Monochrome Photo Double Exposures | Blending Textures And Tools | Josh Thornton | Skillshare

Monochrome Photo Double Exposures | Blending Textures And Tools

Josh Thornton, ABC - Always Be Creatin'

Monochrome Photo Double Exposures | Blending Textures And Tools

Josh Thornton, ABC - Always Be Creatin'

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5 Lessons (37m)
    • 1. Photo Blending Made Easy

      2:43
    • 2. Collecting Textures

      5:02
    • 3. Shooting Objects

      6:26
    • 4. Snapseed Edit

      6:39
    • 5. Photoshop Edit

      15:42
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About This Class

Want to know an easy way to add a ton of punch to your photography? Then look no further than your smartphone. Blending textures with other photographs is a powerful way to add levels of depth and perception to your work. in this class students will learn how to build a texture collection, photograph objects, and seamlessly blend them together using Snapseed and Adobe Photoshop.

This class is ideal for photographers and graphic designers looking to:

  • further define their personal styles
  • have a resource of fresh ideas
  • learn Snapseed and Photoshop blending   

Meet Your Teacher

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Josh Thornton

ABC - Always Be Creatin'

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I'm a Photographer, Videographer, Graphic Designer, Youtuber and Teacher.

I enjoy long walks on the beach, basketball, and occasionally binge-watching SpongeBob SquarePants.

There...

I said it. :)

 



