Fashion Photography 101

Lesson 27 of 39

Beauty Retouching

 

Fashion Photography 101

Lesson 27 of 39

Beauty Retouching

 

Lesson Info

Beauty Retouching

I just want to go through some edits I did last night to show you what we're going to go for before we jump right into bed in that chart okay, so I'm gonna start with this one from day one, we're going to start with day one's images and then we're gonna take a break and it's calling day two images ok? And the reason I've chosen these shots is because I feel that even though my work for one image is very similar there's a black and white shot there's a shot with a white background there's a beauty shot and is a colorful shot, so we'll be like miss same workflow, but the way I approach each into stardom way okay, so full screen on this one the beauty okay, so this is what I went in and retouched um, so you can see I went in and listen to what I said with that shot, I went in to retouch the hair to make it meat. I've gone in and really enhanced the skin where maybe there was a slight blowout on the skin I've gone in just enhance that I've taken away this kind of harsh shadows by re touchi...

ng the pimples out the skin, I've added a nondestructive dodging bone there and then again the composition as I was talking about with shoulder, I've just pulled that shoulder in just slightly here because I feel that's important and again I've left those kind of creases in the shot because that's fine that doesn't bother me for the shop, but if an editor asked you to get rid of that, that would be the reason okay, so I'm gonna jump right in and edit this one I'm gonna pull the rest of as they go already questions well him to start painting this shot from you guys you have a tiff and a psd do prefer one or the other because I know so I always say the psd because clients will always want to see layers it's important that they can go in tweet things afterwards, maybe they'll take it to another person to tweak it, but it's important to have saved a psd it's important to save a tiff? It's important to have your your preview j peg don't merge any layers to keep them all there I'm going to admit that sometimes emerge layers because sometimes it's personal work on dh I trust my style enough to know that it's gonna be fine and sometimes it just experiment in and a one and much that is but then I have jobs and editorial is where I have to go it's good practice to never merger layer and have those options there, so then you can go back later in and do that but I did when I first started doing that, I love the hard way clients would say to me, ok, was the psd fall? How do we change this? And I was like, I don't know, I don't know how to do that and that's, just because I'm self taught every touching and see what I'm doing is whenever I go into a shot in light room, I'm going through, I've selected my favorites here, I'm going in and I'm gonna edit a copy with light room originals, not edit the original because I don't want to save over that I'm gonna edit copy there and that's gonna open one into photo shop here, so okay, yes, also what double good questions so I'm using the wake him into us for on the reason I have this size is because it's not too small and it's, not big see it's a great tablets carry around it's, not too heavy whenever I'm travelling back to london or the jobs it's just really important for me to have this. The reason I used a tablet is because of the flow. When I first got a tablet I was really confused I've used a mouse for years and it was until about four years ago that I fell upon it and it's just great when you're retouching it's away flowing with penn um almost sometimes the way he touches like painting so for me it was like painting a picture it's like an art thing that they do so if you are interested in quicker work flow with retouching than getting awaken tablet maybe a small one I know there's the sinti where they have the screen in there it's just important to kind of get used to that because all the re touches she's one but if you don't have one that's okay too because the mouth will work for whatever you want it to so the first thing I'm looking at when I open this again looking at what I looked at earlier what is it that I need to edit in this shot looking in and I'm looking at the hair first and foremost what is it about the hair what is it about the lighting so whenever I take a photo into photo shop the first thing I want to do it's just making an adjustment layer okay and they just met layers layers that I can change later iran I don't I'm not gonna much anything these were gonna be separately is that you go in and change so you probably do something like an adjustment layer that laid iran might not work for the rest of the things you do, and you just want to take down the capacity. So you want as much control as possible, so I'm going in and I'm going down to the floor, but in here we can't see on there, but I'm going in, and I'm going in on curves, okay? So what? I'm looking at this curves thing, and if there's any way, we could track this out here just so you guys can see that and forgive me if I made mistakes here because this is not my usual computer, right? Work hard. So if anything close, is there anything I'll come back and see? Oh, um, okay, so we have our cubs thing and my primary thing with doing contrast time and some color adjustment with cars. So with the curves thing, it could be confusing to people when they first look at it. You've got your mid times in the meadow hess and moving this cut down it's gonna change him and turned him even if he's gonna light in them the same with the top highlights. More highlights in the skin taking the highlights down and then you got your shadows down in this corner here, so by starting to move an experiment with that, you can start to see how the shadows they're affected down here the mid tones decided to see how those coming to play in the middle