Skip to main content

Glamour Photography

Lesson 24 of 36

Photoshop Sue Style

Sue Bryce

Glamour Photography

Sue Bryce

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

24. Photoshop Sue Style

Lesson Info

Photoshop Sue Style

I'm gonna take you through a photo shop tutorial this morning um photo shop is a huge component of what I do the same way makeup is a huge component of what I do recently I read a forum that somebody had posted about my before and afters and ninety nine piss into the comments were like over photoshopped over walked over rita over stretched over liquefied over re touched a lot of the comments were hitting really hod on the before and after and as you know I would prefer not to show up before and after but I have to communicate the story of where we come from and where we finish up so that's why I do show the before and after the one thing people don't know about me is actually how little I actually do photograph into photoshopped in terms of health you know in terms of how it looks for the shop so I'll take you through a standard sit up for me but what I also wanted to do was I wanted to show you your raw images so I wanted to show you you straight out of the camera so that you could se...

e what I did to you to get you to the finished product and I think because everybody saw your finished product it's going to be really need for them to see that final process there's a few things that I use in photo shop just straight off the bet I I love totally red actions so get totally red dot com is definitely a a set of actions that I've had for a couple of years now what I love about their actions is it's obviously there's a few really key components in there that I use all the time in terms of just making my images better one of them I really love is they have a cinnamon toast layer and I've set up in action on the side of my photo shop and so if we put my photo shop up on screen I'm just going to show you a couple of things this is how my fetish shop is set up now a lot of people are working in button now sorry out of but mode which is here so they pressed the action and then press play at the bottom when I started to speak I didn't realize that people actually I don't know that if you go up to this top here and you press button mode then you get a one button action now I cal accorded mine color coordinated mine in rainbow colors because I'm a girl and I liked rainbow colors but you don't have to do that but basically what it means is instead of excellently the action in pressing play you're a one button press any few working and but now all of your working about nine it's quite weird it's half the world seems to know and half the world is like you're kidding and I don't know if you're the ones that are saying you're kidding well they go go on put your buttons into button mode I also have actions from gesture rocks and I have actions from jinky art uh these all of these three people totally red jinky ad and just iraq's have all created two or three of my favorite actions so although you may buy sixty to one hundred two or three of each of those people have given me actions that key components and what I use okay so uh a lot of people are anti actions whatever I'm I'm pro making money in being fast on photo shop so if I have to speed up my process of photo shop in order to make money on dh to have a studio that is both financially viable with a good profitability then I don't want to spend eighty percent of my week on photo shop like a lot of photographers are doing so that's why I'm trying to slim in finish up always and then I'm trying to constantly retouch at a very fast rate so I made up a rule when I started to shoot I would shoot sixty to ninety images in a in a shoot I would choose twenty five images ok no more than thirty so at thirty images I would then retouch thirty images at two minutes each so every image gets two minutes on photo shop every single image gets to solid minutes on the job now that is a sixty minute sit up okay at that point I want my client to be abbasi a really good product but not one that's necessarily overworked but has just got the components that I know that they would like removed removed when we don't remove lines under the ice removed the shadows right so just the things that we don't like so I'm going teo now try and do a two minute makeover on each image said that you can see how far I can take it in two minutes and then I'll break it down for you okay all right when I have the shot here of t y um one of the most obvious things about it is a cz much as I love this image was that instantly way head the sky falling down at the back now this image was worth any sacrifice for me I would have done whatever I had to do teo get it to her so what I actually did so well at my time of the year what I actually did was I went to my less suitable and I basically created the shape of t wise here I went round his calf I pulled out to the right I copied and pasted and I put the section back hong because I just wanted to be rid of that scaphoid I felt like it handed uh the shape from there I use dodging boone is one of my most significant tools on further shop so basically I just went in and I just dropped that later on like that and I just ended it straightaway so um I use a lot of cutting and pasting cutting and pasting for me and you have to understand I used dodging boone because I'm an illustrator I draw with charcoal and chalk so I'm sorry I draw a jackal and talk so too may I see dodging burn the same way I see chekhov and chalk what's like comes forward what's dad goes back so I use dodging boone constantly and I'm a on the cup and paste er you can clone as much as you want but you are cloning and rubbing pixels assumes you copy and paste backgrounds and strip and and don't even stretch them but move them and blend them then you're actually copying true pixels and spreading them out instead of stretching and you know compromising the quality of a part of your image that you will see large up until about seven months ago I have never used a portrait software I used clone for everything so dodging been clone at warp and pretty much less ooh copy and paste out are the tools that I use for everything but recently I was in a studio with a very newbie photographer training here and she showed me portraiture by image gnomic and if you go teo in bed by dot com and go to my store uh I've set image gnomic in my store is a link it's not going through my store when you hit the link it goes to dear