Studio Photography Essential Skills, 4th Edition P19 docx

Composites Composite lighting Combing all the components to create the final montage can be achieved more efficiently if the photographer captures the individual subject matter in such a

Composite images

Since the early days of photography photographers have been producing composite images The work of Henry Peach Robinson (1830-1901) is one of the first competent, and by

the acceptance standards of the day almost convincing, attempts at combining various

photographic elements to create a single narrative image Today digital capture combined with digital post production can achieve the seemingly impossible, from the complex effects contained in most movies to the simplicity of a studio product shot A situation or subject that

a few years ago may have required many hours of intricate lighting can now be achieved with far greater economy of effort and cost by lighting the different elements to their best effect and combining in post production to achieve the desired result

Jeph Ko

Composites Composite lighting

Combing all the components to create the final montage can be achieved more efficiently if the photographer captures the individual subject matter in such a way as to ensure it has sharp edges that contrast with the background tone or color White backgrounds lit to level 255 and black backgrounds maintained at level 0 make using the Photoshop ‘Screen’ and ‘Multiply’ blend modes easier for montage Backlit subjects against white will create a silhouette effect and capture detail in translucent artwork Side lighting subjects against a black background will result in sharp edge detail and create highlights if required If shadows are a component they must be captured falling on a smooth surface or one with a similar texture to that previsualised

in the completed montage If using Adobe After Effects blue or green screens backgrounds can

be used to create an ideal matte (most movie effects are created using this process) A simple rule to remember when creating a blue/green screen image is the blue/green screen should be two stops under the exposure of the subject key light Also a back light aimed at the back of the subject (creating a rim light) and filtered to the complementary color of the blue/green screen should be one stop under the subject key light This will reduce fringing around the subject from background light spill

Back light

Back/Front light

Composite techniques

In the world of commercial reality photographers are often asked to produce the ultimate image in the shortest time for the least cost Prior to the wonders of digital capture and post-production software this would have meant a certain degree of compromise In the example below the lighting to create a shadow is a point light source, the lighting to create curvature and minimal reflections on the bottle is a broad diffuse light source A difficult result to achieve

on film which would have required two images, one for the shadow, one for the bottle and precise pin registration of the two images Now the solution is remarkably simple and very cost effective By lighting, exposing, digitally capturing each element separately, maintaining lighting direction (even though the shadow is created by a point light source it must look as though

it has originated from the same direction as the diffuse light source lighting the bottle) and combining in post production the impossible can seem to be achieved

Paulina Hyrniewiecka

1 Images 1 and 2 are placed in the same Photoshop document image by dragging the background thumbnail (in the Layers palette) from the wine image into the shadow image Shift-click both layers to select them Select Auto-Align Layers from the Edit menu and select the Reposition Only option before selecting OK

2 Check the alignment by temporarily setting the blend mode of the wine layer to Difference

If the layers have not been aligned using the Auto-Align Layers command (thin white lines along edges may be apparent, indicating misalignment), select the Move Tool and nudge them into position using the arrows on the keyboard Return the blend mode to ‘Normal’ when alignment has been achieved Make a path around the bottle using the Path Tool Save the Work Path and then hold down the Command key (Mac) or Ctrl key (PC) and click on the Path thumbnail to load it as a selection

3 In the Layers palette select the Wine layer and click on the ‘Add layer mask’ icon Soften the edge of this layer mask by going to Filter > Blur > Gaussian Blur A one-pixel radius should be chosen to give this bottle a smooth edge

4 The lighting on the bottle has been refined by masking some of the top layer This has been achieved by selecting the Brush Tool from the Tools palette and choosing black as the foreground color A soft-edged brush set to 30% Opacity has been used to darken the right side

of the bottle cap by painting in the layer mask to reveal the underlying layer A second path around the label of the bottle has been created and saved as a ‘Work Path’ The path has been loaded as a selection by holding down the Command key (Mac) or Ctrl key (PC) and clicking

on the Path thumbnail

5 The wine and the label can now be modified independently using an adjustment layer Hold down the Alt/Option key and select a Curves adjustment layer from the ‘Create new fill or adjustment layer’ icon in the Layers palette In the New Layer dialog box select the Use Previous Layer to Create Clipping Mask checkbox and set the mode to Luminosity Select OK

to open the Curves dialog box Adjust the brightness and shadows to optimise the tonality for the label and select OK Apply a 0.5-pixel Gaussian Blur filter to the mask (Filter > Blur > Gaussian Blur)

6 It is possible to straighten the converging verticals of the bottle caused by non-matching camera angles To perform this task you will need to stamp the visible elements of the layers into a new layer The keyboard shortcut for this is to hold down the Ctrl + Alt + Shift keys and type E (for PC) or to hold down the Command + Option + Shift keys and type E (for Mac) With this composite layer on top of the layers stack use the Free Transform command (Command + T or Ctrl + T) and click on the Warp icon in the Options bar Access the rulers (Ctrl + R or Command + R) and drag some guides into the edges of the bottle and label The guides will provide feedback to achieve correct alignment Push gently at the sides of the bottle

to make the bottle fit within the guides you have created

Images 1-5

Composite solutions

Photoshop is mostly used by photographers to adjust and enhance an image after the instant

of exposure However, in the hands of a skilled operator images can be created that cannot be captured in a single exposure The component images of the montage below illustrate that the photographer has spent a great deal of time in pre-production previsualising and assessing the most expedient and effective way to assemble the final image in post production Part of this process is to fully understand that continuity of lighting direction and lighting quality is the most important key to successful combination of all the components To create this ‘illusion

of reality’ the photographer has not only lit all the components from a common direction but introduced the light emitted by the fairy by placing a practical light globe in the glass jar The model and the jar have also been photographed against a black background to enable a higher quality extraction These components can then be seamlessly placed in the composite image (black, when placed in the ‘Screen’ blend mode in Photoshop, is neutral or ‘invisible’) Other factors to be taken into consideration are continuity of perspective, depth of field (each component image may require a different aperture to maintain the illusion) and a precise approach to all aspects of the process

Daniel Tückmantel

Th e professional montage and retouching techniques, outlined in these activities, are explained in greater detail in Photoshop CS3: Essential Skills and Adobe

Photoshop Elements Maximum Performance Th ese

books come with all of the images used in the projects

together with supporting movie tutorials.

essential skills

To develop and extend your knowledge and understanding of the application of

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studio lighting and camera technique

To develop and extend your understanding of the practical use of light to create

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contrast, dimension, mood and to increase your creative ability to interpret a written brief with specifi c guidelines

Through further study, observation and pre-production understand the resources

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and skills required to produce photographic images

To develop ideas and produce references containing visual information gathered in

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completing the assignments

Produce color images to the highest standard fulfi lling the assignment criteria plus

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personal creative interpretation

assignments

Amber Gooding