Lesson 22: Page 02
This lesson is a huge transition for this course. For more than half of this program we have covered techniques on lighting, composition, styling, and various techniques for shooting. But…
Lesson 22: Page 03
How do you do it? After you have your exposures, you open the best sky and foreground both in PS and make the best foreground your base image, or the…
Lesson 22: Page 05
1) Open the base image, such as the image with best exposed foreground. 2) Open the second image and here it is the dark sky. Then using the Move Tool drag it…
Lesson 22: Page 06
REMEMBER: IF THE IMAGES YOU PLAN TO CREATE REQUIRE REGISTRATION FOR COMPOSITING, THEY WILL NOT WORK IF THE CAMERA GETS MOVED. THE TRIPOD AND CAMERA NEED TO BE LOCKED DOWN…
Lesson 22: Page 07
The first thing I did was open the base image and drag the left side cactus image, using the Move Tool, on top of the base image of the ocotillo….
Lesson 22: Page 08
Upon arriving to shoot this control room at a power plant and setting up our angle, I found that that monitors had lots of glare on them not only from…
Lesson 22: Page 09
Here is the setup I was asked to shoot. The part is inside the machine and the operator is to the side at the computer. Anything dramatic was not going…
Lesson 22: Page 10
Dine and Dash Even when you have low budget, dine and dash type assignments, you may need to shoot for Photoshop. Here I was asked to go photograph this woman…
Lesson 22: Page 11
Industrial Nightmare From here forward, whenever on assignment, assume that if something can go wrong it will and you need to be the hero and brainstorm your plan for the…
Lesson 22: Page 12
What we ended up doing was continuing to light the machine while the operators worked to pull the machine apart and get the glowing billet out of the machine. One…
Lesson 22: Page 13
The Board Here is your typical company directors needing to be in one shot. Shooting this image presented numerous challenges with lighting as you can see below. The problem is…
Lesson 22: Page 14
I did the same to capture the wall picture without a reflection and did this as I mentioned, in two more shots.
Lesson 22: Page 16
This is how the picture turned out. First, I will mention that YES, the CEO in the middle, eyes are closed. I only used these files for this demonstration…
Lesson 22: Page 17
Giant Product Photography: Shooting for Photoshop Today’s commercial photographers are blessed with the most powerful tools ever created for photography (in my opinion). I know you have heard it here…
Lesson 22: Page 18
Turning over the meter and matching the numbers, the LB chart recommends a 82B blue filter (red) on the camera and the CC chart recommends 20 magenta (red) also on…
Lesson 22: Page 19
So this is a our base exposure; proper ambient and proper strobe exposures. But the clients wants to see the inside of the machine because the is the heart of…
Lesson 22: Page 20
As you can see in the layers palette, both layers are there: the over-exposure and the base image.
Lesson 22: Page 21
By toggling the eyeball on and off (yellow) I can compare the before image and the after image (below) and see if I have lightened the area enough. I don’t…
Lesson 22: Page 22
I next paint lightly on the same mask to brighten the darker ceiling areas and shadow areas of the posts.
Lesson 22: Page 23
I then slide the Vertical Perspective slider and by using the grids I can measure when the pillar edges are corrected and vertical.
Lesson 22: Page 25
This image shows a much better balance with the lights on the right and the light on the left. Plenty of good detail in the green structure of the…
Lesson 22: Page 26
If you look at the last two images that showed the technique of how to get highlights inside the machine you also notice the hot spot on the top left…
Lesson 22: Page 27
I next select the Brush Tool (shortcut B) and make white my foreground color, then with an Opacity of 15% and 20% flow I begin to paint white on the…
Lesson 22: Page 28
The final image! Notice good even highlights and detail inside?
Lesson 22: Page 29
Next I moved to shoot the label and placed an overhead light box above to illuminate the bottles label and it did a good job. The reason to shoot this…
Lesson 22: Page 30
In this shot I placed a large white foam core behind the wine and angle it to pick up the light from the side and make the wine translucent.
Lesson 22: Page 31
The next step was to add a Hide All layer mask which hid the Wine Layer. Using the Elliptical Marquee Tool (red circle), I drew a circular shape around the…
Lesson 22: Page 32
The next step was the label. I opened and drug over the label image.
