Photoshop masking compositing 2nd edition

PhotoshopMasking&Compositing
SecondEdition

KatrinEISMANN
SeánDUGGANJamesPORTO


PhotoshopMasking&Compositing,SecondEdition
KatrinEismann,SeánDuggan,andJamesPorto
NewRiders
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Toreporterrors,pleasesendanoteto
NewRidersisanimprintofPeachpit,adivisionofPearsonEducation.
Copyright©2013byKatrinEismann,SeánDuggan,andJamesPorto
AcquisitionsEditor:NikkiEchlerMcDonald
DevelopmentEditor:AnneMarieWalker
TechnicalEditor:WayneR.Palmer
ProductionEditor:LisaBrazieal
Proofers:LizWelch,EmilyK.Wolman
Composition:KimScott/BumpyDesign
CoverDesign:CharleneCharles-Will
InteriorDesign:CharleneCharles-Will,KimScott/BumpyDesign
Indexer:FireCrystalCommunications
NoticeofRights
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electronic,mechanical,photocopying,recording,orotherwise,withoutthepriorwrittenpermissionofthe

publisher.Forinformationongettingpermissionforreprintsandexcerpts,contact

NoticeofLiability
Theinformationinthisbookisdistributedonan“AsIs”basiswithoutwarranty.Whileeveryprecaution
hasbeentakeninthepreparationofthebook,neithertheauthorsnorPeachpitshallhaveanyliabilityto
anypersonorentitywithrespecttoanylossordamagecausedorallegedtobecauseddirectlyor
indirectlybytheinstructionscontainedinthisbookorbythecomputersoftwareandhardwareproducts
describedinit.
Trademarks
Adobe,Lightroom,andPhotoshopareregisteredtrademarksofAdobeSystemsIncorporatedintheUnited
Statesand/orothercountries.Allothertrademarksarethepropertyoftheirrespectiveowners.
Manyofthedesignationsusedbymanufacturersandsellerstodistinguishtheirproductsareclaimedas
trademarks.Wherethosedesignationsappearinthisbook,andPeachpitwasawareofatrademarkclaim,
thedesignationsappearasrequestedbytheownerofthetrademark.Allotherproductnamesandservices
identifiedthroughoutthisbookareusedineditorialfashiononlyandforthebenefitofsuchcompanies
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ISBN13:978-0-321-70100-8
ISBN10:0-321-70100-3


987654321
PrintedandboundintheUnitedStatesofAmerica


ForMarkBeckelman—friend,artist,Photoshopfanatic,talentedphotographer,dedicatedfamily
man,andgenerousteacher.Youarevalued,remembered,andmissedagreatdeal.
—KatrinEismann
Toalltheteachers,students,andfellowartistswhohavetaughtmesomuchinmycreative
journey.Thepathwechoosetofollowmaynotalwaysbeclear,butitisrichwithwonderful

discoveries.
—SeánDuggan
Formywife,Beth,andsons,ColeandDylan,foralltheirsupport.Andforallthepeopleand
opportunitiesthathaveenabledmetocreatealifedoingwhatIlove—makingimages.I’mdeeply
grateful.
—JamesPorto


Acknowledgments
We’vehearditoverandoveragain:“OhyoucanfixthatinPhotoshop”or“JustPhotoshopit.”Anyone
whohaseverhadthatcavalierattitudeofbeingabletoquicklychangethisormovethatinPhotoshop
quicklyregretsitbecausewhatseemslikeaquickfixturnsintohoursofwork.We’vealsoheard,“Ihave
agreatideaforabook”or“Youshouldwriteabook.”AlthoughthebookstoresandAmazonpagesmay
befullofbooks,writingabookisneveraquick,easy,orpainlessundertakingtotakeagermofanidea
andturnitintoa500-plus-pagebook.Mostimportant,writingabookisnottheromanticundertakingofa
loneauthortoilingawaytocreateamasterpiece.Conceptualizing,planning,writing,reviewing,editing,
proofing,designing,formatting,printing,anddeliveringafinalproductrequiresadedicatedteamof
talentedpeoplewhomaynevermeetfacetofacebuthaveonegoalinmind—tocreateavaluable,useful,
andinthiscaseinspiringbookthatwillhelpyouunderstandandmasterthefinestdetailsofmaskingand
compositingwithAdobePhotoshop.
Ourthanksandgratitudegoesouttoavarietyofpeople,including:
•Ourfamilieswhorolledtheireyeballsandmuttered,“nomorebooks”astheybroughtusyet
anothercupofcoffeeorapieceofchocolatetokeepusgoing.Thankyou,JohnMcIntosh,
Katrin’ssmarterhalf;AnnaandFiona,Seán’sinspirationandsupport;andBeth,Cole,and
Dylan,Jim’sraisond’etre.
•ThefabulousPeachpitdevelopmentstaffwhohadtheirhandsfullwithus!Katrin’steaching
obligationsoftenpushedwritingintotheweekends;Seán’sworkshopandtravelschedules
kepthimofflinefordaysatatime;andJim’sphotographybusinessoftenrequiredcomplete
dedication,meaningthatouracquisitionseditorNikkiMcDonaldandDevelopmentEditor
AnneMarieWalkeroftenhadtoresorttonot-soveiledthreatsofwetnoodlewhippingstoget