and at the top it's time to see how those highlights coming out in the skin so what I would do here if there's no proper way of using curves there's no like a case of this point works for this point and vice versa it's just about using your rgb which is basically and not going into this color thing right away just using the rgb to the overall time scheme going through and tug elin with these until I kind of see something that works for me and what I'm looking for it's just that kind of contrast in the picture I don't want to much contrast in this skin that because that's something I'm gonna touch on later as well yes cristina I was just wondering which color calibration software you typically use for your home computer I have data color and I do try and calibrate as much as possible but whenever I'm traveling it's always a bit of an issue too they are great because they have that spidey unit that you can kind of stick to the screen on the kind of temperature and they kind of put all the kind of things together and the calibrate the screen I think the only thing it's not good for his laptops we have a glossy screen always tough so I try not to retouch on my laptop if I can help him um but after it sometimes with questions so maybe it's good to do the retention on the laptop, maybe send it to someone you know or even go and look at someone else's computer and kind of tested as well calibration is one of those things that is really hade to kind of get right um, but yeah, one of those things that just going to really help you and it's definitely important to make sure that your screen is calibrated so it's true to what you're doing to the picture too. Ok? So once I've got that, you start to see how, you know, that's kind of affected the picture, I'm just gonna pull that back down again. We don't need to use the curves right now, and I think I'm gonna do and I would approach is possibly liquefy and I'm gonna go into this only because I do use it on a background player and it's hard to kind of come back to later that's just the way I work. I know some people do like mesh like liquefy, but that's something I'm not familiar with in its you know, I work with the background layer and then I'll work with adjustment layers on top of that, so what I'm gonna do here is just duplicate my background there I'm gonna go into the top here I'm gonna click on filter I'm gonna click on liquefy now a lot of people would be used this because liquefy something that could get really carried away with because you can make people look very distortion dde and it's very tempting tease it but the best ways of using this in the tips I will give to you is used in a very subtle way so the best tours that here on the side and you guys can't see them I apologised what's gonna pull the screen over so the way to do that is these tours and most effective I've got forward walk tall I've got the freeze mass tour here okay these tours they're really gonna helpyou because both of these work together the forward warp tool is the thing you're gonna use to move so you gonna press on something and you're gonna move the arm along this freeze tool freeze is an area of the picture and then you can raise it so whatever you don't want to move use the freeze mask tool you move something and then you were raised and then you do something else for example if you add like someone's chin and you want to just tell me the chin up here you have that you put the thing up here so it doesn't affect this bit and then you just need that and it's not gonna drag anything else, because it's really obvious and people's pictures sometimes that they've gone believe drag someone our main or they've got really carried away with any don't want that again. You just want someone to I feel that when they're looking at your picture that you've got in and shot that camera and it's just subtle hints, so I'm gonna go ahead and just start working here, and what I'm gonna do is talk you through it, I'm doing it, but if there's any questions from you guys as well, if you're curious that's gonna be great as well. So what I'm doing if I'm using this freeze mass tool on the side here and these are the only tools I used here. I'm not technical with liquefy these work for me work from my technique if you want to explore that that's fine too. So I'm gonna turn the brush size down. I'm gonna take it um to maybe would say maybe a hundred maybe a little bit more hundred fifty seven the best way this is just toggle free the numbers and kind of see what works. Thanks. Sorry to say that this is just a good kind of thing you don't want to become a brush when you do this. So what I'm gonna do? Because if I start doing this straight away, this thing is going to start moving from the side, and we don't want that. So the best thing to do use this freeze math tool, go down the side of the picture here, okay? And that's just going to stop anything from being poured from the side. Go up to your tour of here, go in with the brush and again, I've got one hundred fifty because if you use tom something t big where the circle is, anything in the circle is going to move, so you don't want to move over the sleeve of the detail and I'm going to go in and just move a slight bit of the arm and you could start c it's, just subtle changes and not too crazy that you don't want to do this with it. It's just going in and just slightly touching. Okay, that's. Just a subtle change down there. The neck here. Something about the neck slightly bothers me for the composition again. She has a lovely neck. This is nothing. I'm not trying to offend the model here in any way, but again, I don't want to affect this when I'm retouching and again, I'm just struggling free the numbers because I don't want that big of a brush I'm going through, and I'm getting rid of this bit of the chinks I don't want to effect the clothing or anything I'm doing here, I just won't affect this bit of the neck so that