Creating perfect panoramas and 3D photos: the best ways. Volumetric images Separation of the entire scene into foreground and background

Overview of available techniques and technologies

If this leapfrog of sticks and stars just ripples in your eyes - relax. With some probability, you will see vertical sticks and stars hovering above the screen, or at least one of them (wands or stars) hovering above others. The experience of looking at "wonderful pictures" will greatly help in this matter. And if there is no experience - train. It is necessary to force the eyes to look beyond the plane (or in front of it) so that the left and right eyes “squint” and in the same perceived place they actually see different (according to their actual location in space) elements. That is, if the first column for the left eye is perceived in the same place as the second (third, etc., or vice versa) for the right, you will most likely see something that is not there. Those inclined to contemplation may notice a similar effect of unusual volume on long panel high-rise buildings or stadium seating.

The perception of three-dimensional objects is based on the fact that we have two eyes and our brain is “used” to reduce data from two “video cameras” into one picture, taking into account the fact that objects are seen from slightly different angles and therefore the pictures themselves are slightly different.

The simplest three-dimensional photograph is easy to make. Take the same picture twice, looking at the subject through the viewfinder first with your right eye and then with your left. Observe the following rules:
the subject of shooting should be located where we usually see voluminous objects (roughly speaking, small objects at a short distance, large ones at a greater distance, but you won’t see even mountains with 1 km voluminous, for example, it’s better to shoot a person from 3-5 meters),
the camera shift should be close to the distance between the eyes (but for shooting mountains, the base can be increased, only on the stereopair the mountains will be “reduced”),
your offset relative to the object must strictly correspond to the line between the pupils of your eyes when looking at the object and its finished stereo image (roughly speaking, along the horizontal, if you are standing or sitting straight, and not lying on your side).

Then take a couple of photos and place them side by side. (Like the camera shots above.) The left eye and the camera that took the left view hardly sees the focus assist lamp, but the right eye and its camera do. Also, the right view is perceived as shorter. In such distortions and details lies the stereo effect. Trained eyes without much difficulty from 2 meters will combine two shots into one and, not paying attention to side views, in the center they will see a three-dimensional Canon camera 300D. (It is better to reduce the photo above so as not to leave the monitor and look at it by placing a partition made of opaque material between the views, you can also take stereo glasses from the kit digital cameras Pentax).

This technique is widely used in various applications. For example, according to two pictures of the same mountain slope, taken with an interval of a year, and “reduced” eyes into one image, you can notice those sections of the slope that have shifted during this time, they will fall out of the “flat” image in depth or will "interfere" with the reduction of species into one.

A good overview of the effects of volumetric vision can be found on the site. In the excerpts from the book cited there, there is also a mention of such interesting way creating the illusion of volume, like a quick alternation of pictures for the left and right eyes. See what happened:

The easiest way (for the perception of viewers) to create an artificial stereo effect is to feed images to each eye separately. You can do this with the help of small glasses-television cameras, the use of pairs of polarizing filters (as in cinemas). But the technique of Anaglyphia is technologically simpler. About what it is. From an ordinary stereo pair, you need to make such a pair so that through colored glasses ( different colors filters for different eyes) each eye saw only the image intended for it. Suppose that the left picture should be visible only to the left eye and the light filter on the left eye is red (and blue-green on the right). A red light filter lets through red rays, and colors complementary to red are seen as "black". Therefore, a blue or green image will be perceived as a normal photograph. But the image “drawn in red” through the red filter will be low-contrast, invisible, because red and white are seen through the red filter as “white” and there are no “dark” details. Similarly, for the right eye with a blue or green filter, the visible image will be red, and the invisible, "painted" blue or green. In photoshop, making such images is easy. In the left picture (we look at it through a red filter), we will delete the green and blue channels so that they become “white”, that is, fill them with white paint or erase them with a white eraser. And in the right one (we consider it through a blue-green filter), we delete (replace it with white) the red channel (and through the red filter of the left eye the picture becomes invisible - everything is white in the red channel, and the other two colors do not pass through the red filter). Let's get a color pair:

Let's combine the channels into one image. To do this, you can drag the missing channels from one image to another, or overlay the image on the image with a new layer with half transparency for the top layer. Then flatten the layers and adjust the levels (contrast and brightness). If the original images were in color, the final image will also be in color. This is a real anaglyph photo.

