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Fine Art Women's Portraits

Lesson 17 of 17

Digital Finishing Techniques in Photoshop

Jennifer Thoreson

Fine Art Women's Portraits

Jennifer Thoreson

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Lesson Info

17. Digital Finishing Techniques in Photoshop

Lesson Info

Digital Finishing Techniques in Photoshop

ah wanted to show you a few before we even start here a few finished ones so you can kind of get an idea of where we're headed so this is a bell yesterday in the studio in the woods so not without seeing all the fluff around it without the edges and all that stuff you no idea what I was seeing in the square crop dead center subject we talked a lot about a blank canvas with a moving subject and that's exactly what's going on there and that is pleasing to me so there's not much in the background she's the graphic element um it's another one of her and this is one of my safe poses but sometimes they're pretty dramatic or dynamic depending on the model on the face on the girl you know and she is like really intense in that I think her face so there's not a whole lot to the post opposing you always have to be crazy you know those air fun and they're interesting but something really simple could be justice dynamic and I think it is on that one so I kind of fell in love with that picture of h...

er beautiful alex so starting out with her I did all the safe pose it and it started to push it a little bit and say where we could go and she was she was pretty easy to bend and play around with us for a cz length and limbs and stuff like that this is the first one I kind of pushed her on and I really liked it her uh one of l this is probably one of my favorite images from the whole workshop I think of her she has an amazing former first of all but she's got that face you know too so the whole thing is interesting as faras formal aspect but she's intensely staring through the camera I think that worked really well another thing interesting happen during this part we get this illuminated background happy thing that happened just because we're outside that will never happen in this studio so there's a little discoveries that happened just now like when we were trying I was trying to force was thinking we don't have enough space you don't have enough space you know I can't say I was like wait a second use it you know what can I do in five feet and it worked you know like that booking myself even more if I was already pretty book ended with a chair in the background right even more squish it and see what can happen in five square feet basically it was really challenging it was really fun but little things that introduce themselves that aren't planned have you planned everything to the point you know and you kind of suck the life out of it sometimes embrace him and play with them that is a total joy to me um I loved this one of her so again it's just this functions just like the studio girl in a blank canvas really that backgrounds not doing anything except adding a little bit of texture and he's giving your place and that's that's what I want my background to dio shows time of day gives you a little bit of an essence of place but not so much that it's it's overpowering her like I would never put a house or a castle in the background or something like that it's just it's too it's too directive for me um way had thinking did this one yeah l but I wanted to just mention from it I usually wouldn't photograph the back of a hand like that but she did it on her own when we were photographing and it had this feeling of really intense a gesture to me like she's really pushing on herself it's kind of sensual I think so I just went with it that's another those things like discovery that just happens I'm going to go with the antlers then as she was moving to oppose that I had in mind I saw something on the way and that's how we ended up with that basket thing where it was and it was pointing us I saw that happening as she was moving a moment our shoulders so the more observant you are if you just really watch everything in front of you happening you never know what you'll discover you just waiting watch this's of el trying to balance on that that stick that we found which was one of my favorite ones from the workshop I think too so this will be here drives me nuts because it's a point of contrast that your eye goes to sea you see her and you go there and then you see her and then you go there so in a finished image I would get rid of this so this is a bright spot and her in the middle so it's simply composed this was nice of the two girls close up it's another one of l'm crazy back bending their same idea I did get rid of it in this one so anyway just to give you an idea of kind of what I'm looking for where I'm headed with all this editing I don't do anything to it except stretch out the background a little bit to get rid of the tree all arrested he's just have my recipe autumn and a little bit of contract that's it so that's what we're gonna do and it's pretty simple I really don't retouch my model's very much sometimes I use a liquefied tool and push somebody's back and a little bit or something like that that's it really kind of it okay so we're gonna go through this step by step and start out by making a recipe and I know most of you guys out there know how to use textures but maybe there's something in here that you can use or learn from I wouldn't assume that everybody knows how to use texture okay well and use them in the way I'm not saying I'm a genius at it but I have some method only that we would love to see your full we'll do it we'll do it to it the hole a ten step process to ten types love ten types I just ask a quick question waiting for photoshopped this question is from abstract truths and they'd like to know if the editing process that you're showing everyone does that affect the quality of the image and you edit differently when you're going to use a piece for a gallery well a ce faras quality I