DIGITAL PHOTOGRAPHY & IMAGING - PROJECT 1/EXERCISES

28/08/2019 - 27/09/2019 (Week 1 - Week 5)

Rifath Ali (0335738)
Digital Photography & Imaging
Exercises / Project 1

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INSTRUCTIONS

Module Information Booklet

EXERCISES

Week 1: Introduction

30/08/2019

In our first class, we all introduced ourselves and Mr. Martin and Mr. Jeffry briefed everyone about the module. As we would be using Adobe Photoshop during our classes, an introduction about the basic Photoshop tools were given to us. Such as quick selection tool, free transform, lasso tool, hue/saturation, noise, match color and also how to create a mask. After the quick briefing, we were given two images to be edited into one.

Fig. 1.01: Hearst Mansion; Background


Fig. 1.02: Shazam

We were asked to photoshop Shazam into the Hearst Mansion. First, I did a quick selection of Shazam and created a layer mask. This way I could edit the image without damaging the original file. 

Fig. 1.03: Shazam; Quick Selection & Layer Mask

Then I imported the image to the Hearst Mansion file and resized it accordingly. After resizing, I adjusted the image color to match with the background image buy doing Match Colour.

Fig. 1.04: Match Colour

After that, I duplicated the layer and flipped it vertically to create the reflection in the pool. I created the ripples by going to Filer > Distort > Ripple…

Fig. 1.05: Ripple Filter

At last, I used brush and blur tool to create a convincing shadow.

Fig. 1.06: Shadows

Fig. 1.07: Hearst Mansion & Shazam; Final Result

After the first exercise, we were asked to edit ourselves into the same picture of Hearst Mansion. I used the following picture of mine for the edit.

Fig. 1.08: My Source File

I followed the same steps as before to edit the image. After creating a mask I imported the image to the background file and resized it. And after that, I matched the color. Unfortunately, due to the quality of the image, the colors were not perfect.

Fig. 1.09: Match Colour

Then I followed the steps of creating the reflection by duplicating the layer and using Filter > Distort > Ripple. I Again added the shadow by using the brush and blur tool.

Fig. 1.10: Reflection & Shadow

Later on, I added a bit of noise to the image in order to blend it more to the background. I did it by going Filter > Noise > Add Noise.

Fig. 1.11: Add Noise

Fig. 1.12: Hearst Mansion Exercise; Final Result

Week 2: Ghost House

06/09/2019

During this week, we learned about photoshopping a light image into a dark background. For the exercise of Ghost House, we were given an image of an old house, an image of a dark sky and a ghost bride.

Fig. 1.13: Old House

Fig. 1.14: Dark Sky

Fig. 1.15: Ghost Bride

To combine both, I first did a selection of the house using the lasso tool and created a mask.

Fig. 1.16: Old House; Mask

Then I imported the masked layer to the dark sky image and resized and matched the color.

Fig. 1.17: Old House; Match Color

Next, I imported the image of the ghost bride and since the background of the image was dark, I changed the blending mode of the layer to “Lighten”.

Fig. 1.17: Ghost Bride; Blending Options

After that, I created a new layer and used the gradient tool to create a radial gradient to give the ghost bride more character as it gives the effect of a glow. Then I set the blending of the layer to “Screen”.

Fig. 1.18: Ghost Bride; Glow

Finally, I added noise to the house and the bride to blend the layers with the background.

Fig. 1.19: Add Noise

Fig. 1.20: Ghost House; Final Result

For the second exercise of the week we were given a choice of photoshopping another old house to a cloudy day picture or to a picture of the sunset. I chose to go with the picture of the sunset.

Fig. 1.21: Old House

Fig. 1.22: Sunset

First, I selected the old house using the magic wand and rectangular marquee tool. I created a mask with the selection and imported the image on to the sunset image.

Fig. 1.23: Old House; Mask

After placing the house, I resized it to fit the island in the sunset image. Then I matched the color of the house to the background, making it very dark as the sunset will only leave a silhouette of the house.

Fig. 1.24: Old House; Match Color

Next came the tough part; creating the shadow. I tried different methods of creating a shadow. I tried using brush and blurs, ripples and blending options. However, none of them gave the look I wanted. So, I used clone stamp tool to create a shadow for the house by using the existing shadows of the trees.

