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Deke's Techniques
Illustration by John Hersey

036 Creative stacking with Maximum and Range


From:

Deke's Techniques

with Deke McClelland

Video: 036 Creative stacking with Maximum and Range

In this movie, I am going to show you one of several possible creative applications for those image stacking modes that are available to you inside Photoshop Extended. So, bear in mind that you need the Extended version of Photoshop to pull off this effect. I'm working in the Adobe Bridge, and I have selected a handful of images. I will press the spacebar so that we can see these images in the full-screen mode. This is Piazza San Marco in Venice with the Grand Canal in the background. And I happened to capture this image in the winter when there is relatively few people. In the summer, this place is just packed.
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  1. 18m 1s
    1. 336 Drawing a hand (clenched in a fist)
      11m 44s
    2. 337 Cleaning up a sketch captured with a phone
      6m 17s
  2. 10h 39m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
56h 1m Intermediate Jan 11, 2011 Updated Jul 29, 2014

Viewers: in countries Watching now:

This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

036 Creative stacking with Maximum and Range

In this movie, I am going to show you one of several possible creative applications for those image stacking modes that are available to you inside Photoshop Extended. So, bear in mind that you need the Extended version of Photoshop to pull off this effect. I'm working in the Adobe Bridge, and I have selected a handful of images. I will press the spacebar so that we can see these images in the full-screen mode. This is Piazza San Marco in Venice with the Grand Canal in the background. And I happened to capture this image in the winter when there is relatively few people. In the summer, this place is just packed.

However, I still want to be able to get rid of those people to the greatest extent possible. So, I captured a few different shots. I have got this one here. Here is this one. You can see I moved a little bit, so the registration is worth beans. But we will still be able to align the scene quite nicely in Photoshop. Here is the third image, and then here's the final version of the composition. I have gone ahead and created a weathered look by blending a paper texture against the image. But more to the point, I took two swings to those statistical analysis tools, which were ultimately designed for scientists, and yet you and I as regular people are able to make good use of them.

First of all, I went ahead and wiped out all the differences in the scene. And where there are no differences, where things are stationary, the scene appears normal, so we just have the standard grayscale luminance data. And then I took all the differences and rendered them out as these white ghost people here, including this ghost vaporetto in the background with these trail of white wakes coming off of it. So, you can pull off some pretty amazing effects here. All right, so let's see how I did it. I will go ahead and escape out of the preview, click on the first image, Shift+Click on the last one. And then I'll go up to the Tools menu-- once again, I stress I'm working inside the Bridge-- I'll choose Photoshop, and then I'll choose Load Files into Photoshop Layers.

Now, that's strictly a convenience feature that goes ahead and plops all of these images onto layers here inside the Layers panel, so that I can then turn around and blend these images together. Now, once Photoshop goes ahead and populates the Layers panel with all three images, I will click on the first, Shift+ Click on the last to select all of the layers inside the panel. And I am going to go ahead and zoom in as well, so we can take in more detail. And I will go up to the Edit menu and choose Auto Align Layers. As before, that is in the previous movie. I will just select the Auto Projection option, then click OK, and let Photoshop do its thing. And once again, it's looking for similar pixels with which to align these three layers.

To see how we have done, I will click on rear layer, Alt+Click or Option+Click on its eyeball so that we can see this layer by itself, and now I am going to zoom in even farther so that we can take in some of the smaller details here. And I'll press Alt+Right Bracket, or Option+Right Bracket on the Mac, in order to view each of the images independently. Now, you can see that we've got some pretty great alignment going on between the images, which is flat-out amazing given the ratty job that I did when I was shooting them. However, we also have people sticking at certain locations. So what I am really saying is even though one person may move out of a location, another person moves in. So check out this area right there.

