Ghost Photography: Craft a Surreal Disappearing Portrait | Tabitha Park | Skillshare

Ghost Photography: Craft a Surreal Disappearing Portrait

Tabitha Park, Chocolate Photographer

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7 Lessons (42m)
    • 1. Ghost Physics

    • 2. Inspiration and a Tripod

    • 3. Disappearing Tutorial in Photoshop

    • 4. Lightroom Edit and Photoshop

    • 5. Fully Erased Ghosting

    • 6. Advanced Composites

    • 7. Final Thoughts


About This Class

In this class we'll be making surreal portraits of barely-there ghosts and invisible folks.


I'll walk you through my process for sparking an idea for a photo and what it takes to bring it to life.

Watch me edit through 3 different images as well as describing the process for more complicated composites. 


This class is great for beginner to intermediate photographers. A basic knowledge of Adobe Photoshop and Lightroom is helpful but not needed.

For the project you will need:

  • A camera
  • A tripod
  • Photoshop
  • Someone to photograph

If you don't have Adobe Photoshop, the subscription for photographers is $10 a month and you get Lightroom and Photoshop. If you don't want to spend any money, I think there's some free programs around (like GIMP) that you can use instead. You just need to be able to work with layers and be able to adjust the opacity.

I can't wait to see what you create! Don't forget to upload your image in the project gallery.


