There was such a tradition that in the weekend, I talk about all sorts of unusual ways of working with images. Not boring and correction of our shooting errors. But things that I attribute to the category of art..
Today I will tell you about the not usual version of multi-exposure, but at the same time about how to have fun together with your archive.
So what is a classical multi-exposure? This is when two consecutive frames are combined with each other, forming one new one. Earlier in film times it was honest and sometimes beautiful. That is, you twice exposed one frame. Selecting the parameters so that light in the amount was enough. Agree quite difficult thing, contributing to infernal translation of the film.
Not so long ago this option appeared in digital cameras. At first she was such a copy of film. You had to select this option every time before taking a picture. The time between the first and second frame was also limited. So for example implemented in our home Canon 5dmk3. And yes, the Raw file was created.
Then went all sorts of options. On my second camera (Olympus), for example, you can select several options for overlay, take the preliminary result you will be shown on the screen before the snapshot. Further more. Some cameras can staple two of any previously shot it. And I think that this is not the limit.
It becomes clear that the ethical moment about the photographic complexity and pre-investment idea goes to the third or fourth plan. So for what to limit itself to the camera? In the end, honesty, she is not in the use of flint ax and flint. It is worth simply writing how this image was received. And what is essentially different is the work of a powerful graphics processing unit from a photoshop to discuss is not meaningful.
So now we have finally come to the very simple imposition of images, which I call multiexpositions for myself. For me it is important that these are two full-fledged frames and not some of their fragments. Plus the way of imposing should be uniform or uniform if you want.
For a long time I found for myself this option. It's giving sometimes amazing color combinations. At the same time, it allows you to link the scenes of two frames, leaving their objects untouched.
For this, I take two photographs, in which not too many fine details are desirable. I install them in two layers in Photoshop. And I choose the overlay property "difference". That's the whole treatment. This overlay works by the principle of simple subtraction of one color from another. The result is taken without a sign, so it does not matter in what order the layers will be.
Also, if you wish, you can try to reflect-rotate one of the images. This will change the relationship of objects. And you can also play a little brightness. Next, any fantasies for your taste, the main thing during the stop.
As a rule, a good result can be obtained only from good initial photos. So this is in many ways a rarity. Two good frames, which are consistent with each other both in the plot and in colors. So here you just can afford to dig in the archives and experiment.
By those few, it seems to me, I am proud of successful photographs no less than those shot in natural conditions. After all, it's important that they perform well the main function of any photo - they cause the viewer's thoughts and emotions.
The previous article about fractal processing: https://steemit.com/art/@narchuk/fractalius
