Creating Your Reality with Composite Photography

Lesson 47/60 - Adjusting Skintone Colors

 

Creating Your Reality with Composite Photography

 

Lesson Info

Adjusting Skintone Colors

Let's see, do I wanna do any pre-editing here in Capture One, because we're here, otherwise I'm gonna wind up doing it in camera raw. We have a skin tone option here. I'm select these little dot things. I'm in Color Editor, Basic Advanced Skintone. I'm gonna select her skin tone here. I'm gonna say View Selected Color Range. What this means is that everything that is not within my selected color range, is gonna turn black and white. I'm gonna slide back the smoothness. And you'll see the image is getting more and more black and white. I'm gonna bring up that redness. And so you see, this dress here has a lot of skin tone in it, right, because it's a cream color, So that's kind of something that's gonna happen. But, I'm gonna see if I can just pull up the uniformity a little bit, and it's going to affect a little bit of the dress but I'm kind of okay with it. I might pull down the Saturation a little bit. If we look at her skin here, so it's not affecting her lipstick, right because her...

lipstick is quite pink. So, let's bring up the smoothness a bit 'cause I wanna catch her knuckles there. 'Cause here the tips of her fingers, that were catching the highlight, were turning black and white. That means that we're not actually impacting the actual color there, so I'm gonna bring up the smoothness until I'm catching that color. If I turn down the Uniformity. What we're catching right now is her hands are a little bit slightly different color than the rest of her face and her arms. If I pull up the Uniformity a tiny little bit, you'll see that her hands are starting to get a slightly more pleasing color. That's actually one of my favorite things about Capture One, I mean you can do this in Photoshop if you wanna do color layers and everything else, but it's something that's very very nice in Capture One that we can work with that. I turn off the View Selected Color Range, so it's on and now it's off and so everything kind of comes back to its original color. This is very nice. I'm gonna go down to Clarity, and I might just increase a little bit of the Structure, tiny little bit. It's just bringing out a little bit of detail here. If I go to My Curve, I'm just playing it here on the left hand side. Remember there was the RGB and the Luma so if you were watching yesterday, I went through the demonstration of what the difference was. I can just touch on it here quickly today. If in RGB, I go up and I go down, it plays with the saturation of the image a lot. One of the nice things that Capture One has done as we go to Luma instead, I can bring this up, and I can bring this down, and we're not having that crazy saturation problem which is really nice. I'm not interested in cranking up the brightness on this whole image, I'm just looking at maybe bringing up just a little bit of the darkness. Let's bring that back down just a touch. So that's looking pretty nice. I'm kinda likin' where that's at. I'll do the more color corrections and everything else once I get into post-production, or once I, post-production, prior to post-production, once I get into Photoshop. That's where we're sitting. I increased a little bit of structure, slightly brought up the shadows a little bit. And I evened out the skin tone on her hands using the Skintone Tool. We are going to go right click, Edit With, TIFF, 16 bit, 300 pixels per inch, Photoshop, Edit. My Photoshop's gonna load up. And so, what I'm gonna do here is I have these adjustments that I made on this image. Oops, let's go back to Capture One, right click, Copy Adjustments, and I'm gonna go down to the other image that I like here, this one. Right click, and Apply Adjustments. It's just a little bit of work that's been done. I'm going to right click this, Edit With, Photoshop. I'm gonna keep them both open just in case I decide to change my mind, 'cause I really like this first one here, but I also might wind up settling on this one, 'cause I shot it and I was like, ah that's awesome. And, it totally just hit while we were getting ready to pack up.

Class Description


With the right Photoshop know-how and studio shoot experience, you can merge fact and fiction into a reality that lives up to your imagination. Renee Robyn has made a career of turning everyday photos from her travels into eye-catching images. Robyn will teach you how to add people and other elements to your existing landscape photos using ethereal custom effects.

Join us for “Creating Your Reality with Composite Photography” and you’ll learn:

  • How to choose or set up a shoot for your background image
  • How to direct posing during a shoot, and work with directional light in studio to make your subject fit into the background image
  • How to composite your subject into your image using Photoshop

Photo compositing allows you to breathe interesting ideas into your photos. Open your hard drive, walk into your memory, and turn past experiences into fantastic new realities.

