Creative Photoshop Techniques with Renee Robyn: Building a Composite Preview From PRO EDU

October 2, 2019 0 By Peter Engel

– The next rabbit hole
that we’re gonna run down is finding backgrounds. This process, if I have
everything pre-vised out and drawn and selected, then I
know what I’m gonna do. I’ve already shot, maybe I
have come up with a concept, then shot the background plates, and then shot in the studio. Then everything falls together
really, really quickly. In this case here, I’m
picking stuff from my library over stuff that I’ve shot over six years. This process can take
a little bit to find, okay this is the right camera
angle, this is the right lens, this is starting to fit nicely, and then other times, I
mean it just takes work, it just takes some time. I’ve been selecting some images here. This one here I think is nice. The angle is shot from standing, which could be kind of weird because you can see
some of the ground here. I’m not really sure if this is gonna work because what can happen with perspective, and I see this happening
a lot, is if you see the way someone’s standing, so we don’t have his feet in this image, but if you see the way someone’s standing, if you’re really good with perspective, you’ll sometimes see that the ground would be going through somebody’s knees or their calves or their thighs, and it looks kind of strange. It’s really popular in advertising, and evidently if that’s
all you’re trying to do, I mean it creates eye catching images, but I tend to try to go for
as close to real as I can with subjects that don’t look real at all. The reason why I’ve selected this one, I’m gonna go Control + A and Control + C, so we’re gonna copy it
and paste it over top. The reason I’ve selected this one, I’m putting it on overlay so
I can see what’s going on, is because of the light direction here. I’m going to flip this piece of forest and see if I like it, and it’s not really talking to me. I think there’s some good things about it. If I was to line up the
perspective on this realistically, it would look something like this, and I don’t have more footage
to fill up these trees. I don’t really wanna stamp them in, I don’t really wanna draw them in, that’s gonna take more time. I can probably just replace
it with something else. Although this isn’t a bad choice, I think that there’s better, so I’m gonna hide this one for now. I’m just gonna close this
guy, because I don’t need it. Let’s see what else we
have here on my hard drive. I have this other forest
picture here, let’s have a look. I think I’m gonna run
into the same problem. So when I shot these, clearly
I shot these from standing. He’s been photographed from
a low angle looking up, so this is not gonna work, I
don’t even have to open it. I’m just gonna say no. I think what’ll look better with this is something that is shot
with a lot of compressions, so a longer lens, maybe
something that was further away can add things in to the background that appear to be far away, so it kind of, it’ll have a little bit
of like a poster-y effect. I think it’ll suit nicely, because he doesn’t have a
ton of distortion right now, he was not shot with a wide angle lens, and although I can get away
with it with some images, I don’t know, I’m gonna try
something here first with this. I’m gonna open up, I
have some mountain stock sticking here, but I’m
gonna have to stitch it. So I wanna … I’m not going to increase clarity on this. The reason for that is that
this was shot with a 135 or a 100 ml lens by the looks of it, looking at the compression
between these two mountains. So I don’t wanna add more clarity because in reality, that would
be quite far away from him, so adding clarity would be distracting and it would not necessarily
add to the realism of the shot. I’m gonna go open image. And I want these mountains
to be a little bit lower, so I’m gonna stitch, when I was shooting, when I go out and shoot mountain tops, I’m usually hand held because
often times having a tripod in certain parks is not
necessarily allowed, so I’m just gonna, basically
when I’m out shooting, I just hold up my camera and go tick, tick, tick, tick,
tick, tick, tick, tick, tick. And I find a focus point,
and I lock into focus and then I just photograph
those background pieces. Especially if your images
that are going to be slightly far away or quite far away, I’m okay with them not
being completely perfect. These are two images
that I took in sequence, I actually shot the
entire range of mountains, but I think these two will work. I’m just gonna grab my crop
tool and expand the canvas. Going to get off of crop of this. Copy that one over. Now, there’s lots of
different ways to stitch, and stitching can be super fun, especially for people who
are really, really, really into doing landscape photography. But there’s always the question
of how do you line it up? So here we’re looking at this, and there’s gonna be a little
lens distortion probably, it’s probably not gonna
be perfect probably. But there’s this really cool blending mode that I learned from a landscape workshop that I took a long time ago, and there’s this blending
mode called difference. I had never understood
the use for difference, for me it was always kind
of this worthless tool, but then I saw this landscape
photographer named Eric use it to line up his images when he was stitching, and so now I can see,
and I’m looking at this, when this is off, it’s very clear. But I’m just, basically hit the move tool. It looks pretty, pretty close. I’m gonna hit, put this back to normal. We can see here there’s a
little bit of differences here, and that’s gonna happen with the lens. I’ll probably just put my subject
in front of that seam line but I’m gonna mask out the
line just so it’s not obvious. With digital art, it’s
always the question of “What can we get away with
and nobody’s gonna notice?” If this is printed up really big, probably somebody would notice but if i play my cards right, I can put the subject
in front of that seam and so it’s not gonna matter anyways. I’m gonna crop this back in. I’m gonna flatten it, I’m gonna
go Control or Command + E, copy it over, and paste it. I often use blending modes,
especially when I am trying to figure out where I’m gonna put things. Just because then I can
loosely see what’s going on.