Fig. 1.25: Clone Stamp Shadow

When I got a satisfying result for the shadow, I added a lot of noise to the house as the background image also had a lot of noise.

Fig. 1.26: Add Noise

Fig. 1.27: Exercise 2; Old Sunset House Final Result

Week 3: Recolouring  

13/09/2019

This exercise was the most interesting one yet. We learned how to recolor a black and white portrait. I mainly used gradient maps, hue/saturation, masks, eyedropper tool, brush and blending modes for this exercise. We were first given the following black and white portrait for us to recolor.

  

Fig. 1.28: Grayscale Portrait

As human skin is tricky to color unlike other inorganic materials, I first imported a color portrait I found from Unsplash, by Christopher Campbell. I took 6 sample colors using the eyedropper tool from the color image.

Fig. 1.29: Colour Portrait by Christopher Campbell, Unsplash

 Fig. 1.30: Colour Palette Sample

After collecting the samples, I created a gradient map layer with the colors. Then I set the blending to “Colour”. After which I created a layer mask and used the brush to paint the face.

Fig. 1.31. Gradient Map Layer

Fig. 1.32. Blending Change

Fig. 1.33. Brushed on Mask

Since human skin got more details, I decided to add a subtle redness to certain areas. I did this by creating a hue/saturation layer. I masked the layer and painted on the areas where blood flows mainly through the face.

Fig. 1.34: Hue/Saturation Layer; Blood Vessels

For the remaining parts of the face, I followed the same steps of creating a hue/saturation layer, mask and brush tool. I adjusted the hue to the color I wanted for the eyes, hair, shirt and the background as well.

Fig. 1.35: All Layers for Recolouring

 

Fig. 1.35: Portrait Recolouring; Final Result

For the exercise two of recoloring, we were given the chance to choose any image we wanted. I chose the following grayscale image I found on Unsplash by Dmytro Tolokonov. Instead of recoloring the portrait in the normal fashion, I drew inspiration from James Cameron’s Avatar (2009) and the tribal people of Na’vi. I used the image Fig. 1.37 to select color samples for the skin, eyes, ears, nose, and lips.

Fig. 1.36: Grayscale Portrait by Dmytro Tolokonov

Fig. 1.37: Scene from Avatar (2009)

As I did for exercise one, I first created a gradient map using the color samples I included in the color palette. Then I changed the blending and created a mask. I used the brush tool to recolor.

Fig. 1.38: Colour Palette from Samples

Fig. 1.39: Gradient Map Layer

Fig. 1.40: Blending Change

Fig. 1.41: Brushed on Mask

After coloring the main body, I focused on smaller details. I used more gradient map to find the right color for inner ears and below the nose. Then I again followed the same steps of blend change and brush on the mask. And then, I recolored the eyes.

Fig. 1.42: Inner ear, under nose and eye recolor

I added a bit more detail to the skin with some subtle stripes and white dots and seen in the original movie. I again used a gradient map, mask and brush tool to bring this effect.

Fig. 1.43: Skin Details

Once the body was done, I colored the dress, nails, and flower headpiece. I created a hue/saturation later for these parts. Then used blending changes, mask and brush to recolor them. I decided to go with the colors of red for the clothing and flowers as it creates a contrast with the blue skin. As for yellow fingernails and smaller yellow flowers, it connects with the eyes and at the same time stands as a contrast to the skin and fabric color.

Fig. 1.44: Clothes, Nails and Headpiece Recolour

A hint of green in the background also stands in contrast with the rest of the colors when the final look is ready.

Fig. 1.45: Final Look and Layers

Fig. 1.46: Exercise 3, Part 2; Final Result

Week 4: Displacement Mapping   

20/09/2019

As week 4 lecture was cancelled due to haze, we followed Mr. Jeffry’s tutorial video for this exercise. We were asked to create a displacement map with a flag and fabric and changing the texture of a portrait. For the part one we were asked to use the following images.

Fig. 1.46: Fabric

Fig. 1.47: Indian Flag

The first thing I did was change the fabric to a black and white image by desaturating it. Then I saved it as a PSD and closed the file.