store but it means that you can get the best deal for light room or photoshopped it is two hundred dollars to buy the software they don't sponsor may although they might after this it's just blew me away and this is what blew me away at t y has the most magnificent skin but when I get up close I see the obvious that's an everybody skin patton that I would be blending out and so if you go up tio you install this as a plug in to photo shop or light room if you go to portraiture you can open it up it's skin smoothing in under a second is just outrageous and I've never seen a software that is so incredible so I'm just going tio get it down teo here it puts a nice grain in you can see the shoulder everything about it is just instantaneous no more body retouching infect the idea that we even used to retouch bodies and take team twenty minutes for an image is gone when you accepted it now sits up in your filter is just a layer or I've seated as an action so it just goes on top so what then does I'll go back I'm going to show my action I've done a layer and then portrait on the layer so just a lay a mask ed portrait recorded is an action it's called layer portrait and then basically what I can do is I can just touch the word opacity and dial it back to whatever level I want so if I feel like it's too strong I just dialed it up and if I feel like I want more skin time back I just go with it so fast then what I did is I've lifted on about sixty percent I go to my erasing total shortcut for a racer is a I raced back around the eyes and around the hairline the one thing I do not want is portraiture on my eyes on the here line on the lips because that is the shoppers point and I want that too look incredible so straightaway I remove it just a quick erase at this point now her entire skin's moving is absolutely gorgeous I look att all of my actions I give everything a vibrancy or a lighter I go through my kids there's a curve sittings one stop of lighter one stop of brighter one stop of contrast one stop of dhaka that's how easily I work I also have one stuff of color so if I feel like I want to put more yellow in there I just bounced one stop of yellow in um blue removes it green counteracts magenta obviously you know those it's that simple it's a one button bang bang bang and then uh pretty much my cloning stamp finishes everything for may so I make sure I blend anything I don't like in terms of frown lines I come up through this line here straight up under here straight up anything under the eyes done and aside from the talking that I did about portraiture you would agree that really t was kind of a one minute retouching job so I uh scott and two one two three now at the state she is she is sitting with this ottoman in front of here um I did actually have here leaning on it I make the decision obviously the crop that out and then straight away I'll decide with my image crop is remember how I said I always cropping camera well I just crop that out so I didn't have to retouch it and my image was already done one of the most important things that I do and I'm sorry the resolution is really bad actually chose the wrong image this isn't the image that you have chosen the one that was too soft I didn't actually shoot this out of focus justus a trial give me a quick yes what is the pen and pad set you're using I used quite calm tablet I'm in love with my way contact but it can travels around the world with may have trained fourteen reattach is in the last eight years and I bought every one of them awaken never ever could you reach out with the mouse not the way you can illustrate with this why come I even think I have the oldest way kong on the planet maybe one of them came out of the ark but I love it so much it's time I upgraded it but I might get one of those big ones that actually retouch on the photograph you awaken now do this really huge well that you actually can see the image and retouch on it economically for your sitting position I have a really good posture at a desk in terms of being upright but nothing stops that pain in your arm from the amount of retouching you do and it takes the clicker away which is eighteen and that goes up through your parasite it's just amazing what I do is I put a dodge and boone in the eyes and remember what we talked about makeup yesterday at team percent on the mid tone and dodge I'll put a dodge over the makeup highlight which is the same it's the makeup highlight that's a minor worked on to make her highlights come forward I would differently throw team percent dodge on there I definitely put a ten percent dodge around the iris and I go to put a team percent dodge just in here in this bottom half of the iris nati why has very dark eyes and remember I had it turned away from the light with no reflector so she had no catch what she had a very small catch light but he didn't have enough light to catch the dark brown in her eyes so what I did was I went to my brush tool and on my swatches I which have disappeared because my screen resolution has shifted him I don't filter we are you window torches they would go I selected a nice golden brown to bring her I ford in at one percent flow one hundred percent o pe city I literally just went like this in dusted the brown into her eyes and give it to you and the reason I did that was because I wanted the color of her eyes to come forward so when you see t wise finished image where she has a little touch of brown in her eyes um I brought that up you know because the eyes being the most important part of that image is how I wanted to finish it and I really wanted when you looked at their image to look at your eyes and just be completely mesmerized by them so one of my best friends seemed an image and said I sent an email to me and said I've never seen a woman with such soulful eyes and all of my life isn't that beautiful and because the way you just are looking in this image is so beautiful so that's it um I'm down I don't feel like I need thio achieve anything in terms of structure for this image meaning she doesn't need any contouring off her body I feel really happy with uh what I've done and I want to get out of there because that is enough for t y to see her image and not feel like just being over photoshopped okay and everything that I needed to fix his being fixed esso I move on because I've got lots to show you couple questions shown uh do you ever have sorry um what equates to a stop of color that's a question from tricia limp uh okay so if you go um command be or control