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Copyright 2010 PhotoExtremist.

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Copyright 2010 Evan Sharboneau.

Feel free to pass around this ebook and distribute it any way you like.
You can do hatever you ant ith this eboo! under these conditions" #he eboo! must be presented it$s entirety. %o not modi&y the eboo!. %on$t use any &orm o& spam to promote it. %on$t se'' it un'ess you get my permission &irst.

About The Photos Used in this E-Book

('' images in this eboo! are hyper'in!ed to their origina' 'ocation on the internet. #his means you can c'ic! on any photo in this eboo! and it i'' direct you to the origina' photo on the eb) *ee' &ree to comment the photographer$s great or! and as! them +uestions i& you ant to !no more about their image. #he photos that do not contain any hyper'in!s have been created by myse'&.

More Borin Le al !tuff

Contents contained in this eboo! may change and be updated at any time ithout prior notice. #he author has made every reasonab'e attempt to achieve accuracy o& the content in this eboo!, and assumes no responsibi'ity &or errors or omissions. #he in&ormation contained in this document is -as.is/ and shou'd on'y be used as you see &it, and at your o n ris!. (ny trademar!s, service mar!s, persona' names or product names are the property o& their respective o ners, and are used on'y &or re&erence. #here is no imp'ied sponsorship, a&&i'iation, certi&ication, approva', or endorsement i& e use one o& these terms. 0ather than put a trademar! symbo' a&ter every occurrence o& a trademar!ed name, e use names in an editoria' &ashion on'y, and to the bene&it o& the trademar! o ner, ith no intention o& in&ringement o& the trademar!. 1here such designations appear in this boo!, they have been printed ith initia' caps. #23S P04%5C# 3S 64# E6%40SE% 40 SP46S40E% 7Y (%47E SYS#E8S 36C40P40(#E%, P5793S2E0 4* (dobe: Photoshop: so&t are. (dobe, the (dobe 'ogo, and (dobe Photoshop are either registered trademar!s or trademar!s o& (dobe Systems 3ncorporated in the 5nited States and;or other countries. ('' other trademar!s are the property o& their respective o ners. (dobe product box shot<s= reprinted ith permission &rom (dobe Systems 3ncorporated.

>ersion 1.2 | PhotoExtremist.com | Page 2

Table of "ontents 0 . 3ntroduction 1a . 9ong Exposure E&&ects 1b . 9ong Exposures %uring %ay 1c . 4ther 9ong Exposure E&&ects 2 . 9evitation Photography ? . ?@0x1A0 P'anet Panoramas B . 3n&rared Photography C . 8u'tip'icity Photography

Copyright 2010 PhotoExtremist.com | Page ?

>ersion 1.2 | PhotoExtremist.com | Page B

2e''o and than! you &or do n'oading The Top $ "reati%e Photo raphy Techni&ues eboo!) 3D'' be sho ing you some creative ideas that you can app'y to your photographs in a variety o& di&&erent ays. #his eboo! is ritten &or peop'e ith %S90 cameras ho ant to pump out more creative or!. 3t is a co''ection o& some o& the best posts on PhotoExtremist.com. %uring this eboo! 3 i'' sometimes mention using (dobe: Photoshop: so&t are. 3 high'y recommend that i& you do not have Photoshop right no , that you pic! it up. Photoshop is the industry standard &or editing imagery, and the most versati'e compared to a'' other app'ications. Photoshop is here the magic happens, it can turn a du'' photograph into a or! o& art, and a or! o& art into a masterpiece)

7asica''y, there are three versions o& Photoshop" (dobe Photoshop E'ements ; 8ac >ersion (dobe Photoshop CSC ; 8ac >ersion (dobe Photoshop CSC Extended ; 8ac >ersion

'hat one should you choose( 3& you have had your camera &or a hi'e and photography, photo.manipu'ation and art is a signi&icant part o& your 'i&e, get CSC. 3t has a vast number o& &eatures and gives a 'ot o& contro' to the user. 8ost o& the tutoria's you see on'ine and in this eboo! i'' be geared to ard CS users. 3& getting a brand ne copy o& CSC &rom (maEon.com is too expensive, 3 recommend getting a used copy o& CSB or even CS? &rom e7ay.com. You most 'i!e'y i'' &ind it ith a signi&icant'y cheaper price tag. 3 ou'd go ith Photoshop CSB or CS? over the ne est Photoshop E'ements any day. 3 ou'dn$t get anything be'o CS? because the techno'ogy is becoming more and more outdated. 3& you have an o'der version o& Photoshop, such as CS1, CS2, CS?, or CSB, you can Fust buy a CSC -upgrade/ and get a big discount on the price. %iscounts are a'so avai'ab'e &or students. 'hat if you don)t want to buy an i*a e editin pro ra*( 3& you &'at out don$t ant to pay &or Photoshop at a'', you can do n'oad the &ree ?0 day trai' &rom (dobe.com or do n'oad the &ree a'ternative program, G38P. #he G38P has a di&&erent graphica' user inter&ace than Photoshop, so some the tutoria's in this eboo! i'' need to be done s'ight'y di&&erent'y in the G38P.

Copyright 2010 PhotoExtremist.com | Page C

Lon E+posure Effects

%ra ing ith 'ight is extreme'y rea''y, rea''y &un. 3n order to get these types o& shots, here is a generic combination o& camera settings that you can use as a ru'e o& thumb" Put your camera on a tripod and use 8anua' 8ode and manua' &ocus, 'o er the 3S4 number as 'o as it can go. 2ave your aperture at *A and your shutter speed at C seconds. 3& you ant to ma!e the photo brighter, change the aperture to a sma''er number <'i!e *?.C=. (dFust your shutter speed as necessary. 8ost %S90 cameras have a maximum o& ?0 seconds as the shutter speed. #here are many di&&erent 'ight toys that create di&&erent e&&ects. #hings that have been used be&ore inc'ude spar!'ers, g'o stic!s, &'ash'ights, mag'ights, &ire;torches, 0G7 strips, Christmas 'ights, i''uminated ce'' phones, iPods, 'aser pens, and o& course, any !ind o& 9E%.

9et us get into some examp'es"

Scribb'e ith a 'aser pen. 3n this examp'e the 'aser pen as stro!ed up and do n the mode's &ace. #he mode' as very sti''. 7e care&u' not to get the 'aser in your eye) 1 sec. ; & ?.C ; 3S4 200

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#hese are city 'ights &rom a &ar a ay distance. 8ove your camera up and do n <or &rom 'e&t to right= hi'e moving your &ocus ring at the same time. #he camera records the 'ight turning &rom sharp points into big b'urry bo!eh b'otches. sec. ; & @.? ; 3S4 200 ; CCmm

#hese 'ights are 'itt'e 9E% *inger *'ash'ights that rap around your &ingers. 3 had red, b'ue, green, and hite strapped around my &ingers and aved around my hands hi'e running around my !itchen &rantica''y. 8y body remained invisib'e because it as not i''uminated and as in constant motion. 3 Fust random'y dre 'ines, but you can dra &aces or shapes 'i!e hearts, or ords. Get creative) #his as a ?0 second exposure.

