Creative Retouching Techniques with Lindsay Adler
For fashion photography in particular, it's important to have a style, I have something that makes you stand out from the crowd, and that might be the props that you use of the models that you use, the hair and makeup, and I started to develop a style based on my retouching and the creative retouching techniques that I was using and that's clean and bold and graphic. And a lot of times it was that pale skin that I showed you in the last demonstration, and right now I use a lot of lens flare, some of it's real, some of its added imposed, I'll give you an example of that. And so, for me, what really was important was, uh, and the first example that I'm going to show you. And if you've seen me teach a class like this, this is the primary example that I use. I wanted to shoot the theme of red and my vision was a model in red, standing amongst trees and beautiful red leaves and laying out in tons of beautiful red flowers. What? The budget was zero dollars and zero zero sense there is nothin...
g, so I didn't have the money to buy tons of red roses, perhaps, or build a set or anything like that. And so I was able to express my vision because I knew what I could do in photo shop so that's what I want everyone to take away from this section not specifically how to do every tool that I talk about but instead approaching your photography in a different way because you know what you could do in post you know that you can composite things you know that can change their colors you know that you can add lands but you know that you can add texture is all those things so as you're thinking again some of these tools I'm sure will be useful for everybody and others it should just change the way you think about how you shoot and how shooting how photography and retouching worked together to express your vision it's not retouching just to make your subject look prettier it's nothing about that in this particular section so where to start with my seminal example um and then I'm going to move on to a couple new things I haven't shared with anybody some things I've done recently and then a couple other important techniques that I wanted to share. So the first basic example is that idea for that editorial that I wanted to shoot so I wanted to shoot red outfits on red leaves red flowers read anything and no money so I knew I could do this in photo shop but looking at this I feel like many people's first impression would be crap how the heck we're gonna change all those leaves to read, write and we take a lot of work but actually it takes like fifteen seconds it's very simple so it's knowing those tools you have available to you so I'm going to go down to my adjustment layers my half moon cookie and go to few saturation and so looking at this image if I change the entire hugh, I know that I can change the huge image to make those leaves red, but then I have to paint off of her. I asked to mask her outs that she's the correct color so that's a bit of a pain, so I don't want to do that so zero everything back out and instead I know basically that what I want to change is yellow so congrats to my channels and these are the different color channels have red yellow greens, all the different main color tones and I construct yellows and no really all I want to do is change yellows two reds that's pretty much it so I can grab my hugh and drag it and so those yellows or read now I'm looking here and there's something called out of gamut when a color is so saturated that it can't really display detail or color correctly it's oversaturated that's out of gaman sometimes things are out of gaming for printing, they can actually print the realistic color saturated so offensive out of government for your monitor it can actually show it so in this case it's so rich that I know I need to back off of the saturation a little bit to bring it closer and tone with her outfit maybe something around there now if I flip before and after, if you look really close, the biggest thing that I realized I need to change is that as I've described you several times before, skin films are made out of red and yellow, so when I made this change to the yellows, her skin tone changed from yellows tomorrow reds as well, so I needed and I need to just masses off, so I just switched over to my black russia's we talked about adjustment layers in their mess in the first section of today in case anyone missed it, so I need to d'oh is on tool make sure I'm on brush short come from russia's be amusing, my brackets left bracket to get smaller and I can just paint back her original skin tone and if I don't want it to be one hundred percent I can also back off maybe do something at seventy percent maybe make it a little bit more red to retch match the scene, so this was a super easy example that honestly, when I actually did it only took me, you know, maybe ten minutes to get this image exactly where I wanted it to, but let's take a look at an image that took a little bit more work actually a lot more work and it's the same shoot so had the scene um I was actually walking past the scene the other day it was a bed of dead mom's very dead lots of leaves and they're green and yellow and brown, but I knew my whole theme had to be red on red, but I knew that it wouldn't be that challenging so I can show you the original image was there. So what I want you guys to think of when you shoot when you're going out is that you have control over color theory. So does anybody know the fashion photographer david last repel david leisure pill? Ok, every if you look him up, every single shoot that he does has complete control over color theory every color in every frame is on purpose and that's when you look at his images, they have such high impact and you remember all of them because the color theory, the colors that are used have such an emotional impact on you, so you know that maybe don't have a budget to build a set maybe don't have a budget for ten dozen twenty dozen roses but you know that you can change things in post processing, so I'm going to take you through the steps thiss probably took me it took it to take me over an hour, but the only reason it took me over an hour was because where we were shooting, we weren't supposed to be shooting it was in a fenced off area next to a children's playground, so I'm on a ladder with a whole team with a large camera shooting over a children's playground. Thankfully, no one likes in central park, nobody came to arrest me, but with them it is I don't really have time to sneak in there and clean up all the dead leaves and stuff it was grill a shooting to get it done and leave as quickly as possible, so that being said, I'm just going to show you what I did what took the majority of the time was cloning out those leaves, but I didn't have any other choice, so if I zoom in basically what I did and this is something I've said before someone picked up a quote is that it doesn't have to be perfect but has to be believable has to fit enough for what the end side is going to be, and I knew that this image was going to be sized, okay, maybe eleven by seventeen but envisioning I think I'm going to like this so when I came for larger I want to do it well but does need to be perfect so looking at a leaf right here that I want to get rid of it's like my clone stamp I wanted to go on normal and has to be one hundred percent because it's not a hundred percent than you it will look like a transparent flower which is clearly wrong and I needed hard ish edge you know I don't want to look to cookie cutter but if it's too soft starts to blend into much so all I did for about an hour it was kind of click around and start to get rid of these leaves and as I'm doing that I can also then go back and erase certain areas let me get my race again go back and raise certain areas that kind of give it away course it was a bottom layer so I did that so watch and here we go so I did that throughout the whole picture and you can tell that it was cloned but that's not I mean unless someone goes up and stares at every single flower in a magazine no one's ever said anything to me ever and this picture has been in dozens of magazines now because it's become so popular all right so that's the first step cloning out the don't leave all right so I'm going to lead all these and to show you what is really required so I went back in to my adjustment layers a few saturation and I knew in this image that I needed to change the colors and I could go back in and I know okay just like before we can change the yellows two reds may be something there I also know that there's okay there's greens here so could I change it would change my greens a little bit red oh greens to try to get greens a little bit red maybe two there and maybe my magenta say they could make them a little bit more red so looking at that image everything is in a couple of seconds much closer to read the last element that I need however is I feel like I'm looking at her yes she's the latest picture of the frame but I feel like I'm getting stuck here my kind of goes there goes up here a little bit kind of bouncing around too just like we've talked about time and time again instead of adding a vignette we're just darken down the edges I'm going to control exactly where