be on a pc for the shop command be okay so when you change the screen resolution I'll have to go up here filter like wait a minute me over I'll go straight to amanda's roar this phone what I wanted to show everybody wass when I said that I was slimming imposing and not slimming and post uh the idea was that I would open all the raw images so that you could see that um and then if I did want to do any something I can show you so let's say b here it is so my cut in my caliber alan's I've actually put a stop is uh eighteen percent in the minus or plaice towards science to anybody who knows the color wheel this comes from my retouching days of eighteen where we were re touching them die blending anybody knows that in order tio take away magenta you have to ed green okay so that's the best way if you ever get confused about the color whalers to go command being look at yur color we'll go okay so one of the most important parts aspects ofthe there is just gonna bounce up to sandra is sandra head or love this one just dropped down my contrast a little my recovery brightness spent set up so you can see it okay sanders ago banta cassandra his freckles but this is probably I'm so repeated oven photoshopped that I'm actually quite boring I know people think that I probably do a whole lot of really cool stuff but dodging been clone warping these are the things that I do every day repeatedly um first of all I'm going to put leia portraiture on sandra layer portraiture does a really good job with frequents because it doesn't remove them the case her it softens them and takes the pigment down without removing them so right away you still have your fickle base which I think is important um I'm gonna go for a race I'm gonna take you back around your hairline just because I want a nice shop here line also I shot that at two point eight so there's a good drop off there from the eyes there to there when I'm talking about neutralizing color I go to my color swatches on b for brush I go to one of the lime greens at the top here and see this little redness is just coming in gently around the eyes which a lot of people have at one percent flow you can neutralize magenta and it doesn't look like you're doing match uh it's it's putting a light green dusting over red eyes absolutely such a neat technique also makes the ice colder um which I think looks better but the cool thing about it is doesn't look like matching to take it off um I'm then going into it my dodge I dodge around the iris I dodge only around the iris not down here the case of only just around it half circle half circle because I want the eyes to pop and then with my client stamp I want to come up into here I come from the cheek up into the eyes I blend the shadow up under there because we don't want that I come down on the nose on the bridge I make sure remember nobody ever says oh I love those horizontal lines on my forehead so they don't need to be there so we'll blitz them kleine bang bang um there and she's down so she's out of under two minutes again good with that right let's say I want to slim this front on let's say I show sander and tender says oh make my hamster we get around less suitable we'll escort two thirds into the arm straight up out of the image down into that break line of the black dress and down so I'm going to take this entire segment because I'm moving this segment this way I copy and paste so less oh copy and paste and then after a copy and paste you've created a second layer so there it is there the second layer is sitting just over the top of her arm um then you go command tea or control t which is free transform inside the free transform you right click warp and you can move this grid anywhere you want I want youto maintain some integrity on her arm I don't want you to make her look like this yeah I want you to keep the integrity off the shape of her arm but just bringing it into a realistic movement when you accept that you go to your a race tour at ten percent and just very lightly feather this edge we want to make sure that there are no brake lines are brake line is where you can still see the layer here see this here you can still see that but if I dust it with my erasing tool then it's it's perfectly before I accept that or flatten that layer I'm going to turn it on and off to see if I'm happy with how it's sitting to see if I'm happy with the shape of the arm and to see if I'm happy with how that's moving so as soon as I am happy with it I will flatten that layer and that's done okay now what's very important here is there's a million different ways that I can now use this tool and this told from a far better than liquefying let's say amanda was sorry sander looks at her hearing says ah what a shame I hear so flat um I pick here up my booth here out you know I can pretty much change anything I could make boobs bigger I can make boobs smaller I can lift up eyelids with it all you have to do is the same rule applies you have to make sure when you're contouring your blending through your brake lines and that you're checking your layer on and our fist to see what your changing that you haven't shifted through a brake line and that you're blending at team for seeing through each one the eyes remarkable it will be tricked the same way you trick it with faux waste you khun trick it with you know tthe e what it's looking at you can shift things and the eye just doesn't notice them anymore let's say from here our move on oh I will do another one take this one okay so this is interesting because if I go to change this line here I'm going to be compromised by a brick okay so a background select see if we can move pixels like this but stay in the background line so well stay right there we'll go down this line will come down this line here so we'll try and look for lines then I'm gonna have obvious brake lines we'll copy and paste it will free transform or right click warp and then we can shift the senate I could move this in anywhere I am strict ing pixels so I have to be careful that I'm stretching the brick all the way along at the top and then all the way along at the bottom because no matter what I do obviously I'm going to change the structure of their image so yes that works as long as she follow lines um another thing that I would do is if amount if amanda asked me to say trim her waist and I knew I couldn't move pixels I could get right in and walked here or I could even clone up into here and move up in through here sorry it's put on my right land you know I can go