wouldn't say it affects the quality it affects the tonal range effects the color range but the quality of the files going let remain intact I'm trying purposely to flatten out some of those total ranges so yeah the files affected but it's not the quality is not affected and yes I do use these techniques on work that I selling galleries some of the work are working on now is actually in color which is sort of shocking but if I'm going to do a black and white this is what I'm gonna do it okay I think we'll go through some of the most basic stuff first just a few things I told you I would show you how to expand background things like that and that's not the best image to use let's try this one and then we'll get into how to make the recipes okay does anybody know how I can get the bottom of my screen to show up so I can see the bottom edge of this frame down here that's gonna make me crazy I can't get to the bottom corner of it okay um so the first thing I'll do is just crop let's just go for like about a ten by ten so I just I'm addicted to square so it's ten by ten at three hundred not pixels inches I do a lot of ten inch prints I like ten inch prints because they're small enough to be intimate and big enough to see the details so I like that jen she would like to know how are you choosing how are you selecting them is it just the visual of the small thumbnails you're just visually choosing yeah and I can tell from a thumb now if I like it or don't I was telling you that these guys have a break I would probably show maybe twenty maybe it's many is thirty of these out of all of this photography we've done the past couple of days so pretty picky um I probably wouldn't show this one for instance it's just a good one to illustrate this concept is it less from memory of when you shot and more from the thumbnail or a combination of both no it has nothing to do with the memory okay if I get caught up in now put the wrong stuff ok ok so I cropped this and this is how much space I'd really like to be around her I don't have it in the background so I'm just going to grab my marquee tool up here top left a little box the daughter lines around it marquis as much as I can so I can push this all the way down to where her elbow is and then I'm gonna command c which is for copy command v for paste and command tea for free transform so if you're on a pc it's control rather than command and I'm just gonna pull this up um I pretty much expend extended background on almost all of these because I want a lot of space around the model I like a lot of tiny subject in a big blank canvas background so I do this all the time I do this in the tank to that's much better thank you so I could do the same thing down here just go back to the background layer select as much as I can write where it's hitting her command see command v community and extended out and now I have a campus size that I like I can flatten that down okay just to show you kind of where we're headed with the text everything um so I'm gonna find I save I made this one for um the workshop I just stayed in colorado open it in front of shop actually what they're kind of made up and then in a minute we'll go down and go through and break down how to make one yourself okay so like this top layer is atoning layer this is what's going to make a black and white underneath that you can see in the thumbnails thes heir to ten type images there it's in there twice because it's in two different blending modes this is just a side of an old car that I photographed this is a cement wall another cement wall another ten times there's that texture again laywer order makes a big difference and how they affect each other and stuff so it's in there twice in two different bloody modes and this is this layer again but later order again because I put it underneath some of this other stuff so it's a little bit more delicate in that second use so I can take all of those just select him all f okay thank you you knew that okay grab my move tool hold down shift the cool thing is I made this ten by ten at three hundred so if I hold downshift and drag it over it'll fit perfectly that's really what I would dio I can command tio here expanded out of I don't want to see the border in this case I probably wouldn't want to see the border and then I'll come down here and maybe give her a little bit of contrast if I double up the background layer where she is come up here and change the bloody mode too soft white and lower the opacity a little bit and always if you lose to some of the detail in the hair or something like that you can go in at a mask a brush in black in normal mode but about fifty percent is what I would start with the really soft large brush and get the detail back right there in the stump and everything so a little bit I don't like a lot of contrast cause I'm trying for that kind of tin type feeling um sometimes also grab that layer copy it and at a third in the screen mode and bring that down to maybe fifteen percent so I find that when I'm using these overlays and ten actors that adding a soft light blending moan and a screen lenny mode almost brings back the original pop or snap of that image so I don't lose it doesn't become a super flat looking or kind of strange looking in the color areas things like that so that's about finished then I was on this particular one I'd use a healing russian and get rid of the scene okay so let's break this down do it step by step okay so I just got a folder here full of some random stuff I found I thought we'd make one from here this stuff I just keep around so I was mentioning quickly for the very first presentation about the citrus solve stuff these are really good for making ten types because some of them if we just look glance through these for a minute I mean like that one actually is really good for it this is perfect because I mean that looks like a ten time actually it looks like one that ten time gone wrong and like when the coating is not quite right and I like that effect the purple part