When first learning Photoshop, most of us are introduced to the pen tool, brush tool, or maybe even the eraser tool to remove sections of a layer. However, these methods can be both time consuming and mediocre in creating a clean final image. In this tutorial I'll be walking you through the steps that I use to isolate subjects shot in studio (against plain backgrounds) for the creation of a composite image.
Have you ever wondered what it would be like to stare down the barrel of a gun? Well Toronto-based photographer Peter Andrew teamed up with art directors Simon Duffy and Derek Blais to show us. The series, “Point Blank”, features iconic handguns in high-resolution "portraits", some of which are printed as large as 4×8 feet. In order to achieve the incredible detailing in these shots Peter used
Mike Campau is on another level, and I don't even know where to begin to look for this level. Mike is a industry leader in CGI and photoshop composites for the commercial advertising industry. He collaborates with names like Paul Mobley and Tim Tadder. Mike can take a blank canvas and build uber realistic baseball stadiums while drinking an IPA.
Photographer and historian Marc Hermann has done a beautiful job pulling historic crime scene photos from the New York Daily News archive to blend them with photographs of the same locations today. For those who live in New York now, it may be easy to forget just how rough the city was in the not-too-distant past.
Salience is the name of the five minute short that will probably be remembered as one of the most innovative, experimental (and beautiful) short films of the year. If you do one thing today for your inspiration, please spend the next few minutes checking it out and you'll see what I mean.
Guest writer Felix Hernandez R. is a commercial photographer based in Cancún, Mexico. He is a very active member of our Fstoppers Facebook group and is well known for his stunning composite work and food photography. In this article he explains how accomplished his amazing series, 'Magic Moments' with the use of compositing and underwater photography.
Once upon a time at brunch in Santa Monica, I created the biggest, most complex cheeseburger anyone had ever even attempted to ask a chef to make. I basically picked my top 10 things off the menu and asked the chef to put it between ciabatta bread. Then I ate the entire thing. It gave me severe meat sweats and rendered me unconscious afterwards, but it was the most delicious thing I had ever created. It's my single greatest achievement in life. I learned a lot about myself that day and will tell the Epic Burger story to my great great great great grandkids.
Sean Madden, creative director from the ad agency Brains On Fire, reached out to me earlier this year and asked if given an arsenal of stunt drivers, the newest high performance BMW's, and a closed race course, could I create a 58 foot long composite print for BMW. My answer? "When can I start?" Watch the video and read the post below to learn how the shoot came together.
A few months ago we featured one of commercial photographer Michael Herb's tutorials on masking and composting. Michael is back with an awesome behind the scenes video of a national ad campaign he shot for Textile Designer Patty Madden. Michael set out to create some creative photos to showcase the unique advertising that hasn't really been seen before in a nation ad campaign for furniture.
Based on what we've published in the past, I think it's safe to say you guys really appreciate detailed tutorials showing how to make impressive composite scenes. My buddy at TutsPlus just showed me this amazing composition and I just had to share it. The artist combined 23 stock images to make one fantastic underwater scene.
Many times when shooting objects in an uneven light (usually outside), we have to choose if we want to expose for the darker areas, or for the brighter areas. This means part of the image will be exposed 'correctly' while the other parts will be overexposed (or underexposed). There are few solutions that can help us avoid these issues like shooting HDR or adding artificial light. But these solutions are not always handy and not always something that can be done. This great tutorial shows you how to fix overexposed highlights in only few minutes.
When Falken Tire decided they were going to run an all Honda ad on the back cover of Honda Tuning Magazine, their creative department, headed by James Yim, knew it had to make a statement. Their solution was to include a lot of cars...45 to be exact. Here's how they did it.
Automotive Editorial Photography will teach you many things. Mostly though, it'll teach you how to make something out of nothing and how to operate quickly and efficiently. I can't tell you how many times I've shown up to shoot a car only to be told it can't be moved from where it sits. It's those situations that will really test your mettle as a photographer and I've actually grown to love those challenges. One challenge from last year that I really enjoyed was a RIDES Magazine cover that would require fitting and lighting 10 cars. Here's how I did it.
Chilling to the bone, Joshua Hoffine's children horror series is one that will keep haunting you even with the lights on. He uses his own daughters as the terrified dreamers in the images, and the results have definitely caught the attention of many people, going viral recently. We get to know the man behind the maniacal machinations and how he captures these childhood fears.
If you've ever wondered what it would be like to work with a retoucher on a concept you've had in mind, this may be just what you're looking for. Photographer Justin Bettman wanted to create a concept but didn't have the ability to do so on his own, so he teamed up with creative retoucher and manipulator Krzysztof Rejek to bring his idea to life.