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How To Create Beautiful Portraits By Simplifying Light

Lesson 8 of 10

Simple Editing Techniques

 

How To Create Beautiful Portraits By Simplifying Light

Lesson 8 of 10

Simple Editing Techniques

 

Lesson Info

Simple Editing Techniques

So now it's all about editing. I am definitely a photographer who likes to edit, believe it or not, it is therapeutic to me to edit images. I edit all by hand and everything that I do to each and every single image can be different or it can all be the same. It's my choice and I actually love the freedom of having that now before we get started. I definitely want to let you guys know about my educational platform called a W teaches and on a W teaches. I have a ton hundreds of editing videos um that um I have up there for you guys and also some business things up there as well. And in addition to a W teachers dot com, that is the website. I also have a facebook group and the facebook group is called A W teaches ironically. So, um and in the facebook group, it is a fabulous group of photographers welcoming just such a great group of just people. We would love to have you guys over there to ask questions, share. Iwork, I am there, I'm there regularly, I'm not it's like it's not a group th...

at just has my name on it, I'm there and I post, tag me I will answer post a picture, I'll answer. So that is the type of group that it is, and um we would love to have you there, so let's just jump right into the editing part of it all. So um what I decided to do is I wanted to start off with something that I felt was very, very straightforward because I felt that if I just chose chose all straightforward images to edit, you guys wouldn't learn anything. So I'm going to start off with a very straightforward edit, but I'm gonna also chose images that I felt could use a little bit of oomph if you will, but the tweaks that I would do are simplistic and quick and can get you from Point A to point B very, very quickly, because the theme of this entire course is all about simplicity, so that's kind of where we're going to go with it and we just just jump right into it. So I'm gonna use this particular image first. Um I definitely think about at the edit, when I'm shooting, you know, I may choose a certain spot, do you know something? You know, I don't know, it can just be whatever, and I'm like, I'll edit it this way, and then I shoot, I shoot for the edit a lot, so with this particular shot, we captured this at around, you know, 11 ish 12 ish um and the afternoon, but I want to give it a more warm field and I'm definitely a photographer who like some more cooler images, but I'm gonna go the opposite end of that and make it a little bit more warmer because when I have variety, um, I'm able to get bigger sales and that's a whole another, you know, I guess creativelive course because I'm definitely a, I'm definitely a marketer. So with that part set um, let's just jump right into this edit. I am going to, let's just first give you guys see specs on this one. Again, I S. 0 185 millimeter, 1.4 lens, 1.6 aperture. And I used an 8000 shutter using those high shutter speeds to ensure a sharper image. You see where the light is located um feathered all of the stuff that we talked about. So you guys see all of that. But if I want a more evening look, I gotta bring light down just a bit. So I'm gonna bring my exposure down. I'm not someone who's going to shoot underexposed, you know, during the shoot, because if me doing this, there are few and far between meaning me doing this, bringing the exposure down and post, I'll pick one or two images to perhaps do like that. Um so I'm not someone who wants to under expose everything and then play after, you know, in post. I would rather kind of get what I want out of the camera and then pick and choose in post. Now brought my exposure down and now I'm kind of tweaking it a little bit. I am going to next. Let's just zoom in just a bit here, because when I'm editing, I have to see the whole image because the entire scene matters a lot, just as much as the person. So let's raise my shadows. I'm gonna raise my shadows so I can open up. Um, so the shadows that's on her hair. Okay, so now I'm going to go back out and I do this a lot. I zoom in and zoom out because like I said, the the entire image is my, my main focus, not just the person. So I'm going to raise my blacks just a bit. Yeah. And I think that looks really, really good. And what I forgot to mention guys like, so right now I'm in adobe camera raw if you guys haven't been able to tell. Um, I do not use light room because I don't like light room and when I began my career in light room did not exist. So, um, and light room was built off of the, the, if I'm not mistaken off of camera, um, platform. So I do so good in adobe camera raw everything that I could do here. I can sink a ton of images and adobe camera raw logistics, you can do a light room. So to me I'm standing adobe camera and then I'll bring it into Photoshop. Now I am now going to go to my clarity slider and I'm going to raise my clarity slider because I like the way clarity looks now take out a little bit of this blue at a little saturation. And I wanted to get a bit of a golden look but not so overpowering and I think this is where I need to be. So let's just, let's zoom in a bit. I