right into it sure I mean there's a million different ways to do that from here I'll go teo um love this shot of marijuana what we did with bapu is we made her dance around so so she was turning in and away from the reflectors that there was going to be a moment there where she's getting a cat shadow across your face and I compromise that yes I did in order to get that because I love it and once I got that shot I got here at a moment where the one before here I'm looked really beautiful and then on this one when she laughs she squeezed forward and she squeezed forward also she squeezed this now this is such a beautiful shot of malibu so all I have to do to fix us images come up through the arm up through that brake line up through the here out the whole image copy and paste free transform right click warp and I'm just going to bring this in so all I want really is not to alter her arm to match but just bring it in a little bit so I can keep that shape I just want to bring it in for here accepting that tuning my layer on and off making sure I've got no brake lines that is a difference between selling an image or not that might seem stupid to some people but I don't really can't sew so a lot of folks are asking about why you use warp versus liquefy because liquefy takes too long and walker's not only fast in terms of sculpting it is one of the most efficient tools I've ever seen I've never used liquefy thank you um what I'm gonna do here with the chin as I'm going to bring the chin up the bottom little line that I can see and then when I accept it I'm going tio come back to the top line and I'm going to bring that top line back down again toe where it wass by erasing back down so just like that I've gone and just taken it but a little chin up so we don't want to change the structure of the face we want to keep it exactly the same but just nip in tak now liquefy can push in all the way around but what does it so quick and also in the time that it takes you to save often liquefy you can go make a coffee okay so a really good example uh heist planned okay I've got kids coming up here well this is a really good when this is before we nailed that image of amanda so amanda's image was so beautiful the black and white one um and what we did wass as we were getting her into position it took us a while to get around and pushing forward and bringing her chin up and um and so this is a really good example off I would bring in and I'm like this when her eyes tight against her body like this it's just squashing down I'll go right up out of the shot right they can down that hand line teo if I'm going to move part of an image I'm going to take the whole quarter because if I'm stretching pixels it stands to reason that I would do it for the our whole image and then I can just tuck that in there if I feel like that that's arm is dominating and she's not gonna like it for that reason I would do exactly the same with this one um okay so back to faces let's go face it sure uh why do you prefer a flattening instead of working off the layers okay so I bastard ice photo shop I am workin one layer uh I work in one layer because I do not have the time the energy the inclination or the hard drive to store four hundred shoots a year and lamb asks j peaks higher is j pigs from raw they get saved his hiring high risk day pigs they get viewed once is a copy they get printed and then they go into storage but if I lay a maskell of my retired why do it flatten it get out of the two minutes okay sammy on there um section yes my world is always about bringing arms and are changing on lines but you know we shoot a lot of compressed down lines we have do sometimes to get expression to squash against the wall is just the way it goes I do everything exactly the same way and that is uh walked the men I do a little bit of a klein I'm taking away the things I know she's not gonna like anything obvious in my background because obviously she's being shot on a painted polystyrene background so I make sure I cleaned then our and after I do that then I pretty match I'm going to come up into hear anything I want to remove on her face um I'm going to follow the light away so I use climbing the way a retard the way an illustrator illustrates um I'm always going to follow the light instead of the face so I try not to do too much blending and wiping on clientele because it starts to smooth out but this is how I do it so I know a lot of people are really interested into how I clients so I'll just do it for you so you can see me maybe being nice and fast we're just hitting what we don't like keeping we're keeping the light and dark of her face it's very very important I have not applied portraiture to this um there's something I do want to show you two hit the inside of the eyes our greens watch is already there we're just going to minimize that because nobody wants little red eyes on our dutch toe at ten percent I'm gonna hit under the iris uh we could even take that twenty because I want to eyes to part power and for a makeup I just hold down my old button and it changes my dodge to ben and then I've been around the makeup line and she's done and she looks beautiful one percent and cloning was it about twenty or thirty percent I clone at ten to thirty percent on my flow so I get my oppose it pay sitting at one hundred and I flow it theory but when I train people I trained them to flow eighteen and in twenty because they have less control and they bruise they make bruising and so uh using the cloning vs sorry we're healing to lot healing yet okay so let's talk about the healing tool let's talk about their healing tool the healing tool for mai is incredible for freckles moles um backgrounds but I have no control over bags wrinkles lifts shadows nick lines it's never going to be out to go through a brake line because as soon as you do that it starts to sweep it away maybe good for things like that but in the time it took me to draw a circle I could've planet in one tap um cloning for me is by far the fastest method of retouching in the world my world so I'm going to use the climb yes yes I would so definitely because um I think this is some way a lot of woman look and I don't like it so following the light up and down like that then straight up into it nice and quick the case let's do some more body contouring because it was shooting kids when I told you that I want teo that I will compromise here I will compromise here back front line to get a back line that I want I was not killing you here is