Multiplicity Masking

By taking several images in sequence, you can layer them in Photoshop to create a photo like the one above.

Above, I took 5 shots in a row as the girl walked across the frame. Although I held the camera as still as possible, I was not using a tripod, so I had to align the images before masking.

1. Shoot several images in a row with the same framing, having a subject move throughout the frame
2. Open each file in Photoshop. Start with one image, then Select > All, and Copy > Paste each image on top of that initial photo, creating a stack of layers like you see above.
3. Unlock the background image by double clicking on it, then hitting "OK" when you see the window pop up labeling it now "Layer 0".
4. Highlight all the layers by shift clicking them.
5. Go to Edit > Auto Alight Layers. Click OK for the "auto" version.
6. Now that the images are aligned, you can begin to mask. Add a mask to all the layers except the bottom one. Invert each mask to make it black.
7. Using a soft white brush, paint on the mask over the area where the girl stood in each frame.

Creative Filters & Collage

Adding Texture/ Blending Mode Multiply

To create antiquing effects, you can use images found online or you can shoot or scan textures you like. You can also photograph textures specifically for this technique. Drag the antique paper (or whatever texture you've found) to the top layer of your image. Change the blending mode of that layer to MULTIPLY and adjust the opacity as needed.




Notice the blending mode of the layer with the paper scan is "Multiply". You can also make a mask, and paint in with black and a low opacity brush to lessen the effect on certain areas of the image (like the face).

Extracting elements of scans for collage:
I found a scan of an old book where I liked the gold leaf border:

Select a certain area by using Select > Color Range (or the magic wand tool).  I made a selection of the gold border and copied and pasted it into a new empty layer (command C, command V).

Use 'Command T' (free transform) to change the size of the border to fit your image.


Download-able textures:

http://www.mayang.com/textures/

A lot can be found online, but be careful about using copyrighted imagery.


ACTIONS:
You can write your own action by opening your actions tab and clicking the new action icon at the bottom (page with corner folded). Anything you do will be recorded (until you press stop). You may consider recording a series of adjustment layers (like de-saturation, increased contrast, black and white, sepia etc) for an effect you like, then you can play it again later on another image.

PRESETS:
Presets are just for the RAW window. You can write your own and record the steps you have done (all the sliders you have adjusted) on the Presets Tab. (see below) You can also download Presets. You may consider de-saturation, increased contrast,and adding a vignette.

 

PLUG-INS:

There are a variety of downloadable plugins which have automated effects and which you launch through the Photoshop interface (usually via File > Automate). Some are free and others you have to buy. Some good ones are:

http://www.ononesoftware.com/products/suite7/
http://www.alienskin.com/exposure/
http://www.niksoftware.com/nikcollection/usa/intro.html

Compositing with Pen Tool, etc.

When you combine elements from different images into one, it's called compositing. The main task in doing this is "Selection". You can select a certain area of an image to paste it elsewhere using several different methods. For items with hard defined edges (like this bottle below), you could use the magnetic lasso, magic wand or the (most precise) pen tool. The Pen Tool creates a path, which can then be turned into a selection. For cutting out something with a fuzzier outline (like someone's hair, or a furry cat) it's a bit more complicated. You'll want to use a method like channels, refine edge or quick selection (see below).

Here are 2 videos which demo compositing and use the refine edge function:

http://tv.adobe.com/watch/learn-elements-to-photoshop/creating-a-composite-image/

https://helpx.adobe.com/photoshop/how-to/photoshop-refine-edge.html

Pen Tool (best for hard edges):

The Pen tool is the most precise way to select an area of an image. For example, if you want to cut someone out of an image and place them on a new background, you can trace the outline of the person most accurately with the pen tool.

The Pen tool does not write, it is just used to make a selection. You use it to make a path: a path is created by making several points on the perimeter of a that person you want to cut out . You then "connect the dots" to create an outline. This series of "dots" or anchors that you make is called a path. To see your path as it's created, go to WINDOW > PATHS and make sure there is a check next to it.

I generally work clockwise around the perimeter of an object to make a path. Make sure you are zoomed WAY in (like to 200%). Click to make an anchor. Click and pull to make an anchor with 2 arms that will create a curve.