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Transcripts

1. Photo Blending Made Easy: How's it going, guys? I'm Josh. I'm a graphic designer, photographer and filmmaker based in Philadelphia and also the founder of photography thing . I think what draws me to graphic design, photography and film like the visual arts is Thea complete freedom of expression. There's no real right or wrong way to do photography. I think the best way to do it is to be completely true to who you are. Shoot from the heart and just express yourself. Whatever it is it Shona express itself through, you know, through your camera, your laptop, whatever it is that you use to shoot what it create. Just be truthful. You are also look at photography as like a filter like a blender, so you take something that already exists. You know, if it's a person for portrait or if it's ah, building outside could be a random object. For still, you take something that actually exists, and you take your emotions, things you've been exposed to, whatever it is that's going on up in here, you take the two and blend them together, and it's amazing how you could just create something that didn't exist before. But because you blended the two together. Now you have this beautiful work of art or whatever you wanna call. In a sense, I guess this is where I'm based in the project off this today's project. It should be fairly simple and hopefully a lot of fun. There's three parts to the project. The first thing we have to do is we have to collect our collection of textures, even do this indoors. You could do this outdoors. It doesn't matter where we just have to collect some textures that we can use for later. The second part will be to find object. It could be an object that means something to you or can be completely random, or just something that you just so happened that just catches your attention. For whatever reason, we have to shoot these. There's no right or wrong way to shoot this again. I want you to be true to who you are and your visual language through this project and last but not least, will take it over the photo shop, blend the two together and make something fresh. Make something brand new, will make something that's true to you, something that you can be proud of. and that will be it. So I'll see you guys on the inside and just remember toe, have fun. Don't take this too seriously. It's simple project. Have fun with the textures. Have fun with the objects. Have fun when the projects have fun, sharing the projects and that'll be it. Let's get the streets. 2. Collecting Textures: all right, So welcome to video number one on learning how to blend textures. And this video will go over a simple three step process to keep in mind as you go out and collect its extras. I've always been a believer that we learn best by doing so. My goal here isn't to give you a ton of information that you don't need. I want to give you the exact information that you need so that she can go out there and apply what you learn in this class immediately. So let's dive right in the very first thing to consider when a collecting our textures are the tools that you used to collect them. You can use any DSLR. You can use any point and shoot camera and last, but definitely not least, is your smartphone. Personally, I prefer the smartphone for two reasons. The first is you always have it. There's no real need to carry around a bunch of bulky equipment or heavy equipment when gathering your textures. So if you don't have a DSLR, don't be disheartened. Your phone is absolutely perfect. The second reason I like to use my smartphone is because the resolution is amazing and bonus. Even though the resolution is amazing, it really doesn't have to be. That's not really a concern of mine when I'm shooting textures, because the texture won't really be the subject of whatever photograph I take. It'll be blended with the background of the opacity will be turned, weighed down, so there's no real need to get supertec sharp images. The second step in our three step process is your location. Now here's the cool thing about finding the right location to find your textures. Everywhere is the right location to find textures and quite literally to. You can find these on walls, streets, trees, tables, clothing, floors, doors underneath chairs, garbage cans, the bottom of shoes up in the sky and the water and on and on and on and on and on. And third, and probably the most important thing to consider when gathering your textures is your eye or your artistic voice. So you can ask yourself things like, What am I attracted to? Do you have a softer look? Do you have are harsher? Look, do tend to shoot bright colors or is in morsel black and white, keeping things like this in line, and you look for sections should help in your decision making process. For the sake of keeping this seamless, I like to break textures down into two categories. There's hard textures, and then they're soft textures. You've got things like woods, metals, scratches, splatters, cracks, rust patterns and many other textures that can fall into either of the categories. So if you have a softer style of photography, maybe your gravitates towards this softer textures and vice versa. If you have a harsher style in a boulder style that maybe you tend to gravitate towards the cracks on the splatters and the scratches and things like that again, there's no right or wrong. Way to do this personally is I'm shooting textures. I don't have any rhyme or reason when I'm shooting them. If I see something I like, I shoot it. If I see something I don't like, I don't shoot it simple. I think it's very easy together, a great collection of textures. If you just shoot with an open mind, always be aware of your surroundings, the best practices just