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#his is Fust a standard 'ong exposure o& a &ire or! spar!'er in motion. Ieep in mind that i& you use a &'ash, the person ho'ding the spar!'er i'' sho up in the photograph. 0egu'ar spar!s &rom &ires can a'so ma!e amaEing shots, especia''y i& you go in and out o& &ocus during the exposure. 8a!e sure that the bac!ground is dar!. H sec. ; &22 ; 3S4 200.

Sure, you can use spar!'ers by themse'ves in empty dar! space, but you can a'so trace obFects ith spar!'ers. Cars, bicyc'es, and sometimes even human beings ma!e great subFects. H minutes 'ong, 3S4 100, *1A

>ersion 1.2 | PhotoExtremist.com | Page A

You can a'so use &'ash'ights to give the scene an i''ustrious 'oo!. Simp'y turn on your &'ash'ight and start -spraying/ 'ight onto the scene to i''uminate it in the dar!. 0emember, the entire purpose is not to Fust 'ight up your subFect ith a stationary 'ight, but to have a 'ong exposure &or say, @ seconds, and move the 'ight a'' around the environment to get that magica' e&&ect. 3& you have an extreme'y po er&u' &'ash'ight, it is very e'' possib'e to i''uminate entire landscapes in the dar! as e'')

3& you have a tripod on you, and youDre in an amusement par! or some !ind, 'ong exposures o& rides 'oo! very good hen ta!en in 'ong exposure mode. *erris hee's are a c'assic examp'e. *or a 'ight painter, going to an amusement par! at night is 'i!e a !id going to a candy store
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You can a'so create 'ong exposure si'houettes. Put your camera on a tripod. 8a!e sure your subFect is standing sti''. 8a!e sure there is no 'ight shining on them &rom the &ront. #a!e your exposure, and then start 'ight painting 'ight &rom behind them. C.?0 seconds is good. #his particu'ar image as made using a battery operated &iber optic 'ight. 3t constant'y changes co'ors to create a uni+ue e&&ect.

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#his as a 'ong exposure o& Christmas tree 'ights on a Christmas tree. 3t as a one second exposure. 3n order to get rea''y smooth, straight 'ines, get your 'ens in &ocus then turn auto&ocus o&& so your camera onDt get stuc! trying to &ocus. #hen ta!e K1 second <or shorter= exposure and Fer! your hand in a rea''y &ast motion, you shou'd get a resu't Fust 'i!e this

9ong exposures o& tra&&ic 'ights have a' ays been the c'assic examp'e o& 'ong exposures. You must have a good tripod though. ?0 sec ; &1A ; C0mm; 3S4 100
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#hese 'ights are the 'itt'e 9E% *inger *'ash'ights that rap around your &ingers. 8y body remained invisib'e because it as not i''uminated and as in constant motion. 0emember that you can dra &aces or shapes 'i!e hearts or ords. Get creative) #hese images are ?0 second exposures.

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#hese are ca''ed physiograms. Simp'y tie a string to the end o& the 8ag'ight, attach the other end o& the string to the cei'ing. (bout 2.B &eet is good. 8ag'ights are pretty much 8(%E &or physiograms <or any !ind o& 'ight painting= because they are 'ight eight, and the cap can be ta!en o&& to enab'e a Lcand'e modeD, ma!ing it the per&ect 'ight toy. 4nce your 8ag'ight is dang'ing &rom the cei'ing, put your camera on the &'oor right underneath the 8ag'ight <on manua' &ocus= turn the room 'ights o&& and the 8ag'ight on, give the 8ag'ight a 'itt'e push, then ta!e your ?0 second exposure <or ho ever 'ong you ant it. 1C.?0 seconds is hat 3 use.= 8ore in&ormation about physiograms can be &ound here.

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(gain, 9E%s are Fust great. You can trace obFects ith them, Fust 'i!e you can ith spar!'ers) <('though, o& course, use spar!'ers outside)= 3 as using my green 9E% *inger *'ash'ight again on this one.

You can a'so ma!e &'ash stenci's) Must put cardboard in &ront o& your &'ash ith a design cut out in it, and youDre ready to go. You can 'earn ho to ma!e &'ash stenci's in more detai' here.

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(nother coo' thing to do ith &'ashes is to ta!e a ?0 second exposure in the dar!ness and &ire the &'ash mu'tip'e times on your subFect in di&&erent areas in the &rame. #his is simi'ar to mu'tip'icity photography that 3 i'' ta'! about in section C.

(nd 'ast but not 'east" Capturing 'ightning. #his as a H minute exposure ith the camera on a tripod. #his is great because you can capture mu'tip'e stri!es o& 'ightning in one &rame. 2o ever, because super 'ong exposures introduce noise on the camera$s sensor, you can he'p e'iminate that by Fust ta!ing a bunch o& ?0 second exposures one a&ter the other, and then over'apping the &rames in Photoshop by using the 9ighten, Screen, or 9inear %oge <(dd= b'ending modes.

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#he examp'e above as photographed by 7rent Pearson. Pretty extraordinary stu&&. You$'' notice that the 'ight on the &oreground is very di&&used <so&t= and natura' 'oo!ing. 7rent Pearson exp'ains a'' the 'ights he uses and ho to set them up in his eboo!" 6ight Photography and 9ight.Painting. 6orma' &'ash'ights such as 8ag'ights do or!, but the 'ight might be a 'itt'e bit ea! or uneven. 3& you are annoyed ith the $un.even.ness$ o& the 'ight, try putting some sort o& di&&usion materia' over the &ront unit o& your &'ash'ight, or Fust get 7rent$s eboo! and 'earn the secrets about the magica' 'ights he uses. Perhaps one o& the best options, ho ever, is to get one o& the 9E% 9enser &'ash'ights. ('though 3 havenDt tried them myse'&, the beam o& 'ight appears to be much more brighter and smooth compared to 8ag'ight torches. Even though this photo sort o& 'oo!s 'i!e it as ta!en during the day, it asn$t... 7ut that doesn$t mean you can$t actua''y do 'ong exposures during the day. 9etDs ta'! about that in the next section)

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Lon E+posures ,urin ,ay

You can a'so create 'ong exposures o& 'andscapes during the %(Y by using an extreme'y dar! &i'ter that attaches to the &ront o& your 'ens. #he &i'ter you can use is a 7N1 &i'ter, an 6%B00 &i'ter <3$d recommend this one=, or even an 3n&rared &i'ter. #a!ing 'ong exposures during the day is use&u' &or creating &oggy;ghost'y seascapes, b'urring c'ouds, b'urring ater and ater&a''s, and removing peop'e &rom a scene. 3D'' sho you examp'es o& a'' o& these methods be'o .