think that looks pretty good. I'm just going to end normally guys, I, this would go really, really fast, but I just want to make sure I'm not going too fast because I'm teaching, but I think I'm where I need to be able to add a little bit more saturation and I think I'm good, so let's zoom back out, yep, I think I'm good. No, let's just add a little contrast and then let's go ahead and open that up and bring it into Photoshop. Yeah, no, there's certain, you know, I can probably crop this light out. Um there are a lot of different things that I would do to get rid of my light out of my shot, lots of different things, so if you guys even went to a W teaches um dot com, you will see probably different things that I would do to get rid of my light. It just really depends. But what I'm going to do here is I am going to go to um my, my rectangular marquee tool, I'm right now, my feather here, Top left hand corner is at 30. So what I'm gonna do, let's just, I'm gonna do a mirror. Let's just mirror the left side and then we'll bring it over to the right side. So I did a selection and I'm going to right click, choose layer via copy command, T on Mac. I believe that is control T on windows if I'm wrong, I apologize. I'm gonna take this far left point and then I just flip it literally that's it. And okay now it's married so with and it's and and like I said, it's so quick to do so what I would do now. So you see how it made its own layer. I'm going to go down and click on the layer mask icon, the rectangle with a circle in the middle, make sure my foreground is set to black. And I'm gonna go to my brush tool, make sure I've got a nice soft brush and let's open that brush up and I would kind of play with this demarcation line. You know, here bring all of that back right now to me that's fine, that's perfect. There's no reason to keep this layer here. I am definitely not someone who likes to keep a ton of layers. All my Photoshop people will probably get really mad at me. Um but I'm all about simplicity. Having 1000 layers open is not my jam. So I'm gonna go ahead and click layer and flatten it because I don't need to deal with that anymore. Excuse me now, I'm gonna go back to my rectangular marquee tool, I'm gonna change my feather, Let's change it to 50. Let's make it a little bit softer and I'm just gonna take a little selection, right click layer via copy. I'm just gonna slide it over and cover that guy up there and it's not perfect. So what I'm gonna do now is hit command T on map, I think it's controlled T on windows and now I'm covered, but it's so much repetition here. So again, layer, mask icon down here in the lower right hand corner, click that, go to my brush and let's just clean this guy up here. So we don't have so much repetition. So you see a little bit of the light's starting to peek in there, you see that? And I want to see that because now I can go back and fine tune so I can switch my foreground to white and then I can just start covering up just just that line, just that line and there you have it and that was probably very sloppy. But um but yeah, so there you have it now. Got all of that out of the way. Let's go ahead and flatten now in terms of um teenage skin, we're probably going to get to that another, another with another image. But because this is a three quarter image and we've got lots of landscape here. Let's just use our patch tool and I am just going to just kinda circle any little teeny tiny blemishes there, circle the blemished, drag it over to a section and I'm just going to do it that way. I am more of a natural um photographer when it comes down to teenage girls and you know, I don't know makeup that's I'm not, I don't wanna say I'm not a fan, but I, I don't necessarily, you know, push forward now. I'm just going to just do Gene, he got a little, she's got a little flake on her lip. So I think I'm really good there. See I'm really now about 75% done. I'm going to duplicate the layer. Edit bill Content should be at 50% great in the blending area mode. Normal opacity wanted 2% now when a dodge and burn, change it from normal two or relate. And so now I'm going to do a little bit of dodging and burning and in my opinion, that's kind of where the magic happens with this particular shot. So I'm right now I'm just switching it to dodge rangers sector, highlights Exposure right now is at eight, so that's perfectly fine. And now I'm going to bring out the highlights in the hair. I like to dodge over already existing highlights. Mhm. I don't like to create a highlight. I like to accentuate a highlight. So now I'm just kind of creating a bit of love of a glow along the hair. Okay, now she's got such good highlights that are naturally part of her here, so I'm gonna go ahead and just kind of bring that part out. But this is where the magic is, is kind of exciting, accentuating that room late because of someone's behind her, remember. So now let's go to the face, it's going to go here along the lip, along the nose, a little bit on the forehead area and along the chin. Now I'm gonna switch to burn, and if I was not talking this out, I would have been done with this image by now, I would I would have been done with this image, I would have been on 4 image. Seriously? Okay, so let's just do a little before and after, So see this is without the dodging and burning with just kind of going back and