Red, green or blue filters are optional. It is only necessary to understand that for the correct perception of an anaglyph photograph, the images for the left and right eyes must be close in contrast. If we take yellow and magenta as filters, then the stereo effect will be weak, and the image itself, which does not contain part of the blue-green spectrum, will be colored.

Therefore, it is better to choose filters "opposite" on the color wheel red-cyan, magenta-green. But you can take purple-blue. But it is better not to try combinations with yellow.

To obtain a three-dimensional effect, it is not necessary to have a stereo pair. For example, in the anaglyph photo below, the red channel is just slightly shifted to the right. If you look at it through colored glasses, then the camera will "hang" above the display or behind it, depending on how you put on the glasses (red on the left, blue on the right, or vice versa).

Even more credibility can be achieved if one of the channels is shifted the more, the farther the object in the picture is.
This is a real stereo pair.

And this is a fake anaglyph photo. Moscow 5 without shift, the teapot has a larger shift, and the bottle has a maximum shift.

Another way to divide an image into two separate ones for the left and right eyes is a raster stereophoto. Now, with some software and raster costs, you can make good stereo photographs on a raster substrate with an ordinary inkjet printer. Read more.

Now let's get back to where we started. I will deceive. If there is a stable structure in the image with some horizontal pitch, then the left and right eyes can see it in several ways. As is, or with a shift and alignment of the "nodal" points by a step (two). Moreover, if the structure is not one and there are several sets of “lattices” with a different step, then when they are combined with a shift (when another eye sees a neighboring node instead of one node for one eye), it will seem that the lattice structures are separated in depth. You can see a detailed discussion of the topic, from the same place and the picture below with crosses, stars and dots floating in space.

By slightly complicating the scheme, introducing a “continuous” pattern with some horizontal step and modulating the step for the same points of adjacent strips by the depth of the image, real 3D stereograms can also be created. They are certainly not colored.

One of the first articles in Russian on this topic. You can take a free program for creating 3D pictures. To make a three-dimensional "invisible" image, you need a pattern (the program provides it) and a depth map. Below is a biplane depth map. In older versions (Surface 3D 1.16) of the program there was a 3DModel-OpenGL module that allows you to convert skeletal models of 3D-Max (and other similar programs) into a depth map. So you can search for old versions of the program on the Internet. But for new version Surface 3D 2 depth maps will have to be done manually (the program has an editor and a set of primitives of geometric shapes and fonts).
This is a depth map. The brightness is proportional to the distance from the observer.

And this is a regular “noise” modulated by a depth map. In the new version of the program, to help beginners in “search” for a hidden image, labels (for example, two circles) can be introduced into the picture. The "correct" position of the eyes is that in which the marks are aligned. As you can see, the pattern repeats itself. This is the secret. But in neighboring bands, the “identical” points are shifted horizontally relative to each other in proportion to the brightness of the point of the real image modulating them from the depth map.

And this is a stereogram of an apple, made in the old version of the program.

Photographic techniques for conveying the depth of space in a photograph

Depth of field control

Nevertheless, our lenses have one property similar to the device of vision. This is the depth of field - the depth of the sharply depicted space. Do you think this is not so due to the fact that basically we see everything around us as sharp? Put your finger up to your nose and focus on it. The background will be blurred. Using a small depth of field, we highlight the main subject, focusing on it. At the same time, secondary characters and the background are blurred, imitating our vision mechanism.
Of course, this method does not apply to landscape photography, where all plans should be in the field of sharpness.

How to get low depth of field and beautiful bokeh:

The more open , the more blur.
Use fast lenses. For example, I most often photograph at aperture values in the range of 1.8–2.2;
The longer the focal length, the greater the blur, the more beautiful the bokeh, the more plastic the picture;
The closer to the model (larger portrait), the greater the blur;
A full sensor camera produces more blur than a crop;
To have something to blur, you do not need to put the model close to the background (near the wall, fence, tree). It is always better to spread them out into plans with different zones of sharpness. This tip applies to studio photography as well.

