Experimental Portraits

Lesson 24 of 30

Sue Bryce Photoshops Man in Tree Continued

 

Experimental Portraits

Lesson 24 of 30

Sue Bryce Photoshops Man in Tree Continued

 

Lesson Info

Sue Bryce Photoshops Man in Tree Continued

Look at this scene you coming through here look at this teak tou coming up through his skin it's this one that's not working for me okay? So that's just not working so let's have a look I'm going to try and save it before I deleted I'm going to go to my race till at eighty I'm going to take that each down I'm going to try and blame this enter his body and oh I've got a good one here for you he is it's a little trick that I got taught when there's a stray twig or straight any element and it doesn't really belong it's not shaping very well try and make it fit before you get rid of it okay if you can't get rid of it and you think I've got to do something with this element like how can I do that? I need to make this little bit here go into his skin how do you do that? How do you make it go into a skin? You go to your bottom layer you go to your burnt all because I'm using dodge and boone paintbrush and clone to paint with you go to a tiny little brush on your burn till in your mid terms an...

d you create like a little um cut we're gonna cut a hole in his skin okay? I'm going to make a little hole for that branch to grow into I'm going to cut a little a little hole like this and if you can't do it there got tio here cut a little bit of a hole like this cut it out of something, dak create a little bit of a layer, pick it up, put it over here, put it in and then erase it back in the center so what I'm doing is I'm making a little hole for this twig and making a little hole here for the twit to grow into so the eye is crazy I believes what you're telling it and if I make a hole if I make a shadow it makes a hole in a suit a c is a hole the twig looks like it's going down into it but it's not you saw the tweet it's sitting flat so I can cut little holes like that in his body and I can reenter the twigs anywhere I want into his body now look at this let's say you're like yeah okay, I need to believe that more here's another one you go back to the section and you look through the image and you find me a hole in here you find me a real hole you want a real hole or get to know what a real one this one okay that's a whole you pick it up, you pull it on okay you spend it around until its way you like it so that it's just using free transform you can rotate you can spin it you can knock it back that way okay you can make it smaller that's where your free transforming it I'm going to make a real hole here and then I'm going to accept that what do we do? I can make it yellow, yellow, red, red so remember you can go and do that to the image so I don't have to do it to every single layer but I'm just showing you and then that there is a real hole now okay? And now I'm going to put this and said that the twigs had some way to go back into his body the eye is so used to believing what you show it that's why magicians do what they do you know the hand is faster than the eye and you just need to blend it like this until it but comes a hole in his arm and then it looks like the twig is going into it okay, so like that then from a distance straight away you can start to see the dip and then you can drop the ope a city back as much as you want and then it starts to grow into his arm now if I can't say that I'm going to ditch it because what I want is simply to have that really believable bit, they're goingto trash those two layers working on my one layer again. Yes, I am. Okay, so from here let's have a look. Let's ditch, I'm going tio team, I'm gonna race, I'm going to be in ninety percent I want to do a bigger race I'm just going to slowly start chopping away at it. I might just leave that little scar there. I'm going to leave that texture because that belongs. You can see as I'm blending and I'm using my way come tablet to being something's belong there that looks kind of veiny and growth, you know that belongs there. This does not belong here. I'm going to chop it off and if it does belong there, go back and simply join it up. Okay, so remember what I said to you? Sometimes you just climb on it instead of bringing that up, you bring this down, I bring that twig back down until it looks like it's sticking in there. Now it looks like his chest and his arm have growing together. That's the decision you make if I want to take it back. So right now I'm going to save the first layer because I want you to see that I'm going to save it is a well see how many layers I end up saving when you just delay matters because I don't want to work in laya mask okay, I do not I'm creating an illustration I want to open my next image up with a flat image in work it so I don't want any layers in my way imagine that I now go to my race tool and I bring the bicep back. Teo sorry. And I'm in the wrong lab they go that's why? I hate working and lamb ask joking ok from there I'm going to take that back. I'm gonna take this back I'm gonna if I take his bicep right back so I'm just a racing back feathering back and my erasing toe asked me any questions? What is maya pay city? What is my flow? Why am I using this? Ask I want any questions on that that actually was one of the questions was more specifically why are you changing the flow instead of the opacity I rush you only ever work on your flow, not europay today. Okay? It's, the flow the apace ity to me should always being one hundred percent you're just working on the intensity of the flow in the pressure on your way, come tablet or your mouth I'm kind of liking saying his vice here what do you think I do too? I kind of let have a look because I do like that but I think this lots