forth there. Okay, so now all of that looks fairly good to me and I'm happy with it. And again, I've already, you know, played with this image already, someone's gonna have to flatten it. So I'm I'm fairly confident in what I want to do, make sure my foreground is set to black. I'm gonna add a gradient. I'm gonna go to this half circle when I go to gradient and a default set linear, which is what I want, because I want to give a you know, I want to bring the viewer's eye to the subject so you don't click OK? After you hit, you know, you you go to a gradient because you can't move it. So you see how I'm here able to move it. If you click OK before you move it, it's stuck there. So now I want to put the gradient where I want it and I want to just far down enough, I'm gonna click OK so that I like I'm gonna go back down to my background layer and I'm just going to add a couple of adjustment layers. These are some of the things that I did in adobe camera raw, but I want to kind of fine tune them. So the first thing I'm going to do is add an adjustment layer of brightness and contrast. I'm just going to brighten her up a bit and then I'm gonna go click on back on my background layer, click on the half circle to add an adjustment layer of hue saturation, add a little bit of saturation. So now I'm going to finish it off with this and I tend to make my own brushes so I made a new layer and I'm just going to add a brush to kind of, you know, um I guess what's the word I want to say to because you know the highlights of her in her hair. You guys already knew that came because the sun was behind her. But I kind of like to play with the viewer's eye and use brushes to my advantage. So what I'm going to do now is at like one of my brushes from above. Kind of like that. And it's just such a nice soft brush sometimes. And you saw I brought the opacity down and sometimes I like to blur my brush out. So I'm gonna go to filter blur. Gaussian blur and just blurt out. So it's just even softer. I'm going to go back to the brightness and contrast and let's just add a bit more contrast and there we have it. I'm done. So now let's flatten, which I don't necessarily need to do in this instance, but before after mm before and that's not even the before. Before because of adobe camera and after. So let's um insert the before and the raw form. So here's the before and here's the after. Now let's move on to the next image. Okay, so here's the next one that we are going to um at it. And this is one that I showed in the course and I'm hoping that I can match it during this editing portion. But um, I chose this is actually one that this is one of my favorites to be quite honest. But um let me show you what guys what it looks like and this is why I chose it. Yeah, So here's the image straight out of the camera I guess. So 80 85 million, 85 millimeter 1.4 lens, 1.6 aperture 6400 shutter. So you guys remember all of those bugs that were running rampant on her forehead, on her shirt. They were just everywhere. But you know when you have to get a job done, you get it done Now the reason that I want to edit this one because its a lot brighter than I normally would have captured it and it's so super easy to get the look that I want. So I'm just gonna just jump into how I do it, bring the exposure down. Mhm. Bring my shadows up, bring my blacks up. Mhm. Bring my my white balance to bring some blues in, see how easy that was and full clarity. Boom, literally completely done. Now I did tell you guys that I like a bit of a cooler image, but I can now add a little bit of saturation and then start fine tuning. So I'm adding saturation, adding, taken a bit of that magenta out, taking some of that blew out and boom, that is how fast that was. See that like, literally completely fast, so I'm going to do it again. So let's reset. So here's where we were exposure down to taste. Shadows up, blacks up highlights down, just a bit clarity. I don't think I added clarity earlier, Bring in some blues, raise that saturation and here's the thing, I'm kind of changing the steps, but I'm still getting the same result. See that? Mhm. It was that fast, so knowing what you want to get in terms of, you know, the editing portion, uh it's so easy and watching this bug on her forehead, we gotta fix that. Guys, we got to fix it. So I think this is where I wouldn't be at. I may bring that exposure now and I don't remember what I did, I remember what I did, but what I'm saying, I remember what I did in the original. So let's go and open this up, bringing in Photoshop. Mm So now we've got her in the Photoshop and composition way off for me. Way off. She's too far to um camera, right? So let's go and fix that. Let's balance her out. So in order to balance her out and sometimes guys, I have an issue with cutting off the bottom of the hair. I don't mind cutting off the top, but it's the bottom part that tends to bug me a bit. So as you see, if I balance her out, I don't have enough um image on the side. I'm sorry on camera. Right, But I'm totally fine with it. Go to my marquee tool feather at 50 here. Mm Take a selection. Mhm Right click layer via copy command T and map control. T. Note Comanche in Mac. I think it's controlled T. And Windows guys, I'm so sorry, I should know that but I don't because I have been married forever now. I did a flip and so let's line her up, see if