my eye goes so when dark and everything down without a curb slur I darken it down so now with that contrast is all rich reds and then I can go back with my black brush and just back off of anything that got too dark for example I could go to you know let's go to sixty percent and just kind of backing off of her hair but maybe a little bit in these edges where it got too dark but as you can see besides cloning out those those leaves which it was unavoidable you can very quickly control you know the color theory of the colors in your image so next time you have a subject they're wearing a dress maybe two red dress in front of a car and the colors color doesn't match maybe it's teal and it doesn't match what you could make it read or you could make it blue where you could make it green or maybe it's some other scene maybe it's the model shoes that never match you wanted to match whatever it may be you have the ability to control that pretty simply to just kind of keep those things in mind so it's kind of my very first example and I called selective color remembering that you control the color so let's jump into the next example adding lens flor so I'm going to show you hadn't to create this image this is actually was used for an ad okay um this was the final image it's very romantic very dreamy very feminine this is where it began actually it even began a little bit worse than that so let's let's back up and let's let's talk about it so the raw file as it was shot was this okay? It's a pretty flat image it doesn't have any good color um it doesn't have any good contrast your eye looks here and what I was doing is I was trying to do a lens flare and where I was shooting there just wasn't any backlight and you need back light to create two lens flare and there wasn't any so I knew the okay, I probably have to fake it so what I was trying to do is I was trying to shoot through some branches on this little plant I'm shooting through and that's what you see here these are the branches of the plan and it just didn't work and it wasn't the vision that I wanted so I knew that I had to do it in post so you start off the kind of steps I was thinking. All right, so first of all, I knew that I was likely going to try to darken down this shadow or this highlight so that's kind of most likely a double processing thing I could process at once that her face was correctly toned and the rest of the picture was right and then another time for that highlight and put the two together I kind of knew that was where I was going, another tool that if you don't have light room that's really good there's a tool see here okay, this tool next why the the iittle ok all right, I told your tool here that if you've used light room it's like your adjustment brush your selective adjustment brush but it exists right in ross you don't actually need to like him to do so what allows you to do is any of these controls any of these options you can paint in into your photo? Why that's important if I open this up as a j peg or tiff in photoshopped and then try and photoshopped to bring back that detail I can't get it back because already flattened image it's compressed image but if I do it right here and raw and say ok, I want to decrease my exposure I want to bring back some of the highlights if I paint that in here I'm able to bring that detail back where's that wouldn't be able to get that detail back it's gone if I do so in photo shop so it looks pretty good I'm going to click let's have it go off again all right, good I mean it done okay um looking at this picture, I think it needs a little bit of contrast, but I know I want to fix it all in post at a little bit more contrast um I wouldn't change the color a little bit so because I know that I don't want this to look really I wanted to feel really I'm going tio make it like this is that these air tones I picked so people think of like white male inspite chose the correct white balance it looked around like it was really muddy it was gross. The reason was is were the main light source it was balanced off with window off of the kind of cream colored wall so it makes her look cream colored kind of brown so I dread my color temperature to cooler and attend to more pink it's not looks pretty dreamy I could go further I could also increase the contrast in her face over here I could increase clarity to make it a little bit sharper but even if you look right here the huge difference that I've made never touching photo shop yet everything's been done right here in adobe camera wrong so so you need to shoot wronging, plot all this detail of this color and wouldn't open and opens up in photo shop ok, so the next thing that I knew you know I need to dio is ok this one's owes anything and that crooked walls really bothering me freaking me out um e so I'm just going tio rotate it there I mean you can do it by I there's also a way to use the ruler tool to draw a straight line and then automatically rotate to fit that it's going too quickly here and it went a crop remembering that also in case you're worried, six has this option of here where you don't actually delete the craft pixels if that is uncuffed, that's unclipped, but I'm going to crop in a little bit so let's go back to what been talking about focusing the eye so all the next steps I'm going to dio your eye goes to the brightest area, the frame and the areas most contrast, so let's, add some contrast and brightness to her face. Select her face with a lasso tool, select modify feather that's dio here and I'm able if you look, there is no black point, there is no white point, so I can go ahead and add contrast. No, I don't want to overdo it because this picture is not a high contrast image. It is low contrast dreaming, and so if I go ahead and make a true black pointing to a point it's, it ruins what the feel is, so I can go to probably about something like that and I come back off if I don't like the effect that can decrease capacity a bit, but if you're noticing draws your eyes to her face looks good um I want to go in do a curves where darken down the rest of the picture kind of dark and down the edges so again I could go back in lighting up her face like enough her so if you're looking you remember that original image how far we've come so far from that original really flat kind of brown image I'm actually going to open up a version of it so you can see if you hold the ultra option kikkan reset ah an image that they're not let's go back tio default okay and it's just let it to roughly where it was okay lighten up a little bit and open up from here okay so went drag and drop that just so you guys can kind of see where it started up all right so this is the background I'm going to see you know the big differences that have been made so far and I haven't done any retouching it everything so far has been I darkened on the edges a little bit I changed the color balance and the contrast ok so here's where I add fake lens where what you want is you want out of focus blurry lights basically you can search for them online you could buy a stock photos or you could take them yourself and basically what you're looking for is you can even take christmas lights photograph them and when you have your camera out of focus make sure it goes out of focus in the way that makes the locate larger makes the blur's larger is when you turn it turns out of focus to get big big bubbles of light what's good is even the christmas lights are like what yellow and red and green you can change that because it could be anything you want in photo shop so I want to show you an example of some of them then that I found online here so that's an example but you're looking for something like that ok auto focus so I'm going to put these two side by side and when a click and drag this over so the roughly the same size just about and then we've talked about blend modes so I'm going to cycle through and see if any my blood moans make this look good so I can go through and try overlay I like it over here I don't like it over there so I could always mascot off that's an option let's see what software looks like it looks good you get the ideas you can kind of flip through and figure out what works best for you so I like it but I don't like it on her face well that's not a problem I can simply mask it off so added a layer mask right here next to the half moon cooking we've talked about this you had the letter mask and I can paint it off of her face I'm just kind of blending it so it's less noticeable so it made a big difference another one that I found that I liked was this one found like neon pink lens flor I can click and drag it and maybe I put it just over this side of the frame same thing let's go through a blood moon there was a look like overlay too much soft light I don't really like any of those but then I'm thinking if I back off soft like really low maybe it gives me kind of a little bit additional texture and I can always add a mask and blend it where this hard line is something like that um on the other things they still think it's a little bit too light right there want to darken it down so when it dragged this down knowing that I only want to apply it to the areas of pictures up here starting this down a little bit and so something like that you can keep tweaking keep