9ong exposures are exce''ent &or moving ocean aters sp'ashing against roc!s. #he 'onger the exposure O the more misty the ater i'' 'oo!. Your camera needs to be on a tripod. 8a!e sure to get your &ocus in scene be&ore you put the &i'ter on. (&ter that is done, put your &i'ter on. S itch to manua' &ocus because your camera onDt be ab'e to &ocus a&ter you have put on that extreme'y b'ac! &i'ter. S itch to shutter priority mode and ma!e the exposure as 'ong as you can get it ithout overexposing your image #hen o& course, ta!e the pictureP 3& you need more exposure time, ma!e sure you are using the 'o est 3S4 number you can <9i!e 3S4 200 or 'o er=, and the 'argest * 6umber you can <'i!e *22, &or examp'e=
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9ong exposures o& ater&a''s create that smooth;soothing e&&ect that is very popu'ar. #his 'oo!s b'ue and hite because it as ta!en ith an 3n&rared *i'ter attached to my camera 'ens. 3& you ere using an 6%B00, the co'ors ou'd be norma'. 1e i'' ta'! about the in&rared &i'ter in detai' 'ater in this boo! and ho you can use it to put surrea' co'ors in your 'andscapes.

#his is a composite o& t o images. 7oth ere ta!en on a tripod. #he s!y as too bright, so one had to be set &or a C second exposure, hi'e the other image o& the ater had to be set to 20 seconds. #hen the t o images ere put together in Photoshop to give a ider dynamic range. (gain, the 'ong exposure is made possib'e by the use o& a 6%B00 &i'ter. You can a'so ait unti' da n or dus! hen it is rea''y dar! and ta!e your photos ithout the need &or a &i'ter.

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-ther fun lon e+posures

( creative use &or the 6% &i'ter ou'd be to ta!e a picture o& a atch or c'oc!. 3n this B minute 'ong exposure you can see each second hand as it moves around the c'oc!.

#hese eyes ere constant'y moving hi'e the camera too! a 1.C second exposure. 6o Photoshop)

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#his as a one second exposure. 2a'& o& the exposure the eye as open, then a&ter .C seconds, the eye as shut. 1hat you see is the eye both open and c'osed at the same time.

#his is a 'ong exposure at night time o& sno &a''ing) #he sno as i''uminated ith a 'ight, and a tree is in the bac!ground. ? seconds.

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Le%itation Photo raphy <>ideo tutoria' here=

9evitation photography is a great photography tric! that has a' ays made me smi'e. #he best thing about 'evitation photography is that it 'oo!s rea'.

2o did 3 get ta!e the shot aboveQ *irst, 'et me exp'ain the physica' setup. 3t as at night time, obvious'y. 3 used an externa' &'ash on a tripod that as direct'y to the right o& my body. 8y %igita' S90 as on a tripod, direct'y in the midd'e o& the road. 8y tripod as as 'o as it cou'd get <about ? &eet=. ( stoo' as p'aced in the midd'e o& the road, and in order to he'p the camera $see$ the stoo' in the dar!ness, 3 p'aced an 9E% 'ight on top o& it and adFusted the &ocus unti' the 9E% 'oo!ed sharp, then turned o&& auto.&ocus because it is unnecessary to use auto.&ocus a&ter you have the stoo' in &ocus. 3 put the se'&.timer on 10 seconds, ran to the stoo', sat on it, pu''ed up my shorts, put the pi''o case over them, got into a pose, and aited &or the camera to ta!e the picture.

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#he tric! is to get one shot o& a person either standing or sitting on a stoo' <'e&t image=, and another shot ith no person or stoo' in the &rame. #hat$s a hite pi''o case 3$m - earing/ by the ayR 3 thought it 'oo!ed more aesthetica''y p'easing and 'ess contemporary than green shorts. 2eh... 8aybe not the coo'est idea, but hatever. 3 actua''y too! about 20 di&&erent shots o& myse'& in di&&erent poses, but this as my &avorite. 6o that e have the 2 essentia' shots e need, 'ets open them up into Photoshop. Put both o& the images into the same document by dragging and dropping or copying and pasting them in. 2ave the image ith the stoo' be the top 'ayer, and the image ith no stoo' be the bottom 'ayer. Se'ect the top 'ayer and then erase the stoo' by using an eraser too' or by using a 'ayer mas!. #a. da) #he stoo' is gone, and it 'oo!s 'i!e you are &'oating in mid.air. #o &'ip myse'& upside do n 3 se'ected my body using the Rectangle Marquee Tool, right.c'ic!ed and se'ected Free Transform. 3 rotated my body 1A0 degrees and a'so moved it up ard a 'itt'e higher &rom the road. #his is very easy to do in a night.time situation 'i!e this one because the bac!ground is comp'ete'y b'ac!. 3& you are in an environment that has a bac!ground that isn$t a so'id co'or, you i'' have to either care&u''y erase everything around your body and then &'ip it upside do n, or someho suspend yourse'& upside do n by either hanging your &eet &rom a rope or by 'eaning your 'egs up against something and then erasing the obFect. Probab'y the most e'' !no n image that sho cases the -upside.do n 'evitation tric!/ is -#he Smothering/ by 8iss (nie'a. 3t$s been rumored that someone as ho'ding her by her an!'es and the hands ere 'ater ta!en out in Photoshop. %enis %arEac+ <that 'in! 'eads to his 'evitation port&o'io= a'so creates very interesting 'evitation photographs, and he does it ith no Photoshop. 2e uses brea! dancers &or mode's and captures them hen they are in mid.air at Fust the right moment. 2ere is a You#ube video that sho s him ta!ing pictures in action. 3 ou'd high'y recommend atching this video too) Some o& %enis$ or! is inc'uded in the video, as e'' as a bunch o& di&&erent photographic optica' i''usions that are not covered in this boo!.

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#his image on the 'e&t as created ith &our 'ayers. #he camera as on a tripod and as on manua' mode to ma!e sure each exposure as identica' in terms o& brightness, &ocus, and hite ba'ance. 4ne photo as ta!en o& on'y me sitting on the couch, and the other three photos ere o& me ho'ding the pi''o , chair, and !ni&e. 3 then 'ayered the images on top o& one another and erased the arms and hands that ere ho'ding the obFects. (&ter that, 3 made it b'ac! and hite, added a texture, and put some s!u''s on the couch.

