Join Justin Reznick for an in-depth discussion in this video Unique post work on the flamingo sculpture images, part of Architectural Photography: A Fine Art Approach.
- Alright, we're back on the computer and we're going to take a look at multiple exposure photography. This is really exciting because it's such a creative thing to do. Now if you have a Canon or a Nikon DSLR many of those models have built-in multiple exposure photography. And for my Sony it does not have that feature. And that's okay, because I'm going to show you how to do it all in post. So we start with Lightroom. I've got two images, we're going to do two examples. The first image I'm going to use is this one of the Flamingo statue. I've got a couple people in it, which may enhance the experience, may not, we'll see.
This is the time, because it's a raw image, do I want to make any changes to the Histogram? How does it look? I think it looks great. I'm pretty much ready to go. The only thing I don't like is I have the arm of a gentleman over here, so I'm going to do the R key is a shortcut for crop, and just bring it in just a touch. And that's all I'm going to do and hit enter. Alright, so let's bring this into Photoshop. I'm going to right-click, Edit In, Open in Photoshop CC 2015.
Okay, here we are in Photoshop, and what I'm going to do is decide how many images I want to put together for this multiple exposure experience. And when I make a, I could do three, five, seven, nine, you could do as many as you want. Let's do nine. So I'm going to hit command J, which is duplicate layer, and that give me my second image. I'm going to keep going. Third, fourth, fifth, sixth, seventh, eighth, ninth. Nine layers.
Okay, so now what I'm going to do is I'm going to start to move them. I'm going to move them as if I was kind of moving in the field, but I can do it in post. So I need to have the top layer selected and I'm going to go to Edit, Transform, Rotate. And if I use, I just kind of go up into the corner I've got this little rotation device, and I can physically rotate the image. I can do whatever I want here. I can do a tiny rotation, I can do a huge rotation. So we're going to a bunch.
So I'm going to start with just a small little rotation to the right, that's all I'm going to do. Okay, and I'm going to hit the enter key. And then I'm going to deselect that top layer. And now I'm moving on to the next layer. Make sure you select it, this will only work if it's selected. And we're going to follow that same procedure, Transform, Rotate, and now I'm going to make a little movement to the left. Kind of mimicking. Enter.
Deselect the layer. Move onto the next layer. Edit, Transform, Rotate. Bigger, I'm going to bigger movement. Deselect, select the next layer. And I'm going to do a bigger movement to the left. So you can see I'm just kind of mirroring each image rotation that I do.
Okay, really big one. Let's see, yeah, I'm going to go all the way down here. Again, there's no right or wrong way to do this. Deselect, select, Transform, Rotate. Big movement to the right. Enter. Deselect, select. Transform, Rotate. We're going to do all the way upside down, 180 degrees, why not? Enter.
Alright, I get one more movement here. Now remember we can do as many layers as you want, if you want to do 50 movements you could, so let's move to this one here, last one. What should we do? Let's go right, just go perpendicular, right there. Okay. Now we're going to select all these, put the eyeballs back on them, so we have all the layers selected, and we can only see the very top layer.
What I want to do is shift click to the Background, make sure all nine layers are selected. Okay? We're going to go to Layer, Smart Objects, Convert to Smart Object. This is going to take a long time. This is a powerful machine I'm using, but it's a complicated algorithm, so this is great chance to go get a warm drink, do something else for a bit, and come on back. So we'll do the same.
Alright, it's finally done and I'm down to one Smart Object. From here we're going to go to Layer, Smart Objects, Stack Mode, Mean. Okay? So again, Layer, Smart Objects, Stack Mode, Mean. And what this is going to do is it's going to take from all nine layers and basically give an equal representation of each layer, so that the finished image is a combination of all of them together.
So we'll see that in just a moment. Alright, here it is, it's completely surreal, it's, wow, what do you say about it? It's cool. I'm loving the red and the black, which is one of the things I was really looking for, that contrast of color. And the people around it, pretty interesting. So one thing I find is that the contrast is a little bit dull. So I'm going to take it through just a little bit of my Options, Auto, and just try and pump that contrast a bit.
And that gives me a little bit better representation of what I'm going for. Oftentimes I like to hit the C for crop tool and just kind of crop into it a little bit. You can see when I do that all those movements of the layers I've done. And take a look here. And yeah, I'm digging it. I like it a lot. So that was example one. Now I want to show you one more example and the next one we're going to do we're, instead of doing the Smart Object we're actually going to do it manually.
And when you do that you do have a little bit more control, so let's take a look. So we're going to start back in Lightroom, and let's use this image, something slightly different, same subject, of course, taken from behind and with a wider angle lens. And bring that right into Photoshop. Instead of doing nine layers, let's do something like five, just for time's sake. But of course, again, the number of layers is completely up to you. So we'll do command J, there's second one, third, fourth, and fifth, five layers.
And we're going to repeat that process that we did, Edit, Transform, and Rotate. Enter. Deselect, and move onto the next layer. Edit, Transform, Rotate. Enter. Deselect.
Alright, last one. Okay. I'm going to turn all the eyeballs back on, so we can see all the layers. And now I'm going to pick the blend mode that basically simulates what I just did automatically. So if I go to the Background layer and then I move up to the next one the Opacity needs to be 50%, so I click into that empty space at 50.
And I move to the next one, and this should say 33. And I move to the next one, and this should say 25. And we move to the last one, and this should say 20. And basically what I've done is the same thing, but I've done it manually by entering the numbers that allow for each layer to have equal representation. So a quick review. On the Background layer is 100, goes to 50, 33, 25, 20.
Okay? From here, this is what's interesting, I can select any given layer, okay, so I'm here, let's say the second one from the bottom, and I'm going to go to Image, or excuse me, Edit, Transform, Rotate, and I can continue to work with it. So I can make fine tune adjustments. So basically it's a little bit more control. I can say hey, let's put that one completely upside down, let's see what that looks like, and hit enter.
So by doing this method you do have a little bit more control, you're able to move and rotate after the fact. The other method is kind of putting it all together and seeing how it turns out. One thing I want to mention is the math behind this in case you have more than five layers and you're wondering well, what's next? So, again, review is 100, how did I get to 50? That's 100 divided by two, 33, 100 divided by three, 25, 100 divided by four. So simply you're just adding that number, so the next one, of course, is going to be 100 divided by five.
And the next one would be 100 divided by six, which is 16.66, but I'm just going to put 17. You just need to be in the ballpark. So that's how you come up with that number and knowing that will enable you to use those for any amount of layers that you choose. I'd like to share with you a couple of examples of multiple exposures from the Flamingo that I've put together. And I just want you to think about that you, when you do a search online for images from this sculpture, how many look like this? How many have this look and this effect? And so the creative possibilities are unlimited and I really encourage you to give these two methods a try.