ustomakeourdeadlines.BothNikkiandAnneMariewerealwaysprofessional,dedicated,
andunrelentingintheirsupportforthisproject.Thankyou!
•ThePeachpitdesignandproductionstaff—thankyouformakingthesepagessoelegantand
welldesigned.Specifically,überproductioneditorLisaBrazieal,coverdesignerCharlene
Charles-Will,andcompositorKimScottofBumpyDesignforalloftheirlonghoursputinto
thesepages.Weverymuchappreciateyoutakingintoaccountournondesigneropinions.
•Theartists,photographers,students,andimagemakersthatallowedustofeaturetheirimages,
techniques,andinsights.Yourpointofviewandtalentmakethisbookricherandmore
inspiring.
•OurTechnicalEditorWayne(Option-click[Alt-click])Palmer.Knowingthatyoureadthetext
andtriedoutalloftheexerciseshelpedusavoidmanyerrorsandinconsistencies.
•ThankyoutoJulieanneKostforawonderfulForewordandinspirationalteaching;Candace
DobroforhelpingKatrinwithphotocompositinghistoryresearch;andthededicatedstaff,
productmanagers,andseniorengineersatAdobeSystems:RussellBrown,JeffChien,Chris
Cox,CariGushiken,JohnNack,BryanO’NeillHughes,JeffTranberry,andGreggWilensky.
Wedon’treallyunderstandhowyoudowhatyoudo,butwelovewhatyouallowustodo
withAdobePhotoshop!
AsWinstonChurchillsaid,“Writingabookisanadventure.Tobeginwithitisatoyandan
amusement.Thenitbecomesamistress,thenitbecomesamaster,thenitbecomesatyrant.”Wecan
honestlysaywehaveexperiencedallofthesestages,andwethankeveryonewhosupportedus,shared
images,answeredemails,andgaveusafewmoredaystoaddthatfinalpolishtojustonemoreimage.


Thereisnowaywecouldhavecompletedthisprojectwithoutalargegroupofpeoplewhodeservea
greatdealofthanks,gratitude,andmorethanks.
Bestregards,KatrinEismann,SeánDuggan,JamesPorto,andourneglectedplants,pets,andfamily
members.


ContentsataGlance

Inspire:Seeing&Creating
1TheHistoryofCompositing
2TheCreativeProcess
Expose:PhotographyforCompositing
3PlanningandPreparing
4LightingandBackgrounds
5Perspective,PointofView,andScale
Skills:Selections&Masking
6SelectionFundamentals
7TheEssentialSelectMenu
8LayerEssentials
9LayerMasks
10ThePowerofChannelMasking
11Fine-EdgedSelections
Projects:PuttingitallTogether
12CreativeCompositing
13PhotorealisticCompositing
Index


Contents
Foreword
Introduction
Inspire:Seeing&Creating
1TheHistoryofCompositing
AMultilayeredHistory
NonphotographicCollages
TraditionalPhotographicComposites
TheTwentiethCentury:Dada
TheTwentiethCentury:Surrealism