Very often in the studio with bright walls in the background and a lot of props it is difficult to distinguish the model. And it is worth moving it away from the background and shooting with an open aperture - and the photos look much more skillful, with an emphasis on the main thing. You also need to be able to work with the interior!

Dividing the entire scene into foreground and background

Surely everyone who has at least a small idea of composition knows that you should try to use several shots in a photograph. When shooting landscapes, everyone remembers this, but when shooting portraits, they often forget it together. But no one canceled the effect of planning as a way to convey depth.

Background - background. It must be chosen so that nothing sticks out as if from the model, it is beautifully blurred in the bokeh (of course, if this is not a landscape). Use the rules of linear, aerial and color perspective (more below). The middle plan is our model, the main subject of the shooting. It would be nice to place something else in the same plane with the model that will be in the sharpness zone (a bush, twigs with leaves or flowers on a tree). This will give an additional sense of depth and planning.

Foreground - this is what is often forgotten about in portrait photography. It helps to convey depth even better. From the foreground, you can create a kind of frame, framing the plot is an effective way to build a composition. In addition, in this way the feeling of peeping is conveyed when you want to convey the ease and naturalness of the scene.
As a foreground, you can use branches of bushes, flowers, low branches of trees. If there are none nearby, ask an assistant to hold the prepared branches in front of the camera. In the studio, you can use suitable props, flowers, peek out from behind ajar doors.

The foreground can also be just grass blurred in bokeh: just lower the shooting point and shoot while sitting or lying down. If the shooting uses flying objects (flower petals, autumn leaves, feathers, paper pages, confetti, etc.), ask the assistant to scatter them in different planes from the model so that they are both in the field of sharpness and blurry on the front and back plans. Such details effectively “introduce” the viewer into the picture, when they seem to fly out of real life into a photograph.
It happens that it is not possible to put something in the foreground immediately when shooting (for example, it does not fit into the frame). Then you can photograph a suitable branch separately and then add it using Photoshop, or use the same program to create a foreground from blanks on transparent background found on the Internet. Do not forget to blur them to varying degrees in different planes.

Landscape photography often uses a wide-angle lens to effectively capture the foreground. Objects located in front (stones, logs, a bridge, etc.) seem to pull us into the picture. Geometric distortion of a wide angle in this case is only at hand. The same technique can be used in portraits, enhancing the foreground and the “pulling” effect.

Linear perspective

This is a natural change in the image scale of diverse objects located on a plane. The closer an object is to the camera, the larger it is.

The first sign of a linear perspective is a decrease in the scale of receding objects, the second is the desire of parallel objects to converge at one point on the horizon line.
What to do to convey this most linear perspective in the frame:

choose well the background. A path that goes into the distance (straight or winding), a road, rails, a row of houses, a long corridor, pillars or columns - all this helps in conveying perspective and creating the effect of the viewer's presence in the frame;
try to place the model and the convergence of perspective lines at power points, but not at the same one;
do not arrange the lines so that they take the eye out of the frame. The gaze should follow inside the frame and wander around it;
sometimes you can use a wide-angle lens by getting closer to the model. It enhances the transfer of perspective, since in life we also look at the world from a wide angle. In this case, place the model in the middle, as geometric distortions increase towards the edges of the frame.
tonal perspective

This is a physical phenomenon, the essence of which is that light passing through a transparent medium - air, is refracted, scattered and reflected. Depending on the state of the atmosphere, its pollution and humidity, light is scattered into air layer in more or less degree. Then we see an air haze (highlighted distances). Now you understand why such aerial landscapes are obtained in the early morning or in fog, when the air is clean and humid?
To convey aerial perspective, remember that the farther the object:
the less saturated tones;
less clear outlines of shooting objects (haze);
softer contrast;
lighter details.

