Beyond Reality:Photo composites with your iPad or iPhone | Jeff Shaffer | Skillshare

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Beyond Reality:Photo composites with your iPad or iPhone

teacher avatar Jeff Shaffer, Photography and Photo-compositing

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (20m)
    • 1. Introduction

    • 2. Getting ready

    • 3. Part 1-Intro to Juxtaposer

    • 4. Part 2-Using Juxtaposer

    • 5. Part 3-Adding Texture in Juxtaposer

    • 6. Part 4-Adding Texture with Mextures

    • 7. Part 5-Using Snapseed To Finalize

    • 8. Wrap up

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About This Class

Learn how to create high-quality photo composites on your iPad or iPhone in just a few lessons using  inexpensive and free powerful image-editing apps such as Juxtaposer, Mextures, and Snapseed.

What you'll need:

An iPad or iPhone

Apps listed above

  • Juxtaposer costs $2.99 on the App Store
  • Mextures costs $1.99 on the App Store
  • Snapseed is free on the App Store

A willingness to experiment

Optional: A stylus for the device, such as the Wacom Creative Bluetooth Stylus

Meet Your Teacher

Teacher Profile Image

Jeff Shaffer

Photography and Photo-compositing


Jeff Shaffer's advertising photography has garnered numerous awards from art director's clubs and other publication design groups. He has worked on national ad campaigns and annual reports for such prominent clients as Pfizer, Neiman Marcus, Ralph Lauren, Tanqueray, and Heineken. Jeff's fine-art photography draws its inspiration from futuristic cinema and graphic novels, relying heavily on post-production manipulation in the style of computer graphics. He refined those skills while earning his Master of Professional Studies in Digital Photography degree from New York's prestigious School of Visual Arts. He is also an Adobe Certified Instructor in Photoshop and Lightroom, as well as an Adjunct instructor in the graduate Digital Photography program at the School of Visual Arts. See full profile