1. Ghost Physics: Hey, I'm Tabatha. In this surreal photography class, I'm gonna show you how to make people disappear. Uh, I'm sorry. Was that super cheesy? Uh, anyway, for this class project, if you need four things a camera, a tripod photo shop and a model any old human or animal will do, we're gonna take two pictures emerging together in Photoshopped to create an illusion of a ghost or an invisible person. It's gonna be real stinky. So yeah, what's about some ideas around? First things first ghost physics. So we need to figure out. Do are ghosts wear clothes? And are those clothes invisible or oh, pay for me. I like to leave the clothing invisible so that you can definitely tell the person is see through. If they're opaque, it's like you would see it in their face and in their hands. But that's it. It wouldn't be as effective photo. So I make my clothes invisible, even though it probably is weird. Do ghosts eat food? And if they do, is their food invisible? Or is there food opaque for this one? I did a shoot with nuggets, and I haven't edited it yet, so we'll see what ends up with a photo. I did another one with a cup of coffee, and I left it opaque and it looked like an ad for Starbucks. And so I was like, um, no. So I made it invisible to you because I didn't want the coffee to be the main focus of the photo. And lastly, how do ghost interact with real life objects? So if their hand were to touch something, would it go through it or what? It hit it. And for me, I like my ghosts to be able to interact with objects. If they sit down on a chair I don't want them to fall through, I want them to be able to sit. So for me, my ghosts are more like, uh, famous wizard under an invisibility cloak. So people ran into them, they would actually run into them. So ghosts are a little bit at risk of being trampled by humans and having humans have no idea what happened. That zone idea for another photo later. Yeah, So ghost physics figure out what exactly you think it's you can change, voted a photo, But if you're going to do like a Siris of images. I think it's probably important Teoh decide what your rules are before you begin so that you have some guidelines. So, yeah, Next, let's figure out how to come up with a good idea. 2. Inspiration and a Tripod: Once you get the physics kind of nailed down, it's important to take some time and figure out what it is exactly that you want. Teoh tell in your story, taking a photograph of a person in a scene and making them invisible. That's easy, Being able to lead the viewer through a captivating image and have an experience with the photo and looking at it and feeling it in relating with it. That's a whole other thing. So I urge you to take some time and figure out what kind of story you want to convey. Include the background in the story and and try and find ways with expressions and with other props or items to tell the story that you want to tell so that you can end up with the most effective looking photo. Another thing that's important to do is to utilize your space and your time and your models time. So here you can see some footage from the session that I did at my local neighborhood, McDonald's. These are my friends eating chicken nuggets, and they are all going to be ghosts in this picture, so I need a picture of them sitting at the table together. And then I need nothing to change, nothing to move, accept them. They need to get up out of the photo. I need the angle to say the same, delighting to stay the same, all the food on the table to stay the same and then get that image there. And then basically, at this point, I could have just been like, Alright, guys, let's go. But I already had everybody there. We had our chicken nuggets like that. Okay, let's let's explore this concept a little further. So for here, I thought, Okay, let's do a shot where my sister and her boyfriend are sitting across from each other and they're just having a good old time. And then their friends are, you know, just any old random person is at another table, and they're just kind of having a miserable time. They're humans or whatever, and so I wanted it to convey the story of, like, even though these two are technically not alive, they have mawr life in them than the people who are alive, who are just like I don't know, messing around on their phones or just having a horrible day And so it's just kind of like playing into that meta of like, Oh, we're wasting our lives on our phones and stub. Uh, anyway, then we did an image where my sister and a boyfriend are sitting there and they're two other random people come up to sit down at the table because they don't see them. And so they were, like, squirming away, and these two were sitting down. And so taking as many dynamic kind of photos like this is you can in one session is a really good use of your time And honestly, like, if you have an idea and you come with an idea, you'll photograph that. And maybe the idea that you come up with second is better than the one you came up with first, And so be open to this kind of, you know, be receptive to other ideas that might come to you as you're shooting or on your way to your shoot Or, uh, yeah, you could even plan out like these air different ideas I want to explore while we're shooting and see what works. And then you have a lot to choose from, and you can really you know, put out, Put forth the best work that you were able to come up with at the time, So, yeah, that's kind of it for ideas. So what we need to make this photo are two images we need to get a shot of. The people are players in the scene, and then we need to keep the exact same scene with the same lighting, the same angle, just removing the people. Basically, what