gorgeous kate kate is just leaning back against the wall with her bottom carriage pointing towards me so it just gives you an idea that if the bottom carriage is pointing towards you this kind of looks I'm much wider than what it's when she takes her weight on the back foot and instantly she scoots to there now in order to give me this arch line through her back I need her to push her stomach ford okay because I can't re create the shape here in photos okay I just can't but what I can do is change this front line and I will do this if I feel like I've compromise that line so if I just take that their copy and paste control t right click war and then just tack you know obviously then I can just bring this line in and then back out again sir I don't want to alter her too much I just want to take that little shape of the belly off so I want to take that from there to there okay and it does stand to me that this is an image that is for kate I have a lot more purchase a ble than this right I get questions you're going to sleep well first of all everybody already wants you to come back and dio a three day workshop on just photoshopped you know I could do that because I'm put it like this I wasn't retouching before as a photographer I don't think I'm a great photographer what I'm great ed is communicating with people a photo shop and I just feel like um the people who you know ravished photoshopped um who say that people you know that can't get it right and capture and all the rest of it you know whatever we've been given this amazing tool and it is a huge component of who I am or what I do um I'm an illustrative photographer I'm an illustrator sigh I want to illustrate my right and my images and win awards with them and stuff like that and I love that that game because it is a game but I can't you know take away the fact that yes I am re touching stuff that people do get upset about and you know I don't know what we're talking yesterday about you you're posing and being a sculptor and you're just continuing awful but I see it is a full service job I see it is from the beginning of sculpting your body right through to the very last finished if you were going on a magazine cover even when they go so and so was on vogue magazine with no retouching and then you go and look at the magazine and it's so retouched and it's just like yeah yeah and then the next week they go stars without makeup and it's so cruel and yes I come on neither of them are positive body image for women so the internet is curious to know what you women think about watching to retouch your images I've never used it never even thought about it and never saw anything about that it's not all the tools that a lot of talk about goes looking for a good bye good bye and drives me crazy trying to use that tool absolutely crazy and so that it's so much easier and for yourself in terms of what you saw oh yeah just I mean I thought she did a time more a ton more friends like there's no way because she brought up before he went on camera picture of foreign after right next to him like I know you did more than that uh that before your you touched up before a little bit she's like no that's finally came I was like no way I've been I can understand what she's saying about how people bash for the shop for me I think it's all part of the game is the same way you use a lens to focus on something on dh through focus out of something is not he's not cheating is not unethical then they're just doing the same thing with another two you're deciding what you want to focus on what you want to take away so I don't feel bad that that someone is doing that for me I feel very help that I'm very quick somebody is doing this ok so when I can't show you a couple of chicks before he finished because once we go into business for the shop really a very distant memory this is kate's before shot and we wanted a before shot of hastening normally because we wanted to pose here and all the beautiful poses that we were going to do so but what I love about kate's before shot is in her relax nick she has the perfect double chin to play with him so al fel esu takes me down into this quarter right up under the chin and then we have a copy and paste we have a lift way a race back so you know again with the liquefied you might be a push this lineup but you're never going to maintain look look listen to me or anti lick and your liquefy too you know like I'm like do whatever you want with your stinky liquefied what I saw auntie liquid why I don't know I think it looks really good with the cats when they make their eyes really big like I need caffeine you know but I just get it this to me is so fast and what I love about it is I've compromised that chennai in order to get a really chin line back because it is her roach inline her real chin linus here the bit that's hanging down gets tucked up in the realtor in line gets put back and together you create the roach in bank so I just feel like it's a realign its its not compromising or stretching or pushing pixels and when I get up close I want to be able to not see that I've seen here so I want to be out of tune it off and on right yeah okay so at the next one I get asked is and of all the mature faces I had ah this is samonas mom and she's sixty six years old I know my goodness she is so beautiful um I absolutely just blown away by this woman I just want to show you a couple of things when you put on layer posture obviously drops it skin layer straight away onto an older face what I don't want to do is compromise um her aging lines because she is sixty six now straight away layer portraiture gives me that soft eighties I hate that look like that to me is disgusting like I would dial that back tio sixty percent but then I'm I'm still kind of in the same position where I've lightly softened everything and I've taken the soft off that is with the softness taken off on portraiture okay inevitably it's going to soften your hard lines in the headlines like the airline and the here line have to be had in order for it to be sharp now I did test that so at times like this with an older mature face I'm gonna dio two things I'm either going to clone eighteen percent bacon watch the timer on this one I'm going to get up the eye line okay I'm gonna go under here I'm going to sweep up into the nose down onto here and out I'm going to go down into these lines in this week's on anybody no matter how line they are what I'm doing is I'm soft cloning just away around the face just to drop them all back but