2ere is the same techni+ue, Fust a di&&erent subFect and composition. #he person as 'aying on a stoo' and !ic!ing their &eet up into the air. ( s'o shutter speed causes the motion b'ur o& the &eet and hair to occur. 3& you need more support don$t shy a ay &rom using mu'tip'e stoo's, especia''y i& you are in rea''y a ! ard poses.

#a'!ing about mu'tip'e stoo's, in this photo my hands ere on t o bas!etba''s and my &eet ere on a 'itt'e stoo'. #his is actua''y harder than it 'oo!s because there is a 'ot o& ba'ancing eight on the bas!etba''s. #he mas!ing bet een the &ingers in Photoshop ta!es a bit 'onger as e''.

Copyright 2010 PhotoExtremist.com | Page 2?

Perfecting Shadows
3& you ever photograph a 'evitation shot against a a'', you i'' most 'i!e'y run into prob'ems because the shado s o& your body and the stool i'' sho up on the a''. #he bac!ground 'ayer i'' be about t ice as bright as the body 'ayer. (t &irst g'ance it might appear to be a tric!y situation, but 3 have a so'ution to &ix it. 2ere are t o examp'e photographs"

9ayer 1 <bottom 'ayer=

9ayer 0 <top 'ayer=

(s you can see, e$ve got some tric!y situations in &ront o& us. 8y arm is in &ront o& the stoo' and the shado s o& the stoo' are on 'ayer 0 but not on 'ayer 1. 3& e started to mas! out the stoo' as e ou'd norma''y, it ou'd 'oo! unrea'istic. 1e need to ta!e some extra steps &or this image to 'oo! rea'istic. 3n order to remove the stoo' and maintain the shado s o& your body, &o''o these steps" 1. Create a 'ayer mas! on the top 'ayer as you norma''y ou'd. 2. Se'ect the 'ayer <not the 'ayer mas!= in the 'ayers pa''et and then care&u''y ma!e a se'ection o& the arm and hand. You can use the Suic! Se'ect #oo' <this is hat 3 used on this image= or the Pen #oo'. 5se the 0e&ine Edge too' 'ocated at the top to &urther adFust your se'ection i& it isn$t accurate enough. 3n this particu'ar case, 3 am going to se'ect everything but my hand, arm, bac!, and bottom. #he se'ection i'' act as a - a''/ hen e create the 'ayer mas!.

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?. (&ter you have made your se'ection, se'ect the 'ayer mas! and start painting b'ac! ith a very 'arge brush <B00.1B00 pixe's= ith the hardness set to 0. #he stoo' is gone, but e need to bring the shado s bac!.

B. 1ith your se'ection sti'' active sho ing the marching ants, se'ect the 7urn too' then go to the top and set the brush siEe about to about the same siEe o& the 'eg shado <in this particu'ar case it is rough'y H00pixe's= and set the brush hardness to 0T. Se'ect 8idtones &or the range and 'o er the exposure to about C0T or so. 3& you too! the photograph using harsh 'ighting you i'' need to se'ect a harder brush. So&t 'ighting is easier to dea' ith. C. 8a!e sure the bottom 'ayer is se'ected and burn your shado s in. #he stoo' is no removed, and arti&icia' shado s have been added. 3& you ant real shado s, you i'' have to tie a rope around your an!'e and then someho hoist yourse'& up in mid air and then c'one out the rope. #his isn$t orth it in most cases) 5sing arti&icia' shado s is easier.

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./01230 Planet Panora*as

#hese are comp'ete immersive panoramic images <( comp'ete spherica' &ie'd o& vie ... 3t$s 'i!e a 0mm 'ens.= You can use so&t are 'i!e 2ugin to stitch them, and *'exi&y to manipu'ate them. 3& you ant to 'earn more about hat a ?@0x1A0 panorama exact'y 3S, head here and read the co'umn on the 'e&t. #his artic'e is pretty 'ong, so i& you ant Fust the big.picture basic gist o& things, atch my video. 3& you are serious and ant to actua''y execute ta!ing ?@0x1A0 panos, then atch the video (6% read the artic'e. #his artic'e goes into more detai' than the video. 3& you are brand ne to photography 3 ou'd recommend s!ipping this section because it ta!es some e&&ort to 'earn ho it a'' or!s, but i& you are up &or the cha''enge, be my guest)

7y ta!ing ?@0x1A0 panoramas and stitching them in certain ays, the environments i'' 'oo! 'i!e 'itt'e p'anets, inverted p'anets, or a number o& other craEy things. 3t does re+uire some patience, but it is de&inite'y orth doing. Peop'e i'' be as!ing you U2o did you do thatQU every time you sho them a ?@0 stereographic stitch. You can then respond saying -3 too! @C images ith my camera on a tripod to capture a comp'ete immersive vie o& the entire environment around me, 3 then stitched the photos to ma!e an e&uirectan ular pro4ection <'e&t image be'o =, and then put that e+uirectangu'ar image into *'exi&y and remapped it into a stereo raphic pro4ection <image be'o , to the right=./ #hey$'' 'oo! at you 'i!e you$re nuts.



You i'' need a digita' S90 <or even a point and shoot camera=, and a program ca''ed 2ugin. 3t is a'so recommended that you have a tripod ith a panoramic tripod head, and the *'exi&y P'ug.
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in &or Photoshop, but it isn$t re+uired. 3 i'' ta'! about a'' o& these in this artic'e, but &irst, 'et$s 'oo! at some examp'es"

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#hese are Fust so a esome)

Takin hand-held ./0 panora*as5 *irst, set your camera to ta!e S8(99 MEPGs. You C(6 ta!e 'arger Fpegs, but 3 ou'dn$t recommend it unti' you are success&u' ith your &irst comp'eted panorama. #he reso'ution;image siEe bui'ds up &ast hen you are ta!ing ?@0x1A0 panoramas. #a!e your digita' S90 and use the idest ang'e 'ens you have. 8ine is an 1A.CCmm !it 'ens, set on 1Amm. 6ext, point the camera to the ground and start ta!ing pictures around you. Shoot in vertica' orientation. #raditiona''y spea!ing, it is best to use manua' mode on your camera ith manua' &ocus <and this is the method 3 recommend using=, but 3$ve discovered that using (perture Priority mode <or even &u'' (uto mode= ith automatic &ocus or!s too. 3& you are using (utomatic 8ode, 3 ou'd suggest your camera to be set on matrix metering. 4nce you have the &irst ro done, move your camera up and ta!e the next ro o& pictures, ma!ing sure that the &ie'd o& vie i'' over'ap by about 2CT or more. 4n my camera;'ens, 3 have to ta!e B or C ro s o& pictures, ith about 12 pictures in each ro . #his comes out to be about @C tota' pictures <7ut that is on my speci&ic 'ens and camera, it might be di&&erent &or yours=. 3& you$re using a super ide ang'e &ish eye 'ens, you can get the Fob done by on'y ta!ing C pictures. #he reso'ution on$t be as 'arge, but hey, it ta!es a hec! o& a 'ot 'ess time. #ry to rotate your body around the camera rather than rotating the camera itse'&R it$s a good idea to !eep the camera in the same spot. 4nce youDre done ta!ing those pictures you need to point the camera straight up at a J0 degree ang'e. #his is ca''ed the Venith. #hen ta!e another picture straight do n at J0 degrees <try to move your &eet out o& the ay, i& possib'e= this is ca''ed the 6adir. 3 usua''y mess up on the Eeniths and nadirs, and that$s &ine, but the image on$t come out 'oo!ing per&ect" #here i'' be a 'itt'e b'ac! spot here the Eeniths and nadirs are supposed to be. You i'' see hat 3 mean i& you didn$t ta!e these correct'y <it$s not that big o& a dea'.= 6o e are ready to stitch them a'' together on the computer)

