Experimental Portraits

Lesson 27 of 30

Sue Photoshops Eva

 

Experimental Portraits

Lesson 27 of 30

Sue Photoshops Eva

 

Lesson Info

Sue Photoshops Eva

I photographed this bates needs at the top of this carriage and then put it in and then this is the image that I was extending the background because I just saw this image in this little vintage dress and I thought straight away I just want to make this really illustrative and what I do here is first of all I set the tone and if it's going to be a vintage image I wanted to be darker I wanted to be really sort of a little bit more than you know what I'm saying and then I go to my alien skin and I choosed first I choose the tone off the image before I start working it now even doesn't need any retouching she doesn't need you know her eyes from it fixed or anything like that she's perfect and s o really I just want to find this beautiful time so I go through my alien skin until I find a tone that matches the mood of the image that I want to now that's too bright it's beautiful and I like the tone I definitely want to be warm because I wanted to look like a vintage painting and at the mome...

nt um I'm sitting around here oh I love this and then I decide before I get out of any skin whether I want to add any takes years but right now I'm not going teo so straight away I'm just taking down and to hear let's wait for that okay, so decent rated a little bit and it's starting to look a little bit old and I'm just kind of flatness because I like it now this is how I used the burn in the dodge technique on a human or on a face to make it look a little bit painted you gotta be really careful here because it's gonna go really quickly I go to my bent all I make it nice and small and I literally draw where all of the dockers I flick them burn on her eyelashes I do it on the crease of her eye I do it on the inside of her eye and as you can see slowly slowly she just starts to look a little bit painted but it's not to paint it all I'm doing because I'm not adding paint I'm burning in what is already here so if it's not the car boon it in so technically it's the easiest wave it's like paint by numbers you're painting when is already there? You're just exaggerating the dodge in the burn and then if you hold your all buttoned down attends into dodge without changing the tool so you can go burn than dodge bend then dodge then dodge then then then dodge then then then dodge van, then dodge dodge bear them when and where you go and you're doing an anti higher here and you're just illustrating the dark and the light and before you know it just that's taking this incredible life yes I do the nostril I do the lips I do this but here I get a dodge and I got this and I draw up too much and I draw the highlight here and I tap along here I even put a highlight where there is highlight I put the highlight down who knows? I put it there like I can draw anywhere I want and with my dodger boone and all of a sudden I started get this really light painted lee look but it looks entirely riel because it's not paint I'm not adding color I'm just doing my dodge and bin and you could do it at thirty percent flow you can sorry exposure you could do it at forty percent but if you just hold your old button down I'm on then dodge bin bin dodge ben and I could just keep flicking like there tonight if you look at my way campaign I'm flicking long drawing strokes just like drawing shading but this is something everybody can do not have to be an illustrator you do not have to be an artist, you can be entirely paint by numbers you're just simply getting a flick a flow of the brush and just working your way through and it looks magnificent you can do it on clothes, you can go like this, you can go burn this itch, I can't dodge that lip been this age dodge that lived, and then you putting in dark and light, dark and light, dark and light, dark and light before you know it, everything is just jumping out, and when you work on one concentrated area, you won't feel like you're achieving much until you go back and you look at it like that and then all of a sudden you'll see it just bounce is the dark and light start to illustrate, so we do have a question for the audience. Well, you kind of just answered it cause I was going to ask what percentage of exposure europe, but you said thirty to forty percent when you dodge and burn, you kind of bounce around in there, you know, I clone at thirty, so I kind of think to myself I clown at thirty, and so I dodge and bin it between teen and thirty that's the lightest amount I would even dodge boot and klein is between ten and thirty and then I always when I do backgrounds, I'm cloning at sixty to ninety because remember, I don't take my a pasty as her maya pay cities up, I don't take my flow up, I just take my you don't want my god, daddy, I don't take my apace city anywhere I just left my flow up instead of happening the brush because it makes it darker, more concentrated flow is opposed to a shop each in the the more concentrated flow xy makes it look darker, but you never want shop because if you put shop on an image, it's never works now I can keep going with this until she looks really painted lee and there's a couple of other cooler fix that I use as well one of them is I don't often use sharpening in my images because I, um you know, you don't like maybe just too sharp, but there's a few tools like I do have a couple of favorites from totally red actions, which have been around for a hundred years and they're pretty cool and one of that totally red actions that I use all the time it's sliced it up like a ninja um I I baby, I always have to sing that whenever I sliced it up like a ninja and I'm like stuff collaborate, you know, you get it and so basically I'm applying this now the cool thing about sliced it up like a ninja is it's a sharpening affect with a really cool highlight bounce in it so straight away her fake to watch it come in because she's already starting to look a little bit painted lee and the reason she's starting to look painted leah's we've taken her away from a normal skin tone we've started to kick the highlights up and