to keep the integrity of all of those lines right there so in under a minute I can do the whole flat bound of a face and then I'll go down to her neck and throat the case that you do not need to spend hours doing this what I'm doing is just feathering everything that's there we want to keep what's there we just want to soften it ah now be for brush till I'm just going to come up and I'm going to just remove that red corner of her eye because I think that makes a significant difference in here I don't you think and that's when I work with my da gentle on her eyes at my dodging been sorry so then after I do these little bits here I hit these muppet lines called now here's another way of doing it you can duplicate umm well let's say we just do a copy and paste to layer so we've got a layer on top and then we turn the top layer we turned the top layer would it off and work on the bottom layer this is what I call blitzing and I'll do this I'll do this with an older face and let's go back to the beginning so that she has all of her lines let's go copy and paste it's two in the top layer off work on the bottom and all I want you to do is blitz it so I'm going to take everything off so I'm gonna clone it sixty percent I'm going to follow the light of her face um I'm going to follow it all the way and I'm gonna take it all so I'm not gonna change the structure of her face but basically I'm hitting everything like I'm just going to go boom blitz but not like porch too it's not soft I'm just gonna go white white white and I'm literally taking it on I'm gonna take wright down these lines boom right at those gone okay that's what I call blitzing a face which is how some people photoshopped again after I did that I get to this line here when I changed it no structure we don't want to change your no structure then what I do is I tend my top layer back on which is all of her wrinkles and I just dropped the opacity by sweeping the word opacity see what it's doing is giving me a completely sharp image but if I take it right down its to the blitz it means I've kept all the integrity of all of her lines right there and that takes this in two minutes so if you are having trouble photographing a very wrinkly face blitz it drop the original layer back on and just drop the apace it down because clearly what you're doing is keeping the integrity of all of her lines and just dropping it back and yet keeping the sharpness of the image it's a really fast what I call a blitzing let it you know really fast by every touching and it sounds cool it does did you remind us of what your settings are for portraiture default no softness I'm a pretty easy to please girl don't really sit out much staff I opened portraiture I've ticked it on the default setting it has masking they're tutorials for it I've never watched one eye open it I had the default yes I take the softness off that's it end of story tonight do you go through all your images um even though you have people retouching for you do you have to go through every single one and see by yourself what do you mean um you have people who said you've trained someone touches I know I retouch my own work now evan but in the studio uh in my other studio all of my makeup artistry touch yeah so trained like me to read that I look at the retouching and go too much take it back for better re touches a guilty of two things taking too long and okay let's say we open xander's image it's in better get on I find time our time and give me said seeking countdown just watch they watch your way over here okay ready go what I want to do is I'm gonna put leia porter chair on sandra and then I'm gonna dial that back because as soon as I dial that back uh I'm gonna take it too it looks real what's really well on her fica lt's nice and soft flattened their image and the first thing I'm gonna do is bump a little cold science into it I'm going to take down those pickles here that stand out too may then I'm going to go up to your face and the most obvious thing I'm going to do here is just under this island well I just want to take that shadow down I want to go here here here here and him and by the way a little tip I work at the faces the size of my fist and the client's name is the size of my thumbnail that's why I'm fast so then I go to dear I'm gonna touch up those eyes because I want to take that little redness out I'm going to go through the bottom of the iris I'm going to dodge through here lived in them beautiful this is how sandra saw her image flat stop that was less than a minute I stopped a girl later I was still watching a memory does she need to see more than that to buy that image not okay solved it's beautiful image here isaac connected she has a beautiful smile I've taken away the little shadows under her eyes I've softened her freckles here here looks magnificent we're done deal of slim during camera everything looks great now what I will do is all walk into a re toucher and I watch them and they'll be here and I'll be like is that a beaned on billboard or a vogue cover no it is viewing portrait we to not need to spend too hour's up on the face during every every little dot on your face it's ridiculous you get one minute uh so after they do the viewing you go back in before you actually have like when they picked their men just different and you go back in yes and get fine tuning yes okay and that is based on the fact that the first layer of retouching is already done and if there is any more to be done like chicken for background lines anything that's gonna distract me any sharp ning any basic things that will make the print look better we'll think it done before it's ordered question from aimed high could you explain the uh where your sore spot is when you're using the cloning tool if you go to my blawg an archive my blawg under retouching some of the images have disappeared I ran um my my guy that does the web site and he's putting them back on today but on there is a traditional video for cloning the face and I show the complete map so for me if you look at sanders face here climb map is this is her light area here here here here and down there just like makeup you replied in the same way you clone from this line up under that line there you clone from here up under that line there you clone up and down the nose to get that light shape just clear this space and then you blend out you clear the space and then you blamed up and then you come down onto these mother lines here okay so that is a climb nap you can see me do it it's a