TheTwentiethCentury:DarkroomMasters
ArtistintheFirstPerson:JerryUelsmann
AnalogtoDigitalHistory
ArtistIntheFirstPerson:GlenWexler
TheTwenty-firstCentury:DigitalMasters
TheNextGeneration
LearningfromHollywood
SuspensionofDisbelief
VisualEffects
ChromaKey
Animation
UncannyValley
CompositingTerminologyandCategories
TraditionalMethods
WorkingSubjectivelyorConceptually
ClosingThoughts
2TheCreativeProcess
TheImage-makingJourney
Inspiration
Gather,Collect,andSnap
Observe
BrainstormingandConceptDevelopment
DoodleandSketch
PersonalProjectsandSeries
ProofofConcept
PlanandPhotograph


ArtistintheFirstPerson:FranForman
Digitize,Organize,andBackUp

PreparingtheFiles
CleanUpandColorCorrect
SelectandMask
CompositeandRefine
ClosingThoughts
Expose:PhotographyforCompositing
3PlanningandPreparing
PlanningtheImage
CreatingtheRoadMap
DeterminingLook,Feel,andStyle
ProductionConsiderations
Preproduction
ManagingthePreproductionStage
CreatingaBudget
ToCompositeorNottoComposite
ShootingonLocation
ShootingintheStudio
LocationScouting
Casting
Styling
PhotographyforCompositing
ArtistintheFirstPerson:LauraLemkowitz
TheDecidingFactors
TheControllingFactor
ShootingtoMatch
CreativeReverseEngineering
ClosingThoughts
4LightingandBackgrounds
LightQualityEssentials
PointLightSource

DirectionalDiffuseSource
LargeDiffuseSource
SizeandDistanceRelationships
TheImportanceofFillLight
LightQualityImageGallery


ColorTemperature
ColorCorrectionUsingGels
MatchingaSingleDirectionalLightSource
AnalyzingtheBackgroundImage
MatchingtheLightDirection
MatchingtheLightQuality
MatchingtheColor
ArtistintheFirstPerson:JimHuibregtse
MatchingMultipleLightSources
AnalyzingtheBackgroundImage
MatchingtheLightDirection(s)
MatchingtheLightQuality
MatchingtheColor
ChoosingaBackgroundforElements
White
Gray
Black
GreenscreenorBluescreen
ClosingThoughts
5Perspective,PointofView,andScale
BasicPrinciplesofLenses
FocalLength
PointofView

Eye-levelViewpoint
AerialViewpoint
Ground-levelViewpoint
Perspective
One-pointPerspective
Two-pointPerspective
Three-pointPerspective
DeterminingthePerspective
Scale
RealisticScale
ArtistintheFirstPerson:GiselleBehrens
ExaggeratedScale
HarmonizingScaleandPerspective
ClosingThoughts


Skills:Selections&Masking
6SelectionFundamentals
WhatIsaSelection?
TypesofSelections
ShapeandForm
ToneandColor
FineDetailandComplexEdges
TranslucencyandLight
OppositesandDifferences
EssentialSelectionTools
RectangularandEllipticalMarqueeTools
TheLassoTools
Adding,Subtracting,andIntersectingSelections
ToneandColorSelections

TheMagicWand
ArtistintheFirstPerson:TommyIngberg
TheQuickSelectionTool
TheMagneticLassoTool
CombiningTools
SettingsforCombinedToolSelections
WorkingwithQuickMask
StartingwithaSelection
CheckingSelectionsinQuickMask
StartingWithoutaSelection
ClosingThoughts
7TheEssentialSelectMenu
SelectMenuIntroduction
SelectAll
DeselectandReselect
Inverse
SelectLayers
ColorRange
SelectingSampledColors
ControllingColorRangeFocusandPreviewSize
Fuzziness
LocalizedColorClusters
SelectionPreview


SelectionswithColorandTonalPresets
ArtistintheFirstPerson:BojuneKwon
UsingColorRangewithaMask
RefineEdge
ViewMode

EdgeDetection
AdjustEdge
Output
RememberSettings
RefiningtheDogSelection
Modify
Border
Smooth
ExpandandContract
Feather
GrowandSimilar
TransformSelection
SaveandLoadSelection
LoadSelection
JusttheAlphaFacts
ClosingThoughts
8LayerEssentials
WorkingwithLayers
TypesofLayers
TheBackgroundLayer
EmptyLayers
PartialLayers
AdjustmentLayers
FillLayers
NeutralLayers
TypeLayers
SmartObjectLayers
VideoLayers
LayersEqualCreativeFlexibility
OrganizingLayers