we're getting in the second photo is the information that's behind our people, so that when we merged the two photos together, it does make them look invisible. So a tripod is so, so important for this. I mean, you can you can try the hand, hold it. And but, like any sort of movement, is going to change how your images lineup. It's just gonna make it way harder for you in photo shop. If you don't have a tripod, so get a tripod, make sure it's sturdy and it's not bumping around. If you put on the table, make sure the table doesn't move. I had in this Mac Donald set up. I had the table or the tripod on the table and this is a table that is like it is one with the earth. It is not moving around anywhere. So I have to worry about my hip running into it or anything like that. So definitely get a tripod. You don't have a tripod. I mean, you can try and do like the elbows on the table thing and just hold really still and try and talk to your friends over your camera. But just get a tripod. You'll you'll appreciate it so much more. Once you've got about 30 or so photos of your people in the scene, just enough that you feel confident that there's something there that you can use, it is important that you use manual focus on your scene shot. So what I like to do is I use autofocus to find my people. And then once they're in focus, I turned my lens to manual focus, and I just leave it. So I photographed my people manually focused, and then when they get up, I do the same of the scene. That way, my cameras not focusing on what's like it's not focusing on the glass behind them. It's gonna focus on about midway through the table, and so it's gonna have the same focal plane in the image as my first shot. So when I line them up in Photoshopped, I'm not having to deal with one background being blurry and the other background being sharp and trying to match them up. So manual focus is super important or just keep in mind, like sometimes what I like to do is, if I'm not exactly sure where my person was in the plane, I'll just kind of like slowly rotate my lenses. I take a bunch of photos just panning through the scene that we have got a lot of different backgrounds seems to choose from, if necessary. So, yeah, once you thought our pictures, your pictures taken, it's time Teoh. Bring him in tow light room, edit them and then pour him into photo shop to do the magic 3. Disappearing Tutorial in Photoshop: Okay, so here I am in light room. I've pre selected all the photos that I want to edit, and this is kind of the one we're going to start with. So here's my image with the four of them sitting at the table. I chose this one because I liked how they were all staring at the camera almost mysteriously, like they have a secret, which is that they're actually ghosts. And for whatever reason, they can see the camera. And so we're gonna take this image and it's seen counterpart and pull these into Photoshopped. I've already pre edited these images. So this one started out, um, straight a camera like this. It's a bit dark. It's a bit de saturated, So I just added some lightness, some contrasts and saturation. I use the spot removal tool to get rid of any distracting spots. And then, as you can see right there watching their faces, I added a brushstroke to brighten up their faces so that each of their faces are about the same exposure. Yeah, so now we want to make sure that our background image looks the same. So I just copied the settings from my first image and pasted them onto this one. Ended up a little bit Teoh to light. And so I had to take the exposure down just a little bit to get it to match. And I think we did a good job. So we've got some weird shadows on the table will have to deal with. But for now, we can take these two photos into photo shop. So I select both. So I do that by selecting one holding down shift and then clicking the next one. So both are selected, right click export. You go to the one with the dot, dot dot and I want Teoh. I'm just gonna put it in my ghost sub folder. I'm gonna call it McDonald's serious. So I know which one it is. And then we want a J. Peg. I'm not gonna limit the file size, and I'm not going to resize the image. It's just gonna be It's normal regular size and my sharpening settings. I sharpen for screen and they just sees the standard amount and then I want to just go ahead and change post processing Do nothing to open in Adobe Photoshopped CC 2017 s o I open it in Adobe Photo Shop, and it's a J peg and its exports. So I will have an exported copy in my folder and it'll pull it up in photo shop. There is a selection where you can right click and then edit in Photoshop. But what you're editing is the, like, the bra file. So it's gonna be like a dot Neff, and I found that it pulls the difference. It pulls a different color profile, and so I just I want to keep it the same color profile, the same bit depth. And I feel like exporting it as a J pagan, starting with a J peg well ahead, it is just kind of the best way for me. So here we are in Dobie Photoshopped. I've got thes each end of it. Each photo opened in a different tab. I need both of these to be in the same tab. So what I'm gonna dio is I'm gonna take the photo with my friends and move it. So right now it's a background layer and it's locked. So if I double click, I can click OK, It changes the name to layer zero and unlocks it, so it's no longer a background layer. Right now I have my move tool selected. But if I didn't like, let's say I had the brush automatically selected. If you hit V, it'll change it to the move tool. You can remember that because move has a V in it, So v to the move tool, you click and drag. We're just gonna pull this right over the