to gather a ton of them, and then when you finally take them home and sort them out. It'll be easier to find out which textures will look best with certain photographs because the reality is we just don't know until it's in front of our faces. So the Mawr textures. You have more actions. You last the reason I shoot textures and Adam over my photographs. At times, it's because it just looks really cool. It adds a little bit more depth. There's more information in the photograph that the viewer can interact with. They can take a boring background and add a ton of interest. They can take the subject and completely transform it and anything in between. So I hope you guys have a ton of fun with this when you walks outside or you walk around the house searching for you collection. I see you guys in the very next video who will select and photograph are objects so that we can take the third step and make the magic happen. Blend the two together and make something 3. Shooting Objects: welcome to video number two of our texture, blending course and in this video will take the next step in the process and photographs, um, objects to keep things nice and neat. And to get you guys off to the races, we're going to focus on three steps. The first is choosing the right objects. The second is choosing a nice clean background, and third would dive a little bit into the subject of lighting. And it's just a reminder there is no right or wrong way to do any of this. As we go through each step, I want you to keep your vibe in your style at the forefront of all of your decisions. So let's begin now when it comes to choosing your objects. As they say in the 19 nineties hip hop song. The choice is yours. The objects in this video, which shows in solely based on the fact that they were hanging around the studio and I decided to shoot them. Okay, so I have here my favorite lens, the 50 millimeter. I've got a pair of boots I've got here, a microphone, a little stuffed teddy bear dog and last but not least, an ancient artifact, a small TV DVD combo. One thing to consider when choosing the objects would be the size of the object, simply because the size of the object would determine how much higher you need to be to capture the photo. Another thing I think about when choosing objects are the shadows that an object may cast. There's no way for me to know 100% how the shadow may turn out, but I think in some way it is a good mental exercise and visual exercise that tryto visualize how the shadows may turn out. Sometimes when I have a specific texture I'd like to use, I try to find an object that I think will go well with it. So, for example, if I had a texture of a crack in the wall and I blended that with a picture of a glass, something like that would usually turn out well. So moving on to Step two will be choosing the background now, since we will be blending textures over the photos, I like to try to give the textures as clean a background as possible, so I do that with a backdrop. That's usually one solid color without a ton of marks or scratches on it Already. I'll be using a piece of white posterboard today, mainly because of the smooth surface and because it doesn't reflect a lot of light. Sometimes, if you use a glossy or shiny surface, you'll see the light that you're using to light the object, which is not a bad thing. But for the sake of this example, I'm just going to use the nice Matt surface Thes air really easy to find. You could find the most convenient stores or any art stores things like that. But if you don't have access to posterboard, there plenty of other things that you can use. You can use the floor. For example, you can use a sheet or curtain. You can even use a T shirt. Just remember the smoother the better, because I give the textures a nice clean canvas. Now on another note, because I want your true vibe in your true style to shine through and because rules were meant to be broken. If you happen to see some type of backdrop that you like and there are scratches and dirt or dust, er, any kind of thing on it. Please feel free to create with that backdrop. Sometimes you will find some really cool effects when you mix the backdrop. This in the picture with another texture. Now, moving right along to the third step, we'll talk a little bit about lighting. No, and for some reason you haven't gotten the memo. Photography is all about the like now, after you've chosen your objects and you've chosen the right background now with some toe light it, there's a few ways we can do this. We can use the biggest light source there is, which is the sun. We could use a good old household lamp or flashlight now, if you should. So be the photo type. You can even use your studio late. You can use your strobes. You can use an led. That's what I'll be using today. Personally, I like the led lights because it gives up a ton of controllable. Constant lighting is also battery power, so I don't have to worry about any cords, and I can also hold it handheld, which is super useful when I'm trying to find the light from my objects. No, as far as taking the pictures. I usually set my objects up on the table if I don't have access to a table and I'll gladly use the floor. Sometimes I was actually a little bit easier, so I put my poster board on top of the table and then the object on top of the poster board . I grabbed my light and then start to take my pictures. So as I moved the light around the object, I'm really just trying to get a feel on, trying to get a sense of what it is I'm seeing. Sometimes I use a flat light. Sometimes I like from the top. Sometimes I like from the side and again, I'm just feeling it out. I'll see how the light interacts with the object and what type of shadow the object cast. Another thing I will look for before