%o n'oad a program ca''ed 2ugin, insta'' it, and then boot that mother up. Usin 6u in to stitch ./0 panora*as5 9oad a'' o& your images into the program. 2ugin i'' ta!e a hi'e to process a'' o& your images, depending on your computer speed and hat siEe you too! the MPEGs at <this is hy 3 recommended shooting sma'' MPGs.= 3t ta!es about 10 minutes to process a'' o& the images on my computer, so be patient. 3 ou'd recommend c'osing a'' other app'ications you aren$t using. #his i'' save memory usage, hich 2ugin needs. 3$ve &ound that i& 3 had too many programs running, 2ugin ou'd run out o& memory and not do its Fob. 4nce the images are done being processed, one o& t o things i'' happen. Either 1= ( dia'og box i'' appear saying that it cou'dn$t stitch some images together, and you need to manua''y &ix
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them, or 2= a previe indo i'' pop up, sho ing your panorama. 3& the &ormer happens, you i'' need to add points on the images that are in the same spot on each photograph. 2ugin i'' te'' you hat images need this. 3& it isn$t possib'e to add points <this usua''y happens ith the Eenith or nadir=, Fust de'ete the images, and then re.a'ign the pano. 6o go to the top and c'ic! Previe . 2ere is your image. 3& you ant it to 'oo! 'i!e a p'anet, se'ect UstereographicU &rom the drop do n box. #hen, hen you are 'oo!ing at the previe , 'e&t. c'ic! on the spot here you ere standing to ta!e the photograph. #his i'' morph the image into a sphere at that speci&ic point. (nd there you go) You can adFust the &ie'd o& vie by using the s'iders on the bottom and right side o& the image, but be some hat conservative ith this &eature, because the image i'' get distorted on the edges i& you over.do it. You can a'so straighten the horiEon by c'ic!ing that straighten icon at the top, but 3 usua''y don$t see any di&&erence hen doing that. C'ose the previe indo , and then c'ic! on the Stitcher tab. C'ic! the UoptimiEe image siEeU button <this ma!es the image have more reso'ution= and then &ina''y c'ic! Stitch. Your image i'' then be saved as a #3** <or a MPEG, i& you se'ected this option in the Stitcher tab.= 3t ta!es a 'ong time to stitch it a'' together, so Fust go get something hea'thy to eat hi'e it$s doing its thing. 1hen it is done, you can open up the directory to here you saved it, and then see its g'ory. Perfectin The !titch 7optional85 Yes, you can ta!e hand-held ?@0x1A0 panoramas, but hen you do this, there i'' be Upara''ax errorsU, especia''y i& you are ta!ing pictures o& things that are c'ose to the camera <'i!e inside an interior environment, or i& you ere ta!ing your pano right next to a tree or something=. #he stitching so&t are can$t dea' ith this very e'', so your pano i'' be 'ess than per&ect. #o &ix this, you need to &ind the noda' point on your 'ens, and then rotate your camera around that point hi'e ta!ing panoramas. You i'' use a specia' tripod head to do that.

Findin The 9odal Point 7optional85 #here is a pretty good tutoria' on ho to &ind the noda' point o& your 'ens here, it has pictures. 3 recommend reading that to understand hat a noda' point is. 4r, you can do it my ay. 3t$s a 'itt'e di&&erent, but it serves the same purpose" #o &ind the noda' point o& your 'ens, go inside and &ind a indo some here. Stic! a piece o& mas!ing tape on the indo . Get a tripod and put the hand'e J0 degrees straight up in the air, and then rest your 'ens on the tip o& the hand'e. Go ide ang'e, and 'oo! through the vie &inder, have the mas!ing tape centered in the &rame. Ieep in mind hat is behind the mas!ing tape on the outside o& the indo . 0otate your camera to the 'e&t or right unti' the mas!ing tape is at the very right or 'e&t o& the &rame. You i'' then see that the obFect that as origina''y direct'y behind the mas!ing tape is no a 'itt'e bit to ards the 'e&t or right o& the mas!ing tape) 8ove your 'ens &or ard or bac! ard <Fust a 'itt'e= unti' you have &ound the s eet spot here this phenomena no 'onger happens hen rotating your 'ens on the tripod hand'e. #he obFect that is behind the mas!ing time shou'd S#(Y direct'y behind the mas!ing tape, hether the mas!ing tape in the midd'e, 'e&t, or very right o& the &rame. 4nce you have &ound this point, ta!e a pen or
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something and mar! a 'itt'e dot on your 'ens to remind you here this point is. You have &ound the noda' point &or that speci&ic 'ens and &oca' 'ength. You i'' need to !no here the noda' point is to con&igure your <purchased or %3Y= panorama tripod head. Panora*ic Tripod 6eads 7optional85 3& you have 'ots o& money, you can buy a pano head any here &rom WA0.W200. 7ut, i& you are cheap 'i!e me, you can ma!e one yourse'& &or a &e buc!s. 8y panohead 'oo!s 'i!e the one on the 'e&t. 3t is made out o& ood, and can on'y be used ith my speci&ic 'ens, camera, and &oca' 'ength. #he tutoria' 3 used can be &ound here" 2o to bui'd a panoramic tripod head. #his is probab'y the most easiest, +uic!est design. Must ma!e sure that hen you bui'd it, the $Side$ arm is 'ong enough &or your camera to be pointed comp'ete'y up, enab'ing you to ta!e proper Venith shots. #he &irst time 3 made mine, the side arm as too short, and 3 cou'dn$t ta!e a proper Eenith shot. #he nadir shots on$t be idea' ith this pano.head, but it is 'i!e that ith any panoramic head. You can$t ma!e the tripod invisib'e, &or pete$s sa!e. #here are other panoramic heads here you can adFust the pano.head &or any 'ens;camera combination, but 3 cou'dn$t &ind any use&u' %3Y tutoria's o& these on'ineR it ou'd probab'y be better Fust to buy one. 3& you ant to purchase a panoramic tripod head, 3 recommend the 6oda' 6inFa. 3t a''o s you to ta!e &u'' ?@0x1A0 panoramas. Manipulatin Panora*as in Fle+ify 7optional but reco**ended85 *'exi&y 2 is an EXCE99E6# Photoshop p'ug.in. 3t is speci&ica''y designed &or manipu'ating ?@0x1A0 panoramas. 3n order to use *'exi&y proper'y, you need to stitch your images using 2ugin &irst. 8a!e sure you are stitching them in e+uirectangu'ar mode <not stereographic=. 4nce you$ve got that done, open your image in Photoshop and c'ic! on *i'ter Y *'amingpear Y *'exi&y <assuming you a'ready do n'oaded;purchased the *'exi&y p'ug.in and put it in your p'ug.ins &o'der= 6ext, se'ect the input to be E+uirectangu'ar, and the output can be anything you ant, there are 'ots o& options. 3& you ant it to 'oo! 'i!e one o& those ?@0 p'anet panoramics, se'ect Stereographic or 2yperbo'ic. #hen, set the 9atitude to .1A0, or 1A0. (nd i& you ant to adFust the &ie'd o& vie , mess around ith the *4> s'ider. Ieep in mind that i& you s'ide it #44 much one ay or the other, your image i'' 'oo! pixi'ated. You can a' ays readFust it. ('so, !eep in mind that i& you ant i& you ant this to be a s+uare image, you i'' have to resiEe it in Photoshop (Image > Image Size) be&ore you open it up in *'exi&y. 3 did not do that in this examp'e, ho ever. 5sing 2uginN*'exi&y is better than ma!ing stereographic images straight &rom 2ugin because *'exi&y has more contro' o& hat you ant your &ina' output to 'oo! 'i!e. 3t$s Fust rea''y nice to use and 3 high'y recommend it.