of option to leave that or bring it back in what do you think she'll leave it take it I can't leave the bicep all right secondly now if I'm going to leave the bike here they need to be a shadow under the bicep because of the bicycle was on top of that whole they need to be a shadow running down here so I simply go to that layer I go to my being tall I'm making sure I'm burning I'm it's sixty percent I'm just going to run a shadow with it would be a shadow here so let's have a look I'm eating my being tall let's have a look if I take this off if there was a shadow under their their wass see this shadow this triangle that needs to be there okay so what if I do this what if I go here and I actually copy the rial shadow the real edge of his by sit and make a third layer and then I popped that up over the sea new so it's their what if I make it darker so I'm using my curves later make it darker and it's using the real skin the real shape of it so no matter what it's going to be realists not fake it's not official and then I dropped back the opacity of that so it's like a shadow and then I'm using real texture on top so I've used his own shadow again against himself anything that I can use that is really when I'm illustrating our photo shop is just magnificent because it's really that is a shadow on his arm I just went to climb there now have a look when I take that shadow off, it looks more real than the booming in and what I did was I used his own shadow I don't know how it looks at home, but what I would love is just tio come up you are the students allowed too you can come up one at a time and come and see my screen if you just walk up this way while I keep working I want you to come to see what I can see yes ooh it's what they see at home is what you see on there so it looks a little bit different because of the translation through through the camera so what they say the big prize? Yeah, so it looks different more oranges does look more orange and you can't see but if you want to come around and have look, I just come up one by one as I'm working just to sneak up and have a look I want you to see um ok, so I'm loving this whole area and uh it's working for me yeah, cool right? So you will say now that it's starting teo get that dips and more wrong all right, so just one by one come up and have a look I'll keep working all right have a look at this so at this stage now what I can do is I can take this entire layer and I can duplicate it I'm just going to try this I would never do exactly the same thing because what I'm gonna do is I could copy it and then I can collect their spin it and let's see, now I've worked this for that space, but what this cut out work somewhere else now I don't want to replicate it because it's kind of look exactly the same, but if I felt like it wasn't working in this space, I could cut it in move it because I wanted to look riel and I wanted to look really amazing so really, really important that I, you know, blend that make it work any questions you want to throw out, may I ask you kind of live in the studio audience go for it? I had a quick technical questions so I don't know what flow iss like with opacity and flow neither do I okay, but tasty works on a hundred percent float with really good on about thirty, sixty and nineteen okay, but when you're when you're doing skin, you still take me a passage down now don't you incapacitate one hundred flour three sixty ninety five background sixteen ninety four backgrounds team to city foot skin and sue just against everybody can you explain for join michelle photo why you don't work in layers and you keep flattening the image I don't know how I don't know and don't want to go I work faster than anybody I know and I was working in a portrait studio that was doing team to twenty shoots for a week we had to retouch all of them within a week and I let that my turnaround time was faster if I learned the fastest methods on warping slimming cloning, dodging, burning, cutting and pasting is all I used for my glamour work my portrait work and I'm fast I can retouch most images at one to two minutes and to me it was the most effective way in layers now I'm happy with that and in layers now there is nothing I can do now that's clone so I flattened it if that doesn't match like I can still see this is a bit white I've got two choices here I can shift color, I can clone I can start growing, I can start blending what is there with what's not and I can start making this real but what I can't d'oh is, you know, work multiple layers. I don't want to go with the show, but you can. You want a wig? Players, please work in lamma for the shadow. Did you race it to make it less? Yes. So I copied the bottom shadow and you know how I flipped it forward. That layer was there, I put it above so it goes on top off. And then I erased that each back away around and then I flattened it. Okay, so I'm ready to move on. And now. So the tree roots image that one made a big awards took me thirty six hours. It was also my first teamed, it looming, dodging, burning and shading. So there's, another big shape right here. Okay, but this small shapes don't just look at the big shape. So there's a big shape here like this and you might look at big shapes like this and go right where am I going to put that? But I actually see that triangle, okay? Because that triangle can just be something you know, I can't remember. I see this after the last one. I said let's, make this color the way we want it so you can just go control, be it has more red and has more yellow okay and then I went to my country it's ooh that was a question could you go over one more time? How your matching the color of the branches to the skin okay, so basically I go command b which is my color wheel and I'm ending