free tuition all video on my block I'm already posted if people have trouble finding it there's also uh really cool one for slimming on girls with curves sandy e you and me but I can't give it and I can take it away I could go through a million ways to curve slim and contour bodies but the thing is it's it's no different you let's sue the entire area you copy and paste it you free transforming your right clip warp it in the new shape it and if I can you know go through a billion ways on dotting building the eyes but again exactly the same rules apply I used the same six tools and fetish shop and I don't do anything outside of that what do you do when you're converting to black and white oh yes I d set right really do you have a really warm yes any decent trade ed contrast one stop of red ones top of yellow could you show us what you see by the way I love my photos that you got one with my wedding ring that's like I I because I love my wedding ring but I thought I'd tell you and I pampas match contrasts and I can uh if I find that I'm dropping through the eyes um here and then you said you do one stop of red and yellow yeah I do I do like to soften up my black why it's kind of weird I know look that is the most shocking way of dirt I can just hear the internet going you know gasp that's disgusting that makes me look a base by fetish shop on speed and it works off his long as I'm offering a quality product I don't need teo do lots of fancy staff to achieve simple things what I need to do is be efficient and monitor my re touches when I have free touches in the studio uh I make them work on a timer I want to know what they're doing when they're doing it and I want them to be accountable for that time it is a very very important to me that they're accountable for the time because I'll find re touches will get bored and expect they're on facebook and it's taken them twenty minutes for an image and it's taking four hours to set up a one hour shoot that is not time fictive or cost effective or product effective or anything from my business you were there to retouch a shoot in one hour and I want you to finish it for me in one hour because at that point it's not sold the shoot is not sold until the check is being written and given to you and you have a happy client so at that point I'm paying for your time your makeup and your retouching to produce a product that hopefully will sell and I'm not going to do that no good business person's gonna do that by wasting time what adding that one stop of red and yellow actually does in the back in a way yeah to me it's about to me it's about um just taking the coldness out of black white I really love the warmth of it so I really like the one I don't go into cps but I definitely don't you know I have that cold black white not if my images have that real cold black and white they always have a warmth in it I always put kind of a woman there sometimes when images I feel like when I do them in black and white they look kind of green yes I thought what could I do so when you go to your color wheel and fed a shop or you have to do to remember your collar whalers command baby or or I don't actually know what they um pc vision is is in your own image beautiful makeup to teo isn't it was when you go to your color balance in order to you think you're too green is you need to add magenta so you slide away from rain into magenta so the perfect light spectrum off white light has a balanced color wheel off all of those colors in order to pull and push through those colors you need to remove the color to gain in color so it's the weirdest thing to teach people in retouching because when we used to manually re touch with brash in order to neutralize pink acne we used to retouch it with green and the same way you would do this mac face with makeup to neutralizes a wine booth back he would use green makeup and the same way that you um kim color balance through white line is to take it backto anew to atone is to go back and forth and that color so if you forget what the color wheel is just go control your command be and have a look at the slider and itjust helps you see color better when you were printing your images I realized that sometimes I should strobe flash and I'm sure not one hundred s o and then every single wrinkle is like there and there's so much work do you find it makes it easier because you're shitting on high aiso so there's not as much detail also let's face it the twenty four one of five is not the shoppers lands plus I'm usually hand holding or on a mono pod with movement anyway plus I never stop talking so there is a natural movement plus I'm shooting in natural light with a high I s so so I'm never gonna have pin sharp images in fact I bet I did a show one day and I had all of these huge images all around the wall on this man walks in fold his arm gives this filthy look on his face and goes so why don't your images shop and I just looked up and said I didn't like them that way e and yes I don't keep sharpe images all the time I don't yeah wow I don't know what the clients don't kill well they're not they're not not shop they're just not that photographer uh yeah I am a bit of a hike case like that but anyway teams to wick right yeah local called addressed to the retouch it matron contrast adjustments now well I do have a vibrant sit up from curves and my actions which darken the blacks lighting the lights but not really I do that are pretty much that's in the wrong window okay so what's really important when I worked through the role window is you start at the top and you work your way down for status you can have a look at your custom color order is shot which always looks good so then I never touched the exposure really because I'm shooting raw and always within two stops I'm never really touching my exposure but I am using the recovery like species shooting into the backlight could see how I could just take that flare straight off the background by using my recovery I've very really attached like phil but if I do it's only in the back light shot on the the black so I said it a perfect level brightness and contrast of the first thing I move and I can bring them right down right up depending on what I want and then I open that so my camera shoots quite contrast e I'm tending towards removing the contrast to soften the image a little bit than I am to pump it up and then the irony is is once I open it photoshopped um I start with the base of retouching and then I often ed contrast to plump it a little bit

