Mark S. Johnson Photography

Jim Griggs recently sent me two images—one of a starry sky and another of an illuminated courthouse at twilight. He asked if I could help him composite the sky into the courthouse scene. The moment I spotted the fine silhouetted tree branches in the courthouse scene and the bright stars mingling with a dark sky in the other scene, I knew this composite would provide challenges. To overcome them, I had to employ a variety of strategies that I’m happy to share with you during this Workbench.

In Photoshop Workbench 307, we examined four strategies for unifying color in a composite. Today, we’ll explore yet another way to unify elements––consistent grain. When compositing, subjects are often captured with different cameras or ISOs. In some instances, one subject may be processed more aggressively than a neighboring subject. Different cameras, different ISOs, and different levels of processing all lead to inconsistent grain in a composite. To unify the grain, we’ll use the powerful additive grain feature in Adobe Camera Raw (ACR) 6 which ships with Photoshop CS5. Although Photoshop has both noise and film grain filters, neither is as effective as the grain feature in ACR. To illustrate today’s technique, we’ll work on the same scene that we used in Workbench 307.

In today’s Workbench, we’ll explore a quick, easy, and flexible way to mimic the effect created by bouncing light onto a subject using a gold reflector. Although gold is used as the example in this lesson, the approach that we’ll take allows us to add any color bounce light that we desire. This Workbench also comes with a bonus. To achieve the look we’re after, we’ll go through the process of transforming a daytime image into one that looks as though it was captured at night.

If I’m not mistaken, the release date for this Workbench is on Thanksgiving day, so I’d like to wish you all a heartfelt “Happy Thanksgiving.” It’s an honor to have the opportunity to share my knowledge and enthusiasm with such a delightful group of people. Thank you.

In Workbench 298, I revealed several strategies for matching lighting and color in a composite. While those strategies are extremely useful, there are others that are equally indispensable. Therefore, this Workbench is dedicated to illustrating four alternative approaches for unifying color in a composite. We’ll work from the simplest to the most complex. Before beginning, it’s important to consider what look you’re trying to achieve. Are you after a photo-realistic appearance or are you merely seeking to create color harmony with the environment at the expense of believable colors? For example, do you want skin with a cast that accurately represents how skin would appear under specific lighting conditions, or is it okay to allow the skin to become, say blue, to nicely harmonize with a blue background? No matter your goal, I’ll show you strategies for achieving the look you’re after.

My thanks go out to Roger from Nova Scotia for his willingness to pose for a herd of wildly enthusiastic photographers.

Today’s Workbench features astounding Photoshop magic that is guaranteed to delight and amaze. We’ll use the 3D tools found in Photoshop CS5 Extended to produce true 3-dimensional light beams that filter through the misty forest in this stunning photograph submitted by Chris Munos. To accomplish this effect, you must have Photoshop CS5 or CS4 Extended. As I have many times before, I’d like to send fondest regards to the remarkable Corey Barker for inspiring today’s tutorial.