Fine Art Conceptual Photography from Shoot through Post-Processing

 

Fine Art Conceptual Photography from Shoot through Post-Processing

 

Lesson Info

Channels and Channel Mixer

I feel like her skin is a little bit too red, so I'm going to show you one more color adjustment- Yes. That I quite like. Show as much as you like. Okay. Since you asked so nicely. You didn't ask, I just told you, what I was going to do. (laughs) So we're going to go to channel mixer. Again, color adjustment- oh wait, hang on. Sorry. I made a mistake. I forgot that should be selected. There we go. Top of the layer. Top of the layer. Always work systematically. Okay, we're going to click on here, scroll down to channel mixer. And do you want to tell us what channel mixer does very quickly? Yeah, so basically it's kind of like when you saw the curves and how they work when we're adjusting red influence and green influence and so forth. These have a little bit more to adjust. So if you're not familiar with what channels are, basically channels are located here, window channel. And every image is made up or red, green, and blue. In the sense where, if you click on the blue ch...

annel, and I just keep that on, it shows you where most of the blues of the images are hiding by being highlighted. So there's a lot of blue in the skin, as well as greens and reds. And they stack on top of each other to create that white, or beige skin tone. Now where it's dark, it's saying that there's not a lot of blue, in those regions. Same thing for green. If I keep that on, there's not a lot of green, because the bush was red. But if I click on red, you see there's a lot. It's white, showing you that most of the reds are in that area. That's what a channel is, really quickly. Now, let me go back and actually reset that really quick. R-G-B, turn that off. So a channel mixer does something very similar. If I start adjusting the red in the red channel, it basically adds more reds in the red channel. So you saw in the red channel, there was a lot of reds in the flowers. So it adds more reds in those flowers. If I pushed greens, it would add more greens in the flowers and everywhere that was red. So it shifts the dynamic of the image, but also it has different presets. You can do different black and whites based on those channels. So you saw the blue filter. We saw the red filter, and there again with the red filter there's a bunch of red over here, which is why it's white. So that's kind of what that is. Thanks. It's especially very good to know, because I noticed immediately that there was too much red on the skin. And this is just a way of- if you don't know- if your eye can't see it, this is a great way for the program to tell you, "this is where all the reds are." because sometimes when you're looking at color for so long, half the time, you can't tell what you're looking at. Am I the only one? Yeah, exactly. When you're looking at color for too long, at some point, they all start merging into one. And you're like, "is it too red? Is it too blue? I don't even know anymore." And that's when, I would say get up and walk away, and come back with fresh eyes. But this is a very quick and easy way for the program itself to tell you that, yeah, you've got a lot of red in her skin, and you might want to work on that. And also see where your balance is across the image, in case you're red-dominant, or green-dominant, or blue-dominant. You can adjust that way. That's right. Okay, so from that point, would you say that this is just a visualizer? Yeah. Well actually, I knew that it was red-dominant, so I'm going to use channel mixer to- let's take that off and get back to where we were. Okay. So very quickly, we are going to, in the red channel, bring this down a tiny bit. And I'm going by eye hue. Were going to look at the greens, then look at the blues. And I'll turn this off and on, and see what's happening. Okay, now drop the opacity to 40% or 50 to 60%. And I feel that that's a little bit more balanced, and we're going to our greens, just a little bit to see what's going on. Add a little bit of red. The changes are so minute, it's literally like one here, two there, and there you go. Okay. I think I'm happy with that. I think that's beautiful as well. Yeah. But let's actually put these two together like this, command G. And turn these two on and off to show you where we've come. So this is the before, that we started with, which is amazing because I didn't even remember that. And then now, the after. It's really impactful. It's incredible. I'm going to hit F, for full screen. And then do that one more time, so there you go.

Class Description

It’s one thing to have a creative imagination but bringing your visions to life requires a specific skillset. You need to understand the technical challenges facing you to move from concept to planning production and finalizing your image. The amazingly talented duo of Bella Kotak and Pratik Naik will walk through every detail to creating your conceptual vision. Bella will help you understand how to evaluate locations and environment, pose your model, see color in a new way, and create beautiful props on a budget. Pratik will share his vast knowledge of color theory, color toning, and compositing images to streamline your retouching workflow. This class will offer an in-depth look at creative production and retouching process. 


You’ll learn: 
  • How to concept and develop a scene
  • Color theory and how it applies in camera and in post production
  • Location practices to guide your eye toward beauty in common environments
  • Communication tactics for collaborating with other artists
  • Lighting techniques for composite images and fine art portraits
  • Basic retouching of an image
  • Color toning techniques in Capture One
  • Compositing techniques for bringing an image together