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1. Introduction : Hi, My name's Jeff Schaeffer. I've been a professional advertising photographer for over 25 years. I'm also in Adobe Certified Instructor and Photo Shop in Light Room. I teach both of these applications for Future Media Concepts in Manhattan, Edit Workshop and Digital Photography for the Graduate program of the School of Visual Arts in New York City. I create a lot of photo composites involving multiple images, some of them shot on location and some in the studio. Although the images I make do not exist in reality, I strive to make every element interact as realistically as possible so the viewers suspends their disbelief. Here are some examples from my website Well, I currently do most of my work in photo shop on desktop computers. I also create them on my iPhone and iPad, as it is a great way to experiment and generate multiple variations. When developing concept images. As thes devices become ever more powerful and capable, it won't be long before most of my work can be done on them. That's why I've created this course in mobile photo. Compositing will use a technique known as AP stacking to complete the project, employing the following APS juxtapose er mixtures and snap seed. All are available on the APP store. I've provided three of my images you can use in the tutorials and create your own versions to share. Of course, I also want you to share what you could create with your own images. Let's get started. 2. Getting ready: First, you'll need to download the APS, go to the APP store on your device and purchase juxtapose er and mixtures. Snap seed is free once you've downloaded and installed them. You'll also want to download and save the tutorial images to your photo library. Here's how to do that. Go to the link on the website, locate the file and copy it to your photos on your mobile device. If you wish, you can create a new album for these images. Now that you have the apse and images available, let's review some important considerations. Would building any photo realistic composite always start with the background image? This may be a landscape buildings, a textured wall, a still life or, in this case, a suit of armor. This one was photographed in the Philadelphia Museum of Art. The background image establishes the light on camera angle and as a guide for the rest of the images you could buy. Make sure the images you add to this background plate answer these questions. Do they have the same perspective in viewing angle? If you're shooting a new image yourself to match the background, check the camera metadata for that background image. The free Atma Tafa will tell you what the lens focal length. An F stop waas regardless of what camera took the picture. This includes the iPad and iPhone cameras. Your new image should be shot with the same settings. Do the images have the same lighting? Pay attention to the direction of the light, which can be determined by cast shadows and highlights. You also want to match the quality of the light, which is how hard or soft it is. Hard light also known. A speculator light creates dark areas with sharply defined edges. Sunlight on a clear, cloudless day is this type of light. Softer diffused light is the opposite, with less distinct shadow edges. It wraps around the subject. A cloudy day or an indirectly lit window from the north or south has this quality. The color of the light is also important. You can sometimes use natural light to match this by choosing the right time of day. But for maximum control, you should use artificial lighting in the studio, which is what I usually dio. Here. You can see that both images air lit by diffuse sources directly overhead, as indicated by the highlights on the metal and the subject. Skin. This portrait image I provided was shot in the studio with electronic flash. Studio skills are not required for this project, but if you'd like to learn more and how to apply those skills and making composites, they plan to offer this in the future course. Here's a brief behind the scenes look at the process. The images shown here began with sketch. Once I have the basic concept, I'll check my library of images to see if I have the basic elements. I need anything that needs to be photographed. I will shoot with the background in mind. As in this example, now that you have the basic requirements of composite image making here, let's dive in and build one. 3. Part 1-Intro to Juxtaposer: Let's launch juxtapose er, I keep the APP in my photography category. In the Help window is the tutorial slideshow. Let's select that link. Using juxtapose er, you will be creating fun and creative photo montages from two or more photos. Any race mode, you erase parts of the top image using your finger. UN erase lets you recover accidentally erased parts while editing. You can always pinch to zoom into the image for working on details. He and also drag with two fingers to move around the image. The Red Mask view mode shows the erase parts of the top image in red. This could be very helpful for accurately cutting out an image element. Use the move top mode to position the top image over the background image. Using two fingers, you can rotate and resize the image you can use The image adjustments sliders to match the color and lighting of the top and background images, or to fine tune the look of your creation. In the next video, we'll create a composite 4. Part 2-Using Juxtaposer: to bring images into juxtapose er. First select the background image option, then choose an image from your photo library. Add the top image in a similar manner before we mask are composite. We'll check the enabled Settings options to see what they dio in show edit mode labels. It shows a tool tip. When you choose a new mode here, you can see that in action. The next option is to enable the brush monitor as well as brush tip visible Thies to work together to show the brush tip as a circle in relative size, as well as an enlarged detail window for precise painting on the mask for saving photos. I always select the ask me mode, so if I'm unhappy with the composite, it won't automatically save it out of bounds. Dimming shows the top image area beyond the background image as semi transparent, this dimmed area won't appear in the final composite. A double tap will switch between edit modes such as change, view and move top and erase on a race. Now let's get down to building our composite with our top image. Selected by default, I can pinch inner out to scale and move it into position. If the top images not selected, you can double tap to change the edit mode to move top. Changing the view mode from normal to transparent helps with positioning. But here I'll also select the slider icon to reduce the image opacity, Teoh, Aidan. Scaling and positioning. I can also twist the image by rotating thumb and forefinger while using the pinch gesture. Then I choose the erase brush option and begin to erase the area around the head to find, too. In the brush, I select a feathered or soft edged brush and set the transparency to none, which is fully opaque. This is also a point we're zooming in by pinching outward and changing the view mode to read Mask helps quite a bit who are even finer control. I can set the brush size smaller, with a bit of switching between erase and under race and zooming in. I could perfect the mask scale in position. The top layer. I zoom back to view the whole image and then save it. In the next video, we'll be adding a texture layer to the composite. This juxtapose er only supports two layers at a time. 5. Part 3-Adding Texture in Juxtaposer: in this video will add some texture to the image with another layer goto layers. Add. Replace image, then add new top image lode. Photo all photos, and then find a textured wood image where you imported it. Once it