adding lens flare but if you go from the original image it completely changes the look in the field. This is something that was used as a perfume ad, but I mean again you could see it for a number of things whether it's really romantic kind of fantasy bridal session or maybe it's a high school senior porcher maybe it's a little girl's portrait kind of depends on what you're using it for confuses many, many, many times I still try to shoot one slur and camera, but then there's sometimes where there's no backlight, there's, no direct light there's, no lens flare, you can add it in post um, I have other examples that are less extreme, but the extremists easier to demo, so that is lens slur and the thie end image again, the end image wass actually used like this, something like that kind of really dreamy, lots of marriage really soft. I did go ahead and lengthen her neck smooth out her neck. I painted on those highlights on the cheekbones like we talked about before to find her even more from the background. Ok, so the next example that I want to show is kind of fake hdr portrait with texture, so anybody who's ever want to add textures to a photo lens? Flares are basically texture it's that same concept, so remember best your best friends adjustment, larry slayer masks and one votes for anything that I've taught. So take a look at this kind of faux hdr when open up an image in photo shop except for I have to lead its metadata because it knows what I'm doing to it. Okay, says again ok, so here's the image going by what is often popular notice that I've let this similar to the way that I live for that composite you know the two strong back lights and then some front light that I could manipulates make a brighter or darker with that's the easiest composite this's for a band photo uses time and time again so we talked about hdr is hide an immigrant detail in the shadows mid tones and highlights so what can you do to make an image look hdr I have the impression of having all the detail in the shadows that meant tones in the highlights okay, well you can do it if you shoot with a shoot an image and rock you could actually do most of it right in and out of the camera if you have hdr pro it had for nick it has the option to do single image tone mapping so I can actually open an image up and have it processed by nick to have that effect so a couple things that I could do is they could fill in the shadows sunday this is new to light room for like six this particular dobie camera wrong so chances are if you have an older version it'll look a little bit different to you the concepts are still the same you want tio in other versions instead of filling and shadows you want to fill in fill like and you want to bring back in some of your highlights and I want to pull down some of my whites and fill in some of my blacks. And so if you're looking, it gives me a flat image if you look up at that history. Graham there I have no true white point and notre black point, which is basically saying everything squished in the middle, which is good. I have all the highlights and the shadows, but the images kind of flat. We can add contrast in post as we open it up and photo shop, you can add a little bit of contrast here, so if you look at the difference so far, you know, it's given it more of that cartoony look cartoon field. Another element that a chair has is that structure I talked about where that detail so when a pump up clarity and it starts to give me a little bit of that detail when you increase contrast is what I did here. I brought in all this detail and then increased contrast, sometimes you get a little bit of funky color in the skin. You see that up there a little bit. Um, my solution is similar to what I did with a composite. Is that just kind of back off the original color a little bit in later on all added toning um, it's kind of my easy way around is I can't get something perfect okay it's always nice to go to get it perfect it's also important if a client want something very specific that you can do it but if there's other creative ways around it sometimes that's going to be the best answer someone have open image here's a shot here if it wanted to go in and add more detailed remember how I said um the, um the knicks software sharpener pro could be used to plug detail well, it's the same thing if I go here I go to filter nick software sharper pro to come down to this image if I look when his back up just a little bit simmons like states face for example, if I zoom in here if I come down and I increase structure it's theirs to pull out more detail in his face. So if you watch the show you know, as I slide this a slider shows you the before and after you have a lot more detail on his face for a typical portrait that's too much but for something like this if it's must be cartoonist was way over the top it's okay, so head ok it's going to sharpen him up and give him more detail all the way around anywhere that you want you can also back off mass things off but from that original image you saw what that original image looks like it's a big difference so far all right, so let's talk about adding textures if you have a subject against a plain wall, for example and he wanted to have a texture, you can do that you can overlay and added texture if you have a subject that maybe they have a dress on, you want add a little bit tight, but you can do all these things pretty easily it's a matter of kind of blending, so I'm going to open up um a file that I found online um, I personally photograph all my textures so I will photograph the things I'm keeping mine grunge textures is that I want to photograph it parallel to my camera and it needs to be flat, completely paralyzed my camera if it's an ad an angle like shooting a wall down a wall in some parts of the out of focus and others won't be actually see kind of the change of the size of the texture so it doesn't look realistic so you wanted to be flat either straight at the wall or flat down and it usually shoot at like f eleven or f sixteen so have all that detail. The point is to have the texture and have it otherwise for textures is a bunch of sites online if you search for basically texture pack photo shop or psd texture packs or texture pack backgrounds in google I guarantee we'll find a lot the biggest problem is that most of them are smaller you can find some better sides like two thousand pixels but I know that my camera native shoots much larger this is one of the images that I found on steven art you can find a lot of him where it specifically says it's not rights managed that you're allowed its creative comments you're allowed to use it in your own artwork okay so look for things like that so you know that it's um that you have the rights to it so we don't do something click and drag this file over and this is a problem that I run into what I'm looking for images online it's not big enough okay for any other circumstance you don't want to click and drag your image you don't want to stretch it changes the pixels so what I might do is I might go over to file automate perfect resize and aiken upsides that texture that I found or that background or whatever it maybe I can get it to be the same native size as the portrait I shot so it's going to be the best case scenario if you don't have an image of shot yourself or an image is large enough but for something like a texture is one of the few times which actually not as big a deal to stretch your image it's like one of the few times ever where it's not terrible it kind of depends on how much at some point you start to see artifact in you start to see picks elation but for the most part that picks elation looks more like grain and if it's a texture it's a texture so it is not as bad so this is where you go back and you go back through those blood moz and find what's of interest to you someone's that usually check our multiply sometimes it darken sometimes lighten usually overlay soft light were hardly which my usual go to for textures so few zoo in here it actually looks really good if you're going for that old kind of grungy look. I've done a couple pictures before where it was a couple kind of engagement session where I found pictures online stock that were like of old parchment of love letters you know where that on blended the edges and there's lots of different ways you could use. This depends on your end result, but the biggest issue here is that there's texture on his face it's easy you had your lair mask take a black brush and paint the effect off and you can get more careful, more careful as you paint and you could also darken down the edges but that's kind of an easy way to add a texture there are other programs and plug ins and lad textures for you and come with texture packs andrea a couple sites a whole bunch of different sites online that still texture packed as well if you're not finding what you're looking for so that's kind of the foe hdr look again starting from show the image again openness and drag it over so the original image to the end image it's not really a lot of extra work so how's your brains because I'm going to do a more complicated one okay he's more complicated one school in all right beyond the lens flare which really lends for you guys definitely should try it it's pretty easy, it's just