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Photoshop CS5: Creative Compositing

Setting the stage with color and tone


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Photoshop CS5: Creative Compositing

with Chris Orwig
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  1. 2m 30s
    1. Welcome
      52s
    2. Using the exercise files
      1m 38s
  2. 20m 12s
    1. Combining layers with blending modes
      1m 36s
    2. Using blending modes and color adjustment layers
      2m 21s
    3. Layer blending and shortcuts
      4m 3s
    4. Creative project: Wisdom begins in wonder
      6m 23s
    5. Creating a flamenco dancer advertisement
      5m 49s
  3. 17m 39s
    1. Snapshot project: Using Auto-Align and Auto-Blend
      3m 27s
    2. Flag project: Combining depths of field
      3m 46s
    3. Nature project: Combining foreground and sky
      4m 47s
    4. Nature project: Adding clouds and creative color
      5m 39s
  4. 15m 28s
    1. Combining multiple frames
      5m 21s
    2. Cleaning up the details
      5m 5s
    3. Modifying color and tone
      5m 2s
  5. 11m 48s
    1. Combining interior and exterior architecture
      6m 57s
    2. Increasing drama and visual interest
      4m 51s
  6. 25m 27s
    1. Composite project overview
      4m 12s
    2. Masking multiple images together
      3m 28s
    3. Extending the canvas and adding elements
      2m 58s
    4. Enhancing the main elements
      1m 47s
    5. Cleaning up the background
      4m 27s
    6. Award-winning composite inspiration
      4m 30s
    7. Photoshop composite inspiration: Web sites
      4m 5s
  7. 1h 4m
    1. Project 1: Removing a model from a background
      9m 27s
    2. Project 1: Combining multiple photographs
      3m 23s
    3. Project 1: Working with shadows
      8m 15s
    4. Project 1: Adding light and color
      5m 18s
    5. Project 1: Working with curves and masking
      3m 45s
    6. Project 1: Final color and tone adjustments
      6m 56s
    7. Project 2: Combining multiple photographs
      7m 51s
    8. Project 2: Adding shadows
      7m 21s
    9. Project 2: Organizing layers and adding blur
      5m 48s
    10. Project 2: Adding film grain
      6m 19s
  8. 22m 58s
    1. Illuminating the eyes
      4m 16s
    2. Blending graphics with photos
      4m 25s
    3. Making final color modifications
      6m 19s
    4. Creative portrait blending
      7m 58s
  9. 25m 54s
    1. Working with color and tone
      3m 46s
    2. Adding texture
      4m 4s
    3. Adding film grain
      2m 44s
    4. Modifying texture
      4m 32s
    5. Darkening edges
      3m 34s
    6. Applying a creative color effect
      7m 14s
  10. 14m 39s
    1. Creating a selection of the TV glass
      4m 14s
    2. Masking the images into the selection
      5m 16s
    3. Modifying the color and tone
      5m 9s
  11. 27m 42s
    1. Extracting elements from their backgrounds
      6m 49s
    2. Removing the words from the book
      4m 31s
    3. Masking and image blending
      4m 35s
    4. Creating composite options
      4m 56s
    5. Enhancing the color
      6m 51s
  12. 11m 39s
    1. Setting the stage with color and tone
      4m 30s
    2. Working with textures and blending
      7m 9s
  13. 20m 31s
    1. Project overview
      4m 54s
    2. Using masking and blending modes for emphasis
      5m 8s
    3. Adding and modifying typography
      4m 55s
    4. Making final color and tone adjustments
      5m 34s
  14. 24s
    1. Goodbye
      24s

Video: Setting the stage with color and tone

I've had the privilege of teaching Photoshop for a number of years, and I've had the privilege of working with a wide range of students, and one of the things that I've discovered time and time again is that Photoshop really isn't that difficult. Now of course Photoshop is deep and there's a lot to learn, but what's really difficult, what's really tricky, is actually thinking about, hey, I have this internal idea. How do I express that externally? How do I create something that matches what I actually want to do? And here I want to explore another composite that will actually be quite simple, which will start off with this out of focus image and also some textures, with the goal of trying to express something.

