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Student Photo: Orb

right. Okay, so we have your immunity shot yesterday. This was kind of when we picked out as probably being this was the nicest composition of it. Wasn't right? Yeah. Okay. So I'm gonna just skip over camera roll. I don't think we actually need to do a great deal, so I'll let you. Was this click open image on? All right, we'll open out. Let's make it just a little bit bigger. Okay? So what we need to do, Okay, I think we I was I said before, I'd like to take that globe and make it a softer bluish color. Come. I'd also like to take the skin on her hands and make that less pink, less red orange. I'm not sure about the dress get, and, like we said, may have been yet as well. Right. OK, we'll come back to color lighter, so I might bring me up again, like, OK, so we'll start with in contracts for the time being. Where where do we need? What can we do with contrast in this image? I think it all needs something. I think that skin it's gonna need something. I think background could take a litt...

le bit suggestions online as well. Kenna. Then Shante America. People got suggestions for the image. I've kind of got an idea. But what? What do you What do you folks think? What can we do here? I think, um, the dark seem to be increased. It is a very soft image. Where's your layer? That your curves. We've got no getting adjustments. I felt okay. I like your idea of, um, making it a lot more monotone and writing up the edges. So you just kind of see this hands come into the photo with little address or kind of we had a question yesterday, which was, you know, when you stop. But an equally interesting question is, where do you start? So what kind of all talking around this? We're talking about color and vignettes and stuff on everything else. I think a good place to start with this one would be the globe. This shot off the globe on fisherman's float. What could we do to that? To make it look more interesting. I'm guessing you're going to say something with the curves. I'm still stuck on thinking of it in color that I want to go with it. I'm not sure what to do with it, right? US it about when you when you increase the contrast, you increase the saturation. Right? Right, Craig occurs. Adjustment. Let's look at one of things. I was saying that it was, you know, Wouldn't it be cool if the language being late? Sorry, it was more crime Trust on the globe. So let's have If you want to select a little hand in hand soon, let's look a kind of range we're looking at here with. It's a kind of reasonably bright, so it's kind of quite quite large range. They're based around the mid terms. Obviously, there's no very bright highlights on no very deep shadows. So we can kind of get away with a couple of control points born. Probably there will do on one. You can damn that. So let's and look what happens when we increase the contrast. Let's see how it ends up looking. Pull out in that way. And before you go too far, pull the other one the other way. Yeah, yeah, yeah. You can see now the color stunt to come here on What you've got is the color of a hands kind of on the from the back. Yeah, in a year. And you can kind of see that. Yeah. That is the edge of a hand down down this line here. So return occurs there off a second. It's, You know, it's not entirely clear we're looking at is kind of coming out. Uh, you know, past we could go even a little bit further. Kind of It brings the globe life doesn't talk about their on and off a couple of times. Kind of See where we're starting from wearing. No, it's a kind of Yeah, yeah, yeah. So quite flat image to start with, Which is not surprising, given the light. But the globe's now looking great right now if we just wanted to just the glow Can you go through the secrets of adding the masking, so we're kind of just affecting global. All right, so what's the easiest way of doing this? Well, I'd like to do with the way that you showed earlier. I think the easiest we're doing this is if we fill it with black first and then kind of reveal the globe, right, rather than kind of painting it all out if you want to hit all the leads that will fill the lane? Iceman Black. I kind of got key sequences for people watching online, so it should be easy to follow. Now, two men that mass, we can only the use a brush on switch to white. So wait over the most with white, or you can use the razor. I'm like you can use the brush and switch the foreground. Color white. Now, you said it can Yet, uh, I might rush a little bit, I guess. If you right click even. I think, Yeah, I can just use the bottom. Right? Okay. Night brushing up again. That's not going back. To where if you just start painting onto the global now you'll find it. What kind of doing there is? You're gonna love it. Saw the intra hand coming will come back. So that way we can change. Yeah. Okay. So let's have a look. Well fixed on a