Being able to insert something into a photo and have it indistinguishable from elements in the original image can be a powerful too. Here's how to achieve it with an underused too.
For many photographers, any form of compositing doesn't appear to be something you'll ever need, until you do. I've had to do some bizarre composites in the past in everything from product photography through to weddings. The act of cutting out the object and then pasting it into the target image is not difficult, but it comes trickier when you have to match two key elements: light and perspective.
In this video, Aaron Nace of PHLEARN walks you through how to take any object and insert it into a scene and it look correct. This hinges on the two above key elements, with the slightly inconsistency in perspective having the potential to throw the believability out of the window. My methods for matching perspectives have typically been different to Nace's, and I'm not sure if I've ever used the Vanishing Point Filter. I would say it looks to be better than most methods I've used or seen.
How do you match perspectives in compositing?
Too... too... too skimpy on the L's
You beat me to it.
The headline really isn't right. You can't do it with ANYTHING. This works when you want to take something that is in an orthographic view and use it in an image, but if you want to take an object that is in a perspective view, as most things are in photographs, it often fails. I do this all the time for design mockups and presentations. Sometimes you can find an object that's close and use Edit --> Transform --> Distort and it will work well enough. Sometimes you can get Perspective Warp to work. Sometime (In the design world) you just have to render an object from scratch.
I don't insert things that often so I just eyeball it. Usually it's when I'm adding a piece of artwork to the wall.
oops
I don't usually add artwork to a wall, but when I do.... lol
Unfortunately the shadow of the passe-partout is on the wrong side ! You should have used the marquee tool within the passe-partout borders.
True. But to the casual eye, the artwork could be attached to the matte board with a sheet of glue with a hot press. I find the white highlight on the bottom right of the black frame more bothersome.
That's not to say the tutorial is not impressive. Fantastic job Aaron.