If you are lucky and you photographed early in the morning at dawn, then perhaps the camera will convey all these nuances. Otherwise, it can simply be taken into account during processing:

reduce background saturation;
raise the sharpness and clarity on the model (and the foreground in the landscape);
raise the contrast of nearby objects, leaving the background with no contrast;
add light spots to the background or paint fog, haze (with a white brush with low transparency in the blending mode "Screen");
darken the foreground, make a vignette.

Color

Color and volume are also closely related. Prominent (warm) colors are perceived closer, receding (cold) colors are perceived further than their present position. This phenomenon is called chromatic stereoscopy. Artists successfully use this effect to convey three-dimensional forms. Its effectiveness has been tested in the practice of painting and when working with the interior and wardrobe. Receding and protruding colors can visually distort three-dimensional space or make the plane voluminous, embossed.
Warm and cold colors located side by side help each other to sound brighter and louder. Warm becomes even warmer, and cold becomes even colder.

Using the contrast of warm and cold, you can highlight the main thing in the photo. The spatial properties are also affected by the difference in lightness and the contrast of the color spots of the object. With a high contrast, a smaller color spot becomes catchy and stands out as a figure, while a larger one is perceived as a background. Catchy and contrasting colors protrude and protrude. With low and medium contrast, gray colors are removed.

How to use color rendition to enhance the effect of volume in a photo:

think carefully in terms of color to the choice of model (hair color), background, clothes, interior items and props;

You can use light sources of different temperatures when taking photographs. In a studio, this can be cold light from a window combined with constant warm artificial light, constant sources of different color temperatures are also suitable. In the interior, you can combine natural light from a window or reflected flash light in combination with the warm light of lamps, candles, garlands in the background or foreground;

tone the photo in post-processing. There are many options: from separate toning (split-toning) of lights and shadows into warm or cold in the "semi-automatic" mode using Photoshop functions to coloring the desired objects with a brush (in the "Soft Light" mode);

pay attention not only to harmonious color schemes, but also to the amount of each color in the photo. Highlight with color the main objects and details that you want to focus on;

work with saturation correctly: saturated and pure colors are perceived closer, and less saturated colors are perceived further.

Ideally, you want the photo to use several of the above techniques. Then your photos will come to life and play, as in three-dimensional reality.

Given the increased interest in 3D photography, the production of these products can become a very profitable business. However, in order for the business to develop, it is necessary to master the technology for making such photos.

One of the most important components of any business is a product or service that will be of interest to consumers. Nowadays, people are offered so many interesting things that it is very difficult to surprise them. But still, there are unusual novelties to attract customers. An entrepreneur should choose a suitable option for himself and beat it correctly, because everything new quickly becomes ordinary.

Sometimes it is not at all necessary to take the most the latest technology. In some cases, you can use modern achievements, but in a new format. This will allow you to use already proven and successful options, but earn more on them. As a prime example of this type of business, you can take the creation of photos in 3D. Three-dimensional images in a new and interesting form will be in demand, as in our time such technologies are popular and have many fans.

How are 3D photos different from regular photos?

Modern technologies and special equipment make it possible to create interesting and high-quality photographs, which, with the help of special devices, come to life and become three-dimensional.

Such products will be in demand, since so far there are few offers in this niche, but customers are interested in such technologies. Three-dimensional photos are ordered for themselves or as a gift, they will be a good surprise for the holiday or just a decoration.

The first creation of live photos was started a few years ago by specialists from the company Dance heads. The project started working not so long ago and its followers on this moment little enough. Therefore, entrepreneurs who plan to profitably invest in interesting business, there is every chance to firmly gain a foothold in this niche.

There will be many clients, because everyone is already tired of ordinary two-dimensional images, and three-dimensional images are something new and interesting.

3D photography manufacturing technology

As for 3D photographs, the production of this product will require the master to master a certain technology. To do this, you need to be at least a confident PC user, and it is better if the businessman has a special technical education. And yet, even in the absence of special skills, they can be acquired if the entrepreneur is really interested in this process.