second. If you want old click the land I starting out on animals. What kind of seeking? Mr. Mr Rich there You might just want to go over those new Okay, It's good what you'll notice before before you go back. Where you notice now is we've used a very soft brush, low capacity. It's kind of faded towards the edges. So you want I'll click the lay my stomach again? Are you saying that you can't really see the edges, But you can see just a kind of little It's a little bit dark. They love it out there. To get rid of that, we switch back to black, right brush a little bit smaller on. Then we can just kind of drawback over those areas. Um just know, affect those bits. Now we have an effect of the whole globe because we got quite soft transition. We zoom back out again. Um, consumer changed image, right? Yes. This is kind of the same. Wouldn't recall if yeah, if there was kind of it. Doesn't look like his light. It kind of looks looks metallic, the lines more alive. So it's kind of looking pretty good already, because But this is the point where, you know, where do you start? So in this case, we started with the globe because that's killing of the key point of the shot. So you was worried about color name? You sign amount color. Yeah, I'm questioning my I think that was a way that we could have gone. But I think it is pretty cool, because what it's doing is it's picking up the colors in the shots were right case if we wanted to amend the rest image looking at it now what you feel the rest of the missionaries. In terms of contrast, I think it definitely needs some adjustment of the contracts, but certainly not as much as we did on the globe. That's kind of why we added the mask. If we just shift, click the mask a second. You'll see right? Yeah, it's kind of it's kind of our camp here. We know lost of loathe globe. When you look at the globe now, it's like you want to add more contrast the globe because there's this very heavy contrast. Very heavy shutters on your hands. Um, turn that off. There we go. You know, the gloves are quite nice. Named front with a problem gateways. You know, a little of that. When you look at the shape of this curve. Now, this is extremely steep. We've added a really large amount contrast there, kicking the wrong side. It's a huge change, but it doesn't even at this stage. It doesn't look unnatural with only ingested one section of the image. But that doesn't look wholly unnatural. Dessert. It kind of looks a little bit old. The lights, you know, completely differently, like because we feathered it in quite softly around the edge. It's not really noticeable with a kind of tried to go very precisely around the edge. It wouldn't look anywhere near as good. Kind of like that. It's looking good, right? Okay. What we could do know then, is we could invert this mask, which is kind of one of its your little stock on. So, racing that sequence you need Teoh Command. Click. No, Do it again. Do it again, man. Click. So what that does is lows in the selection for the globe. What you're no need to do is invert that get to select menu on in verse. What we now have is the selection for the remainder of the image, right in a crowd and UK. Okay, So what could we do now? Just at a point in the middle, That's that. That's just adjust the brightness of the rest so I don't know about you. Just get dropped in the middle. All right? Let's Let's just drag it towards the top left. Yeah, kind of going brighter is quite interesting. Yeah, there's no. So, Doc Doc something right now, it's a kind of light in there. Up where? It's quite nicely. Yeah, it does. Were you thinking later? Yes. Do you guys think? Probably going a little bit sore eyes were here? Uh huh. More? Yeah. I was kind of one thing to do. Now, is spirit down? Really? I think just back a little bit of back up with right. Stop there for a second. If you all click, Hold on the key. Yeah, that was the original. If you go for So that is the original emissions start tonight with And here's where we've got Teoh relatively quickly. I'm certainly considering You're all familiar with working kind of masks, but does that look a whole lot about Teoh? Amazingly better. So we kind of fix the skin turns as well. Now has its gone brighter looking a little more natural. Kind of a light now on our hands. Much is a lot like we haven't used this curve here we could weaken, adding a bit more contrast. But the more your idea, I think it takes away from the global. So if I kind of delete that point, what we've done is we've lightened kind of the midterm values there. The globe really stands out. Let's let's go back to the occur for the globe again. Ah, I didn't even more contrast. Now, does that look unnatural? No. No. Me knowing what the Globe books like it does Certainly. Yeah, kind of again. This isn't We're not. This is not photojournalism when, right? We're not selling a product. What we're trying to do is capture some