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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I have saved my progress as Very bad double exposure.psd, for obvious reasons I think. And that file is found inside the 29_smart_objects folder. The good news is that we have assigned a relationship between our two Camera Raw Smart Objects using the screen mode. The bad news is, thus far, it's a very unfortunate relationship. Now that's going to change over the course of this exercise as we apply the Free Transform command, which will be necessarily a nondestructive modification, because we're working with smart objects. Now if you are working along with me, you can go ahead and close this other image here, Brunette model-2 as Smart Object-1, whatever the heck it is called.
We don't need it anymore, because we already have it open in the other compositions. So just go ahead and press Ctrl+W or Command+W on a Mac. And then click on the No button or on the Mac, the Don't Save button, in order to not save that file. All right, so here we are back in another composition. I am going to press Ctrl+T or Command+T on the Mac, in order to enter the Free Transform, I'll zoom out a little bit, so I can see what I am doing. Now the first obvious move is to go ahead and right-click inside of this image and then choose Flip Horizontal, but if you do that, watch what happens.
Even though that does put around on the other side of a composition, which is exactly what we want. It means that our width-value turns negative as her height-value remains positive, which means, if I try to lock these two into agreement with each other, so that we apply a proportional scaling. It means in this case it goes there and flips her upside down, because it's changed the height value from positive to negative a hundred. So what I going to do is I am just going to change things back to positive; a hundred for a moment. And then why don't we just go ahead and Shift+Drag a corner handle like so, in order to get a rough sense of how big this image wants to be.
And I am keeping the shift key down at all times, by the way, as I am applying my transformations. And what I've found by sort of messing around here is that a scale-value sort of in it's own between 72 and 73% is going to work out pretty well. And I am in fact, going to go ahead and change just in case you want to follow exactly along with me. I am going to change my Width value to 73%, because I have got the values locked into agreement with each other that changes a Height-value to 73% as well. And now I am going to go ahead and more or less center this image, I'll nudge it up a little bit, may be over to the right a little bit using my arrow keys by the way.
Zoom in, so I can see the composition a little more closely. Then I'll right-click inside of the image window and choose Flip Horizontal. So the idea is you're better off scaling, if you are applying a proportional scaling. You are better off scaling first and then flipping second. All right, now that I am done, I'll go ahead and press the Enter key or the Return key on the Mac. And bear in mind, because we are working with a Smart Object, and I don't mean to hit you over the head with a mallet over the stuff. But I do want you to remember, because we are working with a Smart Object, you can always go back in the Free Transform and make some additional modifications without harming the core image, because you are not rewriting pixels.
All right, the next thing that we want to do is I think go ahead and switch off the Blend mode, because even though we do have a double exposure shot, that's what screen does. It is very much analogous to the traditional process of exposing film twice, that does not mean it is necessarily going to produce a great effect, and what we have done is combined her with her own hair. So she has a lot of light streaks going on in her hair and as a result we have some streaks of hair going on inside of her face. Now if we want to give her a kind of strange mammalian sort of appearance, I guess that's a good thing.
I am not really sure that suits her needs in this case, however. So I am going to try one or the other blend modes here. I am going to try switching over to lightening, just to see what happens? And actually that produces a halfway decent effect, and we still have some weird light hairs going on over on the side of the right model's face, and underneath the jaw line of the left model's face, and even if you look closely we have a little bit of hair inside of the right model's nose, which probably is not something we want. I believe we have some hair wandering around in her irises as well. We may able to dampen that a little bit if we switch from Lighten, which as you may recall; keeps lighter colors on the channel by channel basis.
So each channel is different. If you want a composite effect, then try out Lighter Color instead. And this looks pretty identical to me. I am not seeing anything changed dramatically. What I think we are going to need is a layer mask and we are going to need a layer mask on both of these layers. So I am going click on the layer mask icon here for the model-2 layer. And then I will go and press the G key which didn't work actually, because lighter color is still highlighted for me on the PC. So I will press the Escape key first and then press the G key in order to switch over to the Gradient tool.
Now my foreground and background colors are already black and white. Make sure that you have all of your default settings at work up here in the options bar. So we are creating a Linear Gradient. I wanted to go from Foreground to Background, so the very first option right there. And then we also want the mode to be Normal, Opacity to be 100%, Reverse off, Dither and Transparency can be on. That's fine! And then go ahead and drag from left inside right about here inside the left model's face. And I am going to Shift+Drag over to the right until I start getting into the zone where the right model's face begins.
So I don't want to drag into her eye, for example. I want to stay outside of her face, just, like so. And now we'll go ahead and get rid of the hairs that were on a left model's jaw-line. Then we need to do something similar for model-1. So click on the model-1 layer, add a layer mask by clicking on this icon at the bottom of Layers panel, and then I will drag from right about here this time, again, inside of the model's cheek; the opposing model's cheek. Now I will go ahead and Shift+Drag until I am almost inside of the left model's face, but not quiet, and then I will go ahead and release, like so.
Now we have a problem with the shoulders. We also have a problem incidentally, as you will notice, We were carving down to the transparency in the background. What we need to do is, for that second problem; the transparency problem, we need to create a new background layer. And that background color needs to be filled with a neutral color for the active blend mode, which in our case is black. Because were working with a lightening blend mode, we need black in the background. So I am going to create a new layer by clicking on this page icon at the bottom of the Layers panel. I don't care what it's called. I don't care where it's located. I will go out to layer menu, choose New and choose Background from layer, so it becomes her background layer.
Now because it's filled with white, we are seeing it. In other words, it's way brighter than anything on this model-2 layer. So the model-2 layer is completely going away and we just see the white everywhere where the model-1 layer is invisible. What we need to do then is click on the background layer to make it active. Black is my foreground colors, I can see down here at the bottom of the toolbox, so I will press Alt+Backspace or Option+Delete to fill that background with black. And because model-2 is set to brightening mode their, lighter color in our case; she shows up once again.
All right, so we are still left with a few problems, we need to finesse the masks a little bit, not much, except down here in the shoulders, where we do need to finesse the mask quite a bit. Notice if I turn off the model-1 layer, model-2 has got quite a bit of shoulder that's showing up here, as soon as I turn model-1 back on, her shoulder gets kind of stunted and it is like they are growing into each other. Once again, that's the effect I want for this composition. So I am going to go ahead and bring that shoulder back in the next exercise.
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