we can get that too to vibe the way that I did it. Okay. And what I do remember you see, I'm just kind of pulling things down to line this up here because I do remember that it was bluish on the buildings at camera left, but they got darker at camera. Right, so we got to match that. And how do you do that? So I think this all looks good. Okay, let's make a layer, mask, foreground set to black. It's always the one to double check. Let's go to my paintbrush. Mhm. And choose a nice soft brush. Because on her hair here I've got two layer masks. They are chosen by mistake. Let's delete one of these guys mm And let's do this. Now. Sometimes, you know, I've taught so many workshops and when you're talking about work, you know when you start talking about Photoshop, people say, well why don't you do it this way? And my answer to that is always you know, there are ways to skin a cat and Photoshop. And so this is just my way No, I think all of this looks great. But I'm gonna go I'm gonna click here in that selection that I made because you see you've got the The blue on the building and the darker one. So I'm gonna take my lasso tool. I'm gonna feather 2 40 pixels and I'm just gonna do a quick little circle and all I want to do is take out some of that blue. So I'm gonna go to the half circle and I'm gonna go to yeah, let's go to let's first start with color balance and see if I can take some of that out. So if I add some yellow and that doesn't work. You see how that just looks. Just just not right? But maybe I can't make it work. Let's see. I might be able to make it work. I don't think I don't think so. Oh well I think this is not what I did at first guys. So hold on hold the line please. As my grandmother, he likes to say so I think I'm good. I don't think I need to do here is make it darker. So let me just do a quick little once over. So All right. I like it. My burn tool. Mhm. Let us go start burning. There you go. Done. It's almost annoying. It's almost annoying in a way because it's like it went too fast. So it seems like that's all that I see. So let me just fade that out. So, the last step that you did, you're able to fade it if you think you did it too much. So, if you go to edit and the last thing I did was the burn tool, I can kind of faded out and I think I know I actually think I like that. There you have it. I'm good. I'm done, flatten. I'm very decisive when it comes down to that. So, first thing is first I'm so tired of seeing this little bug on my poor girl's head here. So it's going to take my patch tool and get rid of it. We're gonna go to the patch tool, I'm gonna get rid of this little bug to you as well. All right now we've got the bugs out of the way, we are going to um good actions, do the frequency separation action that I made, so when it comes down to, you know, there's so many things out there about frequency separation. I I don't use it, you know, from a fashion standpoint. Um I'd use it to kind of just clean things up very, very quickly and I made it into an action I created I ran through the steps, recorded them and made it into my own action. So that's that is the only action that I do. Um Well that's the due to the other one is for ordering and you know, making albums for clients. But this is the other one. So now what I wanna do make my frequency separation and so I can kind of clean things up here. But if you guys are interested in frequency separation, like I said, they're creativelive has tons of stuff on there, on on uh classes about it specifically. So you guys can look that up. So whoops, let's go back and I hit something that was wrong. So let's de select. I need to make sure that my father here said at 20 pixels. And so what I'm gonna do right now is just quickly clean her, get up. Mhm. In a way that doesn't look just so overly done. And then just kind of go from there. Let's do a filter blur. Gaussian blur. You know, like I said, you know, there are there are lots of, you know, perfectly retouch, you know, videos that are about really retouching skin. This what I'm doing for you guys right now is just a quick clean up. Mhm. Just so that, you know, we can make sure everything looks pretty good so that when we start dodging and burning, it doesn't look odd. All right, there you go. So now let's go out and flatten. Now let's go ahead and get into that into the editing part. So, the first thing I'm gonna do, let's duplicate the layer and drop it into this plus sign, edit Phil Contents, gray, blending mode. Normal Opacity, Go to the layers palette, switch it from normal to overlay. And now let's do some dodging and burning. I switched to my dodge tour and now let's just kind of edit out the hair and I'm just bringing out some of these highlights. Now, add it along the lips. And as I mentioned earlier, I only like to dodge out an existing highlight, I don't create them, and I kind of created this one that I just did now, so I'm gonna go to edit and fade and that was just by mistake and let me just kind of go here and now I think I'm I think I'm where I wanna be. So like I said, a gang guys, this is me being very very simplistic, but on a W teaches and I did this part, you see this, I went really too far, so I'm gonna go to edit and fade, but on the A. W teaches dot com site you'll see me get really, really complex, like really on some edits, so layer flatten what I want to do