loads, scale it up by pinching outwards to make sure it covers the whole image area. Next, select the slider for image adjustments, then navigate to blend boats at the bottom. Blend modes apply tonal effects to the layer and affect how it interacts with the layer below. Following the order here, which is arranged by opposites, lighten will take the lighter pixels in the image and lighten them, further, eliminating the darker ones. Darken does the exact opposite, darkening on lee the darkest pixels in both layers and eliminating lighter pixels. Multiply is a variant of the dark and mode, a bit stronger and smoother than darken, achieved by darkening pixels. Equally on both layers, it is the most often used darkening blend boat. Add is another lightened blend boat. It adds brightness to any pixels in the image, adding those brighter values to layer blow as well. Subtract is a cancellation mode. It is the opposite of ad it subtracts brightness. Difference is an inversion mode. It uses the tones in the active layer to invert or reverse the tones in the layer below it . Similar colors become black screen is the most commonly used lightning mode and is the opposite effect to multiply. Overlay is a contrast mode. The contrast modes or a combination of lighten and darken Moz. All of them increase the contrast of the composite image. Any pixels darker than middle gray darken any lighter than metal gray. Lighten overlay is the most commonly used contrast mode. A soft, light and hard light combined. Different lighten and darken blend boats to achieve stronger contrast effects than overlay color dodge. Another stronger light mode lightens the brightest colors in the image. Significantly color burn. A darkened mode does the opposite darkening the darkest colors. Linear light, vivid light, pin light and hard mix are all progressively stronger. Lightened modes. Effect is usually a bit harsh for most images. The last group hue saturation, color and luminosity. We're all known as component modes because they contain the individual components of color . You is a shade of color, such as writer yellow saturation is how vivid or pure. A shade of that color is, and luminosity is how lighter dark that color is. Color blend mode is a combination of hue and saturation. Working together. Applying Hugh Mode controls how a chosen shade interacts with the image and thus works best with a solid color layer rather than one with multiple shades. As in this image, saturation affects a single shade as well, but only its intensity color mixes both. You end saturation levels at the top layer with the luminosity of the layer below. Luminosity is the opposite of the color blend mode mixes the tones from black to white with the colors in the image below. I chose the soft light mode for this image. I still need to mask it where I want to remove texture. I can also use the image adjustments sliders to tweak it further, I cooled down the color balance and fine tune opacity with sliders. Next, I'll erase the areas I want to remove or reduce. I choose a hard edge, brush it first at full opacity. Then I change it to a feathered, soft edged brush, enlarging the brush a bit. I choose translucency for a more subtle reduction of the texture it builds slowly is a paint I tap wants to view the image without the menu bar, and then I save it. Next, we'll see another way to add texture with a mixture zap. 6. Part 4-Adding Texture with Mextures : another way to add texture is by using the mixture zap. Let's begin by selecting the image. I chose this image from my photos and said, Don't crop. Then we have the option to choose from a number of preset textures or formulas. Here's one of the light leaks options. As you can see from the interface, a number of parameters can be adjusted to customize the result. I could choose a film, look, adjust, exposure, tent color, contrast, fade the effect and more. I can also choose a different formula to experiment. I'll save this version of the image and its formula here. I've turned the effect off, and I'll try the destroyed film formula. Once again. I could decide to try another approach. There are some interesting black and white formulas as well. I'll save this one. Still, more possibilities exist. Here's a warm look with minimal texture. Adjusted by the slider. It right here are some more pronounced textures. Of course, they could be adjusted. Justus, much as the others experiment with these yourself, can't wait to see what you create 7. Part 5-Using Snapseed To Finalize: Now let's see what we can do with snap. See? Launch it and navigate to one of your composites. Let's see, how about a black and white version? Click the pencil. Button it lower right to access the tools. Let's choose the brush tool. There were several brush options. I chose temperature, which controls color. In this mode. Positive numbers create a warmer color temperature. Brush the color on with your finger finger pressure determines brush size and hardness press harder for more of the effect less to reduce it. Next, I chose saturation, brushing on with a plus 10. Setting increases the color intensity going back to the temperature brush. I reduce its value by clicking the decrease arrow, which makes the color temperature cooler, which I paint on the armor. Taking a look at my work so far, I decided, was a little too saturated, particularly on the armor. So I chose the saturation brush again and decrease the setting. Then I painted over the area I wanted to reduce by clicking on the mask eyeball. I can see a red overlay to indicate where have painted. If I overdo it, I can go into a racer mode by clicking on the increase arrow. Ultimately, I did reduce saturation a bit. Next, let's see what a vintage Lukken dio. These are a series of graduated color tents that air replied Overall. Here you can see how each affects the image by clicking on a Grady in I like Number one, you could modify settings at any time on tools and effects. The snap. See? Just click on the small numbered white box at the top, then click on the tool or effect you wish to modify. Selecting slider icon brings me back to the settings. Here. I can adjust the different parameters of the vintage style I applied. Here's a brightness adjustment, saturation style, strength and vignette. Tweak. Dragging left reduces the effect to the right, increases it. If I decide to eliminate the effect altogether, I could click on the trashcan icon. Textures can be applied in stab seed with the grunge tool by clicking on the grunge button . Shuffle allows me to move quickly through the many texture options. Retro Lux is similar to vintage. I can click through tinted Grady INTs and have the additional control of adding scratches and light leaks. Here. I paying in some scratches and increase their strength. Justice with the vintage effects, saturation and brightness can be adjusted as well as readjusted or deleted afterwards. Once I'm satisfied with the result, I save it and allow snap see to modify. I choose this option in case I want to work on it. Mawr. In the future, it will be saved. Two photos on your iPad. Upload your version so we can all have a look. 8. Wrap up: Now that you've seen how you can create amazing composites on your mobile device, you're ready to learn more about shooting specifically for this purpose. I like to begin with a sketch and then review my library of images to see if I can build it from the background up reference films and artists for inspiration. I also recommend building that library by shooting textures, clouds and environments and varied light and weather. The more you shoot and observe lighting and perspective, the better you'll become at creating composite images. If you want to take it even further, learn how to control and match lighting in the photo studio. I hope you will look for my course on that subject coming soon.