Take this image for example. The original photo looks like this:

It was photographed on a white background, but looks grayish, and needs to be cut out and placed on a perfectly white background to look like a clean product shot. So we use the Pen Tool to cut it out, and create a new drop shadow:

After tracing around the entire bottle with the pen tool, I turned the path into a selection by clicking the little dotted circle at the bottom of the paths palette. (Path and anchors must be live/visible for this to work. If it's not working, click on your path with the pen tool until you can see the anchor points. Then click the dotted circle).

Notice the order of my layers above. On new separate layer under the bottle, fill that same shape with gray. EDIT > FILL with 50% gray. Lower the opacity and FILTER > BLUR> GAUSSIAN BLUR to make the shadow look more natural. Command T (or EDIT > FREE TRANSFORM) to make the shadow change position. You can also try EDIT > TRANSFORM > SKEW:

MORE ADVANCED COMPOSITES: 

For areas with fuzzy outlines, like a furry cat or someone's hair, making a selection using Refine Edge can be more successful.

Compositing with Quick Selection Tool:

1. Place the image of the subject on top of it’s new background
2. Using the quick selection tool (which is underneath the magic wand on the tool palette. "W" on your keyboard will take you there), make a selection of the subject. Use a small brush for detailed areas and to be more precise. Hold down command for the “minus” tool.
3. Select > Refine Edge. Use the “On layers” view.
4. Use the refine radius tool (next to "edge detection” to go around edges, especially hair.)
5. Export as a layer mask. Continue to refine the mask with black or white brushes as needed.

Here's another helpful video about making selections around soft edges like hair:

http://tv.adobe.com/watch/learn-photoshop-cs5/using-improved-selecting-and-masking/

The photo is by one of my students, Dona Foster. The new background (her idea) is a scanned in piece of old paper. This image worked especially well because there was a monotone background. You can use the quick selection tool to select the bird, then hit the Refine Edge button to separate the bird from the background.

Choosing the Right Lens

Prime Lenses: Don't zoom, they are fixed in one position. Advantage: generally cheaper and produce more sharpness/crispness/clarity. Disadvantage: you have to switch lenses often or move around! And you may have to buy several prime lenses to cover your bases, instead of one zoom lens.

Zoom Lenses:
Advantage: you don't have to move as much to get the shot you want, and don't have to switch lenses often. Disadvantage: more expensive, heavier, less sharpness.


What's the Difference between Fast and Slow Lenses?

"Fast" Lenses = you can shoot in lower light (fast lenses go to a low F-stop number, like F1.8 or F2.8)

"Slow" lenses = not great in low-light (slow lenses don't generally go to an F-stop number lower than F4 or F5.6)


Lenses are measured in length, by Millimeters (mm):

-Wide Angle (16mm, 24mm, 35mm...): show more of the scene
-Long (100mm, 200mm, 300mm...): Shoot things farther away (like a telephoto lens)
-Mid-range "normal" lenses are somewhere in between (40mm to 80mm? although it depends on the size of your sensor because lenses on full frame cameras will appear wider...see below).


Longer Lenses Condense the Background. See example image below (image credit: Lynda.com):

Image on left: 100mm lens.  Image on right: 24mm lens. (The photographer shot with a zoom lens and walked closer to the subject when taking the the wide angle shot on the right to be able to crop it the same.)

See how the background looks more condensed and closer in the image on the left? This can also be more flattering when taking portraits, as it doesn't spread the features as much (image credit here.)

Image on left: wide angle lens (24mm?). Image on right: longer lens (100mm?).

How does your sensor affect your lens? 

Cameras with a full frame sensor will make lenses seem wider. (These are generally more expensive or professional cameras so may not affect you). If you upgrade your DSLR to a full frame sensor camera, you may notice your lenses suddenly seem wider. (Some lenses may not be compatible when you upgrade).

In addition to an offered aperture (like F2.8) and length (like 50mm), lenses also contributes to the overall Color, Contrast and Sharpness of your image. Whereas these elements can be added later in Photoshop, it can often be to your advantage if it's done in the camera and offer a unique creative style.