I'm going back to my tool here I'm putting up toe a brush of, say, one hundred and fifty, I think I'm just gonna pull the neck in just slightly and again, just settle changes and the brush pressure you can kind of experiment with the density is fine as it is, um, these I don't focus on as much, I think a song is you've got the pressure, the pressure, mr de, with how much it moves, the pressure with the pen, the brush size, how big that circle is, okay, so just little changes and again, I'm just struggling through kind of figuring out what works and what doesn't and if if you don't like it, it doesn't work for you shot then that's okay again, just going through to about eighty, experimenting with different russia and just pulling in areas of the neck, and I'm just gonna put the brush, smash it. A little bit. So this effects no, it pausing more than next is not more of a slow process. I want it to be quick. Okay, so another thing with the arm here. I'm just saying this just fitted that I'm see how the arm, like abnormally does this kind of thing. This is not a kind of pretty for the shot. If it's a beauty shot in a portrait you just wanted perfect that so again, I'm just going to go in with this freeze tool and I'm gonna go in about one hundred here and I'm just gonna go down select the side of the picture here. I'm only trying to target this area where there's a bump there. Go in, zoom into my area gonna take the title the forward walk tool at the top again and I'm going to go in and just move that arm just slightly again. Nothing too drastic. You don't. If this is for a client like a few gin portrayed or that kind of thing, sometimes you can offend people by the amount of me touching you do and sometimes it's the opposite. Sometimes I have a thing model, and I'm like, oh, no, she looks too thin and shot, I want it. Just make the composition right haram doesn't look too thin in the shot and that's okay t do so as long as it's just little changes and you're not going too far from what's going on in the shine so for me at this point like you could go ahead and start doing this with the chin but she has a really great sculpted face there's not much I can see here that would work with this tall it's just pointless to kind of go any further with that. So at this point I would click okay, I'm just going to zoom in and out there just to kind of give you an idea of what that's done to my shot you can start to see just small changes, small changes to add to the picture, okay? And if you wanted to be super helpful to yourself later on your client name, that one liquefy next thing I'm gonna do is retouch skin now this is a big point, so I'm gonna be retouching skinning every shot I do more in this one than everything else because it is a beauty shot I can't show you the full six hours of skin retouching, but I can show you techniques that you can practice so I think I would do is I would go into layer at the top here we're going to new layer would call this skin retouch now all my skin retouching is gonna go on this plane layer. The reason I have this background layer here is because I want this to affect everything, but I don't want it to affect that like I just wanted work on that layer, but I don't want to be on separately by itself. Everything kind of comes underneath that was gonna zoom into a patch of skin and then introduce you to the tools. So what I'm looking at when I'm looking at the shot right now is, um, this is actually quite I think this is a smaller version of the shot, but it still gives you the idea of what I'm doing. Going to go into the side hair, this free tools I use for retouch in the spot healing brush tour there's the healing brush tool and is the clone tour okay? I'm gonna be going in and using different shots later on for you guys, so you can kind of see how that saw coming together, and I'm gonna go in itself. The spot brush tour basically is to remove things like spots you go in and you just automatically just press you brush or your your mouths you quick over the spot and photoshopped automatically finds that hera few and takes it away. Hey, this is the benefit of that shot. We go in and just go through. I don't want the hardness too much. I wanted to blend so whatever's gonna want to blend in don't we use about seventy percent? The spacing doesn't matter for me right now, I'm just talking between the size, so I'm going and you don't want something too much. He wants something a little bit bigger than the element you china removed from going in, and I'm just using that spot tool and I'm seeing how that removes it and again, I'm going over. It remains move over removed so I would keep doing this until I feel happy with where I see it. Okay, so it's just things in the shot that might be distracting that's easy for photos shot to know what to do and to replace with like this thing on the ear on what's important, if someone has moles or things that are very distinct part of their face, don't remove it or just a tiny bit because they're going to be offended unless they've requested it from you. I think it's just really important to do so, I would spend, say, like, twenty minutes going over this tool, first going in, removing those kind of elements that trust photo shop to get rid of so here here, just those little spots there distracting to the viewer. Now go introduce you to another tour and that's the healing brush tour. Okay, so the healing brush is why you could take again, see if I can get this going to take this hardness down to seventy again because I wanted to blend so again the healing brush just something for bigger areas. So you're going in clicking on areas, finding out, you know, what need to remove in what doesn't? And this is what skin re churches would do before they work on anything else so they would spend a good amount of time going through working on this, figuring out kind of what works, what doesn't that kind of thing? I'm just