especially I would use and I'll show you how to use your certain colors this one's really good too so this is all from the national geographic that I was telling you about um you just take the citrus all put it on the pages and make yourself some crazy texture so I use a lot of these to make my recipes we're gonna use him right here in a minute um then things like this is a car door again just this is random crowd that I've just collected cement you know this one is I think it's a tintype innit I mean I'm sorry I said yourself really looks like a ten time right wooden table this's my victorian family who were goingto make vanish in a minute so it's nothing special this is old papers if we put them together exactly right we'll get something that looks like an antique process image do you have ah really good idea of all your textures like do you have a catalog in your head or do you have to scroll through each time and look at each one again I would have to scroll through I'm I'm very organized sadly also cataloguing them is a good idea okay I'm gonna take this paper first I think it all hadn't grabbed an image so I can see how it's looking go back and get one of these girls on the background let's get some space around her okay all right because I can't stand it I'm gonna crop it we can go from there so grab this paper and when I did quickly without saying so has grabbed the move tool which is the little arrow at the very top right of your palate or you could just hit v's and victor on the keyboard and I will give you your move to all dragged us over here um also nice trick that I find useful when I'm doing this is command zero we'll show you your entire area if you have a bounding box so if I go command t to get myself a bounding box if I hit command zero it'll show me the whole ballot box now I could use the borders of this actually if I wanted to those air they're pretty nice I just don't want to this time because I have a lot that looked like that so and do something like that all right so there's a many options here I'm gonna usually I start with a base texture and multiply mode so lenny modes live up here where it says normal there's a whole bunch um in general this section right here is going dark and things in some fashion multiply it does exactly what you would think it does itjust multiplies the two together so what that kind of does it makes it look like it's on that paper so that that showing up in her skin and all that stuff if it's too dark it simply command n for curves I can change it I still like the blending mode though so I'm just lightening it up a little bit something else is kind of fun to try is when you get a texture on top is to invert it and see what it looks like inverted so command I we'll invert the texture and I could change them all this too soft line or something like that and see what it looks like inverted in this case I like it the way it wass so we're going to go with it and multiply mode so that's a good foundation it's a good place to start building ok you have a question for the images that you're using to create this do you take all of those images yourself do you create them yourself yeah do you know of any resource is online oh my gosh there's tons there's so many I was looking at I stopped photo we're just putting cem cem graphic stuff in my presentation the other day and there's billions of ten types and all kinds of cool old photos that you khun pay for if you want to use I mean that's the first place I'd look yeah there's a lot there's also websites dedicated just to textures and stuff and then can I ask just clarifying question we've got folks from all over the world some of whom in the chat room weren't familiar with ten types oh could you just give a brief a brief history of what you're talking about yeah um I feel like we should put him up on the internet so people can see but they could look him up as you talk yeah but way back way way back people still make ten times all the time I made some couple years ago but you need a wet plate camera to do it so you would have you know the guys with the the girls with the thing that cloth over them and there is that you know quintessential camera thing you need that and on site you needed a dark room right next to you so you put a piece of ten in your camera you take the exposure which could be an hour long depending on the light it's like sensitivity of I s o fifteen I think so you take your picture and they immediately take it out so it's coded it's wet when it goes in your camera that's why it's wet plate or ten times well it out and process in a dark room and most the time tin types are a little bitty things about this big I've always loved that idea because they're precious and small people used to carry those around as like a wallet remember somebody love you know that's why I make small word because I find it more precious and warrants like anyway they have a certain look to him because they're on ten and ten was kind of dark so they'd put the chemical on the top of that um for instance like the reds and people skin tended to render quite differently because of the chemical make up so we're going to play with that actually in a minute to make it look more like a tin type in the black and white so and you look at an original tintype of the black and white is really kind of silvery feathery muted tones so that's what I'm after and if you haven't seen it since type definitely do that because I think I find it very inspiring toe look at old ten times or wet play it's another thing to google okay let's grab another texture and stick it in here it's hard for me to see where one thing begins and one ends all right let's see what else we got let's grab another let's do this thing so I've got a base layer here and now all that's doing is one thing muting the color's a little bit mad if I ng things and adding a basic texture of base kind of quality I guess to it so it d modernizes a touch I don't want this to be heavy so sometimes I'll pull this down even to fifty year