of the what you saw when you took the shop or what you would have liked to see when he took the shot. Beautiful. Kind of. That's very, very simple to do, isn't it? Yeah, it could also Dio, I'll show this one we can go through. This is we talked about in yet. Now I'll go through this again with another image later. Just ashamed to show you him to intervene. Yet you creating a mask on, I'll go through the process. What I want to do is try and brighten ing ph of the image so kind of all faiths off. So it's a little bit dark in these top corners here, darkness down here. So I'm wondering if it kind of lighting off these edges. Are we gonna kind of increase this effect of drawing attention to little over the middle? The way I'm gonna do that is in a drawer or create a selection. Just a rectangle selection inside the invention Like that? Yeah. If I created a curves adjustment layer now which part limited effect the inside, right, Something Denver grants. If I crazy Now which Harry? When it it'll do that border. I don't think that void around the edges. What to do now is and we've done so far, which is refined the age of a selection, going to select menu on doing refine Edge. What I'm gonna do is feather. It's feathering is kind of softening the edge. So if I leave this at zero, you can see on the heart it It's a hard edge. If I feather this, I mean value of 250 which is the largest value and you can use in photo shop feathering. You can see now how it's softened off the edge if I click. OK, now what you'll see is it's kind of rounded off these corners. So when I create this adjustment, learn now is gonna have a soft feather is gonna be The outrage is going mostly effective that it will fade it and not affect the middle of image. So I'll create a curves adjustment layer. Were you all click that now so you can have a look at the mask so you can see now how this is gonna affect the image, can you? Right on the edge. It's gonna have the full effect of any adjustment we make, and then it will fade the scene and it won't affect the middle of the image macaques we've got curves adjustment on. If I want to document, you know, that actually might be an option. But what I was thinking might work nicely is they forget the other way. So what we've done there is kind of soften soften off the edge. So if you look at it, it's kind of looking, you know, down here is looking not a natural spring back a little bit. I like softened the edge better than white vignette. When you say white vignette, I think of gaudy wedding photography. Yeah, well, you can You could handle Aaron mascot Every white around the edge, right? Yeah, Gang, I think there is a lot more appealing. Yeah, we're kind of light in the mid tones. The shadows don't get, like quite so much on what kind of just soften the off. So in three really simple steps we've gone from, you know, kind of the shot I'm starting out is dull, but the beauty of the shot it's really nice, soft light. It's just kind of the balance that is wrong. I'm with readjustments. We're going to start. That looks a lot better. So there's a glow. So that staging that's an improvement. But a hands now looking it dark. Um, there's three overall curve for the rest of the image, but not alone. And there's a further curve, just a lineup edge. So that that kind of work for you? Yeah. Was any of that especially difficult? Kind of. The key thing here, I think, was a starting point. Where do we start with this image? And we started with the thing that was most important, and that's the globe itself. So what you kind of have to do when you're working through these prices, you think I'll do this one thing and then you can switch? So we did the glow. What we need to do to the rest of it on you can kind of play with these curves as well. So it's very used to see that we didn't want the rest image darker. You know, that just looks awful. What kind of tweet this around moving around that looks good. Would it look better if there's more contrast? Well, no, not really, because that's kind of drawing attention to the fingers down here and underneath the image. That doesn't look good. So what we know is we need that brighter. And then we just added Kind of. I guess you could call it reverse thing yet to the edge of the image. It's very easy to create. I'm sprung out and then you got with you kind of makes sense. We got the online questions about this image. Shaun T. And Jeff James photo feel like her hands are a little too cool, too cold compared to her arms. They were. They were sort of looking at that. Yeah, yeah. Assed faras questions. Um, the h y. I wanted to know if you could show how you turned the mass, the mask into a selection so you could inverse it. Yet that's that's the very simple step. If you're on a particular you hold in your command key, or that's gonna be the control key on the PC on, and you just simply click the lay on my stomach and that loads in