Lessons

1Class Introduction 2Why You Should Sketch Your Composite 3What to Look for in Your Background 4Posing Your Model 5Communicate with Your Team 6Elements of Compositing 7Learning from Failure & Criticism 8On-Location Safety Tips 9How to Nail the Right Perspective for Your Composite Photo 10Gauging Light & Exposure On-Location 11On-Location Posing 12Cliff Shoot Location Final Thoughts 13Tips for Culling Images 14Culling Images Q&A 15Preparing Your Image for Composite 16Composite Image Cleanup 17Adding Background Image to Composite 18The Difference Between Flow & Opacity 19Composite Sky Elements 20Using Curves to Color Match 21Adding Atmospheric Depth to Image 22Using Color Efex Pro to Manipulate Color 23Using the Liquify Tool 24Color Theory & Monitor Calibration 25Adding Smoke Layer to Image 26Selective Sharpening 27Crop Your Image 28Goal Setting for Digital Artists 29Review of Location Composite 30Understand Angle & Height for Your Base Plate Image 31Base Plate Focus Point 32Base Plate Lighting Tips 33How to Use a Stand-In for Base Plate Image 34Capture On-Location Base Plate Image 35Student Positioning Demo 36Base Plate Sketching 37On-Location Sky Capture 38What to Look for in a Base Plate Model 39Building Composite Model Lighting 40Composite Model Test Shots for Angle Matching 41Composite Model Shoot: The Art of Fabric Throwing 42Composite Model Shoot: Working with Hair 43Composite Model Shoot: Posing Techniques 44Composite Test with Final Shot 45Lighting Setup Overview 46Culling Model Shoot Images 47Adjusting Skintone Colors 48Merging Background with Model 49How to Mask Hair 50Creating a Layer Mask with the Brush Tool 51Creating Shadow Layers 52Removing Visual Distractions with Stamp Tool 53Replacing Sky with Layer Mask 54Drawing Hair Strands and Atmospheric Depth 55Creating Contrast in Your Composite 56Adding Atmospheric Elements 57Using Particle Shop 58Selective Color Adjustments 59Cropping, Sharpening, & Final Touches 60Closing Thoughts

Reviews

Dino Maez
 

i have to say, the class was AMAZING! in every way from the tricks and technique's of mastering this art form to the personalized attention given by Renee. through the class you are able to learn information that would normally take the average person years of trial and error. Renee gives you the gift of benefitting from her her experiences and what she has learned THE HARD WAY! Renee is an outstanding instructor full of passion for what she does, and with a strong desire to not only improve the art, but more importantly, pay it forward, by sharing her knowledge with others. I was fortunate enough to be able to attend the event in person, truly a once in a lifetime experience for me, the staff at creative live were THE BEST! they are helpful in every way and really made this event something special, i can't say enough about the experience i had and would highly recommend that anyone who has the opportunity to go down for a class, it will be an experience that you will never forget. but the best part of creative live is that wether you are there in person or wether you are watching from the comfort of your own home, you are involved in the class in REAL TIME, you have the ear and attention of the skilled artist giving the instruction, being there myself i can tell you that Renee was regularly given questions and comments from the viewers via the creative live staff and she would respond to them as they came, in that way you are very much apart of the class you are never left without getting that personalized attention of an amazing artist or that specific question you have answered, and even better you have the option to purchase the class and have it as a constant resource in your tool kit that you can refer back to at any point that you need a refresher or want to recall that special technique that was demonstrated. thank you thank you to renee and all the staff at creative live you have a life long member in me. and i would recomend that everyone take advantage of this valuable resource dino maez

Sheldon Carvalho
 

Awesome class. I've been following Renee for a very long time. I love her work and to finally see her work and get an image done from start to finish was quite something.. I love the way she sees things and the way she treats her work and all fellow creative. I would recommend this to everyone interested in getting into composting. Looking forward to creating and making my own art work. But it now :) Have fun creating. :)

Tristan Wilhelm
 

Very good class. I enjoyed the very friendly, approachable and quirky style Renee teaches with. I did feel, as others have said that she could get off on bunny trails and tell stories and I was glad for Creative Live's option to speed up the video. But great tips and it was extremely helpful watching it how she would do it. Thank you much Renee, and also, I'm a PC user that unites with you.