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(s you have probab'y noticed, there are 'ots o& output options in *'exi&y. ( 'ot o& them are -cut outsU <the image isn$t proFected to &i'' an entire standard rectangu'ar &rame=. 2ere is a 'ist o& ones that %4 &i'' up the entire &rame.

0ecti'inear 2yperbo'ic Stereographic Cy'indrica' 1etch <this is very ide= S+uare S oop 4cu'us <(pparent'y this is 'i!e Stereographic, but the distortion is near the center instead o& the edges= #riptych #etrapytch Shi&t 9ens 8ercator <you can ma!e 'itt'e 'umps= #etra #i'e 2yperdoub'e <# o ?@0$s side by side morphed into each other)= 2ypertrip'e 8ercator Cross 8ercator star B >ie s, 12 >ie s, 2B >ie s, @0 >ie s, H2 >ie s E+ui #a'' Semistereo S+uocu'us un*ish 9agrange P'us Stereo # ice <this is 'i!e t o mirrored Stereographics merged together= Stereo #hrice E+ua'.(rea Cy'inder E+ua' S+uarea < ho comes up ith these names, any ayQ= S+uare *ish 1 S+uare *ish 2

3$ve made some examp'es o& these di&&erent types so you can see hat they 'oo! 'i!e" http";;v'ue.deviantart.com;ga''ery;ZPanoramics

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Pseudo Planets
#here is sti'' one more thing 3 anted to inc'ude" Pseudo ?@0x1A0 P'anets. #hese aren$t the rea' dea', but they are easier and &aster to create. #he reason hy they -aren$t the rea' dea'/ is because the origina' image you are ma!ing the p'anet &rom is not a compete ?@0x1A0 e+uirectangu'ar panorama. 5sua''y it is on'y panorama made up o& say, C.10 images... sometimes on'y 1 image. You i'' see a 'ot o& distortion around the edges and near the center o& your p'anet hen using this method, hich is hy 3 consider this to be the alternative ay. #he advantage o& pseudo p'anets over rea' ?@0x1A0$s is that you don$t need any panoramic tripod heads, 2ugin, 40 *'exi&y. ('' you need is Photoshop and you are set to go) 8y tutoria' is be'o , but you can a'so read b'og post hich has i''ustrations. !tep 25 Either ta!e a sing'e ro ?@0 degree panorama, or ta!e a sing'e picture. 3t rea''y doesn$t matter. 3& you can a &u'' ?@0, the image i'' rap around seam'ess'y. 3& you ta!e a sing'e picture, you i'' have to improvise a 'itt'e and either mirror the image horiEonta''y or use the c'one stamp too' to ma!e it rap around seam'ess'y. 8a!e sure to straighten the horiEon as much as possib'e. You can go to *i'ter Y 4ther Y 4&&set, and then o&&set the image horiEonta''y a bit to chec! to see ho it i'' 'oo! rapped around. 3 suggest o&&setting the image and then use the c'one stamp too' ith a big, so&t brush, and then Fust (9#NC'ic! about an inch a ay &rom the harsh 'ine you see, then simp'y dra over the 'ine to b'end it out and get rid o& it. !tep :5 4nce you have your image 'oaded into Photoshop and it is straightened out, hether it be a sing'e ro ?@0 pano, or a sing'e picture [ change the aspect ratio to 1"1. You can do this by going to Image > d!ustments > Image Size. 5nchec! -Constrain Proportions/ and change the dimensions to a 1"1 ratio <examp'e &i'e" change J000x?000 into ?000x?000 pixe's=. !tep .5 #urn the image upside by going to Image > Image Rotation > "#$. !tep ;5 (pp'y the &i'ter" Filter > %istort > &olar 'oordinates. Se'ect 0ectangu'ar to Po'ar and c'ic! 4I. #here you go) 2ere is your pseudo p'anet. 9ote5 3& you don$t rotate the image 1A0 degrees be&ore you app'y the &i'ter, it i'' be a tunne';tube, not a p'anet.

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#nfrared Photo raphy

#hese are in&rared imagesR pictures ith recorded 'ight beyond the visib'e spectrum. You can ta!e in&rared photos by using an in&rared &i'ter that scre s on the &ront o& the 'ens, or you can convert your camera to ta!e 30 photos permanent'y.