the selection. If you want you, then if you want. If you wanting to switch it, you just need to use a select menu on picking verse, and I will switch it around the apartment. Okay. What kind of access? Yeah, something. Yes, sure Signs that come back to life. Sure, absolutely. Go saved on the desktop. Okay, so hopefully that recaps kind of thes stuff we were talking about earlier hope for it demonstrates kind of all the points I made yesterday. Photo shop isn't difficult. The actual technical skills you need to make these changes are not huge. You know, you need to understand how the curve works. You need to understand how last work it's handy to be able to switch them round to selecting the inverse and one section of the reason do kind of the opposite section. But in practice, the difficult bit is working out. What, is it gonna change? Yeah, I was just gonna say, this is incredibly helpful. I think when you start focusing on the globe and you start making the adjustment, I would get distracted by all. Look what's happening to the rest of the damage and then try to undo that. Just I think, the key thing with Masses you. Once you know you can do that, then you're free to concentrate. It kind of opens a whole new levels of possibility for an image. So the key to this shot is the globe. So let's look what the global looked like. Then we'll worry about the rest of lighter eso, you know, kind of that adjustment if we tried to apply a single adjustment tonight. This image better if I disable that, you know this kind of song Mary in that region. It's kind of a harder, grittier image, but it's this section here that just looks horrible. You know, these really deep shadows underhand just don't look right tall on. It's kind of a bit more difficult. What are we trying to focus on here? We try to focus in the hands, were trying to folks in the globe. When we're trying to bring out detail in the background, it just doesn't work at all. Once we had in that mask, which is in this case, even though you're not familiar with it, that was, what, 22nd job? Yeah, the image changes drastically. So, yeah, when you making these adjustments concentrate on bit that you're adjusting, you will have trouble with someone. Use some message more difficult. Others like saying, you know, turn a mask off the edge of a building. You do have to be very precise and you know, you feathering it by one pixel rather than 250. For changes like this, thinking what effect of a huge changes you can do it and you can tell it's being done. So if we even if we zoom in now, um, so it's just concentrate on what a comeback. 100% you can you can you see any of the joints there? Does any of that look unnatural? No, it doesn't on. The reason for that is again. We used kind of thing. You know that. That's just wrong, isn't it? It doesn't look a toy like your It's not the shape with him when it doesn't matter because it works. So the final measure of all this is when you look at it, does it look out on this kind of adults suffering? If you see my cat again? No, really, wife. What we've got now does this match what you're thinking when you shot it? Is this kind of what the shot should have been about? No, this is way cooler. Is it right? Right. So what will you still have? The idea of the light blue or think that kind of thing is is kind of blue, but what it's done is it's picked up the other colors that going on the image? Absolutely. I think this is more interesting. Yeah, you can believe what you saw is very way could make it. But what would have problems with is the fact that it's her hands you can see through here, which have kind of gone. It's almost like a magenta, magenta brown. Andi could correct that. But then you run the risk of it looking completely surreal. Right? Well, we could try trial that later. When we get you know where to go through the Italian section. Use exactly the same approach to use a master color the all of the time being, You know, that that that would go on my block. I think I'd be happy with that. You know, I feel around with accepting because I like feeling there and shop, but I don't think there's anything near where essentially that I would change about that one. I kind of like the way that's turned down. Yeah. I mean, I like I My only suggestion possible would be a on the top of her hand. There is a bit of a green from my perspective, from where I'm sitting a bit of a green Q or color cast across that. Okay, where? Advance, Right. No other side. Right in that. That crease area right there. You're talking about you, right? Kind of a little. Is it the right of yeah, right in that area, right? Yeah, right there. That angry. That would crevice right there. All right. Don't be suggestion. Yeah, that might well, everybody you do. You should see it actually got marking around. You might want to get rid of that. But we're at the stage now. What kind of we've made? I think we've made major