Fig. 1.47: Fabric; Desaturated

Then I reopened the fabric image and imported the Indian flag. I changed the blending mode to multiply. While selecting the flag, I go to Filter>Distort>Displace. I select the amount of displacement I like. Then I’m directed to a window to select the reference file and I select the desaturated fabric PSD. Once I click open, the flag is automatically displaced on the fabric, which gives the realistic impression that it was printed on the fabric.

Fig. 1.48: Indian Flag; Displacement Scale

Fig. 1.49: Indian Flag: Displaced

As the blending mode is in multiply, the white stripe in the flag is not visible. To correct this, I duplicated the layer and changed the blending to screen and opacity to 50%.

Fig. 1.50: Indian Flag; Displacement Mapping Final Result

For the part two of the exercise, the portrait we were asked to use is already monochromatic. Therefore, I just save the image as a PSD, close the file and open the image again. In order to change the texture of the person’s face, I import the snake texture to the file. I change the blending and then follow the same steps as before. Filter>Distort>Displace.

Fig. 1.51: Grayscale Portrait

Fig. 1.52: Portrait; Blending Changed and Displaced

I created a layer mask and then used the brush tool to keep only the area’s needed.

Fig. 1.53: Portrait Snake Texture; Final Result

Part 3 of the exercise was for us to interchange characteristics of two or more animals. I decided to create a hybrid animal. For this exercise, I drew my inspiration from the Harry Potter universe. Buckbeak (Hippogriff) is a fantastic creature that is part hawk and part horse.

Fig. 1.54: Hippogriff by Vacher, 2014

For my photo manipulation, I used the following images

Fig. 1.55: Horse by Skeeze, Pixabay

Fig. 1.56: Hawk by Kevsphotos, Pixabay

Fig. 1.57: Hawk by Bs-mtsunaga, Pixabay

Fig. 1.58: Hawk by Kevsphotos, Pixabay

Fig. 1.58: Hawk by Janson_G, Pixabay

Fig. 1.59: Bald Eagle close up with talons by Matt Shetzer

Fig. 1.60: Red-tailed hawk by Richard Lee, Unsplash

Fig. 1.61: Cooper’s Hawk by Joe DeSousa, Unsplash

Fig. 1.62: A beautiful Hawk at the woodland park zoo by Bryan Hanson, Unsplash

Fig. 1.63: Plant, Vegetation, Forest and Land by Maxx Gong, Unsplash

First, I did a selection of the horse and created a layer mask. Then I imported a picture of the hawk, placed it where I need, create mask and matched the color. I repeated this step with different pictures for most parts of the body of the horse.

Fig. 1.64: Horse Layer Mask

Fig. 1.65: Hawk Placement, Mask and Match color

I used displacement mapping to make the feathers look more natural on the horse. I used a previously saved a PSD file of the monochromatic image of the horse to do the mapping.

Fig. 1.66: Hawk Displacement Mapping

Fig. 1.67: Hawk Displacement Mapping

After finishing the neck, I inserted the image for the wings. I’ve created a layer mask with the selection of the wings.

Fig. 1.67: Hawk Wings

Then I moved on to the front legs. As the front legs are scaly, I imported a picture with the eagle’s claws. I made a selection and created a layer mask.

Fig. 1.68: Leg Claws Layer Mask

Since the scales and the claws had to be black, I desaturated the layer. To make the leg scaly, I used the Clone Stamp tool to cover the part of the legs under the knees. I used displacement mapping on the scales as well.

Fig. 1.69: Desaturated Claws and Clone Stamp

Next I proceeded to cover the main body. I used four more images of hawks to cover the entire body and legs. I did color matching and used layer masks, displacement mapping and changed blending modes to get the result I needed.

Fig. 1.70: Hawk Feather Body

Fig. 1.71: Hawk Feather Body

Fig. 1.72: Hawk Feather Legs

Fig. 1.73: Hawk feather Body

After completing the entire look, I used a feather brush preset to create a more natural look.

Fig. 1.74: Feather Brush Preset

I imported the finished Hippogriff image on to the background I wanted. I matched the color according to the background.

Fig. 1.75: Hippogriff Color Match

Then I created a mask and erased parts of the Hippogriff to place it behind the fallen branch. 