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'hy Take #nfrared 7#<8 Photos( 3n&rared photography dar!ens c'ear b'ue s!ies a 'ot, but 'eaves the individua' c'ouds very bright. 3n&rared photography 'eaves &o'iage <grass, p'ants, 'eaves= 'oo!ing bright hite. 3t a''o s you to ta!e photos ith 'onger shutter speeds, and gives your photos an a esome 'oo! in genera'.
6i!on %C0. 3S4 200, 1;2 second, &B.A. #his camera is very sensitive to 30 'ight "=

"an *y ca*era take #< photos( 4'der 6i!on cameras, 'i!e the 6i!on %C0, %H0 and %100 or! very e'' ith the 2oya 0.H2 3n&rared *i'ter . 2o ever, a 'ot o& ne er cameras no have a &i'ter 'ocated direct'y in &ront o& the camera$s sensor that b'oc!s out most 30 'ight. 3n order to &ind out i& your %S90 can ta!e in&rared photos, &ind a remote contro' that goes to your #> or something simi'ar, then ta!e a 1 second exposure. %uring that exposure, c'ic! the po er button on your remote, pointing it to ards the camera 'ens. 1hen you 'oo! at the picture on the 9C% previe screen, you shou'd see a 'ight coming &rom the &ront o& the remote. 3& the #> remote 'ight is bright, your camera is e'' suited &or in&rared photography. 3& the #> remote 'ight 'oo!s very dim, you can sti'' do 30 photography to a degree but the exposure time i'' have to be 'onger hen using an 30 &i'ter and your photo i'' have 'ess contrast. #ry doing this test ith di&&erent 'enses as e''R some are better &or 30 photography than others. Some 'enses don$t or! that great ith 30 &i'ters and create hotspots. 3 myse'& haven$t had any prob'ems ith UhotspotsU in any o& my photos be&ore. 3$m using the 6i!on 1A.CCmm 'ens that came ith my %C0. 3& you don$t see hard'y an(thing coming &rom your remote, you on$t be ab'e to ta!e in&rared photos ith your camera using an 30 &i'ter. You can, ho ever, get the 30 b'oc!ing &i'ter removed &rom the &ront o& your camera$s sensor by 9i&ePixe'. Conversion costs around WH0.WC00. (&ter modi&ication, the shutter speed times i'' be norma', as i'' &ocusing. Pretty coo' huhQ 9i&ePixe' a'so o&&ers a super co'or in&rared conversion that ma!es your photos even more spectacu'ar than using the 2oya 0H2 &i'ter a'one. 3& your camera passed the #> 0emote #est, then you can go the cheap route and start ta!ing in&rared pictures ith the 2oya 0.H2 3n&rared *i'ter . 8ine as WCB &or a C2mm siEed &i'ter, but apparent'y they have come do n in price. 2ere is a 'ist o& cameras and 'enses that are good &or 30" Good;7ad 3n&rared 9enses 9ist Good;7ad 3n&rared Camera 9ist

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Takin #nfrared Photos Usin the 6oya <=: Filter5 1hen you get your &i'ter, you i'' notice it 'oo!s a'most b'ac!. 7ecause the &i'ter is so dar!, you i'' need to &ocus your scene be&ore putting the &i'ter on. 4nce you have your scene in &ocus, scre your &i'ter on, and then s itch to manua' &ocus. You C(6 use auto&ocus ith the &i'ter on, but you have to be in broad sun'ight &or this to or! and it isn$t a' ays accurate....

9enses &ocus di&&erent'y hen using an in&rared &i'ter. 3& you ant technica''y sharper resu'ts, you can rotate your &ocus ring about 1 mi''imeter a ay &rom the in&inite symbo' <depending on your 'ens=. Some 'enses i'' have an in&rared symbo' on the 'ens itse'&, hich is use&u'. 5se that mar! i& it does. 3& it doesn$t though, you$'' have to p'ay a 'itt'e guess.and.chec! game to &ind the in&rared &ocusing spot. You C(6 use the camera$s auto&ocus, it i'' Fust be s'ight'y out o& &ocus <3$ve ta!en many photos 'i!e this any ay.= #ry a &e test shots using the auto&ocus, you may &ind it acceptab'e. ('so try using higher * numbers to increase the depth o& &ie'd, hich might he'p a 'itt'e bit. You a'so C(6 ta!e in&rared pictures ithout using a tripod, but it is not recommended. You i'' need to use high 3S4 numbers, and 'o * numbers, and those usua''y are not good &or 'andscapes. Must avoid a'' o& that mess by using a tripod. Your photographs i'' 'oo! a 'ot more pro&essiona'. 6o , i& you haven$t noticed by no , the 2oya 0H2 &i'ter is %(0I. #his i'' substantia''y increase shutter.speeds. 3& you need shorter shutter speeds, you can raise the 3S4 number and 'o er the * number. 3 usua''y don$t do much o& that myse'&, though. 3& your photos are coming out too dar!, Fust bump up the E> unti' you are satis&ied. #he shutter speeds i'' be +uite 'ong hen using the 30 &i'ter <depending on ho sensitive your camera is to 30=.

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!ettin The 'hite Balance for #nfrared Photo raphy5 (&ter ta!ing some photographs ith your &i'ter, you may have rea'iEed that your pictures are comp'ete'y 0E%. 3n order to &ix this, Fust meter and set the 1hite 7a'ance ith your &i'ter on. Goog'e U2o to set hite ba'ance ith \Y450 C(8E0( 84%E9]U &or instructions, i& you don$t !no ho to do this a'ready.

6owe%er, some cameras cannot set extreme in&rared hite ba'ances in.camera and your photos i'' come out ith eird red and purp'e co'ors no matter hat. 3& you &ind that this is the case &or you, set your hite ba'ance to the coo'est co'or temperature avai'ab'e <2C00I or 'o er i& you can manua''y have a numerica' hite ba'ance, or 3ncandescent;#ungsten i& you can$t set a numerica' va'ue=. #hen &ix the co'or 'ater in post processing. #here are three ays to do this" 1. 3& you are shooting in MPEG, bring the photo into Photoshop and c'ic! Image > uto'olor) #he photo i'' then &ix itse'&. C'ic!ing (uto.Contrast <or (uto.9eve's= a'so he'ps ma!e the image more dynamic. 2. 3& you are shooting in 0(1, drag and drop the photo into Photoshop. #he 0(1 image i'' automatica''y be opened up in the (dobe Camera 0(1 dia'og box. %rag the #emperature s'ider a'' the ay to the 'e&t <2000=, and the #int s'ider to .100. 6o open your image in Photoshop <bottom right corner o& the (C0 dia'og box=. %one. 8ore in&ormation;troub'eshooting can be &ound here. .. #f you are shootin in <A' but do not ha%e Photoshop> set the 'B with a pro ra* called UF<A'. This *ethod should work with any ca*era. ,ownload UF<aw> install it> open an i*a e with it> then o into the 'hite balance tab 7it)s the first one on the left8 and select ?Auto 'B@ in the drop-down bo+. "lick the sa%e tab 7:nd to the last tab> *ake sure APEB is selected> then hit the sa%e button in the botto* ri ht corner of the window8.