LayerNamingandNavigation
WorkingwithLayerSets
FilteringLayers


MergingandDiscardingLayers
ArtistintheFirstPerson:BrigitteCarnochan
ThePriceofLayers
EssentialLayersFunctionality
Visibility
BlendingModes
OpacityandFillOpacity
LockingandProtectingLayers
ChangingtheOrderofLayers
SelectingLayers
LinkingLayers
LayerPanelIcons
TheLayersPanelMenu
MovingLayers
TransformingLayers
TheTransformMenu
Creatingthe“TimeFlies”Composite
AddingShadingandShadows
AdvancedBlending
TheBlendIfSliders
GeneralBlending
AdvancedBlending
ClosingThoughts
9LayerMasks
WorkingwithPixelLayerMasks

Selection-basedLayerMasks
PaintedLayerMasks
GradientLayerMasks
VectorLayerMasks
CreatingVectorMasks
LayerMaskEssentials
ViewingLayerMasks
TurningaLayerMaskintoaSelection
MovingandCopyingaLayerMasktoAnotherLayer
Disable/EnableaLayerMask
LinkingandUnlinkingLayerMasks
ApplyingaLayerMask
RefiningLayerMasks


ThePropertiesPanel
ModifyingMaskswithLevelsandCurves
ModifyingMaskswithFilters
ArtistintheFirstPerson:DavidJulian
MaskingwithLayerGroups
PassThroughBlending
ClosingThoughts
10ThePowerofChannelMasking
TypesofImageChannels
TypesofPhotoshopMasks
TheMaskingDecoderRing
WorkingwithAlphaChannels
WhentoUseAlphaMasks
LayerMasksvs.AlphaMasks
ManagingAlphaMasks

CreatingAlphaChannels
StartingwithaSelection
StartingwithanImageChannel
RefiningFineDetailswithBlendingModes
WorkingwithApplyImage
TheApplyImageSettings
BlendingModeGuide
UsingEveryTrickintheBook
ArtistintheFirstPerson:ViktorKoen
DimensionalShading
BuildingaSubtleHighlightMask
EnhancingDimensionwithCurvesandSharpening
RefiningLayerandChannelMasks
ClosingThoughts
11Fine-EdgedSelections
WorkingwithWhite,Black,andGrayBackdrops
MaskingonWhitewithMultiply
MaskingonGraywithOverlayorHardlight
MaskingonBlackwithScreen
WorkingwithRefineEdge
High-fidelityCompositingwithRefineEdge
MaskingFineDetailwithBrushes


GreenscreenandBluescreenTechniques
BluescreenandGreenscreenPhotography
WorkingwithDigitalAnarchyPrimatteChromakeyer
GreenscreenwithAdobeCameraRaw
ArtistintheFirstPerson:MarkBeckelman
MaskingSmoke

ClosingThoughts
Projects:PuttingitAllTogether
12CreativeCompositing
ImagesandInspiration
ThePersonal
Cast-offsandCurios
NaturalForms
Museums,Galleries,andClasses
TravelandInspiration
PhotoshopSandboxTime
ExperimentwithImage“Mirrors”
ExperimentwithBlendingModes
ExperimentwithTextures
ExperimentwithEffects
ArtistintheFirstPerson:JulieanneKost
ConceptandStory
GreatVisualsinSearchofaStory
TheHumanElement
FindingtheStoryandCharacters
EssentialsofImageComposition
CreatingVisualRelationships
CreatingaBodyofWork
ClosingThoughts
13PhotorealisticCompositing
PuttingthePartsTogether
RoughCompositingSteps
WorkingwithSmartObjects
CreatingSmartObjects
ProsandConsofSmartObjects
Transformations

SmartFilters


MatchingImageCharacteristics
Foreground,Midground,Background
RealisticCompositing
BalancingContrastandColor
AtmosphericEffects
CreatingShadows
ArtistintheFirstPerson:MichaelMorrison
CreatingShapeandDimension
LayeringLight
CompositingGlassObjects
OptimizingPerspectiveandScale
Focus,Sharpness,andResolution
ImageTexture
DetailsMatter
TelltaleSignsofPoorComposites
FinessingtheFinalImage
ClosingThoughts
Index
LessonFilesandMedia