***
Summary:

My favorite lens for portraits is the 50mm f1.8. You can find it at B&H here. You generally want to use a 50mm or longer lens when shooting a portrait (I'd say 50-100mm. Some say 80mm is the best.)

It's not very wide, so you will want a zoom lens as well. The more expensive ones that go to f2.8 are the nicest and assure that blurry background. Something like one of these.

I also have a fixed 28mm f2.8 lens I love. They say prime lenses (those that don't zoom" are a bit sharper. This is a bit too wide for a portrait, but great for group shots.)

The Broader Photo Community

In terms of continuing your involvement in photography, here are some ideas for those taking it to the next level:

Contests and Portfolio reviews are a good idea, especially if you want to try and get your work in front of magazine editors, curators or gallerists. Entry fees for contests are usually under $100. Portfolio reviews can be much pricier. Here's an annual one in Palm Springs that is popular.

Photo Alliance: A Bay Area based org dedicated to contemporary photography.  http://www.photoalliance.org/index.php?option=com_extcalendar&Itemid=63


SF Cameraworks: http://www.sfcamerawork.org
Local photo collective with photo related gatherings and exhibits

The Palo Alto Art Center hosts photo related workshops and classes

Filoli in Woodside also occasionally has photo related classes and workshops.

This blog is an amazing resource, updated regularly. It has current listings for national photo related events and contests via photography marketer Mary Virginia Swanson: http://mvswanson.com/category/mvs-marketing-blog

PDN is a photo industry magazine with annual contests (PDN Photo Annual is very well respected in the field)

Critical Mass/ Photolucida: http://www.photolucida.org/current.php
Photo organization offering contests and portfolio reviews
(Current contest open through July 16)

For photo business resources:
APA - American Photographic Artists
ASMP- American Society of Media Photographers

Photo Festivals and Portfolio Reviews
Photo Lucida
Photo NOLA
PDN Photo Plus
Review Santa Fe
Powerhouse Portfolio Review in Brooklyn
New York Photo Festival (events and reviews)

Women in Photography has ongoing Calls for Submission

Exhibiting your work: A lot of galleries have annual calls for submission where you pay an entry fee in the hope of getting chosen to have your work in a group show. Look on the website of a favorite local gallery to see if they offer this. Several galleries in Half Moon Bay offer juried shows, including the Coastside Land Trust.

Artist collectives like Gallery House in Palo Alto can be a good way to be part of the larger local artist community

Residencies are available worldwide for serious photographic artists, like Lightwork.

Selling prints of your work on etsy.com is another outlet.

Student Online Portfoliols

Noah: http://nrylanb.carbonmade.com/projects/5211456#1

Bree: http://bmitchell.carbonmade.com/projects/5211411#1

Nicole: http://nicoleselby.carbonmade.com/

Michael: http://www.clubmeakins.com/Stanford-Art-35

Eric: http://etheblue.carbonmade.com

Ray: flickr.com/photos/sail_on

Jim: www.jimwatkinsphoto.com

Luis: http://lcampero.carbonmade.com

Dennis: https://www.flickr.com/photos/denniscbarnard/sets/72157644647382855/show/

Combining 2 Images using a Mask

If you have taken 2 photos within seconds of eachother, you can combine them to get the best of each. Take for example these 2 photos (photos by Chris Orwig/Lynda.com). He is smiling in one, and she is smiling in the other:

Open up both files. Click onto one of them. Select All, Copy and then Paste it ontop of the other as a separate layer. Should look like this:

Now unlock the background layer by clicking on it. this "layer 0" window will appear. CLick OK, and the lock symbol goes away.

Now we need to align the layers since they are just slightly off. Highlight both layers (by shift clicking them) and then go to EDIT > AUTO ALIGN LAYERS. Choose the "Auto" option and hit OK. You may now need to crop the image a bit.

Next , click on the top layer. Then click the "add layer mask" button at the bottom. Invert the mask (command i).

Now, using a soft white brush, paint with white over the whole face that you want to reveal (in my case, his). Notice the white area I have painted on the mask:

By masking, we have gotten the best out of both photos!