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Editin #< Photos in Photoshop5 #he popu'ar 'oo! &or in&rared photography" have a b'ue s!y instead o& bro n.

3mage on the 'e&t is be&ore the red;b'ue channe' s ap, image on the right is a&ter it

3t$s +uite easy to obtain this 'oo!. 3n Photoshop, go to Image > d!ustments > 'hannel Mi*er))). 8a!e sure the U4utput channe'U is se'ected on 0ed inside o& the dropdo n box. #ype in 0 &or red, and 100 &or b'ue. 6ext, se'ect the 7'ue output channe' but se'ecting it in the drop do n box. #ype in 100 &or 0ed, and 0 &or 7'ue. You$ve Fust s apped a'' the red co'ors &or a'' the b'ue ones. *ee' &ree to experiment ith other channe' s apping variationsR 3$ve seen pin! and ye''o &o'iage be&ore "=

3& your &o'iage in your pictures 'oo! too red.ish, and you ant them pure hite 'i!e sno , you can easi'y desaturate them using Image > d!ustments > +ue,Saturation) Se'ect 0ed <('tN?= and then s'ide the saturation s'ider a'' the ay do n to .100. 3 ou'd a'so recommend dar!ening the 'eve's a 'itt'e bit. #he 2 examp'es above ere not adFusted &or that, and it 'oo!s a bit &aded.

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#< E+a*ples "hart5

Ieep in mind that this as a c'oudy day. 3& it as a pure b'ue s!y, the s!y in the 30 photos ou'd 'oo! much dar!er.

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Usin Two #nfrared Filters May Bet Better <esults5 3 have access to t o 2oya 0H2 &i'ters. 3 stac!ed them on top o& each other and used both o& them on my 'ens simu'taneous'y. #he resu'ts seem to have more co'or and depth. Peop'e seem to debate about this. 1hat do you thin!Q

#he images on the 'e&t as ta!en ith t o 30 &i'ters stac!ed on top o& each other, and the image on the right as on'y ta!en ith one. 0ed;b'ue channe' s apped as e''. 6i!on %C0

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Multiplicity Photo raphy <video here=

3n this artic'e 3$'' exp'ain ho you can easi'y c'one yourse'& ith a camera and Photoshop. Peop'e ca'' these Umu'tip'icity photographsU

U3maginationU . 3 had a &riend ta!e theseR every time 3 got into a ne position 3 to'd her to ta!e a ne shot. 3t ent by +uic! and easy. 3 rep'aced the s!y ith a more dramatic one and added birds. 3 a'so did some dodging and burning on the p'ay structure.

>ersion 1.2 | PhotoExtremist.com | Page BB

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So, here is ho you do it" Put your camera on a tripod and tighten it so it on$t move. *ocus your scene and then s itch to 8anua' &ocus so that your camera on$t constant'y be trying to re.&ocus the scene. You can shoot in any mode you ant to, but 3 ou'd advise against Shutter Priority mode and Fust ta!e the photos in &u'' 8anua' mode or (perture Priority mode. #his insures that each &rame i'' have a consistent exposure and your aperture is 'oc!ed in. (&ter everything is in &ocus and you have your shutter speed and aperture set, ta!e a picture o& the scene ith the mode' to the 'e&t o& the &rame. #hen, ta!e another picture o& the mode' c'oser to the right o& the &rame. Ieep ta!ing pictures ith the mode'$s body in di&&erent areas o& the &rame. You can get a &riend to he'p you ta!e each picture, use a remote, or use the se'& timer &eature on your camera. 3& your &riend is pushing do n the shutter button on the camera, ma!e sure they are care&u' on !eeping the camera per&ect'y in p'ace and not to accidenta''y bump into it. 6o once you have a'' your photos ta!en, you need to import them into Photoshop. C'ic! File C !cripts C Load Files into !tack.... #hen Fust se'ect your images and ait a minute &or them to compi'e. <6ote" i& your version o& Photoshop does not have the $9oad *i'es into Stac!$ option, you$re going to have to manua''y copy and paste the pictures into the same document to stac! the 'ayers on one another= 4nce it$s done you shou'd see a'' your pictures in the 9ayers indo . Se'ect the top 'ayer and c'ic! 6e 9ayer 8as! <it$s 'ocated at the bottom o& the 'ayers indo =. 6ext, ta!e a b'ac! brush and brush over the person in that &rame. #he person i'' seem to be erased, but to un.erase it, hit C#09N3, <cmdN3 i& you are on a 8ac=. You can no see the person in the &irst &rame, as e'' as the one in the second &rame) 8a!e a 'ayer mas! 'i!e that &or a'' the &rames and then youDre done) You can a'so do this ith obFects and anima's, and s!ateboarders, etc.

#his image as very easy to create because none o& the peop'e ere over'apping each other. #his made it very easy to mas! the mode' ithout tedious'y going into &ine detai'

3& you ou'd 'i!e to see some spectacu'ar examp'es using this photography techni+ue, ta!e a 'oo! at the 20 Stunning Examp'es o& 8u'tip'icity Photography.

>ersion 1.2 | PhotoExtremist.com | Page B@

#han! you &or reading my &ree eboo!, 3 hope that it has given you some great ideas that you can imp'ement in your photographs.

3& you have +uestions, You can connect ith me on the &o''o ing sites" PhotoExtremist.com You#ube # itter *'ic!r *aceboo! %eviant(0#

#f you en4oyed this ebook> you *ay be interested in *y Trick Photo raphy and !pecial Effects ebook. #t is basically a super %ersion of the ebook you are readin ri ht now. #t has o%er 230 pa es and o%er ;00 photo raphs. All the infor*ation that is in this ebook has been updated and re%ised> plus # ha%e added tons of *ore tricks. Take a look at TrickPhoto raphyBook.co*

Copyright 2010 PhotoExtremist.com | Page BH

#n addition to *y Trick Photo raphy and !pecial Effects ebook> #)%e found these to be useful as well.

Photo raphic A*use*ents by 'alter E. 'oodbury

#his is a &ree on'ine eboo! avai'ab'e on boo!s.goog'e.com. 3t is an o'd boo! <bac! in the &i'm days, be&ore Photoshop= but has tons o& tric! photography examp'es and is probab'y the best resource on tric! photography. #here is even an entire *'ic!r group dedicated to this boo!.

9i ht Photo raphy D Li ht Paintin by Brent Pearson

#his is the one and on'y eboo! on not on'y capturing night images, but a'so ho to paint them ith 'ight.

,i ital Photo raphy Book by !cott Eelby

#his three part series is great &or beginners. 3t ta'!s about things 'i!e getting tac!.sharp images, composition, tripods and other gear, ho to use 'ighting, o&&.camera &'ash etc.

('' the best) . Evan

>ersion 1.2 | PhotoExtremist.com | Page BA