forty percent ok so after I got a bass player I don't want any more full texture there's usually because they're very heavy and they really start to affect the quality of the total range so what I'm going to dio is use part of this I go to select color range I have all kinds of flexibility but I can use this little eyedropper that showing up right here and choose any color I want if I just wanted those little rusty bits I can click run on a rest a bit adjust the fuzziness and you can see in that little black box show me exactly what it's going to get me select for me so I can have this much or as little of that as I want and for now I just want a little bit so I'm going to say okay you notice there immediately selected so I'm gonna hit command j to jump those to a new layer manager is a great shortcut command uh jump is what I think of to remember it all right so same thing was going to use b as in victor on the keyboard for the move tool drag and drop so you noticed this isn't doing a lot it's gentle it's not in your face texture so these look like little acid stains or something like that would happen in antique process I know it's a normal landing mode I'll try it and soft line to make even more gentle so if I look in here I can see it but it's not in my face nice thing about these partial textures is too which I'll illustrate in a minute if you've ever used full bleed textures you know that if you use a mask and erase through them with a mask you see a really strange almost like a hole in it you see a color shift you see a tonal shift it looks really weird right these little partial wispy textures don't have they don't deposit color they don't deposit tone so you see you can't even see that right here the difference this one's going to deposit a lot of color this one won't so if I don't want a certain spot that shows up on her face I could just mask it out it's nothing okay let's go back in the cool thing is I can use this several times so I'm gonna go back to the back on layer select color range I'm done in here select one of the darker colors and again you can adjust your fuzziness and see how much your little you want I think that looks pretty good so I'll say okay and what was the short kind of anybody remember command j jump it to its own layer and then pull that over see how it looks kind of gives me a nice little border at the bottom I like the way that looks it's wicked cool again just illustrate if I don't want let's say I don't like the way this looks right here I could just add a mask which is this little button right here the square ba hole in it a brush and black in normal mode and I could just get rid of it and it doesn't show hole in the layer per se okay so this is looking good already let's get rid of that scribe another one so this is kind of fun to dio um if you wanted just the cracks for instance if I just wanted that I can select color range again and it's already kind of there but I'm gonna point at that black color they just want a little wispy tiny bits say okay command jay and move it over so what I like about this kind of stuff is I can have it on some images and not another so if I'm doing a whole series of forty and they're all going to be the same idea I khun turn I can put twenty of these in there and turn them off it on as I make different images so that way they're all different every single one is different it's obvious that it's the same exact texture forty times something sense yeah you can personalize it a little bit so just going to change the opacity about blended to I think soft white mode is kind of the go to yeah another thing that's kind of interesting see like this bit this border I mentioned earlier inverting the textures can be cool so I can command I to invert that it's a light texture so it's gonna turn white or a dark texture so it's gonna turn white that was like a bleach kind of a bleach process which is kind of cool I'm gonna keep it dark but just keep in mind that that is available teo because it could make things really interesting that's actually a little bit strong too I'm going to blend it too soft light load that's much better okay we're done with that no it's crab another one so this may seem a little bit tedious as I keep doing this over and over but this is how I do it um I got an email this one's really cool went to pull from select color range come in here and get some of that light color light texture command j jump it ozone layer and dragon rob you see how that showing up on her you could make it this big or small as I want this is a tiny file so I didn't come in for anything I like it white actually that kind of bluish color is interesting if I want to blend it I could blame it to screen mode and will turn even lighter or lighten screen I like the white I'm just gonna back it up so it's not so strong you see how this starting to add character a little by little but they're little whispers they're not shouting at you the difference um okay let me show you what I was talking about I'm gonna grab this and pull it over this is just a paper grabbing my move tool pulling it over and again you don't remember how to show the entire screen we've gotta bounding box command zero that's really handy by though it's handy all the time even when you're not doing this okay so what if you look at this texture you can see that it's got some grit to it and also has a color cast writes quite yellow so if you were gonna work on these in color this is going to be an issue if I blew this into soft light it really messes with the color so let's say I like the color and I want to keep it which I don't but just say we do um internal these off so you guys can see this happening so I'm just working on this layer right now so I blended it in but if I use a mask to mask out off of her with the black brush like we've been doing she's gonna be natural color and the background is that yellow cast and the more I do that the more textures I and the weirder it's gonna look for instance if I did it to this one too she's back