tab. It'll switch taps and then we're just gonna run. Click it right on top so you can see it's not matched up, but it's here. So what we can dio is to try and match it up. We want to come over here into the layers Channel Mixer Earlier one the one that you just moved with, the people in it is selected. We're gonna drop our opacity down to 50% so that makes them transparency. Like already it's done. But the reason I do this at first is so that you can line up the picture. So if it looks like this, you're like, Oh, obviously these two bench spots aren't lined up, so we just want to bring that in and make sure it's nice and snug. And so what I like to do is zoom in really close. So if you hold down the Ault key and then scroll in, you consume to get to a detail, so you can see the edge of this table is off with the We still have the move tool activated . I'm just gonna hit my arrow key and scoot this top photo right into place. So it's a line with the table right here. I'm gonna zoom out by hitting Ault and scrolling out. I'm gonna pick a different spot in the photo and make sure it is close. Okay, So the bench has moved a little bit and that could be because they got up. And so if he's leaning up against the bench, it can. It can shift it there. And so just make sure it's it's as aligned as possible. Honestly, nobody's gonna notice this bench spot I did because I zoomed in all the way, But nobody's gonna zoom in all the way. So basically we're done like this is it? We've got the picture. There's a few things that you can do to make it a little bit better. So sweet Addy, right here. Her face has been severed in half by the dark window border. You can leave this, or you can kind of mess with it a little bit. So I'm going, Teoh, make the top layer invisible while I work on this section, I'm gonna use my polygon. What is this thing called? Polygonal Lasso tool. I'm going, Teoh, select this dark area just by clicking, making a selection. I'm gonna select around the bench. Just not even very amazingly gonna come over here up. I'm just taking this window strip, and I am just going to get rid of it. So there we have it. It is all selected, and I'm not gonna bother selecting the side unless it needs it. So right now, I'm just gonna focus on where where bodies faces. And so what I can do is I can take the brush tool. So if I hit B the brush als right here, I've got that selected. Um, it doesn't want me to draw here. Let's see. Oh, oh, here we go. Because I need the background layer selected. So now I can draw. I'm gonna change my brush mode to just like a regular brush with 100% hardness. I'm gonna change the size, Teoh, like 60 ish. Cool. And then you can also adjust the size using the bracket keys. So, like, small bracket makes the thing small or big wreck. It makes the things bigger. And I am going Teoh, I'm gonna So I clicked on the color. Let me just do that again for you. I clicked on this black color that opens up my color picker. I'm going, Teoh, You can either pick a color like this or you can pick a color in the scene. And so I'm gonna pick this silver color along this trim right here so you can see it's really close toe white. Actually, I'm gonna go a little darker because we don't want it to be, like, really bright. Kay calls. We've got this, like, kind of muddy brown gray color. That's perfect. I hit OK, and I'm gonna Europe acid. He should, by default, be set to 100. I'm going to drop it to 50% because we just want to tone it down a little bit. So I am just gonna paint this guy and and then we're gonna make our layer visible again and see if that helped. So I'm looking just at her face. I'm gonna go back from before my brush tool and then back in my bushel. I love that. Okay, I feel like that Toned it down just a little bit. Not enough that it's like, what happened to this photo, but enough that her face doesn't look is weird. So now I'm gonna hit command d to de select. And I'm happy with how that looks. So I kind of like where the lines hit on her face and the red I think that looks cool. You can definitely tell you can see through it. However, her nose looks really dark, so you can see that just happens to be a dark spot in the window. And so I am just going Teoh, take my brush tool and paint that Oh, don't do that. I'm gonna Let's see, let's try the, uh, the Dodge Tool so Dodge Tool will light in. So I'm gonna resize my brush and then just lighten this up just a little bit so you can see that's before this is after. Let's see if it helped. Okay? I think so. it's a little bit red, so I'm actually going to pull up my paint brush tool and pick this nice green color and then resize it, paint it it just a little bit. So we've got I'm dropping down to 20% capacity, and I'm also going to take the hardness down. So my brushes soft around the edges instead of making a solid line, and I'm just gonna paint that ever so slightly. So now we're gonna activate this layer again, and it looks a lot better years before with her face, you can see it's dark right here, and then here is after. So I just lined it up just a little bit, and that's kind of like some intense at it. He don't have to do all this stuff. Her face has, like, the reflection of a car behind it, which is cool. I'm actually gonna leave that and then his face, his face looks good. It's got this, like, really strong line coming into it. So I'm actually going to get rid about two because it's pretty distracting. So, back to my first I disabled my first layer, my background layer. I'm going to go back into my polygon lasso tool. I'm gonna drag basically cutting this out of the rest of the picture so that when I use my brush tool, so hit be for your brush tool and then I'm gonna change the