The procedure for creating a 3D photo begins with the fact that the client contacts the salon. The master offers him various backgrounds, which will then be used in the image. The photographer takes a picture of the client himself or uses a ready-made one if the client plans to make a surprise for a gift.

There are many options for photographic design. For children, a cartoon image can be used, men prefer cars and yachts, and women like to feel like queens. Everything depends on the wishes of the client. The photo should correspond to the chosen background and the general idea. It should be done after the client decides on the background image.

Next, you need to connect 2 images as it was originally intended. To do this, the master must have creative potential and certain skills in working with computer programs. After that, the finished image is printed on a high-quality printer.

We get a picture with a slightly blurred image. A similar procedure can be carried out independently by any person at home, if he has a special program and a good printer. But here the main secret will be a special frame. It is she who allows you to see the image in three-dimensional format. That is, it will act like 3D glasses in a movie theater. Frames are made using a special technology.

The finished product is transferred to the client, and the master receives money for this. The effect of such a photo is difficult to convey. Even on the screen of a phone or computer, it is impossible to understand how interesting three-dimensional photos really look.

Moreover, if you look at the image through a special application on your smartphone, the picture will come to life. This is a unique technology, but it exists and works well. Therefore, 3D photos are in great demand.

Additional services

In addition to the production of three-dimensional images, you can offer customers other interesting services, as well as products. For example, photographs can be used to make a three-dimensional image.

It is printed on special printer. In a few hours, you can get a finished figurine of 20 centimeters high, which will be an exact, but only a three-dimensional copy of a photograph. That is, the client can get his own figurine, which will be created on the printer.

This technology is new, but very interesting. However, it is designed only for wealthy customers. The thing is that the equipment and materials for work are very expensive, so the price of one figure will be about $ 300. But now they are in demand among a certain category of the population, as this is something original and impressive.

To work on the manufacture of three-dimensional products, including photos, you will need quality equipment and software. All this is not cheap, so the business of making 3D photos will require a lot of investment. However, all this will quickly pay off, since such products are in demand, especially among families with children who are willing to spend decent amounts on memorabilia.

Technology for making 3D photographs

3D photography technology is based on binocular vision and the ability to see the world around us with two eyes, that is, from two angles. At the same time, the received images and objects on them are displaced relative to each other, and the brain processes them and a three-dimensional picture comes out.

Stereo shooting involves shooting an object from two points, the distance between which is called the stereo base, and its value depends on the distance to the subject. For photography from two points, you can use two cameras installed in the right positions, or use only one that is available, moving it to the desired distance for a second photo. It is recommended to use a tripod, which will help prevent distortion and simplify further processing of photos. One camera is enough for the process of taking high-quality 3D photos. It is not possible to shoot only those subjects that are in motion.

After taking two photos of the same object from different angles, you need to align them and combine them into a single 3D photo. Two formats of stereo photography are used: stereopair and anaglyph. You can align photos in different graphic editors, and to merge angles, you need to acquire a special software, which will allow quality image with minimal distortion and smooth viewing angles.

To begin

Photoplasticon or Imperial Panorama

Greek stereos means "bodily", "voluminous". Surround sound is the accepted standard these days, but stereo photography (or 3D photography) remains outlandish fun for many. But in vain, because it allows you to capture reality in much the same way as a person sees it.

Traditional photography has developed a serious arsenal of technical and artistic means of conveying volume: depth of field, focal length of optics, perspective, shadow pattern and composition. The human brain can get information about space from the content of a flat picture. But ordinary photography is incapable of conveying volume directly in the way that a person perceives it.

The volume, depth of the image is a subjective thing, since we are limited by our senses. The axes of the human eyes intersect at a certain angle at the point to which our vision is directed. It turns out a pair of flat images in which there is a shift in the visible space (parallax). As a result of the fusion of these images, a three-dimensional picture appears in the mind. To perceive the volume allows the distance between two points (for example, the eyes), called the stereo base. The distance can be changed using technical means(for example, stereo binoculars or artillery rangefinder). With an increase in the stereo base, the depth of field decreases and visual acuity increases.

