Commercial Photography: From Start to Finish

Lesson 35 of 36

Compositing Steampunk Shoot Part 2

 

Commercial Photography: From Start to Finish

Lesson 35 of 36

Compositing Steampunk Shoot Part 2

 

Lesson Info

Compositing Steampunk Shoot Part 2

For some reason it's not it's not I should be able to pick that mask up and drop it up in there but let's do this let's take a look at our overall scene here and probably what I would do is this go back here and take my black brush my brush again overlay and go a little darker because I think that red started doing somewhere things so here let's just do this on a feather it in here a little bit it has too much percentage so let's, go back slower here and I'm gonna go write like this. I'm just going to feather that in like this and then maybe come in here and just build it up a little bit more and then a member of the racing brought the eraser brush I come back with that and I'll just thin it out see what we have here thirty three k thin it out a little bit to smooth it out so I punch your basic you're punching, um kind of like air between it to solve some of the little frizz ease that I've got here, okay? And then if I want, I'm gonna show you this a little trick that was really import...

ant go to your mask no actually go to your go to your image here first, then we're gonna go free transform no no no I mean liquefy and I can actually you could see because I did on the image but I can actually move his hair in a little bit we'll show you say okay I'm gonna miss my mask it's going it's going to kind of mess it up I go back to my house on my image go back to the mask go backto liquefy and say load last mesh and then it fixes it so I can push some of those hairs in a little bit see that that kind of cleaned it up a little bit so let's go back down there overall mood of this image um does she look too big maybe a tad big so let's just now since we have her sometimes here's what ideo if I convert her to a smart object the night in razor in lower resurrect all day long but it's smart of you takes a lot of ram so what I'm gonna do here just is it is a quick thing I'm gonna make a duplicate turn it off and then just just what we're going to just take a look at her reduced so command tea and just reduce her a little bit here you may put it like that is that sell the faecal bit better probably does and then watch where addresses he weren't libre that's cloak let's see if we can move her a little bit forward right there that looks pretty good so that means I don't need that one but I might say that in case you know down the road eh decided want there remember that one little layer here take a look at that my one if that works or not in terms of distracting maybe I like that better. Okay, so let's get a little bit of shadow underneath her so let me show you how I do that because this is pretty black but you can see if you blow it up that there's no shadow under her see that no shadow so let's build a little bit of a shadow and this is gonna be easy probably easy's I get um but we're going to a blank layer shift command and and I'm gonna take a black brush um black brush at about twenty five percent somewhere around there maybe fifty percent flow and I am going to start building up oh, we could be in a soft brush yet we are start building up under this shoe here and you should start to see we're going to maybe run that built the shadow a little bit away from her boot here right here and I'm going to make it a little bigger and I will show you what I do here in a second I've also got to darkened around the boot I mean on the boot itself so let's just do this maybe I run it just a little bit now followed their target there and again can you see it yeah you see it there it's really dark on my screen here but the point is is I'm building it up now I goto the image and I can either do a burn the birds actually probably a better thing if I want you don't want to ever work on the image itself so what I would do is that would go up here and make a um a layer blank layer but well filled gray so should command just command and I'm not doing it just commit and not doing it well let's save save ass thank you so much I can tell you this out of all the teaching that I do and I've been doing this about five years the one thing I get the most nervous about his teaching photo shop so that's the challenge because it is not easy um anyone who does this will tell you so let's go here let's go to here saving the right folder creative lives jessica save it it's gonna be a big file so let it do its thing but for some reason it is not wanting to make a blank letter let's try here not making a blank letter there um well how big are your how big are your files that you ended well because we're roughly well let's take a look at the bottom here um it is they've changed the resolution of my screen here so it's kind of hard to see um it's not showing up right now it may be when it finishes here let's go documents sizes it is one point three gigs at this point but I'll get up to four gigs and then you have to save it as a big psd file um while that's saving this fifty nine percent let's darken her right I still want to make I was doing the shadows so what's going on here there it went why didn't do it before? I don't know so we can tag it to her that's fine so we got a clipping path we're going to, uh burn we're going to mid tones about fifteen percent of something let's go back to her boot and now I have to burn on the boot right from the bottom up because if you don't it looks funky and again it was really easy but I'm gonna burn on the boot right? Make sure oh you know I didn't kill gray sorry let's do that again okay we're up here we duped man fill with gray I'm talking too fast now we have a blank layer that's my dodging burn on here and we're going to tag it clip it teo to her so let's burn right along here see that now I'm burning from the bottom up and because I've clip it clipped it I can burn around outside of it it's not burning the background it's not burning the outside of the layer there on her so that's pretty good all right so that looks pretty good so let's now adjust the value of her so we're going to make a levels above the whole thing are not her by means of the and do clip clip it so now it's tied to her again and then let's bring down the value a little bit just a little bit so it looks like it maybe bring up the contrast to tad make her glow maybe bring my blacks and just a little bit right to wear that that um clip or the history graham is I don't want to do this that looks to fake so you don't always follow instagram so his graham says that's where it should be but no so we go may be right about there let's try the background the background do I have a layer adjustment levels here on the background there is this one here that's kind of overall but let's bring up the contrast a little bit match her there let's go down I still think she's too light my intuition is telling me that so I go back to here let's pull this down a little bit runway right about there let's pull the contrast off a little bit and her skin to me seems a little bit too pale I might just just burn her that down a little bit we do have burned layer already so let's goto uh burn let's go to about five percent and so let's just build a little bit of value right on her jaw line here think that helps a little bit oh look, we pushed a hole through that maybe we fixed all that what did that to cliff? Maybe you're right I don't know when I did my circle I thought it was way outside of that it did something very bizarre and I've never had that happen to me so I