Fig. 1.76: Hippogriff Mask 

Considering the light source, I added shadows to the ground and to some areas of the Hippogriff. I used the brush tool and blur filter for this effect. After which I added some noise to the layer.

Fig. 1.77: Shadows

Fig. 1.78: Add Noise

At last, I added a flair of light on top of the Hippogriff using a light flair brush preset.

Fig. 1.79: Light Flair

Fig. 1.80: Hippogriff; Final Result 

Week 5: The Castle of the Pyrenees 

27/09/2019

For our week 5 exercise we were asked to recreate an image with the inspiration from the Rene Magritte’s masterpiece The Castle of the Pyrenees. We were given the option of using our own choice of images and textures. For my design, I decided to put a bit of an Asian twist in the idea and create a castle of my own. I used the following images for this exercise.

Fig. 1.81: Green pine trees with fog, John Westrock, Unsplash

Fig. 1.82: Lake Louise landscape, Daniel Roe, Unsplash

Fig. 1.83: Person standing at rock formation, Andrew Charney, Unsplash

Fig. 1.84: The Great Wall of China, Jamie Street, Unsplash

Fig. 1.85: Pagoda, Timothy Tan, Unsplash

Fig. 1.86: White-and-brown concrete temples on water, Gigi, Unsplash

Fig. 1.87: Orange wooden building near green trees at daytime, Waqas Akhtar, Unsplash

Fig. 1.88: Brown and gray temple surrounded by tall tress, Nenad Spasojevic

Fig. 1.89: Orange and black wooden temple during day, Dear, Unsplash

Fig. 1.90: Tree, island, cliff and ocean, Barrie Johnson, Unsplash

Fig. 1.91: House of God, Sukhpreet Lotey, Unsplash

Fig. 1.92: Human, person, building and architecture, Kelvin Zyteng, Unsplash

Fig. 1.93: Sunset behind the rock, Joey Kyber, Unsplash

Fig. 1.94: Landscape photo of trees on mountain, Boudhayan Bardhan, Unsplash

Fig. 1.95: Aerial photography of forest, Filip Zrnzevic, Unsplash

Fig. 1.96: Lake in forest near mountain, Nitish Meena, Unsplash

At first, I opened the image I wanted as a background and moved it to the position I need. As the top part of the canvas was empty, I used content-aware fill to cover the full canvas.

Fig. 1.97: Background; Content-Aware Fill

I placed a picture of two mountains in the distance to add more depth to the image. I matched its color and opacity reduced.

Fig. 1.98: Background Mountains, Match Color

As I found a picture of a rock I liked, I flipped it to make it look like it was levitated. I matched the color and created a layer mast with the selection of the rock.

Fig. 1.99: Base Rock; Match Color

I used an image of the Great Wall of China to create an outer wall for the castle. The same process of matching color and masks were used for this layer as well. I then duplicated the layer to make the wall longer to make it go around a top of the rock.

Fig. 1.100: Great Wall, Match Color

Fig. 1.101: Great Wall, Layer Mask

Next I placed the image of the pagoda for the mid-tower. I had it in a layer mask and color-matched. To make the tower taller, I duplicated the layer and stacked it up.

Fig. 1.102: Middle Tower; Match Color

Fig. 1.103: Middle Tower; Duplicate

For the next two towers, I followed the same steps of match color and layer mask.

Fig. 1.104: Left and Right Tower, Color Matched and Masked

Following the same steps, I added the houses and main castle.

Fig. 1.105: Houses and Castle

Next, I added the grounds, Stairs, and the trees to fill up any empty spaces.

Fig. 1.106: Castle Grounds; Match Color

Fig. 1.107: Stairs to Main Castle; Match Color

Fig. 1.108: Trees; Match Color

Fig. 1.109: Trees; Match Color

Fig. 1.110: Trees; Match Color

For a final touch, I duplicated the background layer, brought it forward and created a mystic effect. I also used a cloud brush preset and a flock of birds’ brush preset to add more details to the image.

Fig. 1.111: Final Touch; Mist, clouds, and birds

Fig. 1.112: Exercise 5, Final Result

Fig. 1.113: Final Result; GIF Laps