I want it to be more like him which is real and yellow and I'm just matching the red and the yellow yeah it's that easy okay, so I want to look for little holes now I want to look for things that were going to give me small detail but more importantly let's look at the other images that is magnificent you so excited about that? This he is not gonna wait for me there's too much light on it. I was just trying to get anything I could from this tree at that light on my last day and sidney um big shout out to the sydney trey featuring uncreative life thank you so much. Thank you so much for letting us use your body today on philip's body. Oh, look at this. Okay? I'm seeing this and I'm seeing the torso wrapped here or the neg. Hmm? How about we need to have a tearing section because he's got his fist there? How about we look at one big six and let's be brave, be bold let's take this whole section like this and see where we can put it all right and let's make it yellow uh ridder so yellow I prefer to put it over I'm not making it black and white because this door but a green coming through and I like that I'm going to my kid's so controlling and I'm bringing down my highlight okay? And then I'm there a ll this is amazing. Okay, where am I gonna put this? I do hit the shot of his neck remember when I he put his heat up to put this around his throat? I kind of thought this would be a great throat, but right now I need to put this in so all that's looking like a peek the case is straightaway I'm seeing his picc line in here I'm just looking for khon to and anything that takes my eye that I start identifying is being riel um I go command t I used that layer there and make it smaller and all that's looking good I'm differently going to be out of put this into here and it's kind of gonna compliment this strip that's going all the way down there remember the stage I can right click and go to warp I can use my warped all to make it stretched aiken stripped it out this is how I changed body shapes this is how I did that the anorexic girl I'll show you that this afternoon I changed her whole body and made her anorexic we lost our anorexia model before the editorial shoot and unfortunately she was hospitalized and then ended up dying so we needed to do the editorial around it so we ended up getting a body sculpt out and making her anorexic I used the walk told to create the entire body which was absolutely horrific and I studied the body anorexic body and came in a time where one of my friends was currently you know, in a state of inner ricks here. So when you making these images you feel so like so much of a part of you becomes in them and you know I really feel the mood of all these images these dark images particularly and happy beautiful images to I feel the mood of those and I feel like it's some an amazing part of creating this sort of work using my racing tool I'm simply following the lines seeing if they fit in deciding with it to leave his whole arm and or not dropping this into his chiefs but watch when I make it darker how it goes backwards it starts to fit in and now what I'm going to do is start figuring out and trying to get the tree roots to grow into his arm now I have worked an entire section like this and then I got to the end of all the erasing and it hasn't worked so what do you do you just go back to look for another piece and keep going have a look at this teach you here so once I take this out how amazing does this look in here but how I'm going to make it a little bit more creepy skin like is to go to my rating tola teen percent and bring through a little bit more real skin time because whatever I put three here that's mixed now I don't just want to teach you how to make dark images this is about pretty as well so we could do this with flowers we can do this with wallpaper we can do this with butterflies we don't just have to do it with smoke and weird stuff you know we can use so many different elements but it's the same technique ok just a racing back I think something we need to consider is where is okay so his line and nipple of era and I think we should just start figuring this back and we look that's growing out of his arms so straight away you'll see what starts to grow and what doesn't belong there and just keep going until you see it and then it's like all that's fitting in a case of all I'm doing is repeating the same process and the same tools over and over and over again but what I'm doing is trying to find those lines that match and that's the hardest part I made it I made a sick way here because I've got this interesting hardline at the top, which doesn't belong this is standing to rep around his chest and I'm liking there, but I'm not feeling like this is so before I moved before I take off any more, give yourself some options command t what if I put it over this side? What if I put it over there and put it under his fist? So that's the part he's pulling off there so it's starting to look up there? What if I did that and then I've lost their hard line? Don't worry, I'm not losing this element, I can use that somewhere else, but what if I just changed tech? What if I use the line of his picks down the scene to keep the nipple ok and then use that as a vein and then come up to here don't be afraid of just moving on and if you get frustrated, get up, move, come back don't get frustrated, it's not working just say right now on china, find this peace it's not sitting in here now when I find it, I feel like it just starts to become really it's so creepy to me that it starts to wig that I start to believe the image and then I think I am this is incredible when I feel like that I'm on I'm like came on finally afraid sorry we did have a question that came in from beth and greenberg can you explain