changes tonight. It was a general rule. When you're editing, it's kind of start with the big picture. First, I don't mean the biggest adjustment, but I mean, start with kind of the big things that need to be changed. So the key for this was the order. We couldn't get that looking right. We're not calling on all okay. He's becoming old, Whatever. Want to call it? So we started with that. Then we fitted. The rest of image to is so kind of is different for every image with, like, some of my Seascapes, I'll start with the ground or start with C. Sorry. No, I'll start with the ground or sea or the sky because he's starting with the key components. And then gradually you working towards smaller changes, you go on big changes first and then little changes lined up. I don't mean big in terms of size. I mean big in terms of impact. So clearly the rest of the image is bigger than the global Got the old world we call it. But it was the old that was the key feature of the shots you question just on that, when you're pointing out, would you work on what would you create? Work on the background layer to take out those little imperfections like the spot on her arm, and then use the healing brush in No show you that while we're here, you could do. You could eat the background, Blair. Or you could duplicate background layer on do clone work on that with the easiest way to do this. And this creates a slight small file size as well as if you create a new blank layer. So I'm using a little symbol down here which is creating you there. If I click there, what we have now is an empty left oil click. You see, there's nothing that if we then decide, we want to get rid of this section here. So maybe been a clone from here. Down to here. Yeah, I was select the clone tool on You'll see here. The topics is currently when we change that Syria is current and reliable. So what this does now is it samples those You're not familiar with the clone tool. It's a way of move, moving content from one place to another. So the way you do it is again. You can set the size and hardness on you moved to where you want to clone from. Hold on the old key to select your tart, that your source click moved to the destination, which is a target and then kind of clone over. So I probably do it. Let me more suffering in that just a little bit there. So if we look at this land now on all we have on that layers, that's it's that kind of keeps the final size down is not like the content that kind of fix the problem, really making the Internet happy. They've been all talking about that spot. It's kind of, you know, it's just just about going there. Don't really think they didn't know anything I might do with this now is this kind of top corn. Here's a little bit dark. I'm so one thing I might do is I might change the blend mode of this latterly monastics that might That takes the color and a little bit. Yeah. Then I might add one more adjustment in just that top corner, something like that, and then switched the radiance all and then do that. So can you see that nothing's been done there? Yeah, yeah, yeah. So we'll be using the grading much as we did before. So every old click that lay my stuff Now, see, now all we've done is just faded. Look, effect on that corner, which you can't see eye to Tony off before you could tell what I don't know. Because again, you got this nice soft transition. It kind of balances out the top of the image there. Yeah, let's say that kind of, Yeah, One more question from could. How would one use the How would wanna just the white balance from within photo shop? I know we mentioned that natural colors is priority, but sometimes it would be helpful to know how to do that. OK, if we wanted to shift the white balance on we opened. This is an image rather than is a smart object. I would always say try and nearly white balance when you convert your ore file because anything now we do is it's an additional changed the image. We can avoid those changes if we set the white balance at the time of altering raw on. I'm gonna come back to that question because that kind of fits in with what we're doing later on today. In terms of toning so clearly toning on setting color bounce, it's the same thing. I'm going to concentrate on moving away from kind of your starting point, but moving back towards correct colors or something we could do. But as a general rule of thumb, if you thinking you're gonna want to change the White Banks while you're editing open is a smart objects instead, then you can go back in and re set the white balance. I kind of quite like this. This it's a little bit cold, but I kind of think that fits with seen. Now we will brighten up. You don't really want the warm light because you've got then kind of the greens in the all I kind of think it suits this kind of cold a line. Yeah, I'm great. Thank all my sense to you guys. I'll block this tomorrow than pretend it was mind sweet