Contents
Foreword
Introduction
Inspire: Seeing & Creating
1 The History of Compositing
A Multilayered History
Nonphotographic Collages
Traditional Photographic Composites
The Twentieth Century: Dada
The Twentieth Century: Surrealism
The Twentieth Century: Darkroom Masters
Artist in the First Person: Jerry Uelsmann
Analog to Digital History
Artist In the First Person: Glen Wexler
The Twenty-first Century: Digital Masters
The Next Generation
Learning from Hollywood
Suspension of Disbelief
Visual Effects
Chroma Key
Animation
Uncanny Valley
Compositing Terminology and Categories
Traditional Methods
Working Subjectively or Conceptually
Closing Thoughts
2 The Creative Process
The Image-making Journey
Inspiration
Gather, Collect, and Snap
Observe
Brainstorming and Concept Development
Doodle and Sketch
Personal Projects and Series
Proof of Concept
Plan and Photograph
Artist in the First Person: Fran Forman
Digitize, Organize, and Back Up
Preparing the Files
Clean Up and Color Correct
Select and Mask
Composite and Refine
Closing Thoughts
Expose: Photography for Compositing
3 Planning and Preparing
Planning the Image
Creating the Road Map
Determining Look, Feel, and Style
Production Considerations
Preproduction
Managing the Preproduction Stage
Creating a Budget
To Composite or Not to Composite
Shooting on Location
Shooting in the Studio
Location Scouting
Casting
Styling
Photography for Compositing
Artist in the First Person: Laura Lemkowitz
The Deciding Factors
The Controlling Factor
Shooting to Match
Creative Reverse Engineering
Closing Thoughts
4 Lighting and Backgrounds
Light Quality Essentials
Point Light Source
Directional Diffuse Source
Large Diffuse Source
Size and Distance Relationships
The Importance of Fill Light
Light Quality Image Gallery
Color Temperature
Color Correction Using Gels
Matching a Single Directional Light Source
Analyzing the Background Image
Matching the Light Direction
Matching the Light Quality
Matching the Color
Artist in the First Person: Jim Huibregtse
Matching Multiple Light Sources
Analyzing the Background Image
Matching the Light Direction(s)
Matching the Light Quality
Matching the Color
Choosing a Background for Elements
White
Gray
Black
Greenscreen or Bluescreen
Closing Thoughts
5 Perspective, Point of View, and Scale
Basic Principles of Lenses
Focal Length
Point of View
Eye-level Viewpoint
Aerial Viewpoint
Ground-level Viewpoint
Perspective
One-point Perspective
Two-point Perspective
Three-point Perspective
Determining the Perspective
Scale
Realistic Scale
Artist in the First Person: Giselle Behrens
Exaggerated Scale
Harmonizing Scale and Perspective
Closing Thoughts
Skills: Selections & Masking
6 Selection Fundamentals
What Is a Selection?
Types of Selections
Shape and Form
Tone and Color
Fine Detail and Complex Edges
Translucency and Light
Opposites and Differences
Essential Selection Tools
Rectangular and Elliptical Marquee Tools
The Lasso Tools
Adding, Subtracting, and Intersecting Selections
Tone and Color Selections
The Magic Wand
Artist in the First Person: Tommy Ingberg
The Quick Selection Tool
The Magnetic Lasso Tool
Combining Tools
Settings for Combined Tool Selections
Working with Quick Mask
Starting with a Selection
Checking Selections in Quick Mask
Starting Without a Selection
Closing Thoughts
7 The Essential Select Menu
Select Menu Introduction
Select All
Deselect and Reselect
Inverse
Select Layers
Color Range
Selecting Sampled Colors
Controlling Color Range Focus and Preview Size
Fuzziness
Localized Color Clusters
Selection Preview
Selections with Color and Tonal Presets
Artist in the First Person: Bojune Kwon
Using Color Range with a Mask
Refine Edge
View Mode
Edge Detection
Adjust Edge
Output
Remember Settings
Refining the Dog Selection
Modify
Border
Smooth
Expand and Contract
Feather
Grow and Similar
Transform Selection
