Photoshop cs5 cho nhiếp ảnh gia part 61 pptx

Multiple-Subject Montages so far, we’ve been describing a variety of ways to combine two versions of the same image, but it’s also possible to combine two different images.. One approach

and use the center square formed by the overlap of the two images

and blend it to create a virtual kaleidoscope (figure 9.32)

Figure 9.32 All sorts of abstract designs—even kaleidoscopes—are possible by combining mirroring techniques,

rotations, and blending modes

Tr y It! Open the image called Flip on this book’s companion website, www.sybex com/go/photoshopnature, or open one of your own Duplicate it, and then rotate or flip it

to create various effects Be sure to scroll through the blending modes to see how they affect the montage

Mirror Images

Mirror images are very similar to flip montages, except that the two images are side

by side rather than on top of each other this creates an obvious dramatic symmetry that can be quite compelling natural phenomena that have strong design compo-nents, such as sand dunes, rock formations, waves, and even trees, lend themselves to this approach remember that the center of your image is formed by what is on the edges of your file, so your subject may need to be placed toward the edges of the origi-nal rather than your typical composition

to create a mirror montage, take the following steps:

Dupli-cate this is easier for this technique than simply copying the Background layer,

as you did earlier

of your image

Figure 9.33 Open a file you think will work as a mirror.

but leave the height alone (see figure 9.34) anchor the original to the right or

montage, then double the height and leave the width alone anchor the image at the top or bottom as desired.) Click Ok

Figure 9.34 Double the canvas size in

width if you are creating a horizontal mirror,

or double it in height if you are creating a vertical mirror

Horizon-tal (or vertical)

Using this technique introduces symmetry that sometimes creates what appear

to be odd creatures or faces (see figure 9.35) these often add to the intrigue of images created this way

Figure 9.35 The symmetry of mirror montages often creates what appear to be creatures in unexpected places.

Multiple-Subject Montages

so far, we’ve been describing a variety of ways to combine two versions of the same image, but it’s also possible to combine two different images One approach to com-bining two different images is to have one image provide the texture and have the other provide the subject matter You can stack one on top of the other, rotate, or flip one as desired and of course, the effect is going to vary dramatically depending on the way you combine the two images You could simply reduce the opacity of the top image and leave it in normal blending mode, or you could choose any of the other blending modes

Note: Shots of wood, tree bark, textured glass, frost, rocks, snow, rain, and lots more can be used

as texture

figure 9.36 shows a flower image and a shot of the rain on the greenhouse wall the greenhouse-wall file was dragged on top of the flower using the Move tool

scrolling through the blending modes, the image jumped to life in the Difference mode However, the flower was a little too unrecognizable, so we added a layer mask

to the second layer and used it to reveal the center of the original flower in the layer below

there are no simple rules or absolutes to follow when creating montages You are the artist, and you have to decide what works and what doesn’t it’s your chance to apply all the knowledge you’ve gained in the previous chapters!

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for example, you could add texture to a multiple exposure by taking the follow-ing steps (We’ll cover creatfollow-ing multiple exposures in the next section of this chapter.)

to use as a texture We’ll use a multiple exposure of some trees and a shot of an adobe wall, shown in figure 9.37

Figure 9.37 We’ll combine this multiple exposure with a texture shot of adobe.

but not overpowering, texture Often you may be in the range of 10% to 20%

opacity, but of course, this varies depending on the particular images you’re using

used the Difference mode, but you may want to use any of the blending modes, including normal!

the final result (see figure 9.38) may be subtly or dramatically different than a straight shot, and it is this unexpected texture that captures your viewer’s attention

Figure 9.38 Combining a texture with a multiple exposure resulted in this abstract but

recognizable tree image

On occasion, we have combined all of the techniques discussed so far into one image figure 9.39 is the result of two totally different images of sand dunes montaged together and then mirrored horizontally note that unlike in the previous examples, two different images were combined equally as the foundation for the montage that entire montage was then duplicated and mirrored vertically, and the image was cropped

Figure 9.39 Almost all the techniques described so far in this section were combined to create this dramatic image.

Note: Montages can also consist of two totally different images combined using blending modes

or opacity

for example, you could add texture to a multiple exposure by taking the

follow-ing steps (We’ll cover creatfollow-ing multiple exposures in the next section of this chapter.)

to use as a texture We’ll use a multiple exposure of some trees and a shot of an

adobe wall, shown in figure 9.37

Figure 9.37 We’ll combine this multiple exposure with a texture shot of adobe.

but not overpowering, texture Often you may be in the range of 10% to 20%

opacity, but of course, this varies depending on the particular images you’re

using

used the Difference mode, but you may want to use any of the blending modes,

including normal!

the ways to combine images in Photoshop are infinite the only limit is your imagination!

Tr y It! Open the images called Texture and Flower on this book’s companion website, www sybex.com/go/photoshopnature, or open two of your own images, and practice combining them using various blending modes Remember to reduce the opacity of the texture layer so it doesn’t overpower the image

Digital Multiple Exposures

ever since ellen was exposed to some of freeman Patterson’s in-camera film-based

creative multiple exposures, she decided there had to be a way to create the same effect

digitally although some methods were available on the internet, none worked reli-ably and well it took some time and experimentation, but at last she figured out how

to create multiple exposures of as many images as desired in Photoshop since then nikon has offered the ability to create multiple exposures in some of its cameras, but most other camera manufacturers have yet to follow suit

for those not familiar with freeman’s techniques, he uses film and takes mul-tiple images (9, 16, or 25), moving his camera slightly between shots sometimes he moves the camera in a vertical or horizontal direction, depending on what would be

a natural movement for the subject sometimes he zooms the camera between shots, and at other times he combines zooming the camera with rotating it slightly between shots the results are artistic, soft-abstract renditions of familiar subjects (similar to ellen’s image in figure 9.40)

Figure 9.40 Multiple exposures can render familiar subjects in pleasing, artistic, abstract ways.