Foreword
Thereisawell-knownsayingthatcomparespaintingtophotography:Paintersincludeand
photographersexclude.Paintersbeginwithablankcanvasanddecidewhatelementstoaddtocreate
theirinterpretationofthescene;everybrushstrokeandmarkonthecanvasaregesturesoftheirhandand
haveareasonforbeingthere.Photographersstartwithascenefromtheworldinfrontofthelensthatis
oftenchaoticandvisuallycluttered,andthroughconsciouscomposition,theydecidewhattoexcludeuntil

thesceneisjusthowtheywantit.
Althoughthesourcematerialbeginsasphotographs,creatingacompositeimagehasmuchincommon
withpainting.Everythingintheimagehasapurpose,whichistobuildthestoryofthesceneandcreate
themessageyouwanttocommunicate.Theconsciousarrangementoftheseelements,combinedwitha
unifiedcolorandatonalandtexturalpalette,allhelptobringthedifferentelementstogetherintoasingle
image.
Compositingallowsmetocreateanimagethatdoesn’texistinreality.Thecollageprocessletsme
exploreideasandconceptsthatwouldbedifficult,ifnotimpossible,formetoportraywithastraight
photograph.Agoodcompositeislikeanintriguingdoorway,partlyopen—aninvitationtoviewersto
comeinsideandseewhattheycanfind.Whenyouviewacomposite,youpickupaconceptualthreadleft
bytheartistandfollowittoseewhereitleads.
Creatingcompositesonthecomputerrequiresnotonlyacreativevision,butalsothetechnicalknowhow
neededtoimplementthatvision.Thisbookprovidesthereaderwiththenecessarytechnicalfoundationof
theessentialtechniquesandconsiderationsrequiredformaskingandcompositinginAdobePhotoshop.
KatrinEismann,SeánDuggan,andJamesPortoarededicatedphotographers,artists,andeducators.
They’vebeencompositingimagesformanyyearsandhavelearnedhowtomasterthedigitaltoolssothat
thetechnicalpartoftheprocessdoesn’tgetinthewayoftheircreativevision.Whetheryouwantto
createcompositesyourselforareshootingthesourceimagesandhavingsomeoneelsedothe
compositing,thisbookisanidealguideforanyonewhowantstolearntheartofcombiningdifferent
imagestogether.
PhotoshopMasking&Compositingiscertaintobroadenyourhorizonsastowhatispossiblewhenmore
thanonephotographiscombinedintoanewimage.Withthetechniquescoveredinthesechapters,youcan
learntocreateyourowncompositesthatwillbecomethoseintriguinginvitationstoexplore—those
delicateconceptualthreadstoleaveforotherstodiscoverandfollowastheyviewyourimages.
—JulieanneKost
PrincipalEvangelist,PhotoshopandLightroom,AdobeSystems,Inc.


©JulieanneKost

Introduction:Concept,Craft,Vision
Wephotographtoexplore.Eachtimeweraiseacameratooureyes,weseetwoworlds,ourinterior
worldandofcoursetheexteriorworldthatthecameralensisfocusedon.Wephotographwhatcatches
oureye;whatisimportanttous;theideasandquestionswearetryingtoexpressandresolve;andinmany
caseswhataclientispayingustophotograph.Eachpersonhasauniquepointofview,andevenifwe
wereallinthesameplaceatthesametimewiththeidenticalcameraandlenscombination,whatweeach
perceive,frame,andcreatewouldbeuniquelydifferent.
WeworkwithPhotoshoptorefineanddeepenourexplorationofourimagination,tocreate,andtomake
theunrealveryreal.Beingavisualartistrequiresyoutosee(notlook),behonest(notcynical),be
curious(notstubborn),andbeopentoexploration,learning,makingmistakes,andstartingoveragain.
Beingavisualartistinvolvesshowingtheworldwhatisimportanttoyou,andwitheachimageyouare
portrayingyourself.