like adding textures just happens to be blurry lights and self textures. Okay let's dio displays that perhaps this is the one that's a little harder I'm going to show you how to dio this picture. Okay? So warping working textures around a subject okay it's not super hard but it has a lot of steps so I'm going to talk much slower than I have been I think it was the red bull this press of shots, the whatever okay them every talks I'm gonna talk is really slow all right so here's what the concept behind this place and that is so in a picture when you photograph a picture it has highlights which are typically closest so light source and closest to the camera right there the things that stick out most and then you usually have your shadows which tend to be the things farthest from the camera farthest from the light so using that information the mouth that you're making is a map of the highlights and shadows of the face so what it knows is ok, so the highlights are probably closer the shadows air probably further so you make this map and then when you have your texture, what it will do is it'll bend it out it'll bloated at the highlights because it knows right it would make sense have saying bloated our look bigger at the highlights but then to have it look ben in puckered in worked in at the shadows that's that's how it works basically but you don't need to know that much is just a bunch of steps this was an editorial that I shot for style ology magazine and then mind food and then it got published like um so why magazine got published all over because it was really you know, I had a lot of impacts the same of the original magazine it was in was body art and everything they had was tattoos and so this is what I gave them what that means for you guys though is if you wanted to fake a tattoo this is how you fake a tattoo as well, if you have a subject in a long red gown and you were advertising for a company and you wanted to put the company's logo on the gown that's how you would do this if you had a background with a lot of textures and maybe foreground and whatnot and you wanted to add some kind of texture or detail to that background, this is how you would do it and make it look realistic if it's not just a completely flat back background. So those are things I want you to think of the show you this don't think as most people dio I've since had, like ninety people email me pictures of flowers warped around faces, it's cool that you're trying it out, but also think of how you might actually use it to make you money or for your portfolio. There are a lot of other ways to use this technique, so think more technique versus literal. All right, so, um, I need to open up an image I might have to, uh, it's a legal a risk. So I've done this. You still get the letters really quick. All right, so here is what it looks like to the naked eye. It is a kind of kind of flat, darker photo, the reason that I want things to be lower key if you have weitz in your photograph it will not hold the texture that you overlay with when you overlay it to ramp it interacts with the layer below it and a white is just white so you will actually hold the texture so you need to make sure you don't have anything that's lost detail every if you want for example if I wanted the texture to wrap around the background I would have had to shut on a great background the shot in a great background instead of just having that detail apply to her face it would have applied to the background as well so you don't want anything so black that it has no detail or so white that it has no detail it's everything kind of in the middle but you still want to have a little shape a little bit of highlight and shadows to have something to wrap around okay so here's how you make the displacement map you're going to go into channels and you are going to click on your rg bealer and you can collect there's a couple ways you can do this the first thing you can dio is you can see if it loads command click on rgb so I'd write that down commander apple click on the top there see how it makes this funky selection that doesn't really make sense it's making a luminosity selection which means it's making a selection of the light basically it's making a selection of the light in the image and summer highs that you have to make a map of the light well it's making a selection of the lights you could make a map of the light ok, so the next thing you want to dio after you hit your command click on the rgb the top layer is you want to click on this mask down here um in the channels menu it doesn't mean at alarm ask it means create a new channel and that's what it did it created an alfa channel so this alva channel down here it's just saying this is another channel and this is based off of the light selection that you made so that means okay? So hit command uh uh mandy to de select new this election anymore. So now that I have this, what do I do with it? I need to save this as a new document because this is my map. So when a click and in old versions of photo shop there was an option to save his new document and I remember I learned when that was true and then when I couldn't find it I was so confused okay, well, now you can't do that. What you do is you click on this little fly out menu in the top right click on it and you have duplicate channel and the question that says ok, duplicate channel what is your document? New show is how you create a new file from that selection of light that you made to hit new and that's fine, we're gonna hit ok and duplicate channel document new I'm gonna call it math for creative life. Okay, so it ok and opened up in a new document. All right, so remember command click on the top channel of the original one click on the mask in the lower right hand corner, then file duplicate you have to have it be a new document, it opens it up. So since it's going to be a map of the highlights and shadows a couple things you want to do, first of all, you don't really want all that detail to show up, because if you're going to use this in the math, you actually add that told the texture that didn't really want that texture to show when you apply them together later, the texture will show through your original photo. You don't actually want it to be in your map of light. It doesn't, it doesn't matter, so you want to blur. This photo is the point you want a blur just a little bit, so one switch overto lairs and go to filter blur and you can do ga schindler surface blur again but you just want a little bit of ler basically wanted to soften that skin texture a little bit so something like that is fine, you know wanted to pixels softens the texture a little bit now because I want this effect to be a little bit more pronounced a little bit more dramatic this picture itself because I knew when I over laid the texture anything that was white couldn't hold a texture anything was black couldn't hold the texture well, I want to make a map a little more severe so thinks that the highlight spend out more in the shadows bended more so I'm going to increase the contrast here when I kind of lied to it a little bit so I can click on this photo going image adjustments levels and I was going toe you know give it a little bit more contrast ok looks good and I'm going to save it this is an important part if you missed the contrast party we find if you miss the blur part you'd be fine if you miss this party woman you have to say this as a psd file it is not a psc file it will it doesn't give you an option has to be a psd file so I'm going to save this as matt for creative live perfect and save at psd and now I can close it and I could go back tio if I want opening up saying go backto opening up my original image so this was my original image and forgive the layers had to leave him you'll see I'm going to do this for you guys okay? So there's the original image I'm then going to find whatever texture I want so the example I always use because it was a real life solution is flowers but it can be anything you want can be words it could be stone I've seen people do it for wood so somebody looked like they were a tree face you know whatever whatever you want um so the example I'm going to select is this texture right here and again he wanted to be the same size, so when you click and drag it over cut now what I need to do is apply that map that of the highlights and shadows to that texture. So this is the another semi complicated part again, this isn't really complications steps so you go up to filter to store displace and what it's saying here is horizontal how far do you want to move the pixels horizontally? Because you're gonna bend it based on the highlights and shadows then the vertical is saying how far you want to bend it up and down so what I usually dio is ten and negative ten and these are the settings that have stretched to fit repeat, you know it's fine in a work so when I hit okay, I don't have to do a kind of a before and after um I need to find what map I just created so there's the mountain it's saying, what do you want me to bend to say ok, did you see it move so I just wrote like see it it just been there because I applied the mask so if you look at the pattern here, watch this to see ben so what happens is this last part is the blend load I need to blend it in