don't know what I did there to cause that um wait we want to be one hundred percent um we're on a mask it's not working yeah, we're things I think sometimes once you make a mistake on something, we're in an overlay see that remember I told you as happens to me a lot were an overlay and all of a sudden it's freaking out let's go outside here a little bit. We'll fix this, but something happened there when I did that and I've never I've never all the times I've done this technique, I've never seen it do that, so um it's something to explore come on trying to get this thing to show up here so we're gonna have the key go back to brush there goes so let's clean this up right quick we're gonna go around do we have any questions? S so this might be really nit picky but I'm thinking of what it would be like to walk on a beach in high heels their challenge it would be a challenge and so I'm thinking she would be sinking or it would be you know a little bit higher under boots or something when you have people standing on sand or in grass or some not hard surface do you worry about tryingto make it look like they're you know kind of waited in that surface yes let me show you how to do that I've done this a couple times I just did a campaign for workout facility and they had a beach what do you call that? Like the boot camp on the beach and we had everybody in the studio when we shot it and then I had to put him in sand so you bet that was a problem somebody fix this real quick here and that's part of selma fagan so that's a really good question good eye so how you do that let's zoom in here though is all I have to do now is take my mask take my brush and because it's so dark here it's going to be tough for me to see you see it better there but I am going tio the race tips the wrong way he race the boot into the sand a little bit here like this now because it is so dark it's really not going to show up and I mean I probably fix my my shadow now but see I just shrink her into it and then I might want to make some footsteps as she's gone in and it could be that the the waves washed in and out too and cleared it out but um let's see if I can shrink this a little bit more and then I have to go back to my mask go to my brush go to twenty percent ish on the shadow and fill that in but yeah so handprints I've gotta hand just take the handout just drop it in we feel that in a little bit here kind of hard to see on this this my screen's really dark but that's a good observation that tells me that you're thinking through on this um and then what you might want to do is take and clone a little bit of the gravel and then bring it up and then make the on the boot not so it's perfect right so it kind of bump bumps up and down so that's one thing all right we have not the saturated her at all which I really need to because um do my look but let's just do over what's wrong one overall de saturation so we go minus uh ten to twelve master read little bit they're taking out the read of her hair but I just love a little bit the saturation look and what we haven't done also is we haven't um given it a little bit of a punch with the nick so let's do that real quick you have questions here? I mean this is like I said not probably perfect background to do this in but I don't like the look of it it's just that on here it looks really light on my screen so to do to do this let's just do this let's cut for you for the sake of this overall thing oh no no no let's do this because on my screen I'm looking at it and I see the boots and the shadow can hardly I can hardly see him so if I do that wait we're still too light I do that that's probably mohr and then maybe build the low contrast for this for this er that looked better for you guys it's go big here okay doesn't like it when I do that does it look better? I still because I can already see my shadows on my screen I live nowhere I'm painting here I could really you can really see the shadows but let's do this let's take and do that one last step which is um keep in mind that to do this image in real life is about three hour process and you know, I had a little problem with hair and stuff I'd go back and do it, you know, it might take me through three times to get it right so, um I'm trying to do and what, twenty minutes? All right, so let's do this shift fault option command e gives me a snapshot we're going to apply you know what I don't want to do, though I want to make sure my levels here let's do this because I darken it really dark for you, I want to make sure that maybe I could give one of these to jessica I'll probably clean it up before we do it, but and for you guys so let's not apply that levels yet and then I'm going to do it a minute doesn't make sense, so now I go shift all command e now doesn't want to do it here we go, member I didn't make it a layer before I could do that, okay, now we're playing play nick filter nick collection the color affects pro for and we're going to let it wear defaulted last time I don't even have to think about it, so here we go click ok and it's gonna do it's little job given me little grunge look overall and I've only been doing this for about a year, so most of my images you guys know I haven't done this? I kind of did in photo shop, but I think that, uh, that nick is a good option for give it a little bit of that grunge look, so if you don't have it, um, there's, other companies that do it to topaz has got some similar looking things. Okay, now I see little dust up here, but now I go make my levels and dark in it for you guys. How's that does not want me to hit the tab. There you go. You know, for a quick selection, I mean, this's, this is, uh, the hair I had a lot of problems with, and I'd probably darken even here. It still seems too light. I just really, um, surprised at how, um, the difference here, that's what my screen is looking at right there that door. I don't know what photoshopped did but used to be that you just hit the tab and you go straight to, you know, get rid of the that's kind of what my screen is looking at what I'm doing this so you barely see the shadows down there on the bottom.

Class Description


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.

Reviews

OneMoreArtist
 

Joel Grimes reflects the true meaning of a passionate modern artist. Seamlessly blending his old school film techniques in todays ever-changing digital world with such amazing realistic results. Not only in his own body of work, but achieving the same outcome while teaching LIVE, even when things don’t always run smoothly, much like the real world. Thank you Joel for sharing your hard work and talents, your struggles, most importantly, your honest open teaching style with such detail in every segment. Much appreciate CREATIVE LIVE for keeping it real with good talent, on and off screen showcasing common humanity in us all. Indeed, a revolutionary company. Manny DaCunha.

a Creativelive Student
 

As an editorial and photographic professional it's refreshing to find new cerebral information that goes beyond simple instruction. It was motivating to see Joel, a highly respected professional who is successful in "real-life", display his thought process, points to be successful, and insights into his art. When you have been in the industry, working full time, you need those moments to relax, visualize and re-energize so you can look at projects with a renewed vision and passion. Joel and his Commercial Photography course did that and more for me. If my schedule allowed, I would certainly join Joel at one of his workshops. Only thing better than this CreativeLive would be attending live. Thank you Joel.