November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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….

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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.

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 20

As you can see in the layers palette, both layers are there: the over-exposure and the base image.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 22

I next paint lightly on the same mask to brighten the darker ceiling areas and shadow areas of the posts.

Read More
November 14, 2011

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.

Read More
November 14, 2011

Lesson 22: Page 24

Here is the image that was delivered to the client.

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 28

The final image! Notice good even highlights and detail inside?

Read More
November 14, 2011

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…

Read More
November 14, 2011

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.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 32

The next step was the label. I opened and drug over the label image.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 34

The final image after separation from the background.

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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….

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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.

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 20

As you can see in the layers palette, both layers are there: the over-exposure and the base image.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 22

I next paint lightly on the same mask to brighten the darker ceiling areas and shadow areas of the posts.

Read More
November 14, 2011

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.

Read More
November 14, 2011

Lesson 22: Page 24

Here is the image that was delivered to the client.

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 28

The final image! Notice good even highlights and detail inside?

Read More
November 14, 2011

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…

Read More
November 14, 2011

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.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 32

The next step was the label. I opened and drug over the label image.

Read More
November 14, 2011

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…

Read More
November 14, 2011

Lesson 22: Page 34

The final image after separation from the background.

Read More