some way so that shows through in the bottom so if I go to maybe soft light see through a little bit hard light that doesn't work, so the one that usually works is over life and most of these things I figured out myself the example that I learned this from that I read in a book originally many years ago was there putting a logo on a face of a rock wall there's a lot of things I had to pick up well knowing that you're overlaying when you overlay a photo it interacts with the colors bolos to see all the colors now are kind of funky, so what ideo usually is it turned this bottom layer to black and white and when I do that the top players true colors show through the next thing looking at this is I think that in this example, you know, the texture on the team, for example, doesn't it does make sense to me, not the detection on a girl's face and tone does, but it didn't work for me, so I zoomed in and notice you see that? See how it ben to match the tongue to match the lips. That's what, this place and that does this right here, which is what confuses your tricks your eye into thinking. What was that really there? No, of course you you know, you're not gonna believe it cause it's on the tongue, but I like it. Someone leave with their I would add my mask that's how player and I can grab one hundred percent and mask it off of the teeth, and I could be really careful, ongoing and carefully select the teeth because khun do that or do an example like that. But you get the idea and you bring back a little bit color there is well, so from the original image, you're able to put a texture on that's actually warped. Unbelievable. So again, it's fine. If you will practice with flowers on a face, but the idea is more so, you can use it for your work. Whether it's a detail on a car that you're adding or some kind of pattern on address so where's the texture on a background, her tattoo or whatever it may be not super complicated, just a lot of steps along the way. We're great, alright, excellent. This is good stuff. You feel inspired? Yeah, kick it so in here. All right, so I'm gonna give her our brains a little rest until I feel least our mother essie brings a little bit of rest and I'm going to open up another image. Um, ok, one of the important things to remember when you're when you're shooting for creativity is that your environment doesn't have to stay the way that it is, so the colors don't have to stay in the garbage can in the background does not have to stay there a million other things that don't have to be there. So in this example, um, I grew up in upstate new york, and my grandpa had plan into the christmas trees in a relative's, kind of like a christmas tree farm style. Um, and I had a model on hair, makeup and wardrobe. I started to shoot, and what drew me to the location was the symmetry of the location, the endless leading lines of all the trees and everything lining up and I started to shoot it, and it looked like crap was not at all what I envisioned. It looked like that, and I was really disappointed specials I had an entire team come three and a half hours from new york city, and I'm looking the back of my caramel like, oh, my gosh, they're gonna hate these. Um, so what I did is I realized that I could change the environment to fit what I envisioned, so keep that in mind for yourself. A swell, um, with this image wouldn't want to d'oh is line herb roughly in the middle, so I duplicated the background and selected the move tool that top left so I can drag her and roughly center her someplace, right? So the next thing is I knew that I wanted to mere the background I wanted this through the same over here so I can select the rectangular marquis tool makes rectangular selections, and I wouldn't select roughly down in the middle of her and hit my shortcut that we talked about again and again command j so copies and paste it into a new lair, and I can with my transform control selected again command t I could just click and drag us over, so the big problem is, although I mentioned I like my alien looking subjects and all that stuff of that's not what I was trying to do here and so if you look at her everything's fine and dandy except for that you know it doesn't work but it's fine you can add a mask, grab a black brush and paint so again she's asymmetrical so it confuses your eye because you look at her she's a symmetrical but our environment is symmetrical so you could do something like that I did take the time to clone that out of the middle not gonna do that right now and so my final step is you could convert in black and white or you could use silver effects so I'm going to hit command option shift e merging altogether copy and paste them into a new layer and I'm going to open up spillover effects and see what inspires me. One of the things I thought I wanted to point out of us over effects is it's not just for converting to black and white it also has some c p a tone and older effects so maybe I looked at this image instead of you know the typical black and white maybe it was looking for maybe something like this, you know, like kind of a creepy old fashioned print maybe like somebody was out in the forest of the farm took the shot and there's some creepy married girl little I don't know that's great about fashion photographers you do whatever you want um and so I was able to actually get inspiration from silver effects as I was slipping through my original intent was just to do black and white but as I flip through I was able to find something that you know I like the edge of like the border and I could always go in dark and down the edges using control points late in her up using control points but it adds for a cool effect says another use of silver effects as well as remembering to control your background okay so for the next one back up a little bit for this next one um this editorial is coming out in a magazine called relapse magazine and it will be out on the sixth of march ok so it's a print magazine it's only going to be it is only at like the specialty kind of fashion shops um but how many people would look at this photo and think that this was a awesome photo going in a high end fashion amazing yeah okay not really all right I'm going to show you why I'm going to keep this image opens you can see where it started and where ended um I had an idea it was not originally inspired my lips but you'll see where I'm going um do you guys remember the old ipad ipad ipod ads with the silhouette with headphones? It wasn't inspired by that but that's what ended up looking like so okay, so you look at this photo the reason that I live it this way is the idea for me was that I wanted to have her in silhouette but have her dress be shiny so in order to do that, I couldn't like her so much that there were highlights because then I wouldn't be able to if something was out like a solid white, then I won't feel too dark and it down without having to cut her out and I wanted there to be highlights on her outfit, so I just used to soft box and dialed way down and then against the white background all right, so I'll show you where this this came from and so this is it's, not a composite per se, but it's compositing two photos together, so take the first picture. I I wanted it to be black and white. I did this in light room. I will tell you this is one of those things to do in light room, but I'm teaching this with adobe camera raul because not everyone has like room, so I converted to black and white and the first image opened sculpture that author area the first image I opened, I expose specifically for her being a silhouette, so I knew I needed something where she would be completely black, totally a silhouette, something like that so has it been just to make sure everything was a silhouette just so ok that looks good had opened the next image the next time that I opened up that photo I opened it up and this time I expose specifically for the dress so turn into black and white lighten it up a little bit drag down the blacks increase the contrast lighten up the highlights and some looking for kind of a sparkle to that dress something like that I had opened so I have these two images I have one where she's in silhouette one where she's not but you can see the dress better so I put the two images side by side and holding shift I drive and dropped them to know they line up that's what holding shift does he have to the same photos they line up so the last elements really the last things air to combine the two and so if I add a mass that top layer I can go in and wherever I paint black I can turn her into a silhouette and it's pretty simple all right so as I do this is I'm I'm walking you through this the reason that I put this example in is obviously that's not something you would do often but the concept or something in silhouette and something else not you could use maybe it's a guy who his you're doing a portrait in his prized possession his guitar so he's in silhouette but he's holding his guitar in front of him so maybe his guitars lip but he's in silhouette so it's kind of a cool graphic picture or maybe it's going to be some other sort of proper or something like that? You know you can think of how to composite images involving light and color that makes for a cool concept like this so you'll see when