going to check the dimensions of this shot because I think we may have poured in one of the previews here. See, I told you I would do something wrong. Um think this is the p s t j peg, right question, but from ian so all photographers do when they retouched skin is they overreach touch because every every time you take something out, something else sends out and when you sit there for too long, you know, they just over added, like, you just walk away, I thought, why would you set a time? I mean or just do you just like a good vision of what I think's having that vision and it's just going, um trying to limit yourself because it's hard sometimes to walk away from a shop because you having so much fun with it and you kind of like, ok, this works for me um, and then you're like, okay, but I need to go a bit further because I haven't done so much, but it's just always good to kind of give yourself that kind of thing where you can reflect on it or maybe come back to it the next day and kind of look back at him fresh eyes will get someone else to look at it and say, is this over retouched? Just this work, that kind of thing? Yeah, have you ever had a designer you showing them like a color treatment that you did, um asked for something different because of the way that it makes the color on the clothing look? Or do you ever shoot like a sample of the clothing? Just see you can remember the exact color of what it is. Um, that's a good question. I think I don't shoot a sample, but if you're unfamiliar with exactly how the cleaners and it's a stylist, maybe you can ask her to give you images or research and how that garment has been photograph before and it's very hard to keep exact kind of color within the shot and tone, but I think that as long as you're putting the image in the best light, um and the color you kind of keep true, even though it might be slightly off, I think people will appreciate that as well. You could potentially match the actual color numbers if you were crazy, picky or needed to match exact red for adult yangban or something. I don't know and if I would approach like a red time, because if it's just technically possible is what I'm saying, even though she may not choose you, yeah, yeah, so we've got a couple questions coming in from online. Uh, pr coleman is wondering whether you do curves, adjustments at the end or the beginning of boy I do at the beginning because of contrast in cars, I just wanna kind of at that light on at the end of the shot, I'll do it because if color adjustments so the way that I approach cut later, ron is maybe fervor, tonal adjustments or the way the color might work as well. So it's never set thing like if I approach curves only ron it, it doesn't mean to say that I can't do it. Later run in the day as well so it's just good to kind of work with curves as you re touching kind of goes as more things happen on even like later on maybe if you pick the shot back up afterwards um and say ok, this needs reworking on for that very reason a swell and um had you done any curves adjustments or general adjustments on this image before you started re touching it or was that or is that roster yeah, this is pretty much straight as I shot it in camera. Okay, so it's just all about the lighting the beauty diskette that nice contrast on the skin, which is what I love about using the beauty dish for this kind of thing. So I think that's a really important crop it w crop it later you or is this just how you want it? I would get to the client like that if I was to give him the space and then they could request to crop later on it's better to do it that way been doing it the other way so kind of no cropping it while cropping it in and the client going oh, you don't know that retouching on it it's cropped and okay, you gotta go back to the drawing board and start again and do that is well, no, I've done that sexy don't drop without deleting pixels question so you want everything else for, uh, tutorial client, do you want everything to be non destructive? If you could give them a psd? So is there, like industry standard? You touch up the skin first because that you need to duplicate the layer that everything else is just lay a proper liv? Yeah, the reason I do the liquefy first because it has to be within the background may has to be within a layer like your subject is that you can't do it on an adjustment layer. So it's something that I approach for, so that I can later work on everything after that and it's just good to kind of see the composition change before you working things after that. Um, and then with the adjustments as well, I think it's good to kind of there's never one way you could approach in a very different way, like liquefy could be something after you murder the shot and you've already saved psd as well liquefy you guys have seen way don't need to go back into that cause we're gonna come back to that in the second shot, but I want to go over that skin again because I know skin is a huge thing with retouching it, everyone asked me like why haven't you gone to retort to toil just on skin and I think that I'd be like, ok, I don't want to bore you for eight hours it's gonna be touch and so I just wanted again show you the techniques so that you could put him into play again just going in making that new layer put skin retouching just to save me later that and the skin retouching I'll do a ll that the various skin things and this is just removing blemishes anything with color adding tone I'll do afterwards ana separately so this is just removing elements gonna go in and start to see weather's permission and there we go there's the detail we needed richard me okay, so we're going in here and again starting with spot healing brush toll and this is just the spot healing in the healing, trusting photoshopped to determine where to pick up that piece of skin that sample of skin from so the spot hell is in the name it's a great forgetting with