136
IMAGE: STOCKBYTE
1
Simply moving them closer
together so that they overlap
helps to establish a link between them.
By flipping the girl horizontally, both
figures are now angled towards the
center of the image.
5
Now the tables have been turned.
It’s the daughter who is in the
dominant position, while the father
remains distanced from her: like most
parents, he’s now concerned that she’s
moving away from him.
C
OMBINING TWO PEOPLE IN A MONTAGE ENTAILS
more than just placing them on the same background.
You’ve got to work out the relationship between them, and
position them to tell the story in the best way. The image above
shows, let’s say, a father and daughter. They may share the same
space but the reader gets no hint of how they might interact; by
varying their position we can make their relationship clear.
Relative values: interaction
5
Composing the scene
137
HOT TIP
Varying the size
of characters
within a montage
always places
the front figure
in the dominant
position. The
problem comes
when you want
the two to engage
with each other: in
cases such as this,
the interactive
work has to be
done by the rear
figure to prevent
the one at the front
from glancing
nervously over his
or her shoulder.
2
A simple additional device such
as the hand on her shoulder puts
the father in a more protective role. His
body language is one of pride with,
perhaps, a hint of restraint.
3
Bringing the father to the front still
establishes his protectiveness, but
now there’s a sense that the safeguard
is needed: he’s shielding her from the
viewer, while she is content to take
refuge behind him.
4
By moving her towards the back
we create an emotional as well
as physical distance between them.
Flipping her so that her shoulders point
away from his accentuates the disparity:
she now resents his control.
6
When we tuck the father behind
the daughter, we strengthen the
sense of her supremacy over him. In
the previous example, she was merely
moving away; now she’s beginning to
eclipse him.
7
Flipping the father horizontally
makes him face away from
his daughter metaphorically. His
understanding of her is less than in the
last example, but her pose shows she’s
prepared to turn back to him.
8
Flipping the daughter alters her
body language as well: the two
figures are now opposed, their shoulders
pointing in different directions as she
now turns her back on him absolutely.
How to Cheat in Photoshop CC
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