Editing In Photoshop® CC: Adult Portrait
When it comes to Raymond, there's really not much I wanna do with this. I wanted this to be more of a, just a piece that's so simple that tells a story without really much at all. In terms of a few little things that I was going to do, I would just remove these tattoos here from around his face. So I've got my opacity on here on the Clone tool at about 55%, and I'm going to sample just below so that the light there is the same, and kinda come up, go from above, just to kinda blend that down a bit so it looks the same. So removing that, coming down to his hand, so he's got a much larger tattoo here on his hand, and there's a few kinda ways that you can do it. You could sit, and I would take the time, to kinda come around with my Patch tool and just sort of work on each little individual line here and replacing it. And this is where I would take that time because if I was gonna create something that needed to tell that story, then this is what I would do. But this is also why, when I'm d...
oing these for clients, that I charge what it is that I charge. So you get the kinda picture there. So I would continue to do that. You can also remove that in terms of color, because that's what that is, it's color. If you go to your Brush tool here, bring your opacity down a little bit, click on the Mode and come down to Color. You can kind of use the different modes in here to remove some of those little color tones. If you use the ALT key, you can sample that color and come in and remove it. But I am changing the color, I'm not changing the density in terms of how dark that is. So I would have to come through and lighten that up as well. It's a little bit of fiddling, but this is where I'd really take that time to go through and remove as much as I possibly can with that Patch tool, and it would be perfect. In terms of the highlights here just on his forehead where the light was hitting the oil in the skin, I would soften all of that down. I would come in, remove any blemishes, and then what I would do is kinda start to work on some of those highlights and shadows. So when I'm doing that, I usually create two layers, adjustment layers, and I use curves, so I go into Curves, and what I'm gonna do is lighten that curve a lot. And I'm looking at the image all over. And then I would just title that L for lighten, and then go back to the background, turn that off, create another adjustment layer, Curves, and then I would darken, not as much because it's a relatively dark image already to start with, and then I would change the name of that to darken, D. Okay, I'm gonna invert that layer, I'm gonna go back up here to my lighten and invert that. Now I can paint on light and dark wherever I need to throughout this image. So especially in the background here, what I wanted to do was bring out some detail in the ponytail, and when I am adding light, I wanna make sure that I'm following the light that's already there. So with the ponytail, I wanna kinda come through and highlight that plait, and make sure that you, you know, I'm bringing out all of the details there. Obviously I'm trying to get through this really quickly, but just to show you that when you are, you're working with highlights and shadows, you want to work with the information that you've already got. So if I wanna highlight those little tattoos on his face here, gonna bring that up. I don't think that I would add more color to them, but because there's already a lotta color in there and I don't want this to be a colorful image, but I would definitely kinda bring a little bit more light in here to be able to see some more of that detail there, especially when it comes to the ponytail, so you can lighten that whole area. And then come in a little more closely to that and start to kind of bring and increase those highlights to define that space. You can see it's already kinda made your eye a little bit more aware that there is hair in there, and it's not getting lost in those shadows. So I love the darkness here and up here in his little face, probably bring some highlights into those shadows as well. So I am keeping an eye up here on my histogram whenever I'm doing anything as well. I can see that I haven't lost complete detail in those blacks, because that information's not hitting the end of that histogram. Okay. Then in terms of the shadows, you can come around, and I always keep the opacity quite low, but you can really start to sort of add some depth by adding to the shadows that are already there, especially around kinda hands. And this is like when I photographed my grandparents, for example, on multiple occasions I would often come around with these highlights and shadows sort of layers, and I would add a little bit more shadow to the shadowy areas, and then bring out those highlights to sort of increase that depth. So around the chin area here, and it only has to be subtle. It doesn't have to be really dramatic, like the mustache, could increase some of these shadows here under the eyes, his brows. And there's a little curve here in the chin, so I could increase that. So when we turn that off, you can start to see just the difference that you can make there in terms of bringing out some of that detail and that depth that I'm talking about. Going back to the Lighten, this is where we might sorta add a little bit more light here to the nose, add