pimples spots anything like that. So what? I'm looking at this photo here I'm seeing that she has a few pimples just here and she's gonna appreciate me removing those spoke nothing that makeup really hide and make a pot it's gonna love that so I say that my brush size is a little bit small right now and what I want is to go in and I wanted just to kind of work with this kind of see what I would need to kind of cover the spot, so about twenty nine thirty would work here for this particular area, the hardness. I'm gonna keep it seventy percent again because I wanted to blend I don't want it to be hard, sound, pull. I wanted to blend into the skin, and the spacing is fine. That's the space around the show when you clone something, sorry, clone, I mean, hell. So when you heal something, it's, the space around it, so twenty five percent for me right now, it's fine, just trying to get that particular area. So again, we've got a layer. We just want to go in and start just going over the spots, and you see how they disappear really quickly and again, I would spend, say, like, twenty minutes or so, just doing this, because you'll see afterwards how much of a benefit this is and how much it changes your picture interment, how the fewer looks at it and how much it changes hara, as well as a person by just perfecting the skin. And as I'm just doing this, I would love a few guys, and they wouldn't just asked me questions so I can kind of tell you about things if you have any like makeup artist know that you'll do this so they don't do spot any put concealer on every single did they kind of let it look more natural on their skin so it's it's almost easier to actually make up artists I hate things like that and they'll want it clean like debra you know is a perfectionist if she sees something wrong going too even though she knows I'm going to retouch it she's got the old school kind of make up artist in her mind that when film was around in that kind of thing and it's important to know that when you're working with people like that it's important to know the background and what they appreciate but she trusts me enough to know that I'm gonna perfect her makeup afterwards so she will go in and kind of put concealer on and your makeup artist should always be looking for that whenever you working as well they should never just go well you'll retouch that later on and I'm always thankful for people when they say to me can I just adjust that hair or that eyeliner because I know that you've got a lot of retouching to do afterwards and I really appreciate when people take the time on set to do that okay so you can start to see now how there's little changes make big differences to the shot okay just gonna do a few more if he's on the next. So when you doing things like this, leave some that's part of her thing. If it was a beauty shot and you wanted really perfect skin removed them, but no retouching for. So for me right now, this one is a little bit distracting, but this one here is fine. Uh, if I was editing someone freckles, and they had a lot of freckles, I removed a few of the freckles and keep them neat, but I wouldn't go in and take away the freckles or just leave them completely it's always about just subtle changes. Okay, now I'm gonna introduce you to the sister tool, which is the healing brush tool, and this is for large areas of the shot, so spot healing is just a really convenient spot. Blemish healing brush the healing brush alone, it's better for bigger areas, the same settings here, so we have seventy on the other one, the spaces a twenty five percent. The size can be a little bit bigger this time because it's some plain large areas, but again, you don't want a sample too many hours. You don't want to see the same sound pull of skin right across the face because that's bad skin retouching, but it's just important to kind of this's why take such a long time because it's important to know when you've made a mistake with a sample and this is why it's good to have layers so you can go in and maybe mask out your mistakes or do another layer and do another set of thing over that as well so I'm gonna go in with this tool and just start removing areas so what I'm doing is I'm just going in and some plan and quickly finding areas that the computer and photo shop could like go in and sample from so things like this into the I know distracting elements um things like this on the nose it's just really great to go in and just let the computer decide this is how like if I'm doing highlights this is how it would go in and kind of get rid of that going in and just blend in the skin at the end so there's not much of like an obvious defined line on the face you can just more of this and yeah, this gets incredibly tedious after work you re toucher um I don't know how how those guys do it because I'm definitely more of a have to shoot and have to be in front of the camera person but I also have to spend you know my time retouching is definitely more than I send shooting as well do we have any questions from the audience while I'm still sampling my heel brush tour here? There are so many questions are good start. Sure, we have the adela faure and a few other people who are wondering if you use any portrait leading software. Um, portrait software is excellent if your portrait photographer, if you need a quick turn around, if you're wedding photographer, I don't use filters or actions in that way, because when you do this kind of stuff, you don't like people in the fashion and so passionately flight beauty people specialize in doing this kind of technique, like go in and buy themselves and doing it. There's no quick way, too perfect skin. The best way is to clone pause to do all the boring stuff to get the detail in the skin. If you go in and use the portrait software for what I do, people are gonna notice that, um, and also I have to spend a lot of time with a kind of retouch, and I do the way that