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In Photoshop CS5: Creative Compositing, Chris Orwig demonstrates how to take photographs to the next creative level by combining images in Photoshop. This course covers multiple compositing scenarios, including portraits and architecture photos, from selecting the images, to blending photos with layer masks and blend modes, and resizing and sharpening the results. Chris also covers tips and tricks design to inspire and increase the drama and interest of photographs. Exercise files are included with this course.
Now that we've extracted the model from the environment, we're ready to combine this image with the other image. So in order to do that, let's click on this widget up here which allows us to lay out our images in this two- up mode, so that we can see these two images side-by-side. Next, we'll select the Move tool and simply click in this layer and drag this into the other document titled books.tif, and then we'll press F to go to Full Screen View Mode. Now here we can start to see how we can bring these two images together. We can also evaluate if our photography was good.
One of the things that you want to do when you're creating composites like this is you want to take a number of different photographs with different postures and really keep in mind, the lines, the angles of perspective, so that you can bring your images together. Let's move this layer around and see if we're going in a good direction. Well, I think we are. I think we can start to see we could have her hand sitting on the corner of that book there, her foot on top of it, leg kind of dangling down in front of the books, and that could really work. Except proportionally, I think she is a bit too big. So let's Free Transform this.
Press Command+T on a Mac, Ctrl+T on Windows. Hold the Shift key and click-and-drag one of your corner points, I think it would be fun to have for even a little bit smaller here, have her blend into this environment even a bit more. So again, I'm just going to look to try to find a size which I think will help work with this composite. Seems to me to look even perhaps a little bit more interesting to have her scale down there a bit, and then we'll press Enter or Return. Now this of course is simply a stylistic decision, so you'll get to make that decision.
One of the things that you might need to do as well as you start to bring images into other context is to free transform it, press Command+T, and then to rotate it. Sometimes what you can do is change this registration point, say to the hand here. If the hand is in a good spot but the shoe isn't, you can then rotate around that. See how we can really bring that shoe down to the edge of the book there. Or maybe we want it a little bit up, I don't know. But you want to really get the angle just right. Other times what you might need to do is hold down the Command key on the Mac, Ctrl key on Windows and drag one of the corner points.
You can kind of see how I'm stretching or changing the perspective. Now, this image doesn't need them but occasionally when you bring a model into a new context, your perspective might be a little bit off. So in those cases, just experiment with holding down the Command key on a Mac, Ctrl key on Windows, and then clicking-and-dragging the corner points. Or here with this image, all that we needed to do was to relocate the registration point, and then just modify this a bit just to get that foot a little bit closer to the edge here, so it makes her feel like she's a little bit on the edge of things.
All right, well let's press Enter or Return. All right, well what's the problem now? Well, the problem is, if we zoom in, is it looks like she's floating. We also have this light that's coming in behind the hair, we don't have a light source behind the image over here. We also need to work a lot on color and tone in order to get the two images to really fit together, and also to kind of execute the idea of creating this imagination type of an image. So we're going to want to have some really stylized color which adds the overall aesthetic.
Well before we get to our color and our tone, one of the first things I think that we're going to want to do is to work on shadows. So let's explore how we can work on shadows in the next movie.
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