Stereo photography is a method of photography in which the camera has two "eyes" instead of one. It's about not necessarily about lenses. The result is important - frames on film with the necessary base shift. Stereo photography does not create a three-dimensional image in reality, but allows you to make a cunning substitution of real space for a photograph taken and prepared in a special way.

The ability of 3D photographs to convey the complex structure of the depicted object is especially valuable in "technical" genres, such as shooting architecture, natural and urban landscapes, and macro. Using stereo photography for artistic purposes provides completely new creative tools.

History of stereo photography

In 280 BC. e. Euclid first discovered that depth perception is achieved precisely because each eye sees slightly different pictures of the same object. Following him, Leonardo da Vinci described these abilities in 1584, who devoted several of his writings to the peculiarities of visual perception. The theory of stereoscopic perception was presented in scientific form by the German optician and geometer Johannes Kepler in his work Dioptrics (1611). Two years later, the Jesuit Francois d'Aguillion used the term "stereoscopy" for the first time.

Around 1600, the Italian artist Giovanni Battista della Porta painted the first stereo painting. At the beginning of the 17th century, his experience was repeated by Jacopo Chimenti da Empoli, who used the technique of paired images. A century and a half later, the Frenchman Bois-Clair (G. A. Bois-Clair) created three-dimensional images using the raster method. The Russian writer Leo Tolstoy managed to try himself in stereoscopic drawings. In the 20th century, the Spaniard Salvador Dali painted three-dimensional paintings using the needle screen method proposed by the inventor of three-dimensional cinema, the Russian émigré Alekseev. Viewing images obtained using the raster and needle methods did not require any special devices.

The discovery of stereo photography is associated with the name of Charles Wheatstone, professor at King's College London. In 1833, Wheatstone created a mirror stereoscope - an instrument that allows you to see three-dimensional picture, using a pair of original pictures with an offset. At first, the scientist used his drawings as objects. In accordance with the experiments, a scientific base was created. In 1838, Wheatstone gave a historic lecture on volumetric imaging to the Royal Society in London. The report was titled "On Some Remarkable and Hitherto Unobserved Phenomena of Binocular Vision".

Why did Wheatstone use drawings in his stereoscope rather than photographic images? The answer is simple: photography was invented by the Frenchman Daguerre only six years after Wheatstone's discovery, in 1839. The first pictures taken by the stereoscopic method, Wheatstone presented to the public only in 1851 at the World Exhibition in London.

The first camera with two lenses designed to create stereopairs was created in 1849 by the Scottish scientist David Brewster. Brewster is also the inventor of the simple stereoscope without mirrors. In 1855, the Frenchman Bernard creates the first reflex attachment for ordinary single-lens cameras, which allows you to shoot stereo pairs. A little later, the Englishman Barun improved this design.

One of the first to appreciate the potential of 3D photography was the English reporter Roger Fenton, who traveled around Russia in the 60s of the 19th century and is the author of a series of photographs dedicated to the Russian-Turkish war. In the same years, the famous French photographer Antoine Claude, who opened the London Temple of Photography in 1851, became interested in three-dimensional photography. According to Claude, a stereoscope in a cheap and compact form presents a model of everything that exists in various parts of the globe. Interestingly, it was Claude who in 1853 patented a method for obtaining stereo photographs.

In 1858, the Frenchman Joseph d'Almeida discovered an anaglyph method for creating three-dimensional images, which allowed viewing three-dimensional images using glasses with red and green lenses. This method was used to create books, postcards, comics, maps. In the 1920s, the first anaglyph films appeared, which were called plastograms.

At the beginning of the 20th century, the French physicist Jonas Lippmann discovered a method for creating images that did not require special viewing devices. Images must have special surface based on a lens grating (raster). The surface consists of microlenses, under which there are image fragments for the right and left eyes. Looking at the image from a certain angle, you can see a three-dimensional image. Photographer Maurice Bonnet first used the raster method in the 1930s to create three-dimensional portraits.

Nowadays, the method of creating raster images involves the preparation of a paper substrate on a computer, which is then printed by conventional means and supplied with a plastic screen with a lens raster. This method is used when creating pocket calendars with three-dimensional pictures or a changing image (vario effect).