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Photoshop CS5: Creative Compositing
4h 41m Intermediate Sep 02, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Extending the canvas
  • Combining multiple frames
  • Cleaning up the background
  • Modifying color and tone
  • Masking images together
  • Removing a model from a background
  • Blending graphics with photos
  • Illuminating eyes
  • Adding texture and film grain
Subjects:
Photography Masking + Compositing
Software:
Photoshop
Author:
Chris Orwig

Setting the stage with color and tone

I've had the privilege of teaching Photoshop for a number of years, and I've had the privilege of working with a wide range of students, and one of the things that I've discovered time and time again is that Photoshop really isn't that difficult. Now of course Photoshop is deep and there's a lot to learn, but what's really difficult, what's really tricky, is actually thinking about, hey, I have this internal idea. How do I express that externally? How do I create something that matches what I actually want to do? And here I want to explore another composite that will actually be quite simple, which will start off with this out of focus image and also some textures, with the goal of trying to express something.

Now this particular photograph I captured up at this place you have to boat into in order to go surfing. When you get out there it's really lonely. There is a lot of solitude and that's one of the reasons why I really like it. This particular wave isn't very good. It's a photograph of my friend and it's completely blurry and out of focus. Yet sometimes I find that shooting sports and action sports in an out of focus way can be interesting. Now many times I would delete an image like this, because it wouldn't really be worth anything, but as I was flipping through these images, this one kind of caught my eye and I thought, it is so simple. It kind of captures that loneliness or solitude that I enjoy so much when I get out there.

I want to try to create a piece just for myself which expresses how I felt that particular day. So here you can see I have some textures. The textures are all really simple and here's one with a frame or an edge, here's another one, a different edge and then another texture. These particular textures come from a program which is called PhotoFrame, which is put out by the folks at onOne Software. If you visit their site, ononesoftware.com, you can download a free trial of this plug-in. If you install it you can then access these different frames, or of course you could always shoot or create your own textures.

This could be an old concrete wall. This one you could use brushes, just to paint in those edges, or for this again, you could just add some film grain or noise to the layer and then paint in the different edges. So this isn't contingent upon these particular textures; more, it's contingent upon having something to start to create some kind of blending with. All right, well, what do we wanted to do here? Well, I want to start off by creating a mood or a tone, and so a lot of times I think about color when I'm doing that. So I'll click on my background layer and here navigate up to Color Balance.

Now in Color Balance one of things I know is that I want my highlights to take on a lot of yellows. So I'm just going to try to brighten those up, and it's really almost overexposing those yellows. Next, I'll go into my shadows and I want the opposite. I want really deep cool tones and a little bit of cyan there to almost give it a bit of this duotone type of look or cross processed type of aesthetic, but something that kind of matches the overall blurry aesthetic. All right, well now, that I have established a bit of a look in regards to the color, the next thing I'm going to do is start playing with my textures.

The stuff in regards to working with textures as you've discovered really isn't that difficult. It's all about experimenting. We turn on the visibility of a texture or we drag a texture into our document from another document and then we change the blending mode. We try something like Overlay or Soft Light, and sometimes we also try inverting the texture. We can do that by pressing Command+I. I kind of like the inverted version a bit better. Yet there's a problem. The texture goes through here in the surfer. I don't like that.

With texture you have to find kind of breaking points for them. So here I'll click on the add layer mask icon, grab my brush tool, and I'll paint with blacks. I will choose black as my foreground color and then I'll press the left bracket key and I'm just going to mask this out here. And currently I'm on a low opacity. I'll take that up a little bit more there. Again, just look to try to interrupt this pattern a bit. I'm just trying to hit it in a couple of different places, just to disguise things there a little bit, so that texture kind of flows into the rest of the image.

All right, well so far so good. We've established the mood. We have kind of started to think, yeah, I want to have a lot of this rich texture to build this composite really out of an ordinary image and some pretty ordinary textures. But I'm getting closer to expressing externally what's on the inside. In order to take this project even further, let's continue to work with these textures and with color and tone, and let's do that in the next movie.

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