fashion photographer's work is, you know, we do spend a lot of time doing this. We do spend a lot of time putting our own money into shoots like time and investment is really important, um, late iran, so it's just really good to kind of no that that's available if you have that kind of client, if you do that kind of work, it's a really quick turnaround like if you were focusing more and shoot and he just want to put something through five minutes if you do like child for churchill, that kind of thing that's great, because your children don't need skin edited for beauty and fashion. We need that detail we needed to say true to that on editors, we'll see that two of magazines on clients will see that they will request that they don't want to see blurry skin. So it's just important to know that. So the next thing I'm gonna do it again on the skin retouching, they're actually I'm going to do this separately because we can use cloning for various different things, so I'm gonna go in and make a new layer here, so laya knew were going to call this cloning. So again, we've got this, um, layer here, it's invisible so we can clone onto the background layer without just clinging on to because we don't just want to eddie on a background there, we want to have the option to go in with a pass ity and to know exactly that we have control of the image later, one for ourselves and for clients to sew the cloning tall is a fantastic tour because I mean, you can use it in a bad way and you can use it and it can be used and it can look great. So cloning is this third tour here and cloning is definitely my friend in photo shop if it weren't for cloning and I would be kind of stuck um what it is is a tool that will sample let you sample and area so if I was to click with owt on my keyboard and click here and sample here, it would clone that so this is great the hair strands it's great for things like big blemishes in the skin I mean, really skin should be tiny make like, tiny elements that you remove in this is great for meeting this part here. Um if you wanted to clone something on the dress over to here like the pattern, you could climb the pattern from here over to here, so I'm just going to show you how this works I'm gonna go and I've got my clone tool at the mod here. I want this to be normal, okay? So I don't want to go in and use anything here. I just wanted to be normal because I'm cloning something from the background layer over I'm not trying to dark and change tone or anything, so I've got my brush lies here again you don't want to go to crazy with the brush size it's, not about having a brush of this big here and going okay, I want to sample that bit and I want to take it off. It doesn't work like that, okay, it's about going in with something about this size and suman, inasmuch as possible. And again, this is why it takes so long because it's about perfected and showing that you remove stuff and tricking people into thinking it wasn't there. Okay, so I'm gonna go in and remove distracting heads. And when I want to do a sample from a peer and just start to go in on, all I'm doing is old clique in on an area and then just use in this and placed in that over there. Hey, again, same thing, same with this head just going in and sampling. You can also do hair with a spot he'll brush tour. They think what's great about a. Ll these tours is that can be used together. There's no one way since a certain thing, the only thing you gotta understand is cloning is a little bit more destructive because you clone in a sample area over to something else the spot hell and the hell amore for smaller areas. So when you put a small area of skin it's better for the detail it's better to sample small areas as well. Example of down in this corner here just here. Okay, so this will take a while to perfect. So if this doesn't look great after just know that I would spend a good twenty minutes doing this piece of hat so I'm gonna clone from down here where there's a similar lighting element and I'm gonna go up here and again from the neck I'm gonna go up and just start cloning those distracting has and people always ask me when I'm doing this kind of thing when do you know what he had to get rid off? And how do you know what to leave? How do you know with the moles blemishes and I think it's about kind of knowing the composition, knowing what if you call in everything out on the hair it's gonna look like you've climbed everything out in the head's gonna fake. So leaving a few of those messy strands in that that's fine to do and people aren't gonna pick on you for that, um the only thing I would say is when you doing pt what it's more obvious and her needs to be more perfected so they're kind of shots that would take eight hours, ten hours to really go in and paint and perfect afterwards so a quick way of how we could use a spot he'll brush tour for the huber sure to edit a strand of hair and the only thing to remember is when you're doing this is you know you're really relying on photo shop to clone the area for you so it's not gonna be right straight away, it might take a few times to get it right and what I want to do is choose a brush that's about this size and kind of follow over the hair like this just following in a line and in doing that and then if there's still some bits there I can go in and clone that or it can further go in and use, but he'll brush tour to do that like these things on the ears here I'd use this spot hell and just do that if this has on the face, I would just go in and just do that and we made them on the same up here it's it's just about going in and removing those distracting elements that shouldn't be there but they exist on knowing like what's removed like, for example um this hair here I would remove this hair here this here, I would leave, because if you stop playing around with too much of that, you're going to be able to tell that you've gone in and done that. Okay?