drop that low lights back, but we're not doing it with an action I don't want it to look like hdr I don't want it to look like an action that's gone over it that looks ready and dad, you know, they're hdrs revolting, you know? I mean, it works where it's meant to, but so many people apply it to it not mean teo and and you just see it on people's faces and it's like here you know too hard too much I'd rather see this so it's, so subtle, but have a look as I go backwards, the shit that came from just using that sharpening filter so there she looks like a photograph in here she starting to look like a painting, but she's not overdone it's in theory settle very, very subtle and I want you to come and see the screen at the break so before lunch and you come and see the screen, so you're not saying this big yellow thing here because it's absolutely beautiful and I just love the subtle difference, inputting the dax into her eyes and the lights into her eyes and sue, when you're doing the dodging and burning mad, max wants to know, is it on lee on the mid tone range or ever change the range? So I don't change the range, but not once I go to her here when I go to work here, I pretty much want stand bedtime. I pretty much want to stay in mid time through this in the mid tone hits everything shadows to me don't work highlights start looking duty so it's really important that you don't overdo that and so yamatane works. Matteini always works. All right, so now, uh, I could just keep working that I'm going to keep working that but that's the technique again that you could just watch for another hour. I would do this for an awards image. I would do this for a fine out image. I would do this to create something incredibly special and painted. Lee another thing is I've been doing all of my sales in life reveals if I was going to create an image like this to sell, I would print this large it's a sixteen by twenty four how much does the sixteen twenty four cost to print that's up to your lab, I would see this away, or I would printed on our paper. And you tell me if you illustrated an image like this finance image on our paper and showed it live to a client that her mom is not gonna walk out with that there is no way no way in hell that you're not going to look at your child like they're intact and just walk out with it I mean there is something that you were going to buy and I just feel like it's so many there's so many options to compass it let's have a look how I would put a different background in with here I'm just so that you can see those options and one of the ones I think I'll use and here is throwing me some questions I'm I pin anyone in the city audience let's go back to online we do have a lot of comments that are coming in rock and robin no words can thank you enough soo you're helping to explain what I've had in my head struggling to get out and the techie needs to help that process to ride it's kind of funny mission told the red dog inn shannon who run totally rad are two of my best friends from high school through high school they're wonderful people ended up marrying each other it's it's great fan tastic you go wow I've had directions for the longest time and absolutely loved um all right so we've got shane with crystals we've got our background swat we've got lauren, so I wanted to put a background that I kind of think is different. Little look, maybe I could use one of those. You can ask me a question when I'm choosing a backdrop. Alright, well, tio basic one. Sure. What is the tablet that you use? White calm. Do you know which version which one? Um, I think there's a cheap fishing and there's a problem vision and there's this really big, amazing one that you can it's like a screen and you can touch the screen instead of, like, have a tablet. Um, revised this one is eight by twelve or thirteen, and it is the way calm it doesn't actually have. I don't remember you. Get off. There you go, it's the interest five into five. Okay. And, um, it was around the three hundred and fifty dollar matt it's. Definitely a good purchase if you want to get serious. Sorry. So I guess that that question didn't really help you. Aziz, you're taking you away from what you were trying to do. It was opening anyway. So he's, a little campus that I painted and, um, on oils. Remember I told you I was painting thought I'll just paint my own campus is, um it's not as easy as you think okay it's actually really on that I started to do that was like my move and do that again because oil paint stinks and it gets on everything and I'm one of those really textile people that has to touch everything and so I'm like is it dry it is it dry? It isn't dry yet and it just I think a prince all through and it was so annoying I just I'm never doing that again I get what I'm doing right now as I'm opening it it's quite green and I'm colored turning it so that's a good thing about painting your own backdrops or um you know getting somebody else to it's that I can pull any color I want off that so let's just imagine for one moment that I'm going to put this into eva's world the first thing I've got to do is detach aerated because I do not want it to be too bright color compared to eva because eva's pretty detect aerated now and she's looking a little bit vintage and then imagine that I want to extend this background so remember I told you you could do this you can go image campus eyes um let's say you can make a tween two inches wide and thirty four inches like that and I'm going to make the campus bigger so I just went image campus size and I made the campus here then I can do this. I mean, I can cut and make my own canvas. Um like that so just make a copy and paste free transform I can do this because it's going behind it was here but it will have a repeat, patton but it doesn't matter. I'm just showing you there is nothing out of your limits when it comes to compass it then I can go like this. I can pick it up and I can put it on here and I can decide how much of that green is going to go behind either and how much of that background can be extended and then I can look and see how far I can stretch my pixels so I can stretch them pretty