size. When I get to my brush tool. It'll just color in between where I've got my dotted line So we don't want green, we are going to make it. We could make it the same color is the other one and make it just or this color and make it just a bit lighter color that in K. Let's check it out. That looks much better. Just a little more subtle from a command d to de select so we can see all their faces, their faces, their distinct and they're sitting at the table. But the table is there, and they are not. So we have our ghost picture in the bag. Another thing that you can do this just a little tiny tweak is select your layer one and then change your opacity. You could make them a little less see through, so drag it up to 70% weaken. See, we can still see through them, but you can see that they're there. So this one is a little more subtle. If you want them to be almost completely on, you can drop it down to, like, 25. And there's just a whisper of people into this into this image. I usually like to stick around 50 because I'm indecisive, and I like that. It's just like a solid number. Looks good. So then this is kind of your final image. And then if I wanted to share this on Instagram, I would go up into you. Can't see this, but there's a file bar up here. You hit file, we're gonna go toe image, image size. I'm changing the image size from 6000 pixels wide to 2500. I'm leaving the resolution at 2 40 and I do buy cubic Sharper best for reduction. So with 2500 and the width I picked with because that's the long edge. I like my long edge to be 2500 pixels. Resolution to 40. Okay, that shrink my photo, I'm gonna go to file save as, and then I would save it in my ghost folder. So McDonald's serious. Number two J peg I'm actually gonna save this as final and save my J peg options. If I'm uploading the skill share, 2.4 is too big. I just pull it down until it's less than 1.8 e did. Okay, so now this is good for skill share. It's great for Instagram. I just email it to myself and then posted on Instagram, and so that's how we do it. 4. Lightroom Edit and Photoshop: So here we have this picture where they're, like on a day and then these two over here just kind of doing whatever being sad. I need to edit this picture still. So instead of cheating and copying my edit from over here, I will hand it this so that you can watch this picture is a little dark, Simon, lighten it just a little bit. Not so much that her face disappears. I'm going to drag up the contrast cause I love a nice contrast ID image, Especially when I'm shooting in raw gonna pull up the shadows. This will bring up the dark areas of this photo. Especially over here. The blacks. I'm gonna bring down just a hair. I'm gonna kick up the vibrance and the saturation. This time I'm bringing them up, Teoh, About 10. They're both it, like nine ish and then I'm going to drag my shadows down, drive my darks. I feel like this is getting pretty close. I mean, at a little more contrast on and change the color temperature. So it's really kind of yellow over here in the shadows, but it's really blue in highlights. I'm gonna just make an arbitrary decision and make it a little bit warmer. So my cute sister space is really, really bright. I'm gonna actually take it down. I just went into this hand at it, tool this mask draw thing. And I changed it to burn dark in. So I'm just gonna pull this over her face dark ended up just a little. That's too much. So I'm gonna bring the exposure up to, like, 19. I'm actually in a Brighton, his face just a little, So I'm gonna go upto lighten, change the size using the school wheel and just like in the shadow area right there, I'm gonna just take it down just a little, cause it was kind of a bit much. 23. That's good. Here is my image. Pretty satisfied with how it looks? I need Teoh. Also, put this at it onto this image, so we're going to copy it and then come over here, paste it and then let's kind of flip back and forth and make sure the lighting didn't really change. Yeah, it's close enough. All right, now we're gonna take both of these into photo shop. So clicking one getting shift, clicking the next one. Right click exports. Same sub folder. McDonald's serious photo number two scrolling down. We're gonna not resize it. We are going to sharpen it. We're gonna open in Adobe Photoshopped as our post processing export. Okay, so here we are in Photoshopped. We've got our image with these two, and we've got our image. Without them, we are going to take them and pull them into the other photos. So I'm in a double click my background. Okay? This unlocks the layer so I can move it now and my brush tool selected. So I'm going to hit the V for move, and I'm gonna drag this ride over into the other tab and plop it on top. There we go. And, uh, in order to align it, I'm going to drop my opacity down to 50%. You can see we're close. I'm gonna get pretty close, and then I will zoom in to fine tune. I will work on the table. The bench moves a little bit, so it's kind of hard to align that, but the table is solid, so you can see we've got a little bit of a distance to move it. I have my move. Tool Still selected with V. I'm gonna just hit the arrow keys and move the tables or the table until it lines up just right. Awesome. Okay, so this picture is aligned. So what we have going on here is they are ghosts, which is great, but these two are moved like they have moved, so they look weirdly blurry. So well, you need to decide is which Posey like better. So there's one where we can see they're both looking down at their phones, and then the other one, you can see her face to the side. She looks kind of tired and then her face peeking over. So this image is more flattering of them. So