Class Description


In this fashion photography course, learn every stage of a fashion shoot, from casting your styling team and model to the shoot day itself: shooting in-studio and on-location, lighting techniques, model direction, and finally, retouching, business, marketing, and social media advertising.

Whatever type of photographer you are and whatever your experience level, you can learn something from this fashion photography course -- the elements of fashion photography and how to integrate them with your own business techniques! Lara will instill you with confidence as she shares her personal experiences of her journey in the industry thus far, guiding you towards making your own mark within the industry.

Reviews

James
 

Having dusted off my camera after a 3 year inspiration slump I decided to head toward the fashion/editorial/Fine art/Portrait route. I discovered this course and after researching Lara Jade's work and seeing the course content I decided to buy the course. I'm completely new to the fashion world having mainly shot personal stuff. Anyway, for anyone reading this review who might be thinking 'should I, shouldn't I book this course?' I'm only up to video 6 - the vintage natural light look. I've learned so much already, even if I'd paid the same and got the first 6 videos I'd have been happy. So far it's covered so much about planning shoots, directing models. I like the fact that Jade is a working professional photographer rather than a want-to-be-but-failed or a long time passed has-been. I like that she's British (as am I). I like how she teaches and how down to earth she is and how happy she is to answer questions. I like how humble she is. The content, the teaching style is nothing short of being an assistant on set and learning first hand. Don't think about buying this course, just do it. You will not be sorry, I promise you!

a Creativelive Student
 

Lara's course was very well put together. She covered so many aspects of her shoots, including letting her creative team have the perfect amount of input; so she demonstrated how important it is to surround yourself with the right people and consistently getting their input. I'd love to be able to work with her hair stylist and wardrobe stylist for future editorial shoots. For being as young as Lara is, she is beyond her years in preparedness, experience, and aptitude to instruct. I thought she handled situations, like some "dead air" during live shoots very well by explaining in detail what was going on. Needless to say, I was super impressed.

Adrian Farr
 

Lara has been a long time favourite photographer of mine. Her style is very unique and wonderful to look at. I bought her Fashion Photography book 101 and this course happily goes well alongside it. This course is ideal for those looking to make the leap into fashion photography and is also valuable for emerging photographers. The advice Lara gives focuses on what steps to take in the early stages, as well as how to get your work out there and how to get your style noticed. I will certainly enjoy adding this workshop to my growing collection of CreativeLive courses.