Environmental Portrait Photography

Lesson 24 of 48

Retouch Images in Photoshop

 

Environmental Portrait Photography

Lesson 24 of 48

Retouch Images in Photoshop

 

Lesson Info

Retouch Images in Photoshop

The first thing I'd do is general cleanup, just because I like to get that out of the way and saved. For this image, we'll do a little bit of skin cleanup, not much, like I said, I'm just looking for anything that's really distracting. So I'd like to get a new background layer. Let me adjust the Photoshop window here. I guess I could just hit that. Okay, so what we can do, some of these fly away hairs, just little things. I'm gonna do that in a new background layer, in case I screw up I can mask it out or start over. So that's command J and I'm gonna use the patch tool, which I have set as a shortcut J and it goes to the patch tool. We're just gonna go in and I'm gonna get rid of some of the lighter colored hairs that are catching the specular highlight that are gonna annoy me later because they're slightly distracting. Sometimes you'll have to use a clone tool to get this if you have hairs that are too close together or are too close to a contrasting edge. For the most part, we can ge...

t rid of the vast majority of these by using the patch tool. Again, I'm not a professional retoucher, but I've done this for awhile and I know what works for me and I also know that, for the most part, I'm gonna look at these photos a lot closer than anybody else. So if I think it looks pretty good and I'm okay with it, that's about as far as I'm gonna take it. But I'm just getting rid of a few of those hairs. You can see just lining those back up. Just quick work of anything that is overly distracting or even mildly distracting really because I don't wanna look at the image later and have that bother me. This might be an area where you could clean it up with a clone tool instead of a patch tool, but it's okay. Just about done with that. There's some sort of bright spot there. So that's good with hair. We'll do some light blemish removal, anything that's overly distracting. Again, I'm not trying to make this into a beauty ad, but if there's things, you know, he's a basketball player. There's gonna be some nicks and cuts and bruises and bumps, that's fine. Just getting rid of anything that's too obvious. And any unwanted reflections, again, that's why I didn't wanna shoot with the backlight hitting his nose because then I have to come in and retouch it all later or I could spend eight seconds just moving the light ahead of time and not have to deal with that. This looks pretty good. Again, still using the patch tool. You could use the healing brush for this too, either way. I just like the patch tool 'cause it helps me in some other areas that we'll talk about momentarily. So anything that's overly bright. I'm okay with any of that. This reflection on his lip is a little much. That's good. Alright, this might be a challenge. I don't even know if I wanna tackle that. No, not right now. That's just the new brands, this gaff taped athletic wear. A couple things I would do if I were getting really picky and I'll just do it 'cause we're here is removing this blue cord especially. So that's one where I'd create a new background layer. We'd go in with the clone tool. Bracket left to make a smaller tool. Again, this is an area where if no one knows, if you never saw the before image, you would never think to look down here, but I'm gonna get rid of it because I don't like it. It's my picture and I can do that. And I'm gonna get rid of the shadow of that cord too 'cause without a cord, there won't be a shadow. We're just gonna do this not in the most thorough way. I gotta turn the opacity up on this brush. I'm not gonna spend a lot of time on this 'cause you guys get it, but I do want it to look good for the final image. Almost there. This could be a good time for any questions too. Anything? Do you always do your own retouching, someone asked, Yvonne asked. I do my own retouching unless somebody else wants to pay someone else to do it, so for the most part, yeah, it's me. There are occasions like for larger ad shoots and things like that where retouching is included, some editorial. I know the last shoot I did for ESPN, they handled retouching 'cause they wanted it a specific way. Things like that. But for the most part, I do it because I'm picky. I don't mind doing it. We could even move this whole thing altogether. Let's see if we can make that happen without spending an ungodly amount of time on this. So I just wanna see if we can do it quickly and make it look somewhat realistic. So we have to line up seams and all that good stuff. Thrilling work. And again, if you weren't here, you wouldn't know this was ever there. So that's one of those things that if you're getting super picky, you have to remember, why would anybody be looking at the bricks near the floor and I'm not even gonna tackle that right now because that'll be mind numbing. One thing I might do is just make it really dark so you can't even see the white, but whatever, that's fine. We'll call that good for now. So what we did was we cleaned up the blue cord. See, you can't even see what I did, so it's so far away, who cares. But I am picky enough that when we see it up close, I wanna make sure his face looks good. I want (mumbles) look at these pictures. Whatever client it is, it's a true collaboration, because I wanna take pictures of people where they look at 'em and they're like, oh yeah that looks pretty cool, I look good. And I wanna look at the pictures from a photo standpoint and be like, yeah that does look pretty good. It turned out how I wanted. I want everybody to be happy from the client to myself, mostly the client and that to work out. So as far as actual retouching, again, we planned out the rest of it by not having this thing come out of the top of his head. We thought about all these details up front, so now I don't have to remove that because it's coming out of his shoulder. I don't care so much about that. His head's framed up nicely. It's not anything distracting. That highlight on the window does not bother me much. I mean, that'd be natural from a light being back here. That haze is a happy accident. I didn't mean for that to happen, but it's kinda sweet. So I would then save this, level 10 JPEG and we'll call that good for right now.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently create environmental portraits
  • Light any portrait, indoors or outdoors
  • Compose strong environmental portraits
  • Cull and polish high-end images in post
  • Develop a portfolio and marketing tactics

ABOUT DAN’S CLASS:

Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.

In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.

Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.

WHO THIS CLASS IS FOR:

  • Budding portrait photographers
  • On-location portrait photographers
  • Photographers eager to learn on-location lighting
  • Photographers branching into commercial and editorial work


SOFTWARE USED:

Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018

ABOUT YOUR INSTRUCTOR:

Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.

Lessons

  1. Class Introduction

    Jump into environmental portraits with an overview of the class. Prep for the class with an overview in this lesson.

  2. Introduction to The Environmental Portrait

    What is an environmental portrait? Environmental portraits tell a story using a single image. Gain insight into the genre in this lesson.

  3. Environmental Portrait Purpose

    Why shoot environmental portraits? Environmental portraits encompass history, story, and personality -- and they are more interesting than plain backgrounds.

  4. Personal Work

    Personal work conveys your unique passion for photography. In this lesson, Dan discusses using personal work -- even for photographers with paying clients -- to avoid burnout and stay true to your passion.

  5. Find Your Process

    Every photographer's workflow may feel a little different. Start finding your own process by brainstorming, planning out personal shoots, scouting locations and more.

  6. Tethering

    Tethering allows your camera to instantly talk to your computer for review during the shoot. In this lesson, learn how tethering can boost your workflow and can help you easily pre-process your images during the shoot.

  7. Purpose For Action Editorial

    Ahead of the live shoot, walk through the purpose of the action editorial shoot in the photo studio. Learn why studio-like shoots are often a requirement.

  8. Prepare for Shoot

    Preparation is key to successful environmental portraits. Master what's essential to the planning process and learn how Dan prepared for the upcoming live shoot.

  9. Action Editorial Process

    Dive into the workflow for an action editorial shoot. Walk through Dan's process for this type of image, from working with the client to delivering the photos and invoicing. Read through an actual editorial assignment from a real magazine and learn how those details spark the planning process, including preparing the dramatic effects from studio lighting.

  10. Set Up Action Editorial Shoot

    Set up for the live shoot, beginning with the tethering software. Go behind the scenes as Dan sets up lights and explains the gear and his vision for the shoot. Work with studio lighting placement, including angles and the height of the light stand. Control strobe lighting with different angles and modifiers.

  11. Shoot: Action Editorial With Athlete

    Begin the live shoot with a test shot to adjust the studio lighting and camera settings. Here, Dan shares his camera settings, like the 1/200 shutter speed and a white balance of around 5500K, then works with the "first layer" of lighting with the key light. Add fill light using a strobe modified with a silver umbrella and an accent rim light. Then, move into action shots.

  12. Studio Portrait Shoot Overview

    Take a brief break from the live shoot and learn why studio shoots are often included to supplement the environmental portraits. Gain an overview of the process before heading back into live shooting.

  13. Shoot: Athletic Studio Portrait

    Set-up the studio portrait using strobe lighting and V-flats with a bright white background. Learn how to manipulate the light to brighten the background without spilling over to the subject using side lighting and "cheats" with V-flats.

  14. Shoot: Manipulate Light to Mimic The Sun

    With the right modifiers and light source, you can mimic natural light with studio lighting. Learn how to create hard light to mimic the sun in the studio.

  15. Shoot: Change Background Color With Light

    Using the same white background, learn how to manipulate the color of the background with light. Remove the lights to create a gray background. Work with several different studio lighting set-ups to manipulate the background color.

  16. Shoot: Create Soft Light with Umbrella

    After working with hard light, work with soft light by using a black and white umbrella with a diffusion sock to light the subject. Set-up the side light to feather on the subject without falling onto the background.

  17. Shoot: Create Intentional Shadows

    Working with studio photography lighting is just as much about the shadows as it is the light. Learn how to create intentional shadows using studio equipment.

  18. Shoot: Action Shots In Studio

    Go behind-the-scenes for studio action shots. Watch as Dan works with a handheld light without a light stand to replicate the look of on-camera flash.

  19. Review Images in Capture One

    Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.

  20. Raw Processing

    Move into post-processing by working with the RAW files. Pre-processing with tethering offers a jump start -- learn the process of fine-tuning RAWs and organizing files.

  21. File Handling

    Organizing files helps streamline the process and make invoicing easier. In this lesson, Dan shares his process for sharing and organizing digital images.

  22. Retouching & Color Overview

    Strategize for post-processing in this overview lesson. Learn Dan's process for editing, including finding your style, and working with color.

  23. Retouch Images in Capture One

    Work inside Capture One to perfect the RAW files from the live shoot. Find tricks and tips to working in Capture One, working with exposure, contrast, and basic color temperature.

  24. Retouch Images in Photoshop

    Moving into Adobe Photoshop, remove distracting elements like stray hairs and acne. Work with the patch tool and clone tool to clean up images in Photoshop.

  25. Retouch Images With Presets

    Work with cropping inside Adobe Photoshop. Then, move into Alien Skin to work with presets to work with different colors and dramatic effects. Work with film-inspired presets, then learn how to fine-tune the effect.

  26. Advertising Vs. Editorial

    Editorial work and advertising work have several distinct characteristics. Learn the difference between the two and how to please both types of clients.

  27. Indoor Location Shoot

    Move into the second shoot of the class with an indoor shoot on location. Gain an overview of the goals and process for the shoot.

  28. Indoor Location Shoot Process

    Prepare for the shoot with tips on the process of the environmental portraiture. Work with a checklist and a shot list, then jump into the first in a series of behind-the-scenes videos in an artist's studio.

  29. Get to Know Your Subject

    Understanding your subject helps create unique, authentic images. Learn how to collaborate with the subject. Find the essentials to quickly getting to know the subject.

  30. Test & Frame Your Shot

    With a shot list and understanding the subject, Dan then moves into analyzing the location and the natural light or ambient light that's already in the space. Work with testing the light and framing the composition.

  31. Create Natural Light

    Placing lights where they'd naturally be in the space helps create flattering, dramatic lighting that doesn't look terribly out of place. Work in the shooting space with initial lighting and start shooting.

  32. Natural Light & Alternate Light

    Every portrait doesn't need studio equipment lighting -- work with natural lighting and window light. Alternate lighting can build variety into your environmental portraits.

  33. How to Shoot Indoor Location Portrait

    Along with action-based environmental portraits, a more formal, looking-at-the-camera shot is often part of each shoot. Work with shooting portraits on location, from setting up the studio lighting to composing and getting the shot.

  34. Indoor Shoot Results

    Review the results from the indoor shoot in this lesson. Dan explains everything that went into the shot and why he made some of the decisions that he did.

  35. Outdoor Location Shoot Goals

    In the third shoot of the class, head out to a location with natural light inside a garage and outdoors. Learn how Dan prepared for the session and the goals for the shoot.

  36. Indoor/Outdoor Light Setup

    Work with outdoor and semi-outdoor locations by tackling the lighting. After scouting and settling on a narrative, work with studio lighting tools to create dramatic effects. Go behind-the-scenes for the three light set-up using artificial lighting.

  37. Studio Light On Location

    Mix the natural light with the ambient light in this shoot outside the garage, continuing the third project of the class. Learn why you might use artificial lighting outside and how to mix the sunlight and a studio light kit.

  38. Create Location Portrait

    Work with the location portrait from the third shoot of the class. Learn how to spot locations for the more formal portrait and work with graphic compositions and more dramatic light.

  39. Outdoor Shoot Results

    Take a look at the results from the final shoot. In this lesson, Dan shares his thought process behind creating each shot and why he made the lighting and composition decisions that he did.

  40. Post Processing Overview

    Make a plan to polish the images from the second and third shoots. In this lesson, get an overview of the editing process before jumping into the post-processing.

  41. Choose Selects & Sort Images From Indoor Shoot

    Cull the images from the artist's studio and the garage inside Capture One. Review the images and go through the process of choosing what photos to edit and deliver.

  42. Edit Raw Images from Indoor Shoot

    Learn how to polish those indoor shots inside Capture One. Work with exposure, contrast, and color with the shots from the artist's studio.

  43. Finish Images in Photoshop & Alien Skin

    Work inside Photoshop to remove scuffs and scrapes on the walls and other clean-up tasks. Then, work with files in Alein Skin to color using presets.

  44. Portfolio Management

    Moving into the portfolio and marketing segment, gain insight into building a strong portfolio. Dan shares tips on building a portfolio, from what order to use to choosing what images to include.

  45. Importance of Website

    Websites serve as a first impression of your work. In this lesson, learn the dos and don'ts to building a photography website, like focusing on images and simplifying navigation.

  46. Marketing 101

    Your portfolio doesn't do much good if no one is actually laying eyes on it. Develop strategies to get your work in front of potential clients for editorial and commercial work.

  47. What About Reps?

    Reps work with the numbers while you focus on the photography. Learn the basic pros and cons to working with representatives or agents.

  48. Bring it All Together

    Wrap up the course with a final chat on environmental portrait photography. Once you've built a successful business, remember to take the time to get back to your roots and shoot for yourself.

Reviews

Julie V
 

I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!

a Creativelive Student
 

I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.

Tim Hufnagl
 

to the point, worth every cent. dan is an excellent yet humble photographer not holding back any information on how he achieves is style. also i did not now, that first officer will t. riker was not only serving starfleet, but is an excellent photographer! ;-)