Lesson 22: Page 33
The last 2 layers have some needed touch up areas on the main label area that the main label did not have. With a Hide All mask turned off (Shift…
Lesson 22: Page 02
This lesson is a huge transition for this course. For more than half of this program we have covered techniques on lighting, composition, styling, and various techniques for shooting. But…
Lesson 22: Page 03
How do you do it? After you have your exposures, you open the best sky and foreground both in PS and make the best foreground your base image, or the…
Lesson 22: Page 05
1) Open the base image, such as the image with best exposed foreground. 2) Open the second image and here it is the dark sky. Then using the Move Tool drag it…
Lesson 22: Page 06
REMEMBER: IF THE IMAGES YOU PLAN TO CREATE REQUIRE REGISTRATION FOR COMPOSITING, THEY WILL NOT WORK IF THE CAMERA GETS MOVED. THE TRIPOD AND CAMERA NEED TO BE LOCKED DOWN…
Lesson 22: Page 07
The first thing I did was open the base image and drag the left side cactus image, using the Move Tool, on top of the base image of the ocotillo….
Lesson 22: Page 08
Upon arriving to shoot this control room at a power plant and setting up our angle, I found that that monitors had lots of glare on them not only from…
Lesson 22: Page 09
Here is the setup I was asked to shoot. The part is inside the machine and the operator is to the side at the computer. Anything dramatic was not going…
Lesson 22: Page 10
Dine and Dash Even when you have low budget, dine and dash type assignments, you may need to shoot for Photoshop. Here I was asked to go photograph this woman…
Lesson 22: Page 11
Industrial Nightmare From here forward, whenever on assignment, assume that if something can go wrong it will and you need to be the hero and brainstorm your plan for the…
Lesson 22: Page 12
What we ended up doing was continuing to light the machine while the operators worked to pull the machine apart and get the glowing billet out of the machine. One…
Lesson 22: Page 13
The Board Here is your typical company directors needing to be in one shot. Shooting this image presented numerous challenges with lighting as you can see below. The problem is…
Lesson 22: Page 14
I did the same to capture the wall picture without a reflection and did this as I mentioned, in two more shots.
Lesson 22: Page 16
This is how the picture turned out. First, I will mention that YES, the CEO in the middle, eyes are closed. I only used these files for this demonstration…
Lesson 22: Page 17
Giant Product Photography: Shooting for Photoshop Today’s commercial photographers are blessed with the most powerful tools ever created for photography (in my opinion). I know you have heard it here…
Lesson 22: Page 18
Turning over the meter and matching the numbers, the LB chart recommends a 82B blue filter (red) on the camera and the CC chart recommends 20 magenta (red) also on…
Lesson 22: Page 19
So this is a our base exposure; proper ambient and proper strobe exposures. But the clients wants to see the inside of the machine because the is the heart of…
Lesson 22: Page 20
As you can see in the layers palette, both layers are there: the over-exposure and the base image.
Lesson 22: Page 21
By toggling the eyeball on and off (yellow) I can compare the before image and the after image (below) and see if I have lightened the area enough. I don’t…
Lesson 22: Page 22
I next paint lightly on the same mask to brighten the darker ceiling areas and shadow areas of the posts.
Lesson 22: Page 23
I then slide the Vertical Perspective slider and by using the grids I can measure when the pillar edges are corrected and vertical.
Lesson 22: Page 25
This image shows a much better balance with the lights on the right and the light on the left. Plenty of good detail in the green structure of the…
Lesson 22: Page 26
If you look at the last two images that showed the technique of how to get highlights inside the machine you also notice the hot spot on the top left…
Lesson 22: Page 27
I next select the Brush Tool (shortcut B) and make white my foreground color, then with an Opacity of 15% and 20% flow I begin to paint white on the…
Lesson 22: Page 28
The final image! Notice good even highlights and detail inside?
Lesson 22: Page 29
Next I moved to shoot the label and placed an overhead light box above to illuminate the bottles label and it did a good job. The reason to shoot this…
Lesson 22: Page 30
In this shot I placed a large white foam core behind the wine and angle it to pick up the light from the side and make the wine translucent.
Lesson 22: Page 31
The next step was to add a Hide All layer mask which hid the Wine Layer. Using the Elliptical Marquee Tool (red circle), I drew a circular shape around the…
Lesson 22: Page 32
The next step was the label. I opened and drug over the label image.
Lesson 22: Page 33
The last 2 layers have some needed touch up areas on the main label area that the main label did not have. With a Hide All mask turned off (Shift…