I paint a little bit faster here you'll see that in the end it looks kind of like one of those ipod commercials from I don't know how long ago that wass okay, I'm not supposed to take questions but this isn't taking a second that's all right? Take your time okay making good like we do in our so I would do this more carefully um then I obviously am but I'm just kind of painting in her feet and I went over this just more carefully but it is not too bad so without being super super a city about it you can see back up now and see where we're at so far I'll do it from here at the lake area okay? So something like that it has to be more careful so they don't paint and some of the background within the last part is remembering people are like, oh, but you have stuff in it well it's supposed to be solid white side has been white you know that I could make sure the rest of backgrounds white by increasing the contrast and kind of painting over it this could be completely white could be light you don't have to like clone or anything as long as it is solid wait in that area would have toe increase the contrast because it wasn't painting carefully so if you look from that beginning image it looks like nothing in the hole really the whole thing that I want you guys to realize is that I shoot differently because I know what I could do and photo shop I'll shoot completely differently because I knew that picture the way I let it I did not show my creative team with the back of my camera looks like because I knew that it was horrendous and knew that it was terrible but I knew where I was going with it so I knew that the end image would be really cool and graphic so this will be like ten images running in this magazine thiss month and the whole thing was I told my wardrobe size I said bring me shiny clothing bring me shiny jewelry and the same thing you know for hair I said ok give me something that's interesting shapes well this particular image the shapes weren't super interesting from the sign, so what I did is I knew that I could copy and paste certain areas of her hair and I gave her spikes all the way around so I made up the hair stocks I didn't like what they did and so she has really, really cool funky spikes if you watch my blawg probably around the tenth or fifteenth of march, you'll see it up there all right next a couple of things a couple things to show you um let's do I'm going to do one more picture to show you that photoshopped and creating effects doesn't have to be just done with in photo shop itself? This photo for example I create light room presets looking at this photo it's pretty was shot with a fifty millimeter one point four at one point four and just shooting the letters love but I'm looking at it right now and it's not as dreamy as it could be so it lacks contrast so if you're looking here that's only highlight that's a white and there's no blacks so there's like I always check you know, check the contrast there so I do want to pump up the contrast a little bit but a lot of the changes that I dio have nothing to do with photo shop to make this image the dreamy image that I envision I warmed it up really, really warm and then I pulled back on the saturation and vibrance, so if you look it's a lot warmer in a lot dreamier but when it pulled back on vibrance and saturation, it loses its contrast. So I have to add contrast back in, maybe add a little bit of sharpness and clarity. So if you watch this image warming it up, making it pinker, making it more yellow, it's okay, it's pretty anybody would shoot this and think it's a nice image, but that's probably what you were trying to express. So that's something to think of. I say these precepts in late room, and then I apply them over and over again. So with this was shot as an engagement session, I could get this pre set and then apply it to all fifteen images that they purchase something to that effect, just as a selling tip, when I do is sit sessions like this, I try to tell a story, and then I told that story, and I retouch them all or have a preset applied, so I'll have the same field. So when it's presented it's presented as all of these were required to tell the story, so you need to buy all these basically, but if you do process everything together when you're presenting it to somebody, it doesn't look like disparate pieces. It looks like a unit that tells the story so that's, why this retouching comment real quick, it's not exactly related, but how he added through images is I used to shoot in a client shoe fifteen hundred to three thousand pictures depending on what it is three thousand would be a full day like more than eight hours a full day of shooting. Um, so let states two thousand pictures three thousand um my first time through, I go through in light room so later more so I do was where I do all the work flow management and the first time through I'll do one of two things I'll flip through every picture quickly and anything something anytime something strikes me, I give I started, you know, I say that that's something interesting, the other technique that I d'oh is if you use like room selecting all the images and then hitting the key, the n cay stands for survey mode, I have no idea why and survey on and it brings them all up on the screen together, so what I'll do is put up ten, fifteen, twenty images look at it and see if any strike me one of looking at a group are there any that stand out and I'll mark them. So the first time through I get down to say three hundred the second time through I tried to get down to sixty and then I figure out where I'm ending trying to end up with for my clients the reason I try to do that is the more I can get down, I can then in this example, apply this pre set and go ahead and if it's sixty images, okay, I fly the preset aiken tweak them each so you look nice versus if I showed them all three thousand they're going to get lost there's, no impact, and then I'd have to tweak to many if I really want them to look good, so I try to narrow it down to a number that I could perfect before I show them, and that doesn't mean retouching it's applying batch, processing it, supplying presets to show them something like that, and I find that that makes for a lot better sales when you already narrow it down versus giving them every option. So if a client asks to see everything, maybe you show them the sixty or you show them the thirty, and they're asking for more, ask them specifically what they're looking for and tell them that you'll take a look back through instead of every time I show them all the pictures. In the end, I feel like they pick one picture that I didn't show them just to, like feel like they were justified, and then they took everything I had, so you think you're better off editing down than offering your clients a view of everything one more composite example and then another easy one to digest mentally. Okay, um, jury composite so, um this comes down to the same kind of idea as that last example when you're thinking I the reason showing this is that silhouetted thing you're thinking I would never do that or lee says I'm thinking a lot of people thinking that's the technique you would ever use ok, so here's that exact same technique for something else um I shot this for a jewelry advertisement and I shot two images on a tripod think it's this one it was or this one and this one okay, so I'm shooting these two images kind of shooting on a tripod and so for the first image that's if the first image I shot with a light on her face and that since it was a jewelry ad I wanted all the attention to be to the jewelry but if everything is lit I look everywhere I look at her hair, I look at her stomach, I look at everything, so I shot one picture for her face another for the picture for the jewelry and I put them together as the composite. Ok, so there are plenty of times when that happens another example of compositing putting things together, I shot a fashion editorial where I had a subject in a hallway of mirrors I shot several pictures where I was shooting just to get the detail in the mirrors so it have her move around so she was in this mirror she was in this mayor she was in this mirror she was here and then I shot another one for her in the middle and I put the two images together so if you go ahead and look at my blogged it's blocked out lindsay other photography dot com it's maybe six or eight post back it's called duality and so I shot a composite but it's not a composite like you think so she was in this mirror and this mirror and this mirror because it was part of my concept so keep thinking more of how you can shoot multiple images to combine them for something different so I have kind of one last one or two that I want to end on um let's dio and nice one that doesn't hurt your brain okay um for this picture there's a couple things that I wanted to show you all right first of all um I've been doing this a lot recently you may have seen it in fashion magazines where they see you see a subject cut out and then there's like layers of color behind them I don't know if you've seen something like that um I'll give you an example I cut out the subject the tool that you want to know that I just used right here is a quick selection tool so if you have something like a solid white background