again what you mean by feathering back? I'm using the erasing tool and I'm just feathering with the erasing tool so I've got I'll show you I'm about to cut this out of the image and it's an element that I really like so I'm going to keep it I'm going to keep this top half because I'm about to erase it so I just copied the layer unless it off the but I don't want so I have exactly the same worked piece but it's just the top piece because I'm about to delete it and once I delayed it okay, now you don't have to erase the whole piece he's a little secret for you you could just put a cut through what you want to take off less through that area and go command peaks which has cut just cuts a paedo just cut bits off the element's okay, you can just cut him off, you don't need to, you know you just like get rid of it all right, so now I keep this bit because I really liked it I counted off the shoulder and now look at this break in the shoulder I'm starting to love this how about we drop the apace city down here so I can see where his sisters and I can erase back with my opacity? Um, I going to keep his fist in there? Or am I going? Teo keep my hand and let's try it in one go I'm gonna feed her up so I'm using my way come tablet, I'm feathering with my way come tablet. So when the camera I'm showed you, I'm brushing like I'm shadowing or drawing illustrating. So I'm keeping that. And then I put my apace city back up see how I'm going and I'm like a ll know now his fist is over the top. That doesn't work. Okay, so this is what you have to keep doing. So you gotta step backwards and then this time go okay? This time I'm going to keep his fist in, but I'm gonna try and find a way to make this but his fist. What was the christian in here? Yes, it does. So when you want a hardline, don't I don't use a hard brush. I just use a higher up a city because the hard brush gives you a really hard line but a higher I pay city, discuss your sharp a lime. No uh no mame and so I think that's really, really important I'm gonna leave this layer here and keep working it because you you know you can see what I'm doing so I'm just doing the same thing over and over again but I want it I'm gonna take the each of his shoulder off because I feel like that that brown suits being the each of his shoulder I'm going to slowly bring his fist forward through the air so I want you to see that, but instead of watching that I'm going to keep going with a few more layers and I'll leave a few layers that they said that you can keep watching, but you still learning something different? So from here I'm going to go to the top layer command tea and I'm going to find some way to put this now see, look for shape look for contour look for tearing and I'm going to go up to here into here or I could put it over his head I could tear down to his eye, I can go into here, I can't go on that pig I could move that around so let's say I leave that part of his chest and I tear across to there that works for may and I'm just slowly ripping that chest apart, so from here I can just start erasing this layer back and fitting that in exactly the same let's look at what else have got um don't don't don't okay from here unit but doesn't interest me too much to some hold on there that I really like and what if I got going on by the way sue? People are just loving seeing you do this life and not this the work back from what you did but showing us your thought process and speaking it to us. So and there are a few people who are like, but what if you want to un erase something later when it isn't an option anymore? Well, I've saved multiple images and I can reopen it anytime and cut and paste an original area back on if I want when you're working, when you're illustrating like this, you could end up with eighty lays on an image and working between them is so frustrating. So you've already seen me cat nine different layers, so I cut a little hole like had a shadow I can if I keep layering those I would have three hundred layers on an image when you're illustrating like this it is just and then I get confused and I'm tapping amongst them and I'm going up and down it is so annoying I just go due to flat to do flat due to flat do two flares to me it's my fastest way again optional totally on dna. Davi wants to know what you think of using different blending modes to blend the tree parts on the body or you? Are you just using what you've got there? I don't know how. So if you know how to do blending mode, then that's. Awesome. And you can watch live section from yesterday. She was, but she knows how to do that. Look at this. This is pretty cool. Wow, I love this tree. It was quite funny because this tree is outside the navy and sydney on this big navy ships there. And at the time, there was a big american marine navy ship there from over here. And I was photographing the tree. And in the background behind the tree is a sign that says, do not shoot no photographs, you know, allowed to shoot the navy or the big boats and it looked like us hiding behind the tree, photographing the navy. And then I read the sign tonight and they were looking, the security were looking at me and I started to run. Are you guilty? All right, so I I was gonna take this off so that you can see that I could just keep going I mean, how much of his chest I want to cover is entirely up to me. We're running out of time all right so I need to make sure that I could just keep working on it I'm going to keep working on it our record as much as I can I need you to tell me what I need you to tell me that you've got this teak make okay I need you to know that you can use more than just tree roots okay concrete looks incredible and can I just show you why concrete looks so amazing this image here while you're opening that