a little bit to the cheek and into the eye there. But I don't wanna make those eyes too bright because we do have a catch light, which is gonna draw your attention, but we don't wanna make it completely obvious. And then the hand, and this light and directing it here like this is gonna bring your attention obviously towards those shadows. I mean, tattoos. Shadows, what am I saying? So yeah, just that little bit of light there and those shadows are just gonna help kinda change the look and mood of that as well. Up here is where we wanna make it a bit brighter and add to those sort of more darker areas, make him stronger. Okay. All right, so in terms of that, you just continue to go around. There's one thing here, just where they join up here, I would probably just use the Clone tool and come in there and clone that out where that joins, because they're not joining anywhere else, and it's just that one little spot, and every time I zoom out, it's the first place my eye goes to in terms of the connection between the two of them. So with the Clone tool, I would come in and just remove kind of bit just there. Pretty quick. So just removing that little bit of distraction. You still wanna have that connection, but you don't want that really dark little blob down there. So yeah, I am stoked with this. I'm gonna keep it in color because I think it needs that color, it needs that mood. And I love that this blue at the front here is really kinda drawing your eye in. But it is a little too intense, so what I would do is just bring back that color just a little bit, and then I would add a little bit of contrast. One way to do that, very quickly, before I move on to the next image, is just in a new copy layer, using Curves again, so you can see I've been moving the curve, but the black slider and the white slider, they're the kinda two sliders that I move here when I'm adjusting my contrast. When I move them, though, I can't see where I'm losing detail. But if you hold the ALT key in while you move that black slider, you can see that now I can see where I'm losing detail on those blacks. So if I bring that slider in, gonna go about 10, and then you can see those highlights. I have to move it a lot with this dark image before I start to lose detail there, so I'm bringing that right back to about there, and we start to give that image just that little bit more contrast. You can add a layer mask, invert that, and paint that on wherever you want that to be. So draw a little bit more attention to the face here, and then you can bring back the opacity of that as well. So that's how I like to do the contrast.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Brainstorm and develop concepts for creative portraiture
- Turn a client's story into a unique portrait
- Design and build your own props and sets
- Take great portraits of subjects at any age
- Shoot and edit portraits with confidence
- Increase the odds of success in photography contests
- Move beyond traditional portrait photography
ABOUT KELLY'S CLASS:
Tired of the traditional, overdone portraits? Dive into creative portrait photography by turning a client's story into stunning portraits with substance. Learn how to brainstorm concepts for a unique image based on a client's story and personality. Explore options for building your own unique set and props. Working with techniques like Photoshop composting and in-camera double exposures, learn how to turn abstract ideas into portraits with meaning.
Join Kelly Brown, a nationally recognized portrait photographer that's captured several awards for her storytelling abilities, and go behind the scenes for five live portrait shoots. Create portraits that span multiple age groups, with a behind-the-scenes look at portrait photography for newborns, children, teenagers, adults, and senior citizens. From brainstorming to editing, weave a meaningful story in front of the camera.
Following the live shoots and editing, Kelly shares insight into photography contests, from the submission process to tips for wowing the judges. Learn how to prepare an image for a print or digital competition.
This isn't the beginner's class on creating a good portrait with basics like depth of field and properly lighting the subject's face -- this is the portrait photography class for photographers ready to go beyond the basics to capture their best portraits yet using creative storytelling techniques. Stop regurgitating the same tired traditional portraits you've seen hundreds of time and capture creative portrait photography that inspires.
WHO THIS CLASS IS FOR:
- Intermediate photographers looking to break out of the norm
- Professional photographers in a creative rut
- Environmental portrait photographers
Adobe Photoshop CC, Adobe Camera RAW
ABOUT YOUR INSTRUCTOR:
As one of the most awarded portrait photographers, Kelly Brown is known for her knack for capturing creative portraiture. The owner of Little Pieces Photography in Brisbane, Australia, Kelly is most known for her work in the newborn genre, though her portraiture spans all ages. With a straight-forward, easy-to-follow teaching style, she's taught newborn photography and posing classes in more than 20 countries. As the judge for international print competitions and the winner of highly reputable contests such as the WPPI Photographer of the Year, Kelly also shares insight into photo contests with her students.