CollaborationandUpdate
ThefirsteditionofthisbookwasreleasedinOctober2004,andasyouknow,Photoshophasbeen
updatedandimproveduponatageometricratesincethen.Whattookhoursofworkin2004,suchas
pullingafine-detailedmaskcannowbeaccomplishedinafewminuteswiththeRefineEdgecontrols.
Butonethingremainsthesame—visualtalentrequirestimeandpracticetodevelopconfidenceandskills.
Onthatnote,IaskedandwasgreatlythankfulthatSeánDugganandJamesPortoagreedtocollaborate
withmeonupdatingthisbook.Seán,whoisanoutstandingeducatorandfineartist,concentratedonthe
“CreativeCompositing”andmany“EssentialSkills”chapters.Jim,whobringsdecadesofphotographic
andcommercialexperience,focusedonthe“Photography,”“Lighting,”and“Photorealistic”chapters.I
hadthepleasuretowritethe“ArtofCompositing”chapterandthendelveintothefinerpointsofthe
“Channels”and“Fine-edgedMasking”chapters.Inallhonesty,Iwouldnothaveupdatedthisbook
withoutSeánandJim,andIowethemmorethanksthanIcaneverexpress.Theybothputmanymorelong
nightsandcountlessweekendsintothisbookthantheyhadimaginedtheywould.I’msurethatthereisan
effigydollfullofpinsinitthatbearsanuncannyresemblancetomeontheirdesks.Ouchandthankyou!

IsthisBookRightforYou?

Thisbookisrightforyouifyouenjoyworkingwithphotographs,andhaveideastoexpressandexplore
bycombiningmultipleimages.Thisbookisrightforyouifyou’reexcitedbythepossibilityofstayingup
lateatnighttofinesseaperfectmaskortocombineimagesinnewandunusualways.Maskingand
compositingrequiresflexibilityanddedication:Thereisno“makegreatart”buttononyourkeyboard,
anditoftentakesafewattemptsandapproachestogetanimageright.
Thisbookisnotforyouifyoudon’thavethetime,curiosity,orpatiencetoreadthroughtheexamples,try
themout,andthen—justaswepushourstudents—takethetechniquesfurtherbyapplyingthemtoyour
ownimages.
Youhavethreewaystolearnthetechniquesinthisbook:
•Byreadingtheexamplesandlookingattheimages.
•Bydownloadingtheimagesfromwww.peachpit.com/pmc2e,andwiththebookinhand,recreatingoursteps.
•Bytakingthetechniquesshownhereandapplyingthemtoyourownimages.Asyouwork,
you’llneedtoadjustsomeofthetoolorfiltersettingstoachieveoptimalresults.Itisexactly


atthatmoment,whenyouareworkingwithyourownimages,thatyou’rereallylearninghow
tomaskandcomposite.
Thisisnotanintroductorybook.Togetthemostoutofit,youshouldbecomfortablewiththe
fundamentalsofPhotoshop,knowwherethetoolsareandwhattheydo,andknowhowtoexecute
commontasks,suchashowtoactivatealayerorcolorbalanceanimage.Wealltriedtowriteabookthat
wewouldwanttobuyorthatwouldinterestintermediateandadvancedPhotoshopuserswhoarelooking
forindepthandchallenginglearningmaterials.
Asyouflipthroughthebook,you’llseethatallofourscreencapturesweretakenonanApplecomputer.
Ifyou’reaWindowsuser,don’tletthatdeteryoufromthisbook.Photoshopfunctionality,forthegreatest
part,isidenticalontheMacintoshandWindowsplatforms.Allthefeaturesdiscussedinthebookare
availableonbothplatforms,andtheinterfaceisnearlyidentical.Whenofferingkeyboardshortcuts,we
giveyoubothMacintoshandWindowscommands.ThecommandforMacintoshappearsfirst,followed
bythecommandforWindows,whichappearsinparentheses,likethis:Command+Option+X
(Ctrl+Alt+X).

