A while back me and fellow DIY writer Joseph Parry were chatting over messenger. We had just started following a blog called Canon of design by Tavis Leaf Glover. Canon of design is a treasure mine of compositional information, which studies the master painters and how they designed, constructed and finished their masterpieces. These guys spent months, even years creating one image. Nothing was left to chance. Composition was perfectly drawn out, over and over again, until the image was compositionally bullet proof. I could write multiple articles about the benefits of signing up to Canon of design, but I will let you make your own mind up about that, just make sure you check it out.
Search Results for: composite photoshop
Growing up in England, home to brown bears, wolves, wolverines and woolly mammoths, photographer Nick Brandt noticed something. Like most of us, he spotted that they weren’t around any more. Mankind had encroached upon their territory and essentially wiped them out. Or at least, led to the cause of their demise long before any of us were ever born.
Nick also realised that this was still going on, today at an ever increasing rate. This is what sparked the idea for his Inherit the Dust series of photographs. For the project, he placed life size prints of animals into what used to be their natural habitats in order to photograph them. To show the new context of their environments, to make people realise what we risk losing.
I know there are a lot people out there who want to be better at Photoshop – heck, I’ve been doing this for almost half of my life and I want to be better! Well, I was really thinking about it and it dawned on me that more often than any other tip, I’m telling people they really should master the pen tool. It is hands down the most advanced and precise selection tool and if you boil Photoshop down to its simplest form, it’s a SELECTIVE photo editing software. So I thought to myself, “Hey self, why not really dive deep into selection tools – how to do them, when to use which one, and why they are so dang important?”
For most of us, it seems like there just isn’t enough time in the day. With a little help from Photoshop, photographer Sarah Santiny found the perfect multitasking solution. This really is levitation photography taken to the extreme.
When I saw the above image scroll though my Facebook feed, it drew me right in. The idea is fantastic, and the execution equally as good. So, DIYP got in touch with Sarah to get some insight into how the idea came about and was made.
Mike Roshuk is a professional Photographic Artist, Illustrator, and Graphics Specialist based in Edmonton Alberta. He specializes in merging the worlds of photography and illustration, creating beautifully rendered artwork ranging from scenes of fantasy to pop-culture inspired images. I asked Mike to walk us through his mario world inspired composite
Whenever I’m trying to think of an idea for an image to create, I draw inspiration from aspects of pop culture that I have a strong connection with. This whole Pokemon Go craze these days has had me thinking about my favorite games from when I was growing up. Super Mario Brothers 1, 2, 3, and Super Mario World on the SNES were a huge part of my childhood. I thought it would be great to put a spin on some tribute pieces to these games.
Like with most of the images I create, I begin with a series of sketches. I took a look at a bunch of game screenshots for reference (although much of it was already burned into my subconscious anyway), and sketched out a few rough ideas based on the 3rd installment of the Mario series. Of course, I wanted to have a female version of Mario, and wanted to focus on creating some scenes with a lot of energy to them, rather than the typical pin-up style I’ve normally done in the past.
The Image Manipulation Sore just released a new set of texture brushes and I think that they have a potential to be a game changer in how compositors work with overlays.
Actually, I am not a big fans of brushes. I only use them on rare occasions and mostly for stamping things. Things like my watermark, or a (C) mark. But I think that this set of brushes may start a trend. If you’ve ever done any sort of compositing you know that using textures is not easy. (It is not very complex either, but just has too many steps). You need to select an overlay, bring it into photoshop as a layer, then move to screen mode. We show a good example of this in this photoshop power tip.
Brushes, on the other hand are really easy, You select a brush and can just use it to paint a line or a surface on your canvas. If only there was a way to create textures in a similar manner to the way we use brushes.
At the moment the UK has a movement of dark art and conceptual artists growing from a love of movies and Photoshop. Their work is creeping its way on to more commercial mainstream sites like Behance, and starting to make an impact, amongst the more straight cut photography. One pioneer of this movement is Matt Seff Barnes!
Matt is a self taught digital artist, and the founder of the Dark Realm Collective – a group that he formed. The Dark Realm Collective enables him not only to marry his love of digital art and the macabre, but also afford him the opportunity to work with some of his influences from the digital art world. Matt’s artistic inspiration comes from many mediums, one of which film which is probably his greatest source for ideas and inspiration. Most of his work is created using photographic material, taking stock photography and twisting it into something dark and edgy.
When it comes to creating images that stand out, one thing is super important. Preparation! As it would take too long to go over everything I do to prep on one article, I will focus on one of the key elements, mood boards! Now without any hard evidence to back me up, I’m pretty sure that the old master painters used to mood board in their own way. They would do a moodboard with sketches of various parts, and use it as a reference when they painted the piece as a whole.
I have a friend who is a painter, and he too mood boards in his own way when creating his works of art. He cuts out reference images from magazines, or prints them out from photos he has seen online. As he is creating his final painting, he has them pinned to a board to reference as he paints. Cool eh?
Whether you like it or not, as photographers we are all artists! So why not act like artists and put the prep in beforehand. This includes sketches, writing out lists, creating background stories and building mood boards. I started creating mood boards on the advice of another photographer, the mood board king as I like to call him, Dean Samed. Dean created a Photoshop master class, and in it laid out the importance of creating mood boards, and I have been converted ever since.
One day whilst I was sprinting my heart out on the running machine at the gym, an image popped into my head. The scene was a tribal/witch doctor lady, surrounded by wolves. I wrote it down on a scrap of paper when I got home, and threw it into my ideas folder. It was around 6 months later, after finishing some client work, that I thought it was time to create some personal images and flex the old Photoshop muscles. The first piece of paper I picked up was the witch doctor idea. Knowing it would make a cool image, and challenge me, this is the project I would choose.
I jumped at the chance and was thrilled to know that I would be using some of Broncolor’s latest tech – the Siros L system – a completely wireless battery-powered lighting solution for photography. You can even control the Siros L from your smart device if you download the Broncolor BronControl app for the iOS!
Storyboarding came next. I had to decide what concept to work on and settled on cosplay photography.
I gathered my team for this epic endeavour and got hold of Rainer Cosplay for an epic collaboration that saw us experimenting with water, smoke and fire.