to the original image and the other two are adding color cast so if I continue to add full bleed textures it's gonna be really strange looking in a minute so there's a quick little method I want to show you imagine that we do want to keep this okay because we were in a little bit so I'm gonna do is I'm gonna make myself a brush that will smooth her out without losing the color cast that exists already in order to do that I'm going to go to file new make myself a brand new document so let's start with inches here ten by ten or something and this could be any side you wanted this is an arbitrary choice right now ok so then I'm gonna come in here and grab my pain took it to old of a million ways to fill a background but I like this one so paint bucket till halfway down if you can't find it it's probably living under the grady and tool you go over here and select all I did was by the way click on my color swatch right here and that pulls this color pick her up I'm gonna move this all the way to the left which gives me a neutral gray and about halfway up it doesn't have to be perfect and just fill the background by clicking in that space okay so now I can go up here and say at it where is it defined pattern about halfway down can I can name it once you name it lives in your patterns forever amen so I can close because I don't need it anymore it's in my patterns now if I choose my healing brush tool and it does need to be the actual healing brush not the spot healing brush right up here under sample is where you use your healing brush usually is some was going to go to pattern and choose that gray square and then when I paint on her it gets rid of the caca she'll be perfectly smooth but the color of the background stays intact so I wanted to get rid of a strong texture or something like that I could just do it this way and that gray square is completely neutral so deposits no color no texture it's perfectly smooth and colorless so I campaign on any area I don't want that texture to show up and I'm going home on the layer the texture layer itself and get perfectly smooth skin so if I were going to use a full bleed texture it was really strong that's how I would take care of them the color problem okay so I don't really care about the color so much this is going to black and white anyway so I'm just gonna pull the opacity down so you can see now we have two full bleed textures it's a little wispy ones in there okay way are done with that one it was sorry little citrus solved once and play with it for a minute so you can see how they work we decided we'd like this one right and if you could explain that again the citrus ofthe people who weren't here yesterday people when you mentioned it casually people like what a lot of that okay so there was a cleaner out there called teacher solved and it's it's made for like mopping floors and stuff like that smells like oranges it's amazing for cleaning too so bonus if you use it full strength with a foam brush on the pages of a national geographic magazine and I have to be newer than two thousand the magazine okay brush it on liberally on the photo pages the photo spreads take two of them stick their faces together and wait about ten minutes when you pull them apart somehow some way those inks freak out together and create this stuff so they use a soy based ink that respond to that cleaner and it just makes amazing designs and it's really bizarre because you can use like a black page and brown page and a little of that you get colors out of it it's so strange but it's so much fun it is great to do with kids and stuff to um but I like to use it for photography so I can have a million different brand new textures every time I do it it's really cool I would do so unless you look at this two ways we can look at it as a full bleed so I'm just kind of convert over here are the way if I if I were using a sick child and there's this one little area or something was crazy about I can just grab the patch tool grab it I don't care so much about the integrity of this this is just going to be blended anyway and come over here get rid of it one more time I love the patch tool I think they made it just for me now I am blowing this into soft light and see what we got another multiply would be fun to go that's another one so when you use multiply becomes quite dark it might be interesting to invert that's what it looks like or use curves toe lighten it up but that started look really ten type we know that's a word by the way ten type e it's my word I like it that's good so another way to use this is what we've been doing already so select color range and just grab the pinot probably ones say okay command jay and pull him over and I like the way that looks a lot if I don't want them to light but rather dark I can invert them will become dark okay well see strong some just backing it off so I might do this another five or six times find another five or six cool things to put in there and I've got a recipe okay so the last thing I would d'oh or a couple of of the last things I would do is at a border and then a total layer so let's do that the borders are cool because you could take him or leave him just like a showed you earlier I could expand it out past the border or I can use it so that's another option to differentiate each image if you want a few with the border you go rotate the border you can add a mask and play with the border so it's a little different every time that kind of stuff um let's find it so I'm gonna use my victorian friends this is just something I found at a flea market really cool pictures and that amazing if we shot weddings like this mean check that out it's so cool okay I'm gonna do the same exact thing and trying to get this border offer here this also works with ten times because often the border is a lot darker than the actual images ok or white plates so select color range you know what let me crop this first because if I do that I'm gonna get all this to which I don't want so clear my crop told through that