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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 have extracted the book from the background, we're ready to work on the copy. Now, the easiest way to do that is going to be to select this layer and to duplicate it. To do that, we can click-and-drag this to the New Layer icon, or we can press Command+J or Ctrl+J. Next thing we want to do is press the M key to select our Marquee tool. We want to add a Feather here, maybe 1 or 2 pixels at most, and then make a selection around this text. Now, if your selection isn't good, don't let go of your mouse button.
Press the Spacebar key, click and reposition it, and then click-and-drag it out. You want it to just be on the edge of the text. Next thing we'll do is we'll go down to our Patch tool. You can find that beneath those Healing brushes. What's going to happen is when we patch this, it's not going to look perfect the first time, but things rarely do in Photoshop. So, we'll go ahead and drag that over to the clean page and then let go. All right, well, let's deselect. Choose Select, and then Deselect.
Now, for the most part, this looks good, except one of the things I'm really wishing is that perhaps there was a little bit of a different tone here. So, I'm going to make a selection of this area and then just bring it over to this darker tone, and just add a little bit of a darkness to that area of the page. We also may find a few little edges that are problematic, we can select those with different shapes, and then go ahead and click-and-drag these into the different areas. Now, in regards to making the book perfect, it's not that essential because we will be doing some blending, but I do indeed want to look out for any seams which look unnatural, or just anything where it's a little bit problematic, and I'm just going to go ahead and look to try to repair some of the colors and tones that I'm noticing, so that that looks its best.
All right, next step, we'll go ahead and choose Select and Deselect, and here we have it, our before and then our after. Now, there are couple other things that might be fun to do here in order to get this to look even better. One of them is that I'm noticing that this is really bright right here, and it's bright like this side of the page. So, it'd be kind of fun if there was a way to flip that page around. Let me show you what I mean. Here we'll grab our Marquee tool. I'll go ahead and make a selection of this page, and then I'll copy it to new layer, Command+J on a Mac.
Next, I'll grab the Move tool, and I'll reposition this over here. Now you can really see the difference, right? It's too bright here, too dark over there. Well, we can flip this by pressing Command+T on a Mac, Ctrl+T on Windows. So again, we selected that, copied it to a new layer. Drag it over to the right, press Command +T or Ctrl+T, and then right-click and choose Flip Horizontal. When we do that and press Enter or Return, we start to see that yeah, there are some interesting tonal differences here.
Now, were those tonal differences that dramatic? No, because it is a brighter page here, the way the light is falling on this. We can start to see that a little bit here from this page. So, the only reason I point this out, and I bring this page over is to kind of diagnose the problem. Well, I don't need this page anymore, so I'll delete it. What I do need to do though is to turn on the visibility of this layer and click in the image layer. Next, I'll go to one of my Burn or Dodge tools and what I can do here is I can go down to my Burn tool, burn down some detail.
I want to bring this down nice and low, and then go ahead and make my brush a little bit bigger, and I'm just going to go across this area, just darkening it up a little bit, and again, just looking to try to have a little bit of a darker edge there, and some subtle little adjustments, but nonetheless, sometimes these subtle little adjustments can help out. Now, it's not essential as I mentioned to get this perfect, but it can be kind of nice to try do darken a few little areas up, and it can also make this feel a bit more like a vintage book.
Okay, well, I think we're just about good. I'm just going to lower this down a little bit, and hit a couple more little edges, and kind of go to that outer edge over here, darken that up a bit more too, and also over here, just trying to add bit of, kind of, drama there, just doing a touch of burning and getting those details darkened up. All right, well, now that we've done that, we're ready to move on to our next step, where we'll take a look at this book in its context, and then we'll also start to bring in some of our other elements to really get this composite going.
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