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers.

When you hear the words “glamour photography,” what comes to mind? Pink backdrops, feather boas, soft focus, blue eyeshadow and lots of hairspray. You get the picture. But thanks to master photographer Sue Bryce, there’s a new kind of glamour shot, one that’s beautiful, contemporary and taking the market by storm.

Bryce has hit on a formula that’s kept her portrait photography business thriving for two decades, and she’s here to reveal all of her secrets. In this three-day workshop, you’ll learn everything you need to know about posing, eye lines, hair and makeup techniques, and wardrobe. You’ll also get advice on building your own business and successful marketing practices.

Whether you want to focus your business on glamour shots alone or simply improve how you photograph women, this course is a game-changer. By the end, you’ll have the skills to bring out both the inner and outer beauty of all your female subjects.

In this class, you’ll learn how to:

  • Define your style, brand and target market.

  • Market your business creatively and get yourself noticed.

  • Figure out what women want and sell to those desires.

  • Pose your subjects by following Sue’s rules: chin, shoulders, hands, hourglass, body language, asymmetry and connection.

  • Use natural light to make your work more modern.

  • Include husbands, boyfriends and families in your shoots.

  • Create before and after shots.

  • Make women of all shapes and sizes look and feel fabulous.


Michael And Dawn

Dawn and I watched the workshop taught by Sue on glamour photography with much anticipation, and we were not disappointed. In fact after only the first hour we turned to each other and, at the same time, said "We should go ahead and purchase this course." Which we did on Sunday, the last day of the three day course. The CreativeLive team did a great job on producing the workshop, the set looked great, the sound and camera angles were unobtrusive as they should be, and the on-screen talent were engaging and approachable as usual. They interjected with questions from the audience in a timely and relevant manner, and humored us all at times as well. As it should be, the real star of the workshop was the information that Sue was providing, but a very strong supporting role was Sue herself. Even though she never made it past the 9th grade, she displayed enough wisdom to make us think that we wasted a lot of time sitting in school. Sue had both Dawn and I captivated, her likable New Zealand accent, was so warm and soothing, that I think we would have listened to her say almost anything. However, "anything" was hardly what she had to say, no-no, she had a great deal to say, and we found all of it so educational and inspiring that we can't wait to put what she tought us into practice. Sue's "Keep-It-Simple" approach to glamour photography is refreshing, she does not complicate a shoot, nor does she complicate the business end of things either. Her philosophy is "A confused mind says 'no.'" So her pricing, marketing and re-pore with her clients is simple, understandable and repeatable. Dawn & I fully recomend this course to anyone looking to engage in glamour photography, not just for the mechanics of learning the studio process, but more for how to think about the process and your interactions with the client, we think that Sue's interaction with her clients is her real "secret" to her success; she makes the photography session for the client a wonderful experience and that experience is what gets them to market her via word-of-mouth exposure, which is the best kind of atvertising and best kind of accolade for a photographer. Thank you Sue, we were both entertained and educated and a little bit mesmerized by your workshop. Hope to see you soon on the CreativeLive stage. Michael and Dawn Mitchell Digital Mitchell Photography

a Creativelive Student

Loving every moment of this course so far and I've learned so much from Sue's gentle but wise words. It's so important to be true to yourself and as much as I've enjoyed most of the Creative Live classes I've taken I've had a much different personality than many of the teachers, I am so happy to see how Sue is able to stay calm and quiet and still maintain perfect control of the situation...I had huge anxiety sometimes at shoots thinking I should be bold, boisturous or entertaining to be successful. Looking forward to following her class today in between my son's hockey lucky my computer is in the kitchen and I can watch and still keep things at home fairly sane! lol thank-you, kerry

a Creativelive Student

Watched 80% of it live and after constantly screen grabbing :D I BOUGHT IT. This was my 3rd time watching a CreativeLive and my first time purchasing a course. (Loved Zach and Jody and will probably buy that when the time is right...still a little scared about weddings.) ANYWAY - SUE IS AMAZING!!! She is so open, inspiring, fun, funny, knowledgeable, TRANSPARENT, giving, smart, creative, expert, unapologetic, grateful, enlightened, adorable, gorgeous, hilarious, yet still imperfect and human and not intimidating. She will make you laugh and cry as she laughs and cries. You cannot argue with her MANY YEARS of experience. She is just in love with what she does and it is contagious. I have told people IN PERSON that her online CreativeLive course changed my life. I bought another online course for 2K last year...where was Sue back then? This is worth more than the 2K 6 week course I took. I obviously have a girl crush on her!