sue andy peel photography was asking I think I'm seeing it all how moment right now are you using pressure sensitivity on you're welcome yes normal is that is it that is the secret the one thing I cannot do when I teach you photograph that fellow sharpe is to show you this so I get my addis my re touches whenever I trained them and I go like this when I'm cloning on doing this and then when I'm shadowing when I'm dodging and that's what you cannot say you cannot say or feel that whitney can you describe the field the swim tickles and this one is like drawing and this one is like dots yes exactly the same yeah so feather flick it it's what hell when someone's really good a trying on your skin in school and on and then I shade I go the public don't dot dr dot capricious sensitivity on away campaign moves ok it has givinit you can hear it clicking and the way I'm doing that is really important this was something that I won um a very cool award with and it was an image that was one of my least liked images not by me it is one of my most liked images but by people that see my work and I get a very mixed message about this image I either get this is the most incredible thing I've ever saying or this is the most horrific thing I've ever seen which is good because better than indifference right so I photographed this beautiful woman and she really was so amazing and I felt like this image at the time was called waiting like I feel like you know there was a there was a tv program at the time called waiting for god and I remember thinking at what time do you watch everybody new life die and then you have your family left and sometimes if you ever have that horror off losing a child you'd see a child die before you and then all of a sudden you're just kind of waiting and at the time my grandmother was in a hospital hospice and I was watching the people around here every sunday ago I worked for the people around her just not living and not having this quality of life and I saw this image so I found this corroded concrete it was a concrete mill and it was eroding and it had been sectioned off again. A disclaimer creative life do not suggest you break into any properties where do not fast because I did get chased out by the place and at the time I just bolted and it was so terrible. I'm a bit of a guilty person. I'm not regular doing stuff like that because I feel really terrible. But it was funny and I shot his match eroding concrete. But can you see how you cannot tell the difference between the concrete in his skin? Because once the concrete became part of here and these trees were eroding out of these buildings and there would be boosting out of it and it was the most beautiful thing I've ever seen and it represented decaying and life and waiting, and I just found it so beautiful I started to put tree roots in there. Then I went up and I put moss where her here wass coming out of his staff and I put a little tree up there and I actually plucked out an entire eye socket because I found a little cave in one of the things I plucked out eye socket and put the cave with her face was in two of my friends were like, you cannot do that, and I think, okay, so I took it back you know, because I'll just go right really dark and unnatural and then I have they're like remind myself that this was too dark and an ital for most people but again, I would rather you love or hate the mean different same technique cut paste dodge, then a race clone cat paste dodge burn a race clone free transformed cat paste dodge burn a race clone changed your color as soon as she changed your color, it matches the color you're putting it onto a soon as you met that I believed it becomes part of the image and before you know it, it's already belongs in there and it starts organically taking its own life and form inside your creative image that's why when you're doing flowers when you're doing butterflies when you're doing tattoos when you're doing overlays, keep working it slightly just flick keep doing it save up for awaken tablet you know I owned awaken tablet before I owned a proper computer in my business I owned away come tablet before I owned a computer I had a laptop in a way come tablet and my business was making big money and then I bought my first computer so this was more important to may to be able to illustrate with my peen was more important to me than anything else these costs around three hundred dollars there not a cheep bhai but if you push a photoshoot, sell it and work your way towards awaken tablet. It will change. The way. Illustrates sal, your work and work on photo shop. And it is really, really awesome time.

Class Description

Bring your most imaginative ideas to life with Lara Jade and Sue Bryce's dynamic workshop on illustrative portraiture. This course will stimulate your creative senses and show you how to produce magnificent conceptual fine art portraits.

Lara Jade started her own lucrative career as an international fashion photographer by doing experimental self portraits, fine art and book covers. Sue Bryce is a multi award-winning Illustrative portrait photographer who specializes in creating beautiful images that look straight out of a fashion editorial. 

Lara and Sue will break down every step of their process — everything from scouting for creative props and settings to styling and shooting your portrait. Finally, this dream team will bring all the elements together in Photoshop and show you how to polish your raw photos into pieces of art that reflect your own unique imagination.

Reviews

Susie
 

fantastic to see Lara in this; she's so natural and inspirational, and so generous with her resources. I would love to see her do another course, maybe with Felix too as I love his lighting and creativity. More, please!