I will go ahead and select it, and then I'll press Alt+Right Bracket again, Option+Right Bracket on the Mac, to cycle from one layer to another. Alt+Right Bracket again Alt+Right Bracket again. So you can see right there at this location in particular, we've always got somebody in the way, and so that's going to present a problem when we ask Photoshop to resolve away those differences. All right, anyway, I will go ahead and deselect the image, turn everybody back on, click on the first layer, Shift+Click on the last one so everything is selected, go up to the Layers panel flyout menu, and choose Convert to Smart Object in order to combine all those layers into a single Smart Object, which I will go ahead and rename, as long as I'm here, San Marco.

All right, so now the next step is to go up to Layer menu, choose Smart Objects, which is dimmed because I deselected the layer, so I will go ahead and click on it to select it. Now back up to Layer, choose Smart Objects, choose Stack mode--only available inside Photoshop Extended--and then choose, you may recall from the previous movie, I was telling you that Median is your way of getting rid of the different information between these various images. So, I will choose the Median command, but it doesn't work out so well. Notice this guy that I was just pointing to a moment ago, the guy who was sort of bending over, or bending his knees anyway. He's become part of a strange amalgam of people.

We have got some ghost people up here in the left area, and then we've got this sort of collection of people and pigeons down here around the stand. And so this is not turning out to work out well at all. And it's totally the fault of the photographers. It's my fault because I never did catch these details without somebody in front of them, so I'll go ahead and zoom out. Consider the scene for a moment. All is not lost because if you take a look at way things are working out, everything that moves is darker than everything that remains stationary.

So, if I wanted to call attention to all the stuff that's moving, I would go up to Layer menu, choose Smart Objects, choose Stack Mode, and then choose Minimum because that's going to keep the minimum luminance levels, which is the darkest information, and what we are going to do is hyper-populate the square. We are going to take everybody in every location they were in all three images and bring them to life. If we want exactly the opposite effect, we choose the opposite mode by going to Layer, choosing Smart Objects, choosing Stack Mode and this time choosing Maximum, which keeps the maximum luminance levels, that is to say the brightest details.

And we end up cleaning up that square amazingly well, and we get rid of most of those ratty pigeons, too. If I press Ctrl+Z, or Command+Z on the Mac, this is the minimum version with all of these little pigeons all over the place. And then if I press Ctrl+Z or Command+Z again, they go away. Yay! Who likes pigeons anyway? All right, the next step is to go ahead and bring in that paper texture. But this is a grayscale image, and I want to bring in some color, so I am going to go up to the Image menu, choose Mode and choose RGB Color, and I will get this ridiculous error message in which Photoshop suggests I go ahead and rasterize the information.

That would be the death of this composition. Don't do it. Click Don't Rasterize. And nothing goes wrong. It's all fine, so there's no reason to rasterize in the first place. Then I will switch over to this paper texture from the Fotolia image library that I have open. I will go to the Layers panel, click the flyout menu icon, choose Duplicate layer, and let's go ahead and put this layer inside Untitled 1, which is the name of my composition in progress. Click OK, switch back to that image, like so. My paper texture is too small. That's not a problem. I'll go ahead and rename it, though.

I will go ahead and call it 'paper' instead of Background, and then I will go up to the Edit menu, choose Free Transform, or press Ctrl+T, Command+T on the Mac, and then go ahead and Shift+Alt+drag, Shift+Option+drag one of those corner handles in order to scale proportionally out from the center. Press the Enter key, or the Return key on the Mac, in order to apply that modification. Go to the Blend Mode menu right here in the upper-left corner of the Layers panel and change it from Normal to Multiply. That ends up giving us that weathered look--very easy to pull off.

It's a little too dark, however, so I am going to press the Alt key, or the Option key on the Mac, click this Black & White icon, and choose Brightness/Contrast. Because I had Alt or Option down, I can go ahead and name this layer. I will call it brighten, click OK, and then I will take that Brightness value up to 20. That's all I need. I will press the Enter key, or the Return key on the Mac, and hide the Adjustments panel. Now, the next step is to go ahead and crop this image, and so I will grab my Crop tool from the toolbox-- I can get it by pressing the C key--and I will drag around the portion of the scene that I want to keep.

