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what's happening guys in last week's episode we photographed a bottle and I loved doing it but for this week's episode I wanted to do something a little more complicated so I decided let's photograph a watch and to make it even harder I thought let's do it with one light you so why am i trying to forego for what using only one light why am I making my life so difficult well today I want to tell you how all high-end advertising imagery is created it's done using a technique called compositing what we're going to do in today's episode I'm gonna move my one light around this subject and capture each individual element of this watch perfectly in the next episode we're going to composite all of those images inside a Photoshop to give us our final image so the first thing we're going to do is photograph the watch face so let's get straight to it with our first exposure of the watch face I've already come into problems I really like this image here I love it when you photographing watches and you have the light just kind of kissing a little edge of a reflection on the glass of the watch if I scroll back a few you see there that's obviously way too much it's just reflecting the whole the glass doesn't look too good but on that photo there you just get that nice little reflection at the top I love the way that looks what I don't like though is that we're losing so much of the information of the actual watch face and we're not able to see inside here onto the edge and all the markings at the top and now if I had more than one light and then I would add another light just to fill in some of that so that we still have this reflection on the glass they're just another lighter than the rest as I don't I've made a bit of a compromise and this is what we've ended up with so you can still see some of the interior but this is mainly just to get that texture here just to get that texture on the watch face which I think looks fantastic I'm going to do another photo in a minute because as you'll note when I turn on my exposure warning here you can see that loads of these areas are blown out so I'm going to do another exposure for those areas in a second but for now we're going to focus back this and what you'll see me doing now is I'm going to take multiple exposures as I turn the lens barrel and cover the whole length of the watch [Music] now I have done that I'm just going back in to capture one I took eight images there so I'm just gonna give them all color tags of orange this is just what I always do and then I'm gonna take that in to Helicon focus and just check that it's all working so if you missed that I just select all of them right-click and go edit width and we can select I'm just gonna leave it 8 bit for now keep this quick we're going to go into Helicon focus where you select it here click Edit everything's inside of capture 1 alpha so all I'm gonna do I'm gonna leave it on method B and just leave the default settings on click render and will see this little bar going through your progress you can see the little display changing as it fixed between each image I just like to do so I like to check that the stacks that I'm creating are actually working so you can hear though that we see here a little bit of a difference potentially in the exposures between shots which could have caused that some of these settlements could fix that but it doesn't know too much because it's not on the face if I just go over to here and just have a quick scroll around and check that that entire face because this isn't the only bit I actually want yeah that seems to work fine everything there is nicely InFocus you can see this from sharpness being lost up here that's just due to the glare and we can actually bring that back in Photoshop through editing but everything else is nice and sharp I think that looks perfect ok so what we'll do is we'll just save this I'll cool it face stack hit save and then that will appear back in capture one when it actually saves or you should do oh there we go okay I just took a while might be because I have Photoshop and Premiere Pro and capture one and all these other programs running at the same time but so what I then do what I was doing while that was exporting into Helicon I just quickly made a folder and what I like to do when I'm doing this sort of things you have to keep really organized so I make all the folders here inside of capture one you just click this little button here click album and then you can create folders for every single element that you photograph so this one is for the face it has the rule files that you use to create the stack and I also drag in the actual stack itself and then we're ready to move on to the next exposure as you can see the set has changed a little bit since the beginning we got that first exposure for the face and I've been working on the metal surrounding the face since then so let me just take you into capture one and show you some of those images this is the original photo that you saw the one for the face and I took another one like I said I was going to just add a little bit darker to retain some of the detail in these highlights if you look at this one I put the exposure warning on you can see they're really blown out and so I'll just lower the power a little bit adjusted the light a tiny bit and then took another exposure it's not the end of the world who've you haven't done that but I just like to keep myself as much latitude as possible inside a Photoshop and if I have blown out highlights then they're quite difficult to recover so then after having done that I took an exposure for a nice little highlight at the top here so we were now working on this chrome metal surround so there we go I took a little exposure for that and then I took another one over this side to do another one there and now let's show you what I'm working on at the moment so we started with the scrim pretty much where it was originally for the face I have a pro photo softbox up there you can probably see the d2 just in the corner frame and there is a very small one foot by one foot three inch softbox on the front of the Profoto d2 I really like that modifier it's great first still life photography and all I've done is I've moved this scrim where we started there I put the d2 with the softbox over than that side of the set facing in this direction doing the same thing that we're doing now so you see how the softbox is touching the scrim on that edge and then the light is falling off gradually down it so you can probably see here there's a hot spot there and then they're like slowly feathers away so I've done that for each angle each highlight on the front of that on that front that watch on that chrome surround so you had one on this side I then move the scrim over here had the softbox they're facing like that and now I've moved it just up over that way it's a little bit of an awkward set now because I can't really access my camera and so question is how am I going to do the the focus stack now it's a little bit difficult get to my camera I'll show you it's actually really simple to do the focus stack when you can't access the camera I just go into live view so we click this little button down here to go into live view and all we actually need is this area here we don't really need that much to be focused stacked but I'm gonna do more than is necessary so if we just zoom in and you can see I'm already focused on the air that I want but I'm just gonna go a little bit further toward us by using the focus controls here you can see it starts to go out of focus just so that I can ensure I'm definitely getting everything I need and then I'll just start using this button and capturing images so that's one and then we'll