okay now khun select color range and grab just that inky black color I just I know that I'm going to see some of my victorian friends and that's okay because we can tell him to hit the road in a minute but at least I'm not getting all this stuff all right so this looks just the black areas so if I wanted to I could actually go in last of the mindy select them now I'm just gonna ask him out so exciting it's quicker move it with the move tool which again the shortcut for that is we command tea to free transform okay so you noticed this isn't fit up here because I didn't photograph this completely swear which I don't really care about because there's this magic thing up here somewhere when I'm in free transform so I'm unfree transform I have this cool little gadget up here it looks like a window pane and that lets me kind of turn it into rubber a little bit and adjust it make it perfectly square do whatever I want with it okay let's say we were happy with that I'm gonna add a mask right here black brush get rid of my friends at one hundred percent we really don't want them they're gonna haunt me now so I raced them existence I don't really like to see their so it's gonna go away I would take that and blended into multiply mode so it becomes part of the image of kind of organic looking all right we got a border now the last step I'm going to add a layer over the top just buy a brand new layer so this needs to be on the very top so I'm going to select whatever larry's in on top and then come down here and and the brand new layer come over here and what we did before and fill it with now this could be any color you want okay so just you know let you know what I tend generally do is a warm black and white so I'm just kind of looking over here I'm gonna bring this into the orangey brown range I'm looking for you like a mouse see black and white something like that okay and I can change it's intimate I don't like it say ok fill my layer with that color and I think that's gonna be pretty good actually so now I'm going to come up here and change the blending loaded from normal to color and now I have a really beautiful almost platinum palladium tone yeah if I don't like that I could just come up here and go to I can add an adjustment layer or an inch adjust you saturation there is changing and all kinds of different ranges in there I just wanted a little bit warmer a little bit cooler or something or when I often will do is at several colors they're so let's do another one turn this one off at another color and dump it on there let's do a c p a tone change that one to color mode so now let's see peotone so when you're playing in here with your recipe used one or the other I could make a scientist type and that looks like santa type yeah okay and then in the very end once I've got a recipe on an image of this this recipe I would say is pretty much done but just don't you know a few things that can play with I'm gonna make it black and white again first I would add a little contrast to her because she's just falling apart back there so I did that by copying my background layer coming up here and blending it too soft white and now she's got contrast again you know layer merge those two layers together well nourished everything together didn't mean to do that merge down that's what I wanted okay so she's fine but I can actually plant she's still in color back there okay so I can come up here and add make sure I'm on layer I want an adjustment layer for black and white which is right here your adjustments are on their own tab okay well black and white adjustment layer okay so this is where I was telling you in the old processes like tents happened wet plate the reds didn't render quite right eso if I want to play with that idea I can't pull the reds up a little bit and it looks just like these two look very similar you go nuts with it if it's if you've got a girl in a green landscape and she's this big it's really cool to just pull this way up she starts glow and what's really neat but I will almost always pull my reds up just a little bit to get that wet plate effect that's the last step of that any questions here in our studio audience here let's take out you have to have ray when you do the um to take the color out the toning do you always pick a pretty dark color or do you ever go lighter than that I usually pick a pretty dark color although what it's looking for us kind of atonality so um if you look at the color picker if I picked this color this color is gonna look pretty similar color blending mode anything that's vertically the same it's gonna look pretty similar I like the darker colors are darker tones is as faras the color is concerned when you blend it in though in color moan you pick a darker one eye just like the effect of that kind of adding a little bit of uh total range to it to it flattens out so it looks more like it's in time robert ese asked would you ever consider using your photos and smart objects so that you'd be able to readjust the photo without planning probably not because I'm not smart enough for smart object I don't like smart objects they drive me crazy I tied a photo shop class where we used a lot of that was and it's just not my bag it's another step I mentioned earlier is I'm the same way and photoshopped that I am one of when I'm photographing I just want and I know my method and the simplest possible way for me but that doesn't mean it's the simplest way for anyone else so that would also that would work right okay I don't think I would do as we always say there eighteen fifty five ways to do anything I'm sure is people are watching they're going oh well I could do it this way or this would be quicker for me you know that behind this is just kind of a method that seems to work for me so cool I had seen somebody requested not sure are we going to do another one as well we can okay that would be awesome one when person had asked um largo if you could explain again the steps on how to erase texture from the skin so that we can do right