Photoshop - Multiple Exposure

hi guys welcome to my tutorial on multiple exposure in photography and specifically using Photoshop those of you that don't know multiple exposure as a technique that goes back quite a number of years now to the like spa people like Harold Edgerton who basically pioneered the technique using the flash he actually invented the flash quite interestingly and he in his early photographs of gymnastic sports people he was able to use a film Rwanda film back and take the photograph on top of the the still this would all be kind of automated and as you can see the results are that you have semi translucent images on top of one another to show the path of the movements okay this is a technique that has been picked up on by Stephanie young for her City photography as you can see when this page eventually does loads with him Stephanie young it's quite a while trouble photographer she will take photographs in various different cities including this one in Times Square it's like with it she'll up the the vibrance the saturation as well as maybe sharpening her images a little bit okay so without further ado let's just see how we would go about doing this now interestingly I went to Times Square myself maybe about five or six years ago and on my old potato of a phone I was able to take images like these and I'm gonna be putting these together to show you the results in another life I was also a flair bass and I believe it or not you look at the end of this video I might show you the links of where this video is and I've taken stills of the video in different places of me juggling in front of some customers that is the final result with a little bit of color pop that I will show you finally I'm also going to show you how to go about crossing out individual elements and layering them on top of each other with varying degrees of Oh so let's get stuck into the Time Square piece then so let me just go back into my history you can see maybe a little bit of what I did here it is involved pasting a couple of different photographs in it's very important that when you paste the photographs and they don't show much difference between one another we goes these three layers here you can see there's very slight camera movements other than say the bottom layer which was perhaps a little bit further back and slightly different time of day the reason why I've included that I feel like the colors on here will offer something to the final composition okay so when you have your three images on top of each other let me just reveal them again this will of course been done by using the select all copy and paste function you want to go through the opacity function over here it's really simple it just determines like how see-through a layer is and you just want to play around with this and you know see what kind of results the get from it there's no kind of like guide to what a perfect composition looks like for this so long as we kind of get our feeling of movement that Stephanie you only wanted to achieve she was interested in kind of showcasing how busy and active the various different cities were so let's try and get a feel for this in my work now if you're not happy with the way that things are and somes like a lay on the position of things you do know that of course you can just use your move tool and the show transform controls and we can maybe change the position of things a little bit I'm relatively happy so I'm not going to actually be doing this but that's just something that you may want to try and mess around with with your own compositions okay let's just go back on my history to avoid that when you are relatively happy you can maybe start to look arts to an individual kind of like layer prophecies you may want to use the layer styles up here or for me personally with a layer of justments rather for me personally I like to just go straight for your video just as when you because you will have seen that I've been using this history bar and over the course of my last few videos you can see that it goes it gets exhausted after a little while and you're kind of like you you lose track of your progress I understand that a few of you might be saying like why don't you just use like use these functions over here layer masks and things like that well yeah I'm likely to do that in future videos that's not a problem at all however for the sake of a short video where you can go back in your steps I'd rather do it like this okay so let's go maybe look the vibrance in fact I'm gonna be doing on my background layer because I think there is a little bit more blue in here I think there is yeah so I'm gonna be open my vibrance my saturation let's just take a look at Stephanie Young's work and as you can see it is quite a high contrast image that were working with here both in terms of color and so let's get that back up and as you can see the Blues are starting to come through a little bit more now what I didn't do before for my other image is I did not do color balance but I think that that might be useful now let's have a look at color balance you'll find it ctrl + B for your reference I think that it would benefit these images if I went a little bit more blue and if I want a little bit more cyan as well possibly the other way I think blues good for the sort of like nighttime effects that would work okay what kind of little bit of the magenta and like we'll take away some of the the the green there so that's in one way out we've got a later looks like that we've got a normal layer and we've now got a background that's a bit more saturation that should make for a little bit more of an interesting compilation and I think that on the whole it has done that a little bit may just play around with my opacity a little bit more and just see the results of that well it's busy enough that's fine okay so when you're relatively happy with what you've done you can flatten your image and I feel like it's better to save the levels and things like that for after you've done that so anything's tonal I feel like it's better after the image has been flattened color wise we may go into a little bit or anything so no there's no point do on the sacral layers you find it has more impact when you do it like here because we're now dealing with one image rather than several individual opponents I'm pretty happy with that it's not looking too bad and if we look back at Stephanie Young's work you can see the image is relatively sharp so I may go into my filter menu and I may go to sharpen smart sharpen something that I have used before in these tutorials let's see what it looks like before and after there yeah we don't want to kind of like over I could put in so I'm just gonna kind of like up the radius of the amount just it's tiny bit more that should do okay so maybe all that's left to do let's maybe try brightness/contrast I'll see what impact other than the contrast has good so if you might say that it will you know a normal photographs wouldn't you kind of want to reduce the contrast and keep it quite so well yeah you would but in this case we're going for a more distorted image and an image that kind of kind of makes the viewer feel a little bit more disorientated so I actually added more contrast adds to that fact so I'm actually going to keep this as my final image now I'm relatively happy with that I feel like it is a good reflection of Stephanie Young's work let's maybe take a step back and have a look at some more let's look at maybe your other time square one mine yeah what's nice is you can still see some of the world details in the foreground okay for an old image that was taken on a pretty bad quality phone I feel that's a good final result okay so let's now maybe