move the focus a little bit to another one and then we just repeat the process so I won't force you to watch the whole of this and we will return once if I focused at the image so there we are that is the image stacked and back in capture one and what I want to show you now is over in Photoshop while we've been doing this I've been creating a kind of rough version and there's a few reasons for doing this firstly for myself just to make sure that everything we're doing is working and also if you're working with a client obviously if you're working with a client we're doing with one light but even if you are doing with two three four lights they're still gonna want to see what's actually going on they're not going to be able to envision the final image in the same way that you will so what I do is I just very quickly either myself or an assistant will create this on set so we have our main exposure for the face there's our base exposure then we did the one here which as you can see just knocks down those highlights on the very bright areas of the face then I just use that to take this little ugly bit away here as well and then we did all of the highlights surrounding the chrome the chrome of the watch face which is what I'll be working on just now and just showing you so we have the top left one one for the top right and then one for the bottom which was the last one I just showed you I hope you guys have a good idea for how this technique actually works there are tons of more images that I need to create for this watch I need to do some for these chrome parts at the top for the brush method in areas for the crown for the strap for tons of other areas and rather than having this tutorial be like an hour and a half long I'm gonna cut it here and we're gonna return once I have all of those images to show you alright so it's been quite a while since the last part of this video these were the first five parts of the composite which I showed you since then I've created another eight exposures which total a grand total of 13 to create this image which is just a little bit ridiculous I will just show you what they are and then I'll go into Photoshop and show you what I've done so you have the brush methyl on the right side that's just here then we have on the left side there chrome at the bottom here the crowns up there we have the left side highlight that was a little bit of an annoying one to get then I redid this highlight because when I was merging them and folks from hindsight I didn't really like it and then we have the strap which obviously way too bright but I was happy to take it like this knowing I was gonna darken it down inside of Photoshop and now I took another exposure just if you keep an eye on where I'm waving my mouse on the front metal just there toggle between them I just like these little highlights that were created okay so that's how Photoshop and I'll show you what I've done so there we go now you can see quite a lot has happened so let's go through it all so the most obvious thing is I created a path just around the watch so that I could add my own background so I just use a pen tool create the path path looks like that it's very rough I would do a better one when I edit it properly then we have the background a little highlight on the background there just to make the watch pop out a little bit and then we have tons of layers these are for all of the the exposures that I've taken to composite this together so this is going left it last time now we have four highlights around the chrome metal of the watch and then we have an exposure here that was for the brush method on the right side the left side you know these are all the ones I was showing you in capture one but I'm just showing you the build up and Photoshop now the crown's they're the glossy part on that side and a little color adjustment to bring it in line with the rest then we have the strap being too bright and I darkened that down and then those some you see is called strap other places that's because for the same exposure of the strap I liked what it did to the crown and to the other areas here see it's really added some nice specular highlights really made them pop out I really like that and then we just had this little area here which as I toggle it on and off there we go alright so that's it we've photographed all the elements for watch that's all done all this left to do now is got into Photoshop and create our composite but remember that'll be in the next episode for now before you go I just wanted to run through a couple things firstly it's the takeaways that I want you to leave this tutorial with firstly it's that you don't need a lot of equipment to take these kinds of images you know yes I used an expensive strobe but I only used one strobe you could do this with any speed light really there is an advantage to using the profile head that it has ten stocks of power range but other lights have that I think cool T buff has that as well and they're not particularly expensive strobes it's not about the amount of gear that you use and we're going to cover the gear that I use in just a moment but I just wanted to say it is not about that and the next thing to take away is compositing at a technique compositing is what allows high-end photographers to create those images that you are trying to do if you don't already do compositing then you need to learn a technique and you just start doing it alright so let's take you through some of the kit I've got today it's all gonna be linked in the description below so don't worry to write it down or anything so there's a profile tidy to head like I've already mentioned it's a great head I love it but you don't have to use that one we then have the Profoto standard reflector again you could use any reflector from any brand just long as it matches your strobe and then we have a 10 degree grid on the front there and I also use a 30 degree grid as well at points and then we have the Profoto one by one foot three inch softbox lots other brands through soft boxes like this if I'm wrong and they don't then you can probably an adapter to put that one on your light but you could use a range of different soft boxes you could do strip boxes doesn't have to be that one that's it for modifiers other than that it will all screams and grip equipment so I used three different scrims opal acrylic you will have seen me use this in my last video on bottle photography I use three a one sheets really love this stuff I use it for all sorts of things but in this scenario today I just used it to kind of click as rigid you can really easily put it in lots of different places like I have done here and that's great love using that then when I needed a slightly larger screw I used the Westcott fast flag with some me 1 through 9 diffusion inside of it and then when I wanted something even bigger I use this this is a four foot by four foot trace frame and Matthews make a version this is from a company in Ireland I think but I'll link to everything down below so don't worry about that and that's it other than that it was just Griff equipment so you've got like my magic arm super clamps all that kind of stuff but really it's nothing crazy expensive the most expensive thing on the set was the d2 but that could have been replaced with tons of other lights so really the only reason you can't create these kind of images is knowledge and hopefully me creating these videos you're going to gain some of that knowledge and be able to do this yourself and so like I said if you enjoyed this video please hit the subscribe button if you want to see more from me tell me what you want to see in the comments below if you have any questions I'll be happy to answer them and yeah thanks guys I'll catch it [Music]