Learn COMPOSITE PHOTOGRAPHY and SELF PORTRAIT TIPS & TRICKS!! (Full LightingTutorial and EDIT!!)

 How do you go from this to this using all of this here's how play tape cut you have no idea how long that intro just took Haiti

so if you want to know how I did that open his sequence stick around to the end of the video and I'll show you Capisce no I'm not going to shame like a okay enough mucking about today's shoot requires all of the below and behind and if you want to know about any of this stuff I'll leave information in the description right next to the subscriber okay first up camera for a prop my trusty 5d Mark 3 one it's got a 24 millimeter Sigma art on the front and on the front and that I'm gonna put an ND filter for a nice flat surface and it's sat on a gorilla pod so we can get low to the ground and of course it's doggy strap next up lighting this is my pic suprice City 600 it's basically a go dogs 8600 with different branding on the front of that we've got Afrin l lens for that theatrical spotlight and that is accompanied by these this is a regular speed light and that is a peak of 200 which is roughly 2 to 3 times more powerful than that and 2 to 3 times less powerful than that and they all get controlled by this little badger it it's not badgers st3 TTL or t it basically just controls all three lights wirelessly result and the speed lights it placed in these little things like so and then on the front of those yeah this is my little CTO gel kit they go on the front of those lights and they create a nice little sunset effect and lastly but cute little weeny teeny-weeny little tripod how cute is this thing and on top of that the show-stopping Sony a7 3 which is what I'm gonna shoot this picture with right come on you lot [Music] okay let me show you what we've got here okay we're gonna start with the big light which has got a strip box on it and a grid on the front so we have our rim light here or kicker light it's a picks of Pro City 600 TTL model although we're going to be shooting it in manual we'll set it with the controller and with this little wheel here we can control the output on

group V and we'll set it to quarter power see how we get on and because we care as we go along okay follow me directly across from the kicker light is my spotlight to the sunlight effect this is powered by a Pico 200 throw again it's a go ducks 8200 with different packaging on the front of that is my friend L lens and inside there we've got a full cut CTO gel and it's being held in with a rubber band that comes in the kit I'll just switch this on here an output wise we're gonna set this to group a all the way down to half power and lastly an overhead fill light group C on full power okay remote control - second timer here we go [Music] okay camera settings we've got a 14 millimeter ultra wide-angle lens on the front super sharp it's a manual lens so we're gonna have to dial in the distance and we're gonna focus stack two images the first image will be for the camera itself and then the second image will be for me iso 100 for maximum image quality the shutter speed is two hundred and fiftieth of a second which is the maximum sync speed for these lights that we're using you might be wondering why I'm using lights on a bright sunny day well it's because we can overpower the Sun and create more drama or an aperture f-16 let's shoot this baby  okay a couple of

things before we kick off this masterpiece please think about subscribing I'm going to be releasing a video every week secondly I'm not sponsored by Pixar Pro in this video I just liked their products and their service and the ability to trigger three lights with one unit is brilliant also during the shoot I did tweak that 600 watt kick a light only by 2/3 of a stop but it made a real difference on the side and the back of me and lastly because we were using a 14 millimeter lens at f-16 I was able to dial in the focus at 1 meter which was roughly equidistant between my camera and my face my near focus point was 28 centimeters which was exactly where the camera was and everything beyond that and to infinity was in focus so I didn't need to focus that - okey doke so we've got our image open in Photoshop here along with our final edit which is where we're heading the background is obviously quite unfavorable ideally I would like to shoot this image in a real environment but on a recent trip to some Paul's Cathedral I found a really cool spot for an image like this however being the entrance to a shopping mall right by a national treasure like some Paul's security was pretty tight and setting up lights and tripods is pretty much out of the question I was able to fire off a plate shot which is going to

form the background for our composite so heading back to the main image here we're going to make a copy of the background layer and dragging - this little symbol here and then we're going to head up to the quick selection tool and we're going to select myself and the straps and the camera and that's it it doesn't need to be perfect at this stage it just needs to be a general selection [Music] so we have our selection mate now so we're gonna make a layer mask out of that and then we'll create a new layer and we're going to fill it with a green so we can see the selection more clearly we're just going to tidy up all of these rough edges on the selection so with a brush hardness set around 70 percent are going to be toggling between black and white on the layer mask tidying up all these edges [Music] [Music] so that's our tidy selection made nerve so we're going to go over to the samples picture and we're going to drag that into our composite we'll just place it underneath the layer with myself and then we'll just nudge it into place so it looks realistic then we'll just discard that green layer and we'll rename this to support and then we'll rename this layer

to mark next up we're going to add a color balance adjustment layer and we're going to clip it to the mark player and we're just going to try and match the two images in color now introducing some scions and some blues [Music] before and after and one more thing we'll add a curves layer and clip it again to the my player drag it all the way down invert the landmark with controller command I and with a brush set around 5% on the flow and just start painting in some of the darkness next up we're going to blur the background so we're gonna create a copy of the suppose layer and we'll rename that to blur then we'll head up to filter blur and Gaussian blur and a radius of around 8 pixels next up we'll create an inverted layer mask holding down the Alt key and with the mask selected we're going to choose a large soft brush set as white and then we're going to reveal the blurred version of the suppose layer and would we want to try and keep the foreground part of that image in focus to create the depth moving on create a new layer and we'll call this shadows and then we'll head up to a black brush and set the flow down to around 3% and we'll start to introduce some shadows underneath the feet area so it looks realistic [Music] finally one more layer will rename this floor light and with a nice warm orange the only yellow brush flow down to around

3% will start to paint in a directional light from the bottom right hand corner we'll set this to a soft light and I think we can take that a little bit further before and after so heading up to the mark lair now we're going to stamp down the mask by applying the layer mask and we're going to convert this to a smart object and we'll head up to filter and Camera Raw filter and we want to try and match the color of the jeans to the background so we're going to add some Saiyans to the hue of the blues and one more change we're going to add a little bit of clarity and commit those changes I'm going to introduce some highlights now to the front part of my legs so with a nice orangey warm yellow we're going to take again a small brush flow at three percent we'll just start painting in some yellows we'll change the layer to a soft light just create a bit more [Music] that's looking nice the final piece of this composite is adding a reflection to the front part of the lens so we're going to turn off the mark lighter so we can see the background choose some polls and then with the elliptical marquee tool we're going to create a selection this

part of the floor controller command C to copy and then control command V to paste it right at the top of the stack we'll just turn back on my layer rename this reflection and with the transform tool we'll just put that into place over the lens and commit that change I'll change the layer to a pin light and then we'll create a mask of that layer and we just start tidying up with a black brush these edges to make it look a bit more realistic and finally we're going to do a color balance adjustment layer to introduce some more warm yellows and oranges to the reflection and I think we'll just tidy up the top part of the reflection we don't want that and finally I think we'll just reduce the opacity of that reflection I think we'll just make an adjustment on the shadows layer so choosing the shadows a black brush flowed all the way down to three or four percent and just start painting in a little bit more blacks underneath these feet and I think they're pretty good right that opening sequence where I seemingly float across the floor being dragged by my camera a hundred and fifty six individual images bending down moving the camera an inch and a half standing up taking the picture and repeat here's a time-lapse ma meatloaf.