with this one I greatly um it's fine my layer palette here so let's look at all the stuff that's happening to her okay so you can see that's on there um there were two ways there's a victoria hanging in there get away um it makes me laugh for something that makes me love that's funny and four victorian people I don't love them okay I'm gonna stop our had these one by once you could see them behaving so if you look at the layer power the ones with the checkerboard background those are our partial textures is what I call them the little wispy ones that we use the color range to select and slower I like those a lot because they're easy to mask right off so let's say we have you see how that's behaving on her skin down there the foot area and it is kind of not so good on the hand so I can come over here on my mask brush in normal mode at a hundred percent he was a soft edge brush just pressure right off it's not a thing okay and I would do that if I were going to print this I do that on each layer and make sure there was nothing crazy looking on her skin some of it I want on there because it wouldn't make any sense to have an antique process print that just magically didn't happen on the skin so a little bit of its ok it's too heavy okay backing that you see how that's happening on her on her legs and this one has a harder has a hard edge just kind of strange too so I can add can I ask you just kind of organically so some of this I would probably leave just a little bit maybe not on the face but here because it makes sense to have a little bit of it that's it with the partial textures it's just a matter of masking that's why I like him so much the full of lead textures though what I did and I have experiment which is using the spot healing brush to it doesn't seem to work as well as this you see a halo from it often um so when I do is make myself a pattern just by going teo file new making a brand new document of filling it with fifty percent gray when I went to edit defined pattern I don't hear so well I can't do it because yeah here it is okay so then when I get my healing brush tool make sure it's a normal mode and it rather than sample which isn't default you have pattern selected and then I can come in here and just brush with my stop it with my healing rushed to get rid of it this is not a big difference because this texture this paper doesn't have a lot of texture to it but that's how I would do it if it was full bleed textures does that make sense everybody you guys all clear okay wait do have some questions maybe I could take a couple minutes about what you do after this so um we have folks asking about what kind of papers you print with and again the sizes are they all just a ten by ten and yeah how do you map them before they go to the gallery so just like a mini version of what's next yeah I prince on almost exclusively the hana mule bamboo paper I love it's so beautiful it's a warm tone paper so it's also all completely green inorganic that's pretty cool too um but besides that it's this amazing beautiful warm tone so when I print this on it becomes just a little bit warmer in the whole paper is kind of off white so I use that for everything uh and then I use just a uh a pli beveled matt white matt uh that's that's it so I like my mouth to be pretty big six to eight inches at least and I tend to use just a little nielsen black frames in galleries um most galleries expect you to pay for your own framing and matting and then they sell the work so the benefit is they have the audience but you have to put the cost up front so nielsen any I'll s e n I think it is um makes just little black frames that you put together yourself you assemble them and they're very inexpensive and they look great so I use those I get my mats from frame destination dot com you can buyem you can either get on custom made to fit a specific image or I can if I do a show of medic for instance they're all ten by ten prints I can do a bulk order of ten by ten mats for a lot cheaper all right then well we always loved end on more of a big picture question or a big picture note and solis had asked earlier what what are your future plans are you going to do something totally different from what you're doing now and are there new works in colors or faded or are you going to keep doing monochrome or maybe start underwater photography I'm probably not underwater photography but um I am doing color work right now so my next project which is I think I've lost my ever loving mind but it's okay um I'm renting a house in albuquerque and I'm going to gut it basically um and make installation art in every room of the house so I I've got gas and cats of wool for instance I got sheep polices have just like it did my muslin room and fabric and stuff um felt all kinds of crazy materials I'm gonna cover the rooms with cover the furniture gonna do want I think of just thread everywhere just millions of pieces of thread coming off of the couch anyway um each room will have a different material and have for a different symbol in a sense and I'll photograph somebody in there that could buy kind of becomes part of the sculpture with their body and make serious out of it so it could take me the rest of my life fish but that's the that's the plan yeah really exciting it will be in color I think and larger prints which is where you're gonna have people come be able to come visit give yours maybe we could go live from there do it I'm gonna have an opening of it and I imagine the final show in the house actually stripped everything back out tear down the sculptures and just have the single photograph in every room that was made there kind of like that's my bad physical thing I want to cover the floors and rock salt so it crunches under your feet when you walk in andi I think I want to strangely burn all the objects that I use and all the materials and just have little piles of ash in the middle so you can see this was the chair and this was the table and this used to be there so it just symbolizes rebirth