or hey solid black background or something that solid tone and even throughout it works really, really great you click and drag and it makes this election for you it's pretty simple um what's good is in this example maybe appears see how it didn't quite get it I can go ahead and use the option key and ceo turns from a plus to a minus so I can subtract from that selection so I can use minus and just kind of get rid of the extra area and then use plus again tow ad back to it so it's tio pretty much up through their looks good roughly so what did delete that selection and here's what it leaves me with? So we've talked about loading selections before I'm going to go up to select load selection and so what is going to load is anything that's in that letter that you just selected that you're on so it's going to be her her outline it is loading whatever you're selected on I want to create a new layer and I'm going to paint blue uh that's not blue well again, I want to paint glue on that later so this is what I've seen it's very common I'm going to put that blue behind and then I'm going to move it and so then somebody else see them do it again and this time they're going to change its maybe a different color blue and let's do this one underneath move this one over, move it up and so you start to see all these layers so I see this a lot of people are trying to do it kind of a pop art effect. So your two options it's easy to cut out you have the oh a perfect mask for on one you have your quick selection tool or you have clipping past asia to do it for you on dh I've used this tons of times recently for advertising and for musicians they're like kind of laid out the ads energies adding layers it's adding interest the other thing kind. Another version of this is to make this fake three d and so here's a way to make this kind of a fake three d image I want to duplicate this background and go to image adjustments she saturation so when a drag the hugh totally to the other end of the spectrum so it's blue if I go ahead and foot this teo fifty percent opacity if you have yellow and blue cut in half they cancel each other out so it's what you get a black and white image so it looks cool and if you shift that top image kind of like we shifted the last one now you have telling that looks kind of like a three d image if I want oh really? Pump up those colors aiken go ahead at adjustment layer of hugh saturation pump up those colors and then for that border all you have to do this crop it out so it's another way that if you have a picture maybe it's an athlete maybe it's a high school senior whatever it is you can add something cool and funky but remember you have to have bright colors underneath to play with for this effect work if you just shift in somebody's skin tony it doesn't make for anything interesting if you look here what's interesting are all those things that are crazy colored so if somebody maybe has for their sports team for basketball lots of bright colors layered on top of each other this is a great technique that you can use just do something a little bit different. Okay, I am ready for questions. All righty. Well, let's start with studio audience does anyone have any questions before we move on to the internet? Are your mind's just blown? Okay. All right. Okay. Because you how did you you own color theory? You create your colors however concerned are you with getting perfect skin tones um or you just go crazy imposed um okay, so personally I like to make it on purpose not what it's exactly supposed to be so that it's up to interpretation because sometimes I don't care I'm sorry when I've put in a lot of magazines a lot of hands to do a bad job they do no matter if I gave them a perfectly color bound cm like a high resolution tiff image it ends up being messed up so if I make it look like it's supposed to be you know de saturated with a blue tone benefit si saturate with the pink tone it's okay so that's from my editorials for portrait's there's a book I'm like ninety percent sure this guy taught in creative live doesn't leave our skin yeah so that's why with a book that goes over getting the kind of the color tones correctly by numbers other than that most of time is of the book in case people in here it was skin other than that most the time what I'll do is you can check my numbers or have a correctly calibrated screen and I shoot with a x ray passport color checker at the beginning of a shoe and then I can you know pick up the win light room pick the white it says the white balance for the entire shoot but then a lot of times and like oh I wish their skin tone was warmer so I changed it anyway so it's an art not a science but it is practicing because I will tell you I usedto have endlessly magenta skin tones I didn't see it um and so one of my professors it was really strange he taught me this he had a correct skin tone image and he had all these different colored gels when there was magenta one that was rgb or actually seeing why k is what he had they would have you look at the picture through each one and when you switched over and other picture you could tell which color it was off by when you have the control without a control of the correct skin tone to look at next to your picture you could kind of tell what it was off by looking through those gels I don't know I have never met anyone else has done it since but that's what he did thanks anyone else in the studio audience you're just absorbing everything ok, well I've got some from the internet here somebody is wondering which lenses focal lengths and apertures result in the best lens flare for you. Okay, that I was like there's different lenses for everything e um okay for me in general something with a wider front element is better. So a lot of times I like like my fifty one for my eighty five one four tend to work really well I get more length slur and those interests a shooting seventy, two hundred seventy, two hundred zoomed in doesn't give me much lens flare is like a fifty one four. You have to take off your lens hood. But one of the things that I do is I hold things in front of my lens. Um, whether it's like usual water bottle before, um, I've used an award that I got like a crystal award christmas ornaments anything that's kind of transparent a seymour michael's or hobby lobby depends where you are in the country, covered the whole country, that if you hold it in front of your lens, it actually will catch light refracted in, and so it'll give me len slur. So if I can't do that, then I fake it. But I tried it at least get conditions that looked like there could be lens flare so it's more believable. So something backlit is a lot more believable. You'd have lens flare than something that's front letting flat. Very good happening. I do have a question. Yes. You kind of touched on this earlier today this come from comes from a pack. Dear question for some more advanced editing retouching would you recommend a tablet? Or do you find a mouse is fine for you, okay, so the correct response in the tablet. I mean that the tablet it's, it's. Ergonomically better for you and it's also faster. And everybody who takes the time to learn the tablet loves it. The problem is many people who aren't willing to devote the time they buy and it sits in a closet. So, it's, if you go ahead and decide you get it, it will save you time. But you also have to know that it's. Good. I see smiles over here. I yeah, I definitely see. So I was in the audience. But if you get it anew and invested in its knowing, like, ok, I am going to take the time to learn x otherwise hate on yourself. I did that. So so, nikki jean, I think she must be a wedding photographer because she's kind of asking a question about that batch processing. So you said that you used to do wedding photography, and so she was kind of wondering, do you completely at it all of the images? Or do you kind of do a batch process at first to show your clients and then go back and ok, more what I do for what I did for weddings and for like those kind of group events are larger events, it will do a batch process. Well, maybe if you like if there's a couple different lighting situations for each lighting situation I'll do a separate batch process so it's roughly the white right color balance roughly the right contrast all that stuff but I don't give those them in a gallery this is this is me I don't give them to those to them in a gallery or in a cd because I don't want those pictures out because they're not perfect like I want them I went through it and said I had the time where I sat them down I narrowed it down for them and they came and I projected up on a wall and I went through it with them once and then I left him in there for a little while and like showed them how to tow kind of flip through and then I'd come back and help them narrow down sometimes dealing with your clients like that is more stressful but also I think in general that yields better sales as well versus just giving them a ton of images. What I found as well is that people are viewing in a gallery they're not sitting looking at your big beautiful prince up on the wall there sitting in there you know, whatever the grungy kitchen looking at their stack of bills next to them and their internet means it's a different environment versus