Save and Load Selection
Load Selection
Just the Alpha Facts
Closing Thoughts
8 Layer Essentials
Working with Layers
Types of Layers
The Background Layer
Empty Layers
Partial Layers
Adjustment Layers
Fill Layers
Neutral Layers
Type Layers
Smart Object Layers
Video Layers
Layers Equal Creative Flexibility
Organizing Layers
Layer Naming and Navigation
Working with Layer Sets
Filtering Layers
Merging and Discarding Layers
Artist in the First Person: Brigitte Carnochan
The Price of Layers
Essential Layers Functionality
Visibility
Blending Modes
Opacity and Fill Opacity
Locking and Protecting Layers
Changing the Order of Layers
Selecting Layers
Linking Layers
Layer Panel Icons
The Layers Panel Menu
Moving Layers
Transforming Layers
The Transform Menu
Creating the “Time Flies” Composite
Adding Shading and Shadows
Advanced Blending
The Blend If Sliders
General Blending
Advanced Blending
Closing Thoughts
9 Layer Masks
Working with Pixel Layer Masks
Selection-based Layer Masks
Painted Layer Masks
Gradient Layer Masks
Vector Layer Masks
Creating Vector Masks
Layer Mask Essentials
Viewing Layer Masks
Turning a Layer Mask into a Selection
Moving and Copying a Layer Mask to Another Layer
Disable/Enable a Layer Mask
Linking and Unlinking Layer Masks
Applying a Layer Mask
Refining Layer Masks
The Properties Panel
Modifying Masks with Levels and Curves
Modifying Masks with Filters
Artist in the First Person: David Julian
Masking with Layer Groups
Pass Through Blending
Closing Thoughts
10 The Power of Channel Masking
Types of Image Channels
Types of Photoshop Masks
The Masking Decoder Ring
Working with Alpha Channels
When to Use Alpha Masks
Layer Masks vs. Alpha Masks
Managing Alpha Masks
Creating Alpha Channels
Starting with a Selection
Starting with an Image Channel
Refining Fine Details with Blending Modes
Working with Apply Image
The Apply Image Settings
Blending Mode Guide
Using Every Trick in the Book
Artist in the First Person: Viktor Koen
Dimensional Shading
Building a Subtle Highlight Mask
Enhancing Dimension with Curves and Sharpening
Refining Layer and Channel Masks
Closing Thoughts
11 Fine-Edged Selections
Working with White, Black, and Gray Backdrops
Masking on White with Multiply
Masking on Gray with Overlay or Hardlight
Masking on Black with Screen
Working with Refine Edge
High-fidelity Compositing with Refine Edge
Masking Fine Detail with Brushes
Greenscreen and Bluescreen Techniques
Bluescreen and Greenscreen Photography
Working with Digital Anarchy Primatte Chromakeyer
Greenscreen with Adobe Camera Raw
Artist in the First Person: Mark Beckelman
Masking Smoke
Closing Thoughts
Projects: Putting it All Together
12 Creative Compositing
Images and Inspiration
The Personal
Cast-offs and Curios
Natural Forms
Museums, Galleries, and Classes
Travel and Inspiration
Photoshop Sandbox Time
Experiment with Image “Mirrors”
Experiment with Blending Modes
Experiment with Textures
Experiment with Effects
Artist in the First Person: Julieanne Kost
Concept and Story
Great Visuals in Search of a Story
The Human Element
Finding the Story and Characters
Essentials of Image Composition
Creating Visual Relationships
Creating a Body of Work
Closing Thoughts
13 Photorealistic Compositing
Putting the Parts Together
Rough Compositing Steps
Working with Smart Objects
Creating Smart Objects
Pros and Cons of Smart Objects
Transformations
Smart Filters
Matching Image Characteristics
Foreground, Midground, Background
Realistic Compositing
Balancing Contrast and Color
Atmospheric Effects
Creating Shadows
Artist in the First Person: Michael Morrison
Creating Shape and Dimension
Layering Light
Compositing Glass Objects
Optimizing Perspective and Scale
Focus, Sharpness, and Resolution
Image Texture
Details Matter
Telltale Signs of Poor Composites
Finessing the Final Image
Closing Thoughts
Index
Lesson Files and Media