I sort of want a panoramic effect, so I don't want it to be too tall. And I need to go ahead and rotate this crop boundary ever so slightly, maybe to about there, and I am doing that by dragging outside the bounding box. This looks like a pretty good crop to me. Check up here in the options bar that Hide is selected, very important, so you don't throw away any detail. In particular, we would end up cropping away some of the paper texture if we were to not select that option. Looks like I need to tuck this edge in a little bit, so I will do so, and then press the Enter key, or the Return key on the Mac, in order to apply that crop.

All right, so now we've wiped out most of the people in the scene. There are some drifty details, a little bit of ghosting going on. However, let's now bring in the ghost people, and we will do that by clicking on the Smart Object, to which if I click the down-pointing arrowhead, I have applied the maximum stack mode. All right, I am going to press Ctrl+J, or Command+J on the Mac, in order to jump a copy of that layer. I will move it above paper, and then in order to try out a different effect here, I will go up to Layer menu, choose Smart Objects, choose Stack Mode and then choose Range, which is going to find the differences between the minimum and maximum information, and we end up getting--ta-da!--these ghost people.

So, everything that's moving is turning into these ghosts, which is awesome. All right, now I want to exaggerate the contrast just a little bit here, so we have some brighter ghost people going on and so I get rid of some of this dark information in the upper-right corner, and I'll do that by pressing the Alt key, Option key on the Mac, clicking the Black & White icon at the bottom of the Layers panel, choosing Levels, and I will go ahead and call this new layer 'contrast', and I will turn on this Use Previous layer to Create Clipping Mask check box so that we are only affecting this one Smart Object layer.

Click OK and I am going to take this black point value up to 30, so the first value up to 30. I am going to reduce the white point value to 160, so that brightens up those people significantly. That's it, go ahead and close this panel, click on the San Marco layer to make it active, and then we want to drop out all the black stuff, keep all of the light stuff and so I am going to change the blend mode from Normal to Screen. Now, that works out amazingly well. It's just that we've got a little bit of a problem here. If I zoom in, you can see that we have these white tips around the gondolas, and this is a big problem when you're shooting in Venice and you're trying to merge your various shots together, because the gondolas are constantly wiggling back and forth in the water, especially when a vaporetto goes by.

So, what we need to do is mask away that information. I will click on this Add Layer Mask icon at the bottom of the Layers panel, and then I will just grab my Brush tool, either by clicking on it or pressing the B key. My foreground color is black, so I am ready to go. I am going to reduce the size of my cursor, however, a little bit by pressing the left bracket key a few times. I am working with a relatively soft brush, by the way. If I right-click inside the image window, you can see I have the Hardness value set to 50%. Size is 90, but I am going to vary that as I work along here. Now, I'll paint along the gondolas to make them go away.

You may paint some peoples heads off, but I won't worry about that too much because I am not really concerned whether we have people with heads. They're ghost people after all. They can live whether they've got heads or not. I will go ahead and paint away those areas as well, that region, maybe paint along the top of the statues because they have got a little bit of extra highlight going on. Notice these three boats in the background. It's really just one boat that moved to different locations across the three images. Let's go ahead and paint that away. I want to keep that vaporetto; he is very cool. And then I will zoom out because we have got those highlights up here at the top of this building.

I will increase the size of my cursor by pressing the Right Bracket key. Paint that information away, drop down a little bit. For some reason, I have got some movement going on inside of these chairs, probably because there's some alignment problems between the images. Then I will go ahead and paint away these highlight details right there, like so. And then because who in the right mind would be a fan of pigeons, I am going to paint away these pigeons over here, just to do a public service for the Piazza and wipe them all out. All right, and that's it. Press the F key a couple of times in order to fill the screen with the image.

I will press Ctrl+0 or Command+0 as well. That is the final version of my composition, thanks to those statistical analysis tools, which I remind you were designed for scientists, but are also useful for everyday people like you and me here inside Photoshop Extended.

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