I'm going to show you this picture just how I would prep it to get it over and then we'll ask you questions ready so command are opens it in raw I'm going to open the shadows highlights clarity contrast to the left um so I got my shadows highlights okay that's about I'm gonna open it up a little more a little bit on the contrast sidle a bit more to say okay, now watch when I do this okay, we're going to do the duplicate copy via copyright so we're gonna go right click new smart object via copy we're going to double click and go to black and white and here's the secret right here that's about how dark I'm going to make his skin tones and then let's go back to the main one here chattels already always the right so I can't go anymore there someone say okay and then I do my blend a moat so let's go let's go luminosity first command j gives me do book copy goto soft light then let's take the luminosity back down a little bit take this back down a little bit maybe write about there and actua...
lly you know on this screen it so much lighter let's see what that does that might be a little too much even with the on the light screen, but see how dark I get a skin and then I take out a little bit of the readiness and the yellow in the skin by doing the d saturation but that's how I worked the dark really dark skin athletes and cliff you were talking about you weren't going far enough yes sometime it didn't get that nice almost looked kind of brown and didn't really get that up so take that red or yellow slider orange slide or whatever which one picks the skin up there and really push it to the left so that's how I do that and obviously I'd knock him out the same way we just did he's got he's got dreads so that it wouldn't be too hard actually that'd be pretty easy to knock out he want that great background and then we drop him into like another scene you know like a background that would fit him old boxing gym or something but just let people know that's how I do the the athletes I do has really pushed that slider to the left so um and then one other thing I could do to us if you duplicate the um soft light one one more time is going to double the whole strength again then you're gonna taken opacity back and feather that so you can keep on going darker and darker and darker gets the way you want it so how's that is that just so I covered that so we do have um a completed image pretty much of a cliff here and so you know, like I said, I think, um maybe I could do a little more glow maybe what I could do also is burn the top a little bit so that it's not so bright at the very top bring it down a little bit in value dodging burn but pretty much I think that's that's a pretty clean image is not is, you know, been sent in here with the chains around his neck but I still think that's a good with that like say we had a harley in the background sitting there parked I think that'd be a great location so one more quick thing and I'll go on the world answer some questions when I shoot my backgrounds I try to keep my walls flush I try to do perspective down the pike and then I'll do maybe an ali forty five good degrees down so that you got your tapering on lead into nothing I don't do a wall like this terrible to me I just gotta be pretty straight that's mine thank see that window's going straight she had a lineup when I shoot flawed time's a little crooked, you know, because I'm a straighten that up in photo shop but you want to be flush to me for composition reasons and eazy e's ability of dropping someone in I really look at that now you see on here, we've got those, um, emergency stairs and stuff hanging down gotta be careful things growing in people's heads. I'm watching that as I'm shooting try to say okay to come is a too busy that were shooting because we're going to put somebody so I'm really thinking about where I'll put somebody want to shoot backgrounds. You will, you'll get better at it. Would you do it? So because we talked about this when you're on the run and you don't have so much time sometime in the location to grab things. You mean, you're not being perfect on your tribe by your I and you're not going away about your level or anything, you know? I don't you saw it was cricket whole thing was crooked look att look at if you look at my, I'm gonna show you all my bad flaws, but member back here, um let's, go over here where I had the ones picked, uh, it's, the wrong ones here. Um here I am running gun and see, this one is crooked because I'm really running down the street going pick the camera run just moving around the building and then using the cops are chasing me or somebody else I think yesterday you mentioned maybe showing us how to add texture to the background and she finally had asked if we're going to see how you make the grade background look like wallpaper okay well let's see if I could do this really quick because we've got leo here let's get rid of that layer um let's make sure that that is a good question okay weirdo flatness just and it's not perfect here I'm gonna go over here and I'm gonna pick up this texture and I'm gonna flip it so we're gonna go rotate we're going to grab it so which one am I going to this one and I watched this drop it in here so j peg it doesn't matter I have stretch it okay overlay bam now look it caused a lot of coverage on him but look at the look at the background with all the texture we're not done yet folks don't have a panic attack we're gonna add a levels and that levels were gonna clip to the background here and now we can change the overall feel a little bit here and we're not done yet right because we're gonna put a mask on the background and I'm glad they ask that question because I really wanted to do this now we take a black brush at I would say a hundred percent because we want to make sure that that he's clean and we want a soft brush maybe not perfectly soft, but enough to clean his body up here. And this is how fast this is. No knock out, right? This is just how fast I do it. And so I clean up any of the contaminant of the background on him like that is and you could have hundreds of backgrounds to choose from any texture. I shoot walls all the time. I go to cemeteries in new orleans and just shot grave for the big day. Tombstone yeah, headstones and all the you know, just texture, paint, streaks. So any background you do that too, so long as you're back? Are you a detective so long as your backgrounds around a fifty percent gray value, and so having this layer here gives me ability to kind of change the value of it to match what I want here. So glad she asked that question that was shamefully shamefully so see, cliff, how easy it is and I've done that in fact, I'll show you real quick. I'm showing a picture. I just did this while sitting in a hotel a couple nights ago. So let's go over here to know here. See, I just did that with her and her husband, his husband, her husband, whatever so easy it was that's, not a great background, really fun
Commercial photography can be a lucrative and artistically fulfilling way to earn a living as a photographer. Learn what it takes to break into the commercial market and create impressive and imaginative work from industry veteran, Joel Grimes.
If you want to attract commercial clients, your existing body of work must have a sophisticated and distinct voice. Joel will coach you through the experience of establishing your own unique voice and show you how to bring it to life through six photo shoots and their corresponding edits. Joel will demonstrate one-light fashion and concept shoots and take you back to the desk to composite and polish them. You’ll also see Joel shooting product and portrait photos using a more elaborate set-up. This course will also cover the business of bidding for commercial work, effective negotiation tactics and final delivery.
If you are ready to break into commercial photography or up your client game, you won’t want to miss this complete guide to shooting, editing and delivering commercial work.