Stereo photography appeared almost simultaneously with conventional photography. However, it took almost a hundred years for it to gain mass popularity. At the beginning of the 20th century, stereo photography was perceived as mass entertainment, not an art form. Amusements based on the stereoscopic effect were popular. Boxes with stereographic images, which depicted views of distant lands made by travelers, rural sketches and nude models, became widespread.

In the first half of the 20th century, interest in stereo photography was very high. The first cameras produced by Franke & Heideke were designed specifically for stereo photography: the Heidoskop (1920), which shot on sheet film, and the Rolleidoskop (1922), which used roll film (stereo pair format 6 x 13 cm). Soon Voigtlander's Stereoflektoscop (6 x 13 cm format) and Julius Richard's Verascope (45 x 107 cm format, type 127 film) are on sale.

In 1939, the American William Gruber founded the View-Master company, which a year later produced a narrow-film stereo camera. View-Master has come up with many innovative products for taking and viewing 3D photos and movies.

The advent of Kodachrome color slide film in the late 1930s high detail, as well as the growing popularity of compact narrow film cameras, contributed to the emergence in the 1940s and 50s of a large number of stereo cameras with a frame format of 24 x 23 mm (Edixa, Iloca, Kodak Stereo, Stereo-Realist) and 24 x 29 mm (Belplasca, Verascope F40). The German companies Zeiss (Contax) and Leica offer mirror adapters that allow you to take three-dimensional photographs on conventional rangefinder cameras. Note that the design with a third sighting lens or rangefinder has not undergone fundamental changes until today.

In the 1950s and 60s, there was a surge of mass interest in stereo photography. Special cameras and stereo attachments, stereoscopes for viewing images are produced. Souvenir sets are sold, consisting of paired slides depicting world attractions. Stereo cameras were used to photograph the surface of the Moon, Mars and the Sun in the American space programs.

In the future, 3D photography is sure to attract much more attention than it currently receives. Of course, it depends on the technical base, which is constantly being improved. So far, two are available simple ways creating 3D photographs.

Today you will find a lesson from which you will learn how to make 3D photo effect. Also, this effect is also called out of frame(framework, screen, etc.). Let's get started.

Step 1. Loading the original photo into a graphic editor

Step 2 With a tool "Freer selection" we circle the area that we will go beyond the border of the frame (frame, screen, etc.)

Step 3 Exclude the inner region from the selection. To do this, switch the mode "Free selection" on the "Subtract from current" and circle the inner area between the arms.

Step 4 Let's apply a little feathering to the selected area to soften the edges of the selection a bit. To do this, go to the menu "Select - Feather". Leaving the default settings, click OK.

Step 5 Add a new transparent layer and copy the current selection onto it. The layer structure is now like this:

Step 6 Now our task is to draw a frame from which our object will emerge. To do this, take the tool "Rectangular selection" and draw a view selection.

Step 7 With a tool "Perspective" modify the frame, as in the screenshot. Don't forget to change the mode of the Perspective tool to "Isolation"

Step 8 Add a new transparent layer to the very top of the layer stack and paint over it with white.

Step 9 Add another new transparent layer and place it in front of the original image. Now invert the selection ( "Select - Invert") and paint over this layer with black.

Step 10 Reversely invert the selection and return to the layer with the frame. After that, reduce the selection by 15 pixels through the menu Select - Reduce. Press "DEL" on your keyboard to delete the inner part of the selection. Remove Selection via "Select - Remove".

Step 11 With a tool "Eraser" erase the part of the frame that overlaps the object. Right here:

Optional step. Through the menu "Filters - Light and Shadow - Cast Shadow" add a shadow to the frame layer. We do not touch the filter settings. After that, go to the background layer, fix the alpha channel and paint over the current layer with white.

P.S. As you may have noticed (or maybe not), a small artifact remained on the image - a thin line (as in text lesson, as well as in the video). To remove it, you need to go to the layer with a black background. And then gently erase it with the Eraser.