I'm just gonna go with this one. I have my layer one selected. I'm gonna drop the opacity back down just so I know which one is which. And then I'm actually going to take this lasso tool this poli gonna lasso. I'm gonna cut this part of the photo out so that we don't see their faces in the second kind of orientation. So here I am, just doing a rough cut here. Just making sure to get between her elbow on Ben. Please go all the way up and complete the circle. So right now we have this selected I got layer one, and that's the layer that I want to remove of this. So I'm just gonna hit right click layer via Cut that chopped it off. I'm just gonna de select it. And here's what we have. We can clearly see a really harsh line right here from where the shadow is no longer there . So what I What I like to do is make sure I have layer one selected. I'm gonna hit E for Eraser. I'm going to check and make sure I want my hardness to be zero. That'll be a nice softy racer. My opacity is 13. I'm gonna bring it up to 50. That way it doesn't erase the whole thing. It just erases most of it. I'm changing my size with my bracket keys. The right bracket makes it bigger left bracket makes it smaller. And I'm just gonna kind of paint a little bit toe blend these two scenes. Keep in mind, I'm erasing this half because there's nothing here in this layer to erase, so I could erase over here all day long and nothing would happen. But if I race over here o, her face starts to disappear. So I'm just gonna undo so all busy and then or controlled Z, I guess I'm just gonna erase that harsh line away so that it blends really smoothly. If you click to erase and then let go and click again, it'll erase on top of where you erased before. And so it'll get away from the 50% opacity instead of erasing only half, it'll erase half of what's there and progressively more erasing. You can see my sweet. My sweet background doesn't quite match up. So I'm just gonna I'm just gonna freely erase up in here to make that look a little smoother. Nobody's gonna zoom in this close, but I'll know you know. So I'm just erasing to make that nice and even, and I think we're probably good here so you can see what that did was it took out this blurry look over here and it made them look sharp. The only problem is, well, I guess he's got his elbow here, and he's got a very distinctly weird pink shirt on so I could erase his elbow so that it wasn't in the picture. But I don't mind the idea that there's more people over there and I don't think most people are gonna be like only Goche. There's two of him, So So that's something you can do if you want to do. But I'm not gonna do it cause I don't care. So we've got our cute little people here, and it just so happened that their faces are in spots that worked out. I didn't have to like I don't mind this like poll going through her head because it's the back of her head. So it's not really that big of a deal, and it kind of place more into the fact that she is very clearly invisible. One thing that's nice is if you have them lean against the table, you can see the table through their arms, and I think that helps convey the idea that they are invisible, being able to see through them on these like straight line kind of areas. So, yeah, and I actually love how this one turned out. I think it has a really fun, playful mood to it, so I would call this one a success 5. Fully Erased Ghosting: alright for my next trick, I wanted to show you how to do a surreal type photo where half of the person's body is just simply gone. It's not invisible looking. It's just gone. So for this image, we've got my friend kind of coming out of a picture frame. She's just climbing out. Maybe from another dimension. She could even be falling in, depending on how you look at it. But we we are implying that there's something strange going on, whether it's just a floating picture filling frame with hands coming out of it or the idea that she's somewhere else and she's entering this world somehow is kind of where we're going here. It's just a little bit creepy to look at. It makes people wonder like what's going on? How did they do this? So we start out with this photo here. I have her holding up the spring with her hands. She's kind of balancing it to keep it up and her head is down like she's trying to climb out. I've got her kneeling on the ground because I wanted tohave the ground in the picture as a reference. It wasn't just, you know I considered I considered cropping the photo like this without the grass, so that it was more of this, like solid blue background. And so I decided to leave the ground in as a good source of reference. So by having her kneel down, she's able to be a lot closer to the ground, and it makes you just really kind of wonder what's happening here. So here's the image you can see. Her sweet dog is in the front. She's like What's happening anyway? She is climbing through this picture frame. So what I need to do is erase everything that is all in or the outside of the picture frame , I should say so the stuff that's coming through it, her hands and the stuff that's inside it, her head that we keep and then everything else to create this illusion we need to erase. And so we, of course, we need to have a background photo, So this is an image of the scene. With these two photos, we want to merge them together. So to start out, we're just gonna in a double click on the background layer so that it's a workable layer. It's not locked anymore. I'm gonna hit the for move. Move Has a V in it. That's how you remember the move tool. I'm gonna grab this whole picture and drag it right on top of the other one in the other tab. I am going to drop my opacity. 