Editing In Photoshop® CC: Senior Portrait
So again, opening in camera roll. That warmth is kind of perfect here. We'll just bring it back just a bit more. In terms of the exposure, if I start to darken that, I'm gonna start to darken a lot of these areas in the background here. When you think about the information in a file, you're gonna have a lot more information in those midtones and highlights than you are in those shadows. So I'm going to leave the exposure exactly where it is because I know I've got more information to play with in those midtones and highlights than I do in the shadows. So let's open that up. With this, the first thing I would probably do is give it a crop and straighten my horizon line. The horizon line is always the one thing I look at and I can tell if it's off, in other photographs as well. We're gonna go in and crop this and I'm gonna keep it at that 6 x 4, that 2:3 ratio, as a landscape. I'm gonna rotate it here to straighten that horizon up there. I can bring it across just a bit more, so I don't ...
lose that curtain, and we get rid of that V-flat in the background there. Give us a little bit of height. So, you can see Janice is now smack bang compositionally, smack bang in the middle of this image. Her head is going through the middle of those top two-thirds, which is exactly where I want it to. And all of these different elements that are in here are all bringing you back to Janice, in terms of leading lines. They're extremely important. These lines here in the front, I am gonna darken them down because they're quite contrasting and they're bringing your eye away from the subject. Everything else is going to lead us into Janice. Even the line here on this box, that line brings you to Janice. The back brings you to Janice, the curtain does, the frame does, it's on an angle. Then you've got that connection and then the line across the back here, all leads you toward Janice. The line here, coming in, that's a line that leads you toward Janice. These are things that I'm continually looking for in terms of how I place objects within a frame. This is a very busy scene. And she can get quite lost in there. So unless you are using the objects that you place to create leading lines, you are just going to lose the subject. And then how I use highlights and shadows to darken down some areas to draw more attention to those leading lines, that's always what's gonna draw you back to Janice. You'll start to see that the more you look at photographs, even paintings. I recently learnt, Ryan Schembri was showing me, how there are some paintings in art galleries that have got pinholes in the canvases, where artists would direct those lines with string to where they wanted the eye to go. It's the same thing. All of these techniques that we learn throughout our career, really allow us to take our imagery to that next level. So it's fascinating stuff. That's why I love learning, it's really incredible. Okay, so we've got our crop. In terms of darkening down that background, I'm gonna use the exact same technique here with the Multiply, but I'm gonna make sure I obviously select the information in the tones that are already there. Instead of coming from over here and across, I'm actually gonna come from this top corner and down, because I want to darken down the top of the frame and not so much this area over here. I'm just going to, and we're still at about 50%, come down and across the image. Then you can start to play a little more with where you want to darken that down. Now we're starting to see that light come through. Adding that layer mask, using a black brush, we can take it off areas that we don't want it to be on. We want information, though, in a lot of these areas. Let's reduce that a bit more. Even the flowers in the background here. The radio, the top of that desk. The books, Janice's hair and her face, bringing her out. Definitely the photo frame. So you can see the difference that makes to drawing your eye now more towards Janice. You would come around and take it off all of these different areas. It's all about building. And then what I love to do is flip an image upside down, have a look at distracting elements in that photograph, remove them. I can already see here, and you'll be able to see there, that when we zoom out, there are one, two, three, four, five, six really bright elements in there, and Janice is one of them. I'm gonna bring Janice out and darken down those other five bright areas. Still keep detail, but Janice needs to be the brightest part of this photograph. Even without over-exposing the highlights in her hair. I'm not gonna lighten her anymore, I'm gonna darken down the one, two, three, and even this, five, and these little things here in the foreground. Darkening those down to bring in that detail towards her. When it comes to the highlights in the background over here, let's have a little look at those. We'll create another copy layer. And really simply going up to your layer mode, selecting Multiply, adding a layer mask, inverting that. Now with my brush, I'm gonna keep it at about 20%. I'm gonna come in and I'm gonna start to darken down some of the highlights here in the background. I don't mind shadows, they're realistic, but it's the highlights that are drawing my eye towards that area over the frame. Because this is a darkening layer, if this is too bright, you can come in, paint over that, because I'm multiplying the information that's already there, I can darken it right down. And then the paper, don't want that to be too bright. We are almost at our time limit here, but you get the picture. In terms of how we use highlights and shadows to draw our eye in towards the subject. You can see just by removing some of the highlights there on her arms. Here in this foreground, on the book. Over here. Going really quick. I can almost feel a countdown going. Editing is something that I actually really enjoy doing when it comes to creating pieces like this. I know editing can be tough when you're doing client work and a lot of the images are quite similar. And wedding photographers, my goodness, they have to go through so many photographs, so they're always trying to find ways on how they can reduce the amount of time that they sit in front of a computer. For me, when it comes to this, I kinda get lost in that process of bringing something to life. I'm going over some of these highlights in the background. And then down and behind Janice here. You would obviously continue to reduce the size of your brush. And be very careful going around some areas. I just want to show you, very quickly, the difference of removing some of these more highlighted areas. Just removing a lot of those highlights there, we're now starting to really bring Janice to the forefront. So I would add a little bit of contrast. I'm actually going to de-saturate a lot of the tones here and add some warmth in. In terms of that de-saturation, it's just a matter of coming in and bringing back some of the color tones here. And again, using a mask and painting that on, or using a black brush and taking it off. Janice's skin, for example, that's at 100%. Maybe not that much. The colors really do make a difference. If I wanted to add some warmth coming in here, from this direction, really quickly, I'm gonna use my gradient tool. I'm gonna select one of these warmer tones. Over here. And we'll go up a little bit higher here. Let's go about 30%. Come in from this side and darken that down with that warmth. Change the mode from Multiply to Screen. Now I can reduce the opacity of this. Then I can add a layer mask and I can take it off now. Up here. Then have it coming through. Where do we have Multiply, there it is. There we go. So just by adding that little bit of warmth, and removing a lot of those highlights, if we have a look at the before image and then that image, Janice is starting to stand right out for us. Every highlight, every shadow on her jumper, every highlight, every shadow, on all of the different elements are of importance to her, I'm gonna go in and I'm gonna play with those, to really bring out that detail. I'm even gonna come into her hair, and you can see here, we've got detail in her hair. I'm gonna come in and I'm probably going to focus on some of the highlights and shadows in amongst her hair here and how it sits on top of her head. I would, with a really small brush, come in, go over the highlights, go over the shadows. Not increasing those highlights so they become overexposed or lose detail, but just so I add some dimension to the hair so it doesn't look flat. I would spend probably a week on this image alone, purely because of all the different elements that are in here that tell her story. Highlighting those shadows, working on one area at a time. So it is quite a big piece to work on, but in terms of creating an art piece that tells a story, there's so much in this photograph that you could really bring to life and create so much dimension in terms of making it look 3D on, gosh, it's gonna look incredible in print. I can't wait to actually see it.
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.