TheStructureoftheBook
Creatingartispartcraftandpartimagination—onewithouttheothergivesyoulifelessandbanalresults.
Withthisbook,weaddressboth—sometimeswithwords,butmanytimesmorequietlyandeffectivelyby
featuringimagescreatedbyprofessionalphotographers,creativeartists,andanumberofourstudents.We
arefortunatethattheytrustuswiththeirworkandthatweallcanbenefitfromtheinsightsandtalentthat
theimagesreveal.Newtothiseditionofthebookisthe“ArtistintheFirstPerson”—adouble-page
interviewfeaturingoneartist,photographer,orillustrator’simagesandinsights.
ThisbookshouldreallybecalledPhotoshopVision,Photography,Selections,Masking,and
Compositing,butthattitlewouldbetoolongtofitonthespineofthebook!However,thefoursectionsof
thebookreflecthowimportantandinterrelatedcreativevision,photography,selections,masking,and
compositingreallyare:
Part1—Inspire:Seeing&Creating
Part2—Expose:PhotographyforCompositing
Part3—Skills:Selections&Masking
Part4—Projects:PuttingItAllTogether
Thefirstpartofthebookaddressesthehistoryofcompositingandthecreativeprocess.Thesecondpart
ofthebookfocusesonthephotographicissuesofplanning,composing,lighting,andcompletingthe
photographyofsourcematerialsandenvironments.Thebettertheinitialphotography,themoresuccessful
thefinalcompositewillbe.ThethirdsectionburstswithPhotoshopinformationandtechniqueson
selections,layers,layerandchannelmasking,andmaintainingfinedetails.Thefinalpartofthebookis
dividedintotwochapters—“CreativeCompositing”and“PhotorealisticCompositing,”andevenifyou
preferonetypeofcompositeovertheother,werecommendthatyoudon’tskipasinglepage,becausethe
sameskillortechniquecanbeusedtoworkonandcreateawidevarietyofimages.
Eachchapterstartswithabriefoverviewofwhatiscoveredinthechapter.Wealwaysstartwitha
straightforwardexamplethatleadstomoreadvancedexamples.Youmaybetemptedtojumptothemore
advancedsectionsrightaway,butwedon’trecommendit.Theintroductoryexamplesserveasthe
foundationfortheadvancedexamples,buildingonthesametoolsandtechniques.
Althoughthisbookwasanambitiousprojectfromtheverystart,therearemanyPhotoshopaspectswedo
notcover.Weconcentratedonthe(forus)mostexcitingaspectsofimagemaking—combining,

juxtaposing,andblendingimagestoexpressnewideasandexplorenewworlds.
WeusedthelatestversionofPhotoshopCS6whenwritingthisbook.Ifyouareworkingwithearlier
versions,youwillstilllearnalot,becausethemostimportanttoolsformaskingandcompositing—layers,
alphachannels,andblendingmodes—areapartofpreviousversions.Andthisbookwillalsobeuseful
longafterthenextreleaseofPhotoshop.

TutorialFilesandPenToolChapter
Pleasevisitandbookmarkwww.peachpit.com/pmc2etodownloadthetutorialimages.Manychapters
haveupto12JPEGimagesthatyoucandownloadtoworkandlearnalongwithasyoureadthebook.
Postedimagesaresignifiedbyaniconandanameinthebook,suchas
ch10_hulagirl.jpg
Note
Theimagesonthebook’scompanionwebsiteareforyourpersonaluseandshouldnotbe
distributedbyanyothermeans.Ifimagesarenotpostedonthewebsite,itmeansthatwedonot
havethecopyrightpermissiontopostthemandthereforecannotlegallymakethemavailable.
Manyoftheimagesinthebookoriginatedfromourownimageandphotographycollections.The
copyrightofallimagesusedinthebookandpostedonthewebsiteremainswiththeoriginator,asnoted
throughoutthebook.
Forthosespecificimagesthatwedidn’thavepermissiontopostonthebook’swebsite,werecommend
thatyouusesimilarimagesfromyourownphotocollectionstofollowalong.Althoughyouwon’tbeusing
theexactimageweused,theissuesbeingaddressedaresouniversalthatwe’resureyou’llbeableto
learnthetechniquesusingyourownimages.Afterall,you’llprobablybebranchingouttoyourown
imagessoonerratherthanlater.
Duetopagecountandprintquality,weoptedtoupdateandpostthe“PenToolPower”chapteronthe
book’swebsiteatwww.peachpit.com/pmc2e.ThePDFislaidoutexactlylikethebook,andwehopeit
allowsyoutocallthePentoolafriend,notyourfoe!