Class Description

Are you ready to delve into the magical world of fine art photography? Join innovative and award-winning photographer Jennifer Thoreson for an immersion into everything you need to know to conceptualize, style, and shoot photographs that double as works of art.

Jennifer will share her unique method for turning a natural setting into a fine art studio, including her one-of-a-kind-technique for creating water portraits. You’ll master the essential principles of posing, lighting, styling, and costuming. Jennifer will also cover working effectively with models, communicating your personal vision, and using Photoshop to add a fine-art-style polish to images.

By the end of this course, you’ll be inspired and empowered to bring a new level of artistry to your photographs.


a Creativelive Student

I can't review the course as I haven't seen it yet, but I am buying it. I'm buying it based on the one free session on inspiration. I was so moved by who Jennifer is and her courage and commitment. I want to know her; be her friend, because she is so fearless and courageous. She admits that it took a long time for her to find her path. She reminds us again and again that it is hard -- art is hard. She was inspired by amazing paintings -- I completely understand why they inspired her, and in the direction that they did. I can't wait to watch this whole course, because I can't wait to witness more of Jennifer and her courage, her creativity, and her big lioness heart.

Joshua Pheneger

Jennifer is a talented and genuine artist with a gentle soul. Her perspective on how to approach the creative process and how to "quiet the little voices" and practice quiet observation are very helpful. I have been tremendously inspired by this course and I feel as though I am a better artist for having participated. Thank you for bringing this wonderful artist to the amazing creativeLIVE community.

Laura Arrowsmith

I love her work and her teaching. Her perspective is so beautiful and inspiring. I had the opportunity to attend a workshop with her in Colorado this summer and it was a life-changing experience. The location was spectacular. Jennifer is so brilliant, yet so warm and friendly. I really just don't have enough glowing adjectives to describe this event.