I snap a photo is the crop in the composition, and you don't have to have your objects dead center. But for my photos, I'd like to have him dead center, so I'd like to try to get it is dead center as possible before I took the photo. The cool thing about it, though, as you're seeing the next video is that any imperfections in perspective can be fixed in post, so no words. As far as the amount of pictures you take for each object that's really up to you. I like to take a lot of photos of each object just because it gives me that extra peace of mind that when I go in post to select the best one, I've got a lot of options to choose from, and that's really the whole process. You choose your objects based on your personal vibe, whether they mean something to you or whether they're completely random. You choose a nice, clean background, so we have a nice clean canvas for the textures or not. You figure out the type of lighting you want to use toe light, the object in the light, the backdrop. And as I mentioned before, you're officially off to the races. So have a ton of fun going through the process and I'll see you in the next video, where I'll use snap seed on my phone to edit the photos so we can get it ready for the final process, which would be blending the texture on photo shop 4. Snapseed Edit: All right, Krumer back, Ready to look through images and pick our faiths. And go ahead, put the ice as I call it. Put the ice on the photos. As far as I'm concerned, the editing is where the magic happens, right? And I use. He's been a lot of time, probably more than a need to selecting my images, But I feel like everything counts. Space, the negative space composition, the lighting, the texture. Everything counts, right? So offer this edit. I'm going to go ahead in select our T A TV. Let's see, I try to go with the one that's the most straight on the line so that I have less work to do later, So we'll go ahead, pick this one right here, which is a second from the last. Now, the program that I used to edit my images on my phone is snaps, he snaps. It is an amazing app. If you don't use it, you should use it. Um, excuse me, and, uh, it's almost like a foetuses is just like a photo shop. Essentially right. So you've got of sections where you consume your image, rotate, transform, you can make them sharper you can adjust the white balance. You've got a healing brush on hair. Selective. Um, tool. You can change the mid tones. The highlights. I could spend a ton of time here telling you about the app, but the best way for you to learn the Atmos to use it. So I use you starting this top left with tune image. It says. I shoot primarily black and white. I'm gonna go ahead and turn the saturation down. All right. From here are using mess with the ambiance and depending on the photo, the photo I I'll either turn it down or up, so we'll go ahead and turn it up. Now what's from my highlights up, Aziz? Well, and let's turn those shadows down. I like dark shadows and bright highlights. Personal preference. What's hurting the contrast up a bit and we'll start there. And this won't be a perfect at it, because I think I bore you with the amount of time that I probably take on this. So I moved through quite swiftly. After that, I added a little bit of sharpening. I don't sharp my images too much. I kind of like the doll, um, old look from here, we're going to transform. You got a vertical vertical perspective, horizontal on rotation, so we'll go ahead and flip this horizontally. Then we'll take the vertical perspective. Flip that down just a bit, so it's a little bit more square with the lens, and then you can rotate to make sure all of the horizontal lines are even that looks about good for me, from hair usually go into total contrast. This is where you can adjust the highlights off the mid zones individually and the shadows and the highlight. So that looks decent. After this, we'll go in a drama all right to me. Once we get to this point, this is where the image really starts to pop, right? No drama can, uh, it's a strong filter. So you really turned it down and it it keeps some of the filter. So I turned that down and then I'll go into back into tune images and mess with the ambiance and the brightness again just to bring things back up to my liking. That's not bad right there, which, on the highlights back up and it's just a process used the I'm just going back and forth between the filters. Until I see something that I like again, we'll take. This backup will make the highlights a little brighter. So we get that clean white background and the brightness up a bit. Let's see contrasts. We'll take some of the contracts down. Do that again. As you can see, it's a process. This is like cooking like baking a cake. All right, you had. You have to have the ingredients. You have to follow the the recipe to a T if you want your cake to come up. Delicious. So as you can see now, we're starting to look closer to the way we wanna. The images Teoh the images to turn out. Right after this, I'll go down to black and white or in the war, and I've got mine. My selects my favorite filters. I usually use the film or darkened sky, but before I select, I'll go through both because each photo has a different personality. Depends own which, and the filter that you put on there will determine. The final products are very meticulous about this. Like I think I like tho to go ahead and turn that filter down just a bit. That's another cool thing about snap seed is You can adjust how much of the filter or the effect you put on each image. Turn the grain down a bit. The washes. Okay, see the brightness. We'll leave that there. Right? And I think one last time we'll go back up in a tune. Image. Don't mess with the few things. Let's see. Let's turn this. They're