far because in any have to fill the space like I can create anything there's nothing. I can't create that khun go behind here, but the whole point is that I just show you how I go back to here and remember I do it the completely I do it the completely heck way I simply lesser in my area that I want to pick out like that nice and fast mingling bang and I copy and paste it command see command the or you consider it as an action or control c control being and then I put the background and either and they're in there oh, just like that now you have to make them the same time so even has to have more contrast and the background has to have less because I want I want them to meet in the middle like that nice okay? And then all I do is make this image bigger and I start a rating back now here is one of the hardest things teo get around when you're changing backgrounds but that's what that's why the erasing tour works better for me than selecting an entire area because on the erasing till when I get close to here here I simply dropped my eraser apace ity sorry my flow down to thine percent and I can get really close to the here and feather it in without making it obvious that I'm cutting around here here you see what I mean like that and then it works and then I can go in between here here at team racine and just brings fruit. But a light in the eye starts to believe that it's in there without clear cutting the here. So so often I see artists that have clear cut people under backgrounds and they've used their property make but the clear cutting his trimmed the here and you get this fuzzy little cut around the here and you can see the separation straightaway you don't believe it, it doesn't work and as soon as that happens, I can see through your image and I no longer believe it. So when I use my erasing tool, I just keep working the image until I get it right and I can get it pretty close. I mean, you can see how fast I'm doing it. You can see my way come tablet on drawing. I'm feathering illustrating I'm working at team percent. I mean, I'm making it really feathered, you know, really simple. And if I want to, I can darken the space behind here. So I've got two choices to do that, and one of them is this. I can go to my background. I can use my, um boone until it's eighteen this try ten percent and simply a respect that highlight. Now the more I dropped back, the more dip she gets behind her and all of a sudden she starts dropping into the speck ground. And now she is in this little vintage, you know, oil backdrop and she's starting to slowly belong to it, and the more I can drop her tone and her color back into match it, the more she's gonna fit into this backdrop. So if the backdrop has more contrast and eva eva needs to have the same tone so without going teo carrying on doing my little erasing trick which is all the way around working it together. Let's pick a tone together on alien skin that matches both the background and the foreground. See if I can start bringing them to give us that that you can see how quickly he's gonna fit into this background. Questions about printing. I don't know if you want talk show about that this guy just in general, how you like where you go for your prince, how you find someone to print what you're looking for in a printer that sort of favorite fine art paper was another one. Oh, yes, my favorite find out piper is henna mu and them that mula it's, one of the hardest things to scalia's. But I worked on hassle bled for twelve years and I I posted and image the other day that I shot on the hassle bled and I misspelled hessel bled and I headed for twelve years like I looked when you look down that's his hair so glad I looked at it for twelve years and I misspelled it. Um, it's one of those words hannam, you'll hand them mule and so that is my favorite out paper there's so many great out papers there is a creative find out printer here in seattle cord I don't want to get this wrong dane creek or something like that creek anyway, oh, I've posted his links on my facebook page, it's, on my blogged, I've used him to print my awards images he's, outstanding. He he has a range of met our papers, not the watercolor papers there, two met, and they look and they, too pigmented. What you need is the flat out paper that's. Why hannah meals, that henna mule. I'm probably saying it wrong is so good you can go to a specialist, find out printed that has a good printer at home, like this guy does here, or you can go to white house custom color in australia. I used the edge they print on, find out paper, and they're really good. But all of your professional princess will be up to do, find out printing. And, yes, finance is differently based.

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

photogirl
 

This was my first Creative Live course and I thoroughly LOVED it! While contemplating purchasing the course, I was a bit weary because some of the reviewers commented on how they wished they could have seen Sue Bryce give more in depth information about one of her projects, but there is SO MUCH information that is packed into this class. I LOVE Lara Jade and her work is amazing. The enthusiasm that both instructors bring to the class, their eagerness to share their workflow and wonderful retouching methods are worth every penny and then some. Going into the class, I already was familiar with Lara's beautiful fashion photography and really wanted to know her trade secrets so for me this was everything I needed. For me, the bonus feature was getting an insight into Sue's wonderful mind and how she conceptualizes, photographs and retouches her amazing portraits! Wow, I learned so much and I HIGHLY recommend these ladies and this course. Creative Live just one more thing... please, more LARA JADE courses!!

Kristen Clapham Photography
 

SO glad I bought this one...!!! Check out Day 2 - "the gospel according to Sue Bryce" - it's absolutely awesome - if you feel like you've been in a creative rut then you've gotta own this and watch it repeatedly!!! Thanks Sue, thanks Lara, thanks Creative Live team... another GREAT workshop!!

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!