I want a big, beautiful image like that so yes I tend to narrow down and then have them come in for a session for fashion clients I narrowed down on and I know that those pictures aren't going anywhere because they're only buying one two or three and they have a licensing agreement so I will put them on the web and password protected because if they use them and actually make more money so it's okay I love that answer thank you for going over that because I know a lot of wedding photographers especially out there have that question may be I did too so thanks for a couple of great general questions from pro photographer first one do you keep the images that you do not use I'm wondering about this too because I really struggle with this and then also and you kind of touched on this earlier today where do you get your ideas for new concepts from okay so part one okay I'm actually inconsistent about keeping them in is because I used tio start tio get rid of the images that I didn't use because once a shooting editorial and in cement in a magazine I'm never using the hand they've been published like they're not they're not going anywhere so the images I would get rid of what I would do is I would keep anything that got a star in my rating so anything that I said at one point on this is interesting and possibly like it I kept and I got rid of all the rest but now I have like a couple of six terabyte raid systems and it just backs it all up and I don't care the reason is because what I found is in the end it took me more time to go back and delete the photos that I didn't want not because going back and hitting delete it's hard going back and being positive you're not deleting anything you don't want to delete is hard um and that's what it doesn't matter if you have it backed up maybe you realize oh crap the on ly version I had of that one retouched was actually only in that light room catalog and accidentally selected didn't realize and deleted it so it actually was better for me to just have large raid terabyte systems oh I would love that yes not too bad I think it could be full of crap right now I think my six terabyte raid system for western digital was four hundred but that's six terabyte rated built in and for those who don't know raid it automatically it splits the drives it's actually two three terror by drives and automatically is backing up nonstop so is anyone part it depends on what raid if you have somebody that's a nerd set this up for you make sure that they know what raid you want cause there's ones where it divides them between the two going off in a hole did you asset management thing but um two three terabyte raids and it's mirroring them that's how I have it set up so even if one fails the other will be ok unless you drop your drive but that one I guess that was actually my backup drives do you do any type of light cloud backup certainly things that you don't have everything in one location every completed editorial that was delivered to a magazine is cloud backed up okay, so basically any final images is always are always backed up of anything that clients selected, purchased or was published that is backed up on cloud storage all the rest of issues on large hard drives gotcha okay and so the other question had his inspiration e didn't lose my my thought I kind of did um my inspiration is so drastically different um when I went to college at syracuse this is not dissing the students there my work was mediocre at best because I was comparing myself to the students in my class so all I wanted to be was the best of the students of my classes sounds really bad, but I'll explain as soon as I went out into the real world and realize that ok as a portrait photographer I was competing with within a two hour radius of anyone who's willing to drive and hire me as a wedding photographer a portrait photographer or when I was a fashion photographer, I realized I'm competing with any market in the world for fashion photographers, but work started getting much better because I realized my competition isn't the people around me, it's everybody, uh, that didn't mean that I was just trying to outdo everyone. That meant I started looking at more images because I'm like, wow, it's, my competition is also somebody saying singapore what kind of fashion, which is they make in singapore? So I started looking at that same thing. Well, ok, so london that's a really big area. What is their one of their images, like different than ours? So I looked a lot advertising agencies and photographers reps and I looked at a lot of websites, so one of them that I mentioned was fashioned gone rogue and that's website. The upstate of dates daily. Um, I look at pinterest for images. I look at there's, a website called s tape dot com fashion tape is what it means ft dot com, which has just lists of fashion magazines. So I look there and a look at images also when there's a theme. Now that I have so many images saved, I would say easily, I have flick fifteen twenty thousand just saved some place when I save them it was less the act of saving that like the ad actually saving them and more the act of looking at them and registering in my head, registering them as visuals. So when somebody comes up with a theme says the title to me, my brain kind of races through all those images that I've looked at, and I start coming up with ideas and then aiken research online to build those together, and so I started thinking, ok, I remember seeing this one with red hair that was really cool, or maybe it was this amazing lighting that I've always wanted to try. So it's it's more just my tip for people is don't try to be creative within your own realm of, like, just looking at your own photography and the people in your area look at a lot of our look at a lot of photography watch a lot of movies, whatever it may be on whatever is your inspiration, but don't try to just be inspired in your own little bubble. It doesn't work for me at least so kind of along the same lines. Can you just I mentioned some of the photographers you talked about earlier throughout the day, so who was your inspiration and make some lists you already? Yeah, okay, um so one of the tigers to talk about just now was they would lash appel for color theory I look at him for inspiration for color theory if you look at his image is there a critique on consumerism and sexuality in society? So I'm not necessarily interested in the subject matter but instead is impeccably is of color and his props they're amazing the photographer that I would say is closest to me and I say that not to insult him cause he's amazing uh but solve a son's well he's a lady's norwegian um and he's issues is beautiful beautiful light, great color all of his images or clean bowled and graphic and that's what I try to aim for could you just say his name one more kinds all day as o l v and sons beau like I don't know if it's how you say it but genetically that's how it looks okay thank you. Um tim walker if you like fantasy and girly and props and he's somebody to look at it's just beautiful it's very dreamy paulo reverse e are over the years I he does his pictures look like there happened to be beautiful creatures of almost of modern fashion but shot like in the eighteen hundreds so he shot a lot with view cameras narrow depth of field a lot of things are out of focus he shoots with these you're beautiful commas victorian looking models like porcelain doll looking um let's see alan fine on worth I don't know how to say german accents but she if you guys have seen the guests ads the ones that are like nineteen fifties and james dean and that was when she's the one who shoots and directs those love her work because it's kind of fun, playful and sexual um at the same time but not overtly so there's always a story to her images um you know other big names patrick marsh eh stephen myself so those are kind of the big names right now, steven klein those are all people to look at and then the traditional ones are irving penn um albert watson I looked to for inspiration with light herb ritts I look to for years really clean graphic bold images so it's kind of the gamut I realised honestly for a very long time on lee looked at my work and try to improve myself, but I didn't know it was out there, so as soon as I looked at what was out there, I got better complex drastically better. So that would be my suggestion to people I love that um so it's about that time I can't believe we're at the end of the day already I have at least like ten or twelve more wrinkles and my brain told them I think they're good talking to you about something you get a small way have earned those wrinkles. Yes, so thank you to lindsay adler for teaching us creative retouching. She was just talking about inspiration, who inspires her, and I think what lindsay adler inspires. A lot of us. It's really, really, really fun to look through her web site and her block if you haven't done that already. Definitely paid a visit for sure. Yeah, so yeah, and the first day of photoshopped. Well, we're exciting going. Ah, a lot of talking today, talk a lot, just not think it's been great. So thank you to everybody for watching and thanks for our in studio audience and, of course, thank you to lindsey. Everybody, help me give her a round of applause.