Fashion Photography 101

Lesson 32 of 39

Black & White Processing

 

Fashion Photography 101

Lesson 32 of 39

Black & White Processing

 

Lesson Info

Black & White Processing

I'm actually gonna pull up the finished image that I worked on last night just to give you an idea of what I'm gonna do because I wanted processes of the black and white and it isn't our prices that they would use um everything but as I was talking about the seamless yesterday, I think it's really important to kind of show you guys how that kind of comes to light on how I said that the seamless and the contrast works better and lends itself more to that process in so this was me working on this image yesterday um just from that you can probably I'm gonna pull that up its own step window so you guys can see psst it will be all right so do you remember the shot yesterday on the seamless? Well, this is the reason why I did that I had the soft box on the side on the right for the contrast on the clothing, the texture in the background no light on it because I don't want to much detail and it just has that beautiful radiant it complements what's going on in the shot so I would love to just ...

quickly go through and I've got this psd right here so I can show you exactly how you process this and again, if you have any questions as I'm going through black and white, then that would be great there's a few ways of prices in black and wine um some people say that sudden weighs a wrong so people cite some ways and right and I would say the only way that would be wrong is things that would be destructive to your image and there's not that many ways that all but I always like to use adjustment layers for that reason so when I've got things like this here I've got my background mayor again I've got my skin which I showed him my last one I worked on the skin with cloning with healing I then went in and used a grady in mark show you so I'm gonna apply a grady at mount just to show you what isthe so going down to the adjustment layer here the body in this grady in't map and the great thing about this is um it's it is a grady in basically it's kind of matching what I'm talking about with picture but clicking on this here there's a few things that you can use and the best one I used is this one that's third along and it's just a quick way of processing a beautiful tonal black and white clicking on that and adding it to your father and that's going to be something that suits this kind of picture so something from the tones and the weights coming up the contrast a grady amount will give you that tone so the pulling out the shadows, adding in the highlights to the image could go back and remove that land so I can't go into more. Another thing I've done once I've done that is going back into that selective color once again, and I'll show you how have immediately started affecting that. The only thing I've done in selective color, once I've got my black and white and very minded grady at math is one way of doing it. There's, human saturation, there's black and white on its own. I only show you black and white in a minute, very mei what have done selective color neutrals. All I've done is move the neutrals over to give this that kind of grady and appearance is going to remove these so I can start working on it for you again. All right, so again, this was the this is after I worked on, um, skin here before I did the black and white, because I just want to show you how black and white would affect image by itself. Black and white can be found again. An adjustment slayer in black and white, black and white comes up it's a little bit like selective killer, but in the sense you could just change these what's great about this issue can start to see results with it immediately. So if you say you can start to see the way it changes the reds in the photo and this is great toe work on from a color photo because it defines colors and the way it's gonna turn the tones in the back and white shot so approaching a black and white from different perspectives for this image a different way of doing it would be to do a black and white a selective color. Andi the grady at math all in one, you could just do black and white on its own. You could just use selective color and just use the human saturation. Just turn the back on white down. No way is right, it's just about what you want from it and how much control you want with the tones and the color's a swell. So again, he I've added the bun on the face just to show you how a body that burned us to enhance the eyes and again with the dodge to add the highlight to the face and then again to the overall image you see how that just kind of enhances the light of use because she's got that house on the hat and the the b flat behind kind of brings a lot of shadow here I still want to see her beautiful faces she's sitting like this I want that to be a focal point because that's what's gonna engage with the audience and again with all these kind of processes together and in the liquefies the showed you earlier another wave liquefying just for composition this is exactly how it would approach this black and white with my own work and if you wanted to tend this black and white because sometimes people like to ten a good way of doing this again would be to go into selective color going into the neutral zone you blacks and just taking that shot to slightly off tone here again, if I was said at this point I would be happy with the image I would lay an eye would flatten and bury mine I don't have um the psd have saved without the grain okay, so the grain is just a finishing technique with then go and make a background copy of that filter I would go to noise add noise and again I would add about a three to five percent depending on what I want you don't want too much grain uniform because you wanted to be a uniformed grain a monochromatic because it's obvious when someone juice's colored grain okay, so you only have to look back into, like, old fashioned photography to kind of see the ways you would love to replicate something. And I would add that to the shot and you can kind of see that this works for what I'm trying to do here. It just gives that shot something with the grain and it enhances the moon. I'm going for again using the hi I igh s o why don't mind using it? Because I'm always trying to encroach brain as much as I can in my pictures it finishes my images and it just it enables them to load and works for kind of relation to what's going on in the shot as well. Okay, so I would love to get questions. Yeah, yeah, when you were doing dodging and burning uh, your brush was one hundred percent um and, uh, you know, the brush one hundred percent forgot what it's called then the dodge too was under way over. Yeah, yeah, so I would always work with you kentucky between when you get familiar with it, you'll start to just mess with that without kind of realizing if, um, if you're new to it, the good thing is you can go and do it harshly and then you can go in and take the capacity down afterwards, but if you want to do it where you only want like you want a lot of highlight is she doing here and you want to do it all on here without having to keep struggling here, go in and use thea mode at the top and flow together. So if you were working on this part of the face going in with that and again using light your mid tones highlights like so use your mode and your flow with all those different elements and you'll find that when she get familiar with it that that will come naturally as well hey have some more why did you load the shoulder? What didn't you like about it? Sorry, why today why did you lower the shoulder lower the shoulder? Because I wanted that kind of feeling from it like she was cold and she just kind of hunched over and also the clothing I want the clothing to fit to the body and I want the dress to kind of come out of the side as well. So the shoulder actually this helps from yesterday where I was getting her to pose like this so instead of having it just kind of awkwardly like this, what helps with this? Because it's a movie theme I want to bring his shoulders in for the composition so whatever I'm doing in retouching, his only what I was trying to get a camera before just looked fine. Yeah, again. Just using you, like europe, please tool, and they just pull in and just suddenly, on the neck. Another good thing is, when you're doing things like portrait. Um, it's, always good to have a long neck. Something about is quite elegant, especially for things like covers, fashion, portraiture. Most models have that. But if sometimes they're posing in a weird way, maybe just extending the neckline just a little bit for pulling in the neck to get that kind of elegant appeal that comes from that this well.

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!