50%. We're not making her invisible in this one at this point, we're just trying Teoh match up our backgrounds. So this one's gonna be really tricky because the tree moves a little bit in the wind. Also, that makes me super dizzy to look at the matchup. These two little pine cones just clicking and dragging. And once I'm I've got it pretty close. I'm just kind of scrolling through here to see what we've got. You feel match up the grass a little. I'm actually gonna fine tune it. I've got my moves to also activated, but I'm using the left and right keys. Yeah, yeah, Okay. I think we got it. So I'm going to zoom out. And then what we need to do is make her full opacity again and start selecting the stool. Takes a little bit of a process. Basically, I just use this polygonal lasso tool. And I start cutting out my my path, basically is I'm gonna cut around this frame around her hands up, and then I'm just gonna cut her body and her dog's head out of the photo and then end my selection and delete it. So I'm gonna do that really quick and fast motions. You don't have to like sitting watch this boring process. All right, so now that I have the whole thing selected, I can honestly just hit the delete key, and it will completely get rid of that layer. Since I might need this layer later, I'm just gonna cut it. So right click layer via cut. It pulls what I've selected out of my first image and so I can just turn off the visibility . Now, what we have is pretty close to what we're going to end up with. So here in this dark patch, that's her shadow. And then, since she wasn't in this part of the picture, she doesn't have a shadow. So I need to find a way to blend that I'm going to have layer one selected. That's where it's dark. Oh, actually, you know what? I'm just gonna I'm just gonna delete where her shadow is here in the grass and delete this watch. So I'm gonna go to E for Erase this in my eraser tool. I can hit the right bracket to make it bigger and the left bracket to make it smaller, so I'm gonna make it a little bit bigger. I have it set to 50% capacity, so it's gonna erase half of the information here, and the hardness is set to zero. So it's a nice soft eraser, and I am just gonna come on in here and erase this darkness in the grass away. I'm in a race, her watch away and there we have it pretty easy. It I did a little bit of tweaking on it when I did originally. So, for instance, let's go ahead and I have my background layer selected. I'm gonna go over here and select my burn tool. I'm gonna make it a little bit bigger. The burn tool basically just darkens the image. So I'm just gonna come in here and just sort of dark in the grass. I don't want to go too hard. Um, just evening out this grass here and In fact, this little patch I'm just gonna get rid of. So I'm gonna go up here to my spot healing brush. Looks like a little Band Aid and get a little bigger. Click on it and it will sample from around to make it, uh, basically a little patch. So here we have it. This is our image, and we're all done. I was easy. This is Ah, really effective photo. The longest part is cutting out this edge. But if you've got a nice you know, if you got nice straight lines or not hair you don't want to cut around hair hair is the worst thing to try and cut around. I'm not very good at all, but for this, we just had the edge of the, uh, edge of the frame and her fingers to cut out, and it really wasn't that bad at all. So this point I would size it down, sharpen it, save it posted online and call it a day 6. Advanced Composites: all right. Lastly, I wanted to take you through how I was able to craft this image and this image. I feel like these have a huge effect in the way that they tell a story. They're very intensely edited. I didn't want to lead you through my real time at it because these took me so long. I'm not the best that this kind of like intense Photoshopped manipulation. But I wanted to at least lead you through the building blocks that it took me to get to these midges. So at first, you know, we found a good spot on this trail where she could line up with the road. I wanted the road to go through her. My sister last year had some pretty intense stomach ulcers. I called these this image traffic ulcers. I thought, you know, it probably felt like him to a car driving through your organs. So that's kind of the metaphor that brought this image toe life. So to start out, we got a bunch of photos of her standing by the road. Our goal here was to get an ideal expression. I chose this one because it was contemplative and mysterious. and I love that. The way the wind picked her hair up to kind of add that, like, that vibe, that sort of cool look to it, I guess. And I needed her to hold her shirt so that our totem imagine her shirt had a hole in it right here and that we could see all the way through it. And so I had her grab up, just kind of scrunch up some of her sweater and just hope that what I was getting was gonna be workable. And then also this sheet in the corner it I did not need it to be in the photo. I should have taken it out of the frame. But I didn't. I was like, I'll just photoshopped out later, and that was annoying. Definitely be mindful of your whole scene. See, adopted. Spend countless hours editing out things that could have been moved in two seconds anyway, so we got her facial expression, and then we also took, uh, this image, this one. We didn't love the facial expression, but I loved the cars, so I ended up using the cars in the final edits. Um, this is my background scene we just It's just really clean crisp. I got a few of these. I had a really shallow or no ah, relief, small aperture so that I could capture a lot of the scene. I didn't