Lesson 22 Shooting for Photoshop´s archives ↓
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 now we are going to add something new that is crucial for today’s commercial photographer and I call it Shooting for Photoshop.The content you are trying to access is only available to members. Sorry.
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 on top
of the first image.The content you are trying to access is only available to members. Sorry.
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 SO EACH FRAME IS IN PERFECT REGISTRATION WITH THE PREVIOUS AND AFTER IMAGES. IF THE CAMERA GETS BUMPED BY YOU OR YOUR ASSISTANT, THEN YOU START OVER WITH YOUR SHOOTING THE ELEMENTS. ALSO WHEN BRACKETING EXPOSURE FOR LIGHTER AND DARKER, BRACKET ONLY YOUR SHUTTER SPEED SO DEPTH OF FIELD DOES NOT CHANGE EITHER. IF YOU PLAN TO COMPOSITE DIFFERENTLY, SUCH AS TAKE A PERSON FROM ONE PICTURE AND PLACE THEM IN ANOTHER, REGISTRATION BETWEEN FRAMES IS NOT REQUIRED. The content you are trying to access is only available to members. Sorry.
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. I then added a Hide All mask (LAYER> LAYER MASK> HIDE ALL) and then selected the brush tool. Making sure that white was my fore color, I painted on the cactus allowing the green cactus to shine through.The content you are trying to access is only available to members. Sorry.
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 the ceiling but also my lights. My goal is to always have the most creative lighting I can conceive, so the glare on the screen was of secondary importance.
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 to happen due to the fact that showing the operator made the part inside so small you could not see it. So I decided I would have to shoot them separately and composite. To start I got to work on the part setup.
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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 at Oregon’s famed Timberline Lodge up high on Mt. Hood. The month is January and there is record snow flying and crept up there in a whiteout with my 4×4 truck. (Not that this is relevant to the technique other than you should know that you will have assignments that send you through thick and thin to get the shot).The content you are trying to access is only available to members. Sorry.