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.


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