want the road to be blurry as it went through her because I felt like that wouldn't seem very riel. And so my decision to have a a narrow aperture was very intentional. So I probably said this toe like F 22 F 18 something pretty high up there so that I could get a lot of the scene and focus and really help this photo be like mind bending in that way. And so lastly, we got a shot of them. So my sister and her boyfriend holding up this sheet, stretching it So we actually ripped a hole in it and then stretched it over the street so that I could use this area of the photo if I needed to make it more believable. I wasn't sure how I was going to cut a hole through her her stomach, and so having an actual whole photographed was a good idea for us and so on. This photo was really annoying to take because of the shadows, But we ended up with a good one that I could use in our final at it. And so for this also, I had originally the original image has this ah, rail going through the left side of the road. And when I tried to make that go through her, it just looked so I don't know, unrealistic. It looked like I just cut up the image and it just didn't look very good. And so I noticed up here, further up the road, there is not a rail on this side. And so I felt like I could easily photoshopped this out so that it looked better in my final image. And it works, though that wasn't edit well worth my time. Also, I wanted to talk about her hands. So this hand is an original from the photo with this part of her with this expression, this hand I actually took from the image of the sheet so you can see her hand. We've got the sun hitting it. You can see her rings and then the original photo. Her fist has turned more toward the camera, and it's just a different shot. And so I felt like, you know, being able to use this area of the photo really helped. You know, I liked how these wrinkles looked in the image. And then lastly, it was really hard to match up the colors that she is a lot bluer than her sweater. And so I had to do a lot of blending work in here, and I made this look like it was kind of rolled. Afraid. I just had to kind of do a lot of painting in this part of the photo. It doesn't look super good close up, but nobody's gonna scroll in that close. Mostly, we've got our concept. It looks believable, and I'm really happy with how this one turned out. Next, we have our ghost on the lawn board picture this one I had in my mind for a while. I wanted to be able to convey that there was a person underneath the sheet and that they were invisible. But when acted upon by an external object, you could see them. And so I liked the way his hand looked here because you can tell there's an actual person under there instead of just like a form or coat hanger or something. And so this image we, I thought, came together really, really well, here is the original. You can see I've got his legs. My sister is actually behind him with her foot on the long board holding it in place because we're actually on a slope and he was rolling away. We were trying to take pictures. One thing that I was not super happy about was we had his hand sticking out here. And so I knew that I was gonna have to take that in to photo shop and do some pretty heavy manipulation. His eyes are peeking through. I didn't love. So we ended up cutting these holes while we were there with, like, emergency kits, safety scissors. So they're a little ragged in the final edit. I ended up rounding out those holes and darkening them so that it was very obvious this was a ghost look that we were going for. Here is how his hand turned out when I ended up taking it out. So I wanted to preserve this edge of the sheet. I actually had to draw the scene back in, and I did a lot of clone stamping to try and get ah, believable shape here. Probably the easiest part of this image was taking the feet out of the background so you can see what I had Teoh deal with Waas getting her feet from under the skateboard on top of the skateboard hiss feet, his legs. One thing to keep in mind if you're taking a photo like this is the sheet is a lot shorter in the front. Which means if this were to actually hang behind him, I would have to make up the sheet that would have been behind his legs if that makes sense . And so because the wind caught it and pulled that back in this way, I don't have a sheet right behind him. So I was able to easily cut this part of the photo out and not have too much trouble with it. So if you're going to do a photo like this, just make the front a lot longer so that you don't have multiple layers of sheets to try and edit out and the yeah, we took out the beer box in the background. This is our background shot. This one I used a really shallow depth of field because I wanted the goes to pop out and so you can see are Rolling Hill in the background is pretty blurry. This we'd in the front is blurry And it really helped separate the ghost from the backdrop which is the opposite effect of what I wanted in this one where I wanted her in the backdrop to become one and so, yeah, these air how they turned out. I, uh I hope that this was helpful. And thanks so much for watching. 7. Final Thoughts: Ah, that's it. Thanks so much for taking my class. I really appreciate it. I hope that you learned something. If you didn't learn anything, I hope that at least you had fun. Uh uh. Feel free to oppose any questions or comments that you might have in the discussion section and share your project in the project section so I can take a look. If you decide to share your images on Instagram, tag me so that I can come see them. My tigers just tab with the park. Uh, yeah, that's all I have for you, so I'll see you next time.