to move it up top to the top of my layers. Here and now I'm going to the same thing of lowering the opacity, choosing my move tool and then matching this up. Now there are a couple of ways I can do it. One could be with the tie here to make sure that that all matches up. But the other thing is that I just want to make sure that her arm is following the same line that the original arm followed. So I'm going to come right back here and let's see if we can't just take a look at that arm and get it to match pretty. Well, we'll try that to start. I think maybe What does it belong? It belongs down here. Ok, that's much better. There we go. Oh, I think we got it. Okay, so let's take the opacity up layer mask, brush tool by hitting be on my keyboard I can take that size up just for easier work Here you can see still 0% hardness and on black you can switch to black hitting X on your keyboard Black, white, black, white By hitting X and I'm going to start to a race. Now the question is, how much do we erase and how much to be leave? And this is a question, just the personal preference. Soma racing on her arm. We can see a couple things aren't matching. For example, right here we have her arm That sort of not quite right, especially over here, But we can erase that more. But right here the question is, do we continue to erase and re position it or do we just budget and see what we can do about this? I like to fudge things, obviously. So that's what we're going to dio now. I want to click on the actual layer. And this is the last piece of I would say compositing that I use very frequently, which is the warp tool. So I'm going to go to edit, Transform, Warp And what this is going to allow you to do is to click and drag the pixels and move them around Kind of like liquefy, except that it actually shows you what the layer looks like in relation to the background layers. So warp I didn't actually click it. Edit, Transform, warp. Okay, I'm gonna zoom out a little bit so I can see this. Now we have all of these boxes on the outside edges and the crosshairs inside, so I can click anywhere on the edge here and just start to move that arm into place so you can see that kind of popping in the right area there. Here we go. Hahaha! It fits literally. I just need to erase down here now because the dress doesn't match up anymore. So that's something that we could do one of two ways now we could just move this back. We could readjust the arm again. So then that all works out. But I would rather just erase it. Now, what's the problem if I started racing? The problem is that I have a very big fuzzy brush, so it's going to look like that. So I'm going to start to dig into her arm here in a really, really weird way. I don't want to do that. I'm gonna step back. And instead, what I want to do is readjust here. I'm gonna just my size to make it smaller. And I'm gonna just my hardness. So, like I said, this is 100% hardness brush. I've never taken a picture of a subject that was actually in focus on 100% so I never use 100% hardness. And the way that I know what hardness to choose is how sharp is the thing that I'm erasing against. So in this case, it's the arm. It's not totally and focus. I'd say we're out about, like, 85 maybe percent there. So I'm gonna choose that, and then when I go in to erase this, you can see the edges really hard, which means that I can now sort of erase in a lot more of Ah, a nice way there although I raced too much. So we're gonna bring it back with white. Just get that to pop in. So what I'm doing here is making absolutely certain that everything is blended before I ever move on to another step. So I think that it's pretty, pretty well blended, at least for the sake of talking about this at the moment. That look OK for now. Don't judge me too much. Okay, good.
Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear.