Post Production: Concept Shoots - Winter Theme

 

Family Photography: Capturing Connection

 

Lesson Info

Post Production: Concept Shoots - Winter Theme

The first thing we're gonna do is we're going to look at the image we shot of frozen yesterday I want to talk to you about a couple of things using content aware scale and then also the way to burn and dodge using the art history brush tool which is a little different than the regular dodge and burn to it's a little more powerful on dh then we're going to talk about a little bit about the ppd image I won't be able to finish everything I wanted I mean, I could spend an entire day doing those two things so I can explain to you a little bit about why the light flip happens that we were talking about yesterday in the concern and then we're gonna go in in depth into the daddy daughter image and talk about the different technique since skills takes to composite and put a subject you photographed, extract them off the background and put them into a new a new background okay, so really taking your story that you want to tell and the techniques and tools that you need within photoshopped to mak...

e that story come to life okay? So let's get into it with the mama hannah and her little daughter ruby I did open this in raw already and do minor adjustments to it that we were just talking about yesterday the one thing that's with this image that I really that I envisioned was it being a long, skinny image? Okay, so that means that I need to extend my background I can either crop it down to make it long skinny or if I want to leave this space on either side of her, which I wanted to dio I'm going to go ahead and extend my canvas and using the content aware scale tools so I'm going to go ahead and use my crop tool and just kind of get it to where I want it, ok? So bout right there, I really want that long elongated look, I tend to be a kind of a horizontal I do a long, skinny horizontal look a lot as you guys, I'm sure I've seen in my work so the way to actually, you know, you could go the clone stamp tool and try to try to clone that out, but the easiest way to do it is actually to highlight the entire area, including area that you want to do that you need to extend the background with, okay with the marquis tool like we did on the last with just the seamless paper, but now if I went ahead and stretch this with it, I mean, it could work, I could do that like that, but what a better tool to do it with is the actually thing on them is the content aware scale? So when I go to edit content aware scale now photo shop is going to take the content that it he's here and it's going to use it to extend my background so you can see it's a little bit of a slower process because it's extending using the content that's within the image. So I end up with a scale that looks really rather than copied or just stretched a little bit. Okay, so content aware scale has the power to look at the content that it's trying to extend and take from it, okay, rather than just stretching the pixels that are already there. It's actually thinking for you the content aware tools and photo shop are absolutely magnificent. Really, if you mean, expect expect except in certain situations you want to try to use content aware for almost everything nowadays because it's so it's still powerful. Okay, the other thing that I want to show you is this white ribbon was put in her hair a little too much for me, like I it's a little distracting for me. So I'm gonna go ahead and try to tone down the white and I could use the burn tool, but the more powerful way to do it is using the art history brush tool what the art history barstool does, is it applies a brush and a certain blending mode and pulls the color from the pixels that you're applying the brush too so what can I use a piece of paper every piece paper thank you so I have my image here okay? There is color in this image so there's lines on it right when I used the art history brush tool on it what photoshopped does it goes? Oh you're touching right there where there's orange therefore I'm going to deepen the oranges down in multiply mode of my brush and my brush setting so let me do it and then we'll talk about this analogy again and I think you'll understand what it's doing when I use it a little bit more so the first thing that I need to do is I need to tell photoshopped okay, I've played with this image, you know, and adjusted it liquefied and adjusted the colors and saturation curves and all that so the image is different than when I first started, right? So if I just go to my art history brush tool and go into multiply mode which tends to darken my pixels, multiply them it would pull from the original file because that's its last history state set, but if I go in here and I set the history state in my history palate, you can see here that I'm currently in my history palate if I set my history state down here and say ok, photoshopped this is where I want you to start pulling from this is where the image is, how I want it and this is where I want you to look at the image this is my history state that you need to pull color and tone and value from okay, so once I do that then it's a matter of selecting my history brush tool which is the tool located right here, okay? And I can then it's got the little funny like circle around the brush a little arrow pointing error on the brush then under my tools tool options up here I have all these ways to influence my brush so I can put it in multiply mode screen mode multiply in screen or what I used to dodge and burn multiply is burn screen is dodge okay, then set at a pretty low pass, you get twenty percent I can go in here, I can go in here and, um, start painting over the white and I'm just I'm darkening it down, but photo shop is using the color within the white so if I go over here to her face it's going to use the tones in her face, okay, so the dodge in bern tool just uses gray and white and black to burn here it's actually using the color within the image. Okay, so for example, I can start burning up here using brown using blue but it's goingto multiply the blues it's not going to apply gray to it. So it's a way of burning without getting muddy? Does that make sense, which is much more powerful and screen does the same thing? Does that make sense? So that's another little technique you can use? I use this constantly when I'm doing calm prince, because I have little areas that I want to dodge and burn, so I'll go into the art history brush tool and multiply areas and rich ines what's there it doesn't apply great to it and make it money. Okay, now you can go overboard with anything and photoshopped, so just watch it but it's a great tool for doing that. So did I extend my campus? I don't think I did. I do it. I thought I did. Yeah, I did. Okay, I think I'm going crazy here. Okay, so then the final thing that I did to this images that I added a texture to it. Okay, I have just fallen in love with jessica address ins, force of nature, textures pack and she has all these, like snow and lightning and rain and all kinds of neat what wind weather phenomenon that you can kind of apply as a texture in your image so I'm just going to simply open the ice texture that she has here okay using the v tool move tool v tool using the move tool by selecting the letter v is what I meant to say I can drag the image up to or is it uh right here over here and it'll say over their different common spaces are you ok if they're yes, I'm okay with that okay, so it applies the texture over the top then by pressing command tea I can start moving it where I want teo and overlaying it on top of my image you're saying well, doing that looks really good, but blending modes are your best friend I use blending moz constantly in composites why do you think they're called blending modes? Because they blend things and that's half the battle when it comes to compositing, if you don't know blend modes, learn them they will help you huge in your compositing okay, I'm going to teach you a little bit about blend modes right now, okay, so when I have this snow layer on top of my background I can then go up to this little area here, which is my blend modes and what it's going to do is it's going to apply the layer on top of my background layer by mixing it using one of these techniques. Okay, so it's really like that it's really like the, uh the top layer is being combined into the bottom layer in a certain way. So that way khun b by multiplying it by screening it by hard mixing it soft lighting it all these things affect your image in different ways. So it's fun to like this is where things get creative it's fun to start cycling through these and see which ones you like. Then you, khun simply reduce the capacity to create the look you want and mask it off the family. Okay, so if I think I did this ended up doing this one in screen mode because I wanted that really light serial effect. Maybe not. I don't remember what I did anymore, but anyway, I usually always just kind of play around go like what looks good. You know, I think that's kind of neat. I wanted that blue frozen, too. Now see to it reduced the opacity, put a mask on it and then remove it from the areas that I don't want it seen. And all of a sudden I have this more ethereal look to my subject and the snow falling with that very frozen esque kind of feeling, okay, simple use of blending modes I want to get into the other image really quick. So I want to get more advance, so we're goingto I might lose a few of you. Just keep that mind. Might lose a few of you here. Beat bear with me. Okay. So, uh, really quickly on the ppd image. Here's. What happened? Okay. This image and this image, I believe, were the final ones. I used to combine at once and notice there opposite one another. But the light is coming from the same direction. So when I take this image and flip it now all of a sudden they're in the same position. The lights coming from the same direction and all I simply after two is take the baby out of here problem in the bat bucket and I can create my image. Does that make sense? Okay. Did you do that to me? Let me see if I have it actually in layers that we could look at it and layers and I could get on to the other image here. Yes, I do have players. This is the one I actually used. So all I literally did was take a selection of the baby it's literally all I did, okay, so I went in here with my last hole, too, and went poop. Okay, I think I did a little neater than that. I kind of went like this. I tried not to get too much white in there because I didn't want to deal with the white later, ok, I am also feathered, which is probably otherwise this decision there feather what it does that just kind of makes the edge of your selection softer, so it blends more. And you you want some feather, but not a ton when you're getting close to the edge is like this because then it will make it. You'll have to edit out a lot with masking and things like that. So I want I selected. I just press command j and it makes a new layer over here of what I just selected. So then I just with the move tool, which is v I just moved it up here to the other session and for the other image and reduced the opacity a little bit so I could see where I was going here and so I could drag this image over the top and I can kind of line up the buckets, line up the sizing, okay, then take my capacity back up, start masking and literally make it look like she is hanging on to that new bucket with the baby inside, okay? Obviously, I had to be a little more careful in these areas over here, but this is exactly how you do it, and there are times when you're sitting here going, going on it's not quite fitting, I'm going to do this, I go and you sometimes have to start selecting things and making it a little bit more detail, but that's, the basic gist of it, okay, what? I want to go to it, some is the other image. Now I'm not going to go into this one in depth, but I will show you the result of what I worked on last night. Um, again, it is this year, and I'm not. I think one of the reasons I'm hesitant to work on it because I'm not entirely happy with it, but that's pretty much what I ended up. That was somewhat of the vision I had in my head when I first started doing it's not exactly like it, okay, there's. A lot of textures over it. I had to get rid of the the tub, the pool and I used the basic actual with black it's pretty much how I did it and made it happen. Okay, using blending modes and layer masks. But I'm going to show you these techniques in the next image, so I think we should move on to that. So you guys really understand how to do this. I want to give you the techniques to do it yourself rather than just show you.

Class Description


As children, our parents define how we understand love. As parents, we learn what unconditional love truly means – learn how to capture the all the emotions of parenthood with images that tell the story of family.

Family Photography: Capturing Connection with Julia Kelleher will show you how to tap into the hearts of your clients through fine art family photography.

Julia Kelleher will teach you from basic to advanced - posing for parents. Create images with great posing that elicit genuine connection and speak to your client’s journey as a parent. You’ll learn how to work with parents and their young children to get photographs that reflect the sweetness and intensity of a child’s first years. Julia will assist you with developing:

  • Ideas for posing newborns, toddlers and children
  • A clear set of family posing rules
  • Lighting and post-processing technique
  • How to apply your unique experiences in parenthood to your own work
  • Storytelling strategies that promote your studio

Julia will cover the technical elements of family photography: lighting, posing, editing, and processing. She’ll cover artistic style and getting creative along with building a solid business foundation. She’ll also share the more intangible elements of a successful family image, and teach you how to connect the families you photograph and to capture that connection in camera.

Tumultuous, heart-warming, and joyous, parenthood defines who we are the moment our children arrive to us. Learn to capture the journey emotively in fine art images that transcend time and speak to your talent as a photographic artist — endearing your clients to you and giving them confidence to invest for life.

Reviews

Natalia Malinko
 

This is the second course with Julia I have seen. And it's amazing and very inspiring in so many ways! I appreciate so much the honesty of Julia, her spirit for doing things she loves. Like a photographer and artist myself, I feel identified with her perception of world and the passion for artistic and family photography. This course is about never give up, it's about hard work, and also it's about cultivating creativity and honesty. I highly recommended this course to every photographer who want to grow and understand himself and the business of professional high-quality photography. Thanks, Julia and Creative Live, for this one!

Jenny White
 

This class was amazing!!! Julia does a great job of showing her process, how she captures beautiful images from start to finish. It was worth every dollar I spent!!