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Photoshop CS5: Creative Compositing

Using masking and blending modes for emphasis


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Photoshop CS5: Creative Compositing

with Chris Orwig

Video: Using masking and blending modes for emphasis

At this stage one of things that we want to do or at least that I want to do is bring out more of the guy. He's a little bit lost in this background. Yet before I do that I also notice that the background in this image has a defining sharp line right here. I don't like that. So I'll click on the Add Layer Mask icon and then I'll go ahead and grab my Brush tool and here I'll choose a little bit more for normal brush. And I'll just get a nice big huge brush here. And it's black, has a soft edge. I want to take my opacity all the way up so it'll actually mask out that edge.
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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

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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

Using masking and blending modes for emphasis

At this stage one of things that we want to do or at least that I want to do is bring out more of the guy. He's a little bit lost in this background. Yet before I do that I also notice that the background in this image has a defining sharp line right here. I don't like that. So I'll click on the Add Layer Mask icon and then I'll go ahead and grab my Brush tool and here I'll choose a little bit more for normal brush. And I'll just get a nice big huge brush here. And it's black, has a soft edge. I want to take my opacity all the way up so it'll actually mask out that edge.

I'll make the brush even bigger and just starting to kind of fade that out there a little bit. So I'm losing a bit of that background. Another nice way to work with backgrounds of course is to knock them out with Advanced Blending. So Advanced Blending is pretty interesting. Let me show that to you. If we got back to Normal blending we'll see that we have this image and we have a lot of white there in the background. If you double-click the layer it will open up your Layer Style effects. Here we can bring that white out by clicking-and-dragging. Now, in this case I lose a little bit of the hat there as well so it's not necessarily the greatest way to go, but it could give us some interesting blending.

You hold down Option or Alt then you click-and-drag on these in order to just modify the way that this blends in and then click OK. Now, if ever you want to undo that you can always redouble-click the layer in order to get rid of that and while we're in this view, let's go ahead and just continually mask out some of this content. So we'll click in the mask layer here and I'm just going to bring out some of the white that I'm seeing in the background. I'm not super concerned about my edges, about how exact this is.

It's more the overall experience or the overall view I should say of this guy in this context. So I want some details there and again I'm not too worried about having perfect edges because I know I'm going to use a blending mode. Let's try a blending mode now. We'll go to our blending mode of Soft Light and see how that's looks. Let's try the blending mode of Overlay and see how that looks. It gives us a bit more, but it's not quite what I'm going for. Here we'll go back to Soft Light. How can we get more of this guy? How can we bring him forward? Well let's double-click this layer, go back to our Advanced Blending, and here I'm going to bring back up some of this white here. I just want a little bit more detail.

So I'm just going to take out just a touch there and click OK. The next thing that I'm going to do is copy this layer by pressing Command+J on a Mac, Ctrl+J on Windows. Now all of the sudden I'm seeing more of him and you know what I want even more of the guy, more density. So once again, Command+J or Ctrl+ J to really bring out even more. Well now, in this case my edges are looking a little bit funny. So here's what I'm going to do. I'll click in my mask and press Shift+Delete.

Here I'll fill this all in with black so nothing is coming through. Then I'll grab my Brush and paint it with white and what I'm going to do with painting with white is just bring in the areas where I want more detail. The hat might be a little bit nice there, the eyes, maybe a little bit on the shirt, just bringing in just a touch more of these noticeable details, and bring that in a little bit more there. And that's looking good. All right, well what else can we do with this? What we of course can go back down to our other layers. For example, we have this textures layer which is pretty dominant and what we might decide is that this texture layer it just needs more masking. Going across his face just doesn't work.

So here I'll paint with black and I'm going to mask this out I want that texture there in the background, but I don't necessarily like it traveling all across the guy. I want some travel, but not just so much. I don't want it running over him and losing complete detail there. I'll also may decide to mask this out in a couple other areas too, just again interrupting that pattern, hiding that background texture there a bit. And all that this we'll do is again just build up a little bit more of this ethereal type of a look.

The great thing about masks like this is that if you go too far, you just go up to your Masks panel and lower the Density. So, here as we lower the density we can bring back a little bit more of those fibers. Also you can always keep in mind you can take this back to Soft Light, a little bit less or if you don't like it at all just get rid of it. You know this image as it is could be kind of interesting right here. Yet for the sake of this one to make a little bit more of a dreamscape I'm going to go back to Overlay. Nice texture there in the background, good detail on my guy, and I just want to go through all of my layers and try to find nice spot for all of these.

I'm going to lower the opacity here and just mask away some of the white that was brought in, so I don't need it to be dense in all areas. Again, I'm just going through customizing each little layer. Okay, well I really like how it's brought in this guy, I think that's working pretty nicely. What I want to do next is I want to take a look at how we can push this even further and we'll do that in the next movie.

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