NotetoEducators
Thisbookwasbuiltaroundthetechniquesthatwehavetaughtovertheyearstothenumerousstudentsin

ourdigital-andcreative-imagingclasses.WehopethatthisbookcanhelpyouteachPhotoshop,andthat
theexamplesandimageswehaveprovidedwillhelpyoulearnanddemonstratetheconceptsand
techniquesofmaskingandcompositing.Asteachers,we’resureyouknowhowmuchtimeandworkis
involvedincreatingexercisesandpreparingmaterialsthatfulfillalltheneedsofaclassroom.Weaskthat
yourespectourworkandtheworkofthemanycontributorsandimagingprofessionalsfeaturedinthis
bookbynotcopyingpagesofthebook,distributinganyimagesfromthewebsite,orotherwise
reproducingtheinformation,evenifparaphrased,withoutproperattributionandpermission.Ofcourse,if
studentsowntheirowncopiesofthebook,theycanfreelydownloadanduseimagesfromthewebsitein
theclassroom.

ClosingThoughts
Itistheexperienceoflifethatthepassionatevisualartistreachesintotofindthecreativesparkofselfexpression.Wecreateimagestoexplore,discover,reveal,andexpressourselves,andtheyoftenendup
beingmoreprofoundthanourwords.Wehopethisbookinspiresandencouragesyoutodiscover,create,


andexpressyourownimages.Wewouldlovetohearfromyou.Pleaseemailyourcommentsaboutthe
bookandshowushowyou’vetakenthetechniquesinthesepagesandgonefurtherwiththem.
Bestregards,KatrinEismann,SeánDuggan,JamesPorto


Inspire:Seeing&Creating
1TheHistoryofCompositing
2TheCreativeProcess


Chapter1.TheHistoryofCompositing

Artistshavebeencombiningdrawings,photos,paintings,remnants,andfoundobjectsforcenturies.The
digitaltoolsandtechniquesthatthisbookdescribesareanimportantadditiontothepracticeof
envisioning,combining,anddiscoveringimagesthatuniquelyexpressthesubconsciousandconscious.

Noonelivesinavacuum,leastofallartistswhoseeyesandverybeingsthriveonviewingimagesand
exploringideasforsubstanceandinspiration.
Asartistsandeducators,youappreciatetheimportanceofunderstandingthehistory,terminology,and
contemporarypracticesoftheartforminwhichyouareapart.Forexample,youenjoyvisiting
contemporaryartgalleriesbecausetheyinspireandinformyouastowhatisrelevantinthecontemporary
arts.We’renotsuggestingthatyoulookatsomeoneelse’sworkandcopyit,butinsteadthatyouseehow
themanypastandpresentlypracticingimagemakershaveinvestigatedsimilarideasandissues,andlearn
fromtheirexamplesandsolutions.OrasSirIsaacNewton(1643–1727)succinctlyputit,“IfIhaveseen
alittlefurther,itisbystandingontheshouldersofgiants.”Appreciatewhereyouhavecomefromin
ordertoknowwhereyouaregoing.
Tocreatesuccessfulcompositesandcollagedimages,itisessentialtovaluethehistoryofcompositing
andunderstandthebasicvocabularyofyourchosenartform.Beforewegetintothenutsandboltsof
AdobePhotoshop,we’lltakeabriefforayintothehistoryofcombiningimages,discusscomposite
categories,andpresentavarietyofcompositeworkthatwillinspireandinformyoutoexploreand
expressyouruniquepointofview.Inthischapter,you’ll:
•Beintroducedtothehistoryofcompositing
•Meetinfluentialartists
•Explorewherecompositingisused
•Learnaboutthetypesofcomposites

AMultilayeredHistory
Thehistoryofcollageandmontageisrichandvaried.Itsrootsareinthehistoryofpainting:Painters
oftenusedsymbolismandmetaphortoconveyathoughtorperception.Photographyisinfusedwithartists
whousecombinationsofprinting,montage,andcollagetoovercometechnicallimitationsorexpand
creativeexpression.Digitalcompositingcontinuesthishistory.Thecomputergivesartistsnewwaysto
combineimagesfromdisparatesources,eras,andmediumstocreatenewandcompellingwork.