in the highlights in the shadows. That's okay there. And we'll go ahead and rock with that again. I could spend a long time trying to teach you guys or show you my workflow, but I don't wanna bore you so we'll go ahead and rock with this image. Um, this is all set ready to go. And even while I'm editing, I'm thinking about the texture and think about how to match up the highlights in the shadows of sex year to make this one cohesive piece. Right. So this is the end of this edit will go ahead and move over the Photoshopped. But the final piece, the texture over top of the TV. See you guys in a second 5. Photoshop Edit: Hello, Family. A long time, no see. Glad you could make it. Worlds are a final final part of final leg of this piece, Hopefully a masterpiece. I can't wait to see you guys is projects. But here's hair that some of the images that I took some of the textures that I took while out on the streets of Philadelphia and New Jersey. And, um, they vary, right? Most of them are. Tenant gravitates awards the concrete more than anything in, like rusts and things like that. But there's no limit to what you can pick again. This is our personal preference. I'm just showing you my workflow and how I make my decision. So these air the textures again and as a bonus, also included all of these textures as a free download. So it's better to go out and get your feet wet. Get your hands dirty and I take texture yourself. But any event that you're not able to do, I have provided some textures for you, right? So just like what? The photos would take our faves, where whatever our favors happen to be, and we want to make sure that they will be cohesive with our image. All right. You never really know until you blend the image over. You blend the texture over the image, but, um, here we go with me. Quit yet. Okay. So I'm gonna choose this one. We'll go with that. Check that out in that we'll just do those for all right. So quick, those drag goes over in the photo shop and just let go and put that right over the layer going selectees. All right, so here we are, so you can click the eyeballs on and off, just like if you're editing anything in photo shop, the eyeball will allow you to. It'll reveal what's underneath that layer, right, So we can see what we have. And most of the time, the layer won't be flush with your image. So all you have to do in that event is click it and resize. L hit, controlled, see, you know, resize to cover the whole image. And the cool thing about a texture to is that it doesn't have to be That doesn't have to have the same resolution or the same dimensions that you started with because it's background, right? So I adjusted that and also, sometimes when you import your photos into photo shop, it's I'm assuming a smart layer. You see this, this icon on the bottom right corner, and so it won't allow you to edit over it. And I may not be saying that completely the right way, but basically what you have to do is you have to quick right, click on the layer hit Rast Arise layer And I don't know exactly what rest arise layer means but all But what I do know is that you can edit your image seamlessly Once you have it, Rast arise So we are ready to go. All right, So I started with this image and I'm probably gonna pick studded with this texture And I'm probably gonna pick things texture just because it gives it a nice look What you'll see. In a second of all, it looks like someone splashed paint on television. Now, here. Once we quick on these layers, here is what we have all of our blood loss. This is where the magic happens again. And each one of these blame owes they do something different but similar depending on what you're looking for, right? So I usually like to hang out when I'm doing my layers. Personally, I click, multiply and because my images black and white, I have to de saturate this the texture as well. Like I said before, I'm already shooting. I'm thinking, I'm thinking, with the end in mind and thinking of the final product before even shoot anything so that it would just make the post process a little bit easier, right? So I'll go ahead and come up to images, adjustments and de saturate. But I usually like to de saturate this before I blended. So from here, I'm gonna try to get it to look as close to this image as possible. Because if you don't, you're going to be able to tell that it's not a piece you wanna be able to tell that it's like a double exposure that you know that it's not one real peace. So from here, I'll hit control em or control L. They both pretty much do the same things. You're gonna just the highways, mid tones and the shadows, so I'll go ahead and bring that down just a bit right, and I'll take the highlights up because the television is super contrast e we'll hit. Okay, we'll see how this looks. And this is all trial and error. This is all you know, fidgeting, fidgeting and trying different things out. So you get the look that you want. So don't be disheartened if you hit multiplied and it doesn't look exactly the way you want it to look. This is close, though. Eso now the way here. What I want to do is I'm going to add a layer Maskell. Essentially all you have to do is have your image, have your texture and erase away the texture that you don't need. So to do that, what I'm going to do is use a layer mask down here at the bottom, and I want to select my brush the brush tool. Now what you have to remember is, if this is owned black, it will go ahead. And the race, as you can see, do that. If it's on white, it won't erase what it will do, though, which is why you want to use a layer mask is it'll put the texture back, so I'll show you, for example. So this is me erasing away and let's say I decided I took away too much. All I have to do is turn that toe white and just