have a look at the same sort of technique but we move my bars and images a good reference for kind of people moving as we saw before was Harold Edgerton and he worked a lot with black and white sort of decided to use black and white for a lot of this but the I couldn't be how tempted by the use of the color pot there which I'll show you in a minute why okay so what we're going to do is if you didn't understand what I was doing before I'm going to be copying and pasting these images on top of each other using ctrl a to select all ctrl C to copy and ctrl V to paste and as you can see I've now got three layers let's reduce the opacity there and again because I'm not really working with color yet I'm not going to do it on my separate layers well over as you can see because this was again on a very old camera phone and it's a video file the the quality is nowhere near as good but I kind of like that about this there's actually something quite quite interesting about it that adds to that feeling of movement a zoom in as you can see it's you know will be relatively pixelated to a point book I think that's okay for a distortion type image it's not a not a big deal right so let's go let's make this black and white you can either do that free image adjustments black and white or let's just reduce the saturation whoops before I do that let's just flatten the image right now I can go through bottom line I will select the color range first so I want this red to pop out it would be difficult for me to select this using the selection tools that I've previously been using because as you can see the border of each of these objects isn't so clearly defined so it's not like I can go around with a magnet lasso and kind of grab those that's I mean I could try I guess but it's not going to be as effective or as accurate if I actually just let the computer do it for me so let me just go to select color range I'm gonna be I think it remembers this from earlier but I'm just gonna try anyway let's maybe turn that fuzziness down all over as well that's more like it okay what we're looking for here is what we actually have so we go to the image you can see that's what it was it was these things alright so when you do this you're gonna obviously pick up some unwanted and lots of things as well we can check that with refine edge we're just gonna have to use a quick selects just sort of deselect these areas I will do that okay I will then inverse my selection to select everything but those those red things and I am now going to go to black and white okay and I will then invert it back control shift and I or select inverse I'm gonna up the saturation of these things here all right the reason why I like these things is because I felt like it offered like a nice interesting sort of leading line towards the main action that's going on in this photograph which is meet juggle and a load of shot glasses maybe seven or eight years ago before I deselect actually I just want to go back and I may be one of the contrasts just like I did in my previous bit and previous example that is perhaps a little bit too much maybe levels isn't as appropriate I think I might genuinely use brightness and contrast again just that might be a little bit more of a simple way of doing it yeah that's good the brightness a little bit there we go there is my final result if I deselect we have multiple exposure images that now features movements some might say that the the vision kind of represents those that might be I've been watching at the time I have had a few too many drinks in the afternoon but there we go okay so I now have an image built from this I now have an image that is built from these that represents bit more like Stephanie Young's work and I'm at last gonna show you how to just cross out separate elements to kind of let's get these on so I'm just going to go back a little bit I in my I work there so we can see we've got the individual cross outs on there instead of like the overall thing and how you just do that you just want to go through a separate image file making sure there's a slightly different angle to what it was before you just would use whatever selection technique you felt necessary in this instance I thought always finds just sort of select the background and then sort of like refine it a little bit inverse it so that it would be only the monuments and not the backgrounds and there we go that's how I kind of like on that selection thereafter refining my edge very important you do refine your edges by the way and just play around these values so you can get something that's sort of worth and so let me just then let's not paste that in May to actually do this lecture properly here there you go there you go when you paste it in you will see that the images are probably of different sizes that's not a problem you just make sure that you you zoom out you transform it just like in the last video because I was holding down the shift button on the keyboard okay when that's in there that's all while I'm good you then want to kind of like reduce the opacity just like you did and there you go you've got a slightly more confusing image and what you might have seen before is that I had part of this background selected and if you don't have enough images to work with I found that this effect is also good you can't just essentially do multiple exposure using a single image which is kind of why did here if I'm going to use my technique before I selected the background instead wonderful let's remove this little bit here using the straights like that right from my edge sorry from the edge that's good enough just a cigarette sideo so you want to copy and paste this and what you can do is then you can move it around make it bigger and smaller and that creates the illusion that you've taken the photograph from a slightly different angle and it allows you to kind of get that feeling of movement on there so let's now play run of these opacities and we will end up with a final image like I have is a little bit more confusing than it was before as you can see this technique is really simple but I genuinely think that it's quite effective I really like it students really like this because it kind of teaches them about layers and if you you're new to teaching photography and Photoshop I would highly recommend that you start with something like this it also teaches them the value of kind of like flipping and transforming things but yeah maybe you just play around with this I pull values on this one right so good thing is with these types of images there is no kind of like right or wrong way of doing it they just suppose look and model the supposed to look a little bit confusing disorient a and and you know generally with images like Stephanie Young where you particularly wanna make things look busy certainly be increasing the contrast if you're doing movement and you're dealing with people as a little conclude er just make sure that it is like screenshots of very very slight movements and between and it's quite good of you if you make use of video files as well even if they are on a on a very old phone okay that's it from me for today thanks very much I hope you enjoy kind of refrain your multiple exposure techniques and if you have any questions or usual just put them in the comments all right thanks very much bye bye

Channel: tDigital

Views: 2,448

Rating: 5 out of 5

Keywords: Photoshop, photoshop multiple exposure, multiple exposure, photography multiple exposure, stephanie jung, harold edgerton, photoshop layers, layering, photoshop opacity, layer opacity, vibrance, hue and saturation, levels, photoshop copy and paste

Id: W3OKtzAjNC0

Length: 17min 5sec (1025 seconds)

Published: Wed Jul 25 2018