like magic, I'm back to where I started or tweaking toe where I need the image to be all right. So this is why you don't just erase. This is like a nondestructive way to go ahead and add it your image so we have multiply. What I'm gonna do is I'm gonna turn that turn the capacity down, just a hair, and they will go ahead and start subtracting right And what I'm gonna do just for the sake of this tutorial and as a man effect. You know what? I changed my mind. What I want to do is and what actually used to texture. So I'm gonna use this paint texture for the outside of the television. And then what I'm gonna do is I'm gonna put a crack on the inside of the television. We'll see how that looks and this is, you know, happened. This is happening life, folks. So I don't know what the product the end result will be. But something tells me that it'll look okay. And that's the whole point. Try something new venturing out. Don't think we're not used to doing is, you know, seeing how things turn out. This is how you develop your style. This is how you develop your brain. You look is just trying different things out, right? This looks decent, that we just have to go inside. And when I zoom in just a hair Oops. I'm going to zoom in just a bit and continue with the erasing. Says I'm gonna put a texture and the screen and wouldn't take away this texture. You see how I made a mistake down here? And that's a worry. The layer mask has us covered. And just like with the, uh, phone at it the snap. See, I'm not gonna do this perfectly. I'm just gonna go ahead as fast I can, but as efficiently as I can hopefully show you guys how easy this can be. So this spot right here and it's not that anyone would notice, but I noticed. So I'm just gonna go ahead, put that back on their with, get around the edges, make sure we have all of that set. Make sure you get in the best uls. Sometimes it's easy to miss like the fine details. Remember that the devil is in the devil's in the so go ahead in the race, things from the devil make sure everything looks legit. So keep that again. Not perfect. But you get the port right. Then we'll go back upto a pass it, Ian them or just that's exactly where we need it to be. So we'll go say something like this. Maybe a little bit more appear. Oops. You see how that happened? You see how it started to actually put black over this? This is because you have actually have to have this selected as opposed to the texture, and then you're back to where you need to be. Now you see the texture being placed back on the set of the black Brush Russell Rock With that now we still have our other textures up here. So we just have to decide which one will use to use our crack. This doesn't look bad to me again. We'll go ahead and de saturate because I'm shooting because I shot the image in black and white or edited the image and black. And when it's de saturate and just like before, we'll change our levels control and more control. I guess I'll show you control. Well, now these are the shadows these in the midst owns. And these are the highlights. So you can see how easy it is to just get the texture is close to your other image. You made images possible. Russell would do that. Take the Bible of here. Now, I'm gonna go ahead and blend. Merged these two layers together so that this one blends super easily over this, right? As you could see. Right. So we're here. I'll take the capacity down just a bit. And I want to mess with the contrast. A little bit more so than while had control em, turn the shadows down just a bit. Turn the highlights up. That looks decent. And just like before, just a matter of subtraction. I'll go ahead and select my brush tool. Make sure this is own black and erase away. Oops. Excuse me. Now at the mask first, then Allah race, right. And so because I'm not worried about the outside of the TV, everything outside of the screen, it doesn't have a lot more room for error, so I could erase over television, and it won't erase because I'm not owned that leg. Get a little bit closer. Turn that down just a bit. Get everything off the puzzle. Looking good just about there, folks. All right, then. I probably just do one more tweet with this, just to make sure it's to my liking that will bring that down just a bit. Highlights. Try that one more time. We are shadows down. Highlights up. I say That's not bad right there. So from here, go ahead. Go ahead, merge these two together. Is everything together? Now there's another program that I use on a regular basis called Alien Skin. Alien skin is an amazing a piece of software that I use to put the final final final touches on. My image is now Alien skin has every film filter that's ever been created, so these are, ah, selects or edits from other images that are I've created. So it'll populate all of your recent fall filters that you used. You can create your own special filters. They've got amazing black and whites and amazing color. But for the sake of this tutorial, we just keep this moving like a blur effect so I'm going to keep Let's say will use this. And this is another piece of software that I can spend hours upon hours upon hours own. It's just amazing. It comes with sections on its own. So as you can see, there's some scratches down here. There's a blur was added using Boca thats software is just amazing. So again, this is where I put my final piece on everything. I'll hit, apply. And while I just like with any layer, you can turn the capacity up and down, so I'll turn that down just a bit. And just like that, folks, we have our final final image. Super easy. Super basic. The devil's in the details, folks. Remember this stuff isn't difficult. You just want to find your vibe, find your flavor, fund your workflow and share with the world. See you guys in a bit