really, really fast. I'm gonna go to spot healing tool, let's just kind of get rid of some areas. Um the lip. Okay now let me show you something else that's really really fast. I'm gonna go ahead and click the plus sign, create a new layer foreground set to white and I'm gonna use the elliptical marquee tool. Sometimes people ask me about eyes. I didn't sharpen this image by the way because I mean like it just came out of the camera so sharp but I do sharpen. So let's go to filter sharpen on sharp mask and I am going to bring this down To like an 88 radius is at 1.6 threshold is at zero. These are not my exact values for every image because I edit by hand so you can change. But what does stay the same is the radius and the threshold. So let's go and click. Ok now talk about ice. So here's a trick that you can do create a new layer foreground set to white using the um elliptical marquee tool. I'm just gonna go ahead and just kind of circle that I go down to the half circle, solid color, my foreground set to white. I'll leave it there, go to the the layers palette go from normal to overly. And so now I'm at go to my brush tool, click here in the the what do you call that? The Lear mask and let's just kind of clean that up. I'm not a nice soft edge brush and I'm just gonna switch back between black and white because I went too far in. Now see how bright that is. I'm going to lower the opacity Until I can get it the way I want it to look. So I lured the capacity to like 72. I'm going to duplicate the layer because I don't want to redo the exact same thing and I'm just gonna drop it over on that. I and there you have it. I was a really quick way to brighten the eyes and I will do this again, by the way guys. So let's see if I can do up before and after. Mhm. Now, if I want it and I just showed you the after. But let's go to flatten, I'm gonna take my um what do you call this, the eyedropper tool and sample some of the water but under to the half circle and choose a gradient and I could do something like that to kind of bring the I again, I don't want to do black because it's a brighter image and I probably would finish it off something like that. But again, your mileage may vary and you see me dropping the opacity on that, but there you have it. So now let's move on to the next image. Okay, so here we are. Um this is under the viaduct and you know, choosing images to edit for of course is very tough for me because I can do so many different things, you know, to fine tune them down into, you know, say, hey, just do this and this is supposed to represent everything. You would do that stuff because it doesn't, I edit by hand and it all can change. So I wanted to do this one because I was thinking about, you know, different things that I probably would do. Um and so yeah, let's just jump into it I guess. So 485 millimeter 1.416 aperture 4000 shutter. So I wanted to have a more moodier um look over here but I wanted her face to still be a bit bright if that makes sense. It's kind of like beggars can't be choosers, but you can be choosers if you bring in a stroke. So, but I'm going to bring the highlights down just a bit and raise my shadows and raise my blacks add a bit of clarity. But what I'm going to do with this one, and it's only because I think that what I'm gonna do right now, I just think because their hair is a little bit frazzled, I don't want to change that because I like to keep things like that in images, but I'm just going to add a bit of noise reduction. And the reason I'm doing that is because I think it will, you know, it's because of the light. It's it's really kind of highlighting those, those that particular area. So it's going to bring in a little bit, and if you see it, mm Let's just go, 100% noise reduction. Can't really you can, I can see it, you guys probably can't, but if I add a little bit, it kind of takes up a lot of that highlight at the top of the hair, but not a lot, but enough for me to say I need to do it. Um I'm going to add a bit of blue, you bring my highlights down a bit more. I think I'm gonna bring my exposure down some and then bring my blacks up and playing with my clarity and saturation. Right? So I don't change any of those, you know, these steps here or, you know, the choices that I use, it's always kind of white balance exposure highlights, shadows, blacks, clarity saturation. And I play with all of those, those those are my go to use. So let's go ahead, open this one up and now we're gonna go ahead and bring this one into photo shop 1st. I'm gonna do, let's crop her down and we're not going to do too much cropping, but let's go ahead and do that. And I think that looks good. I'm gonna use, I'm just gonna use my patch to actually, and with that little piece of light that showing. So I always say circle the bat and dragged down to the good. And now let's just clean it up. Any repetition using patch. Mhm And there cleaning that up and that may have been a bit sloppy. And that was, I didn't mean for that to be that's lobby, but let's see if we can make it look look that and here's what's really funny is that you try to fix something sometimes guys, you make it worse and you know what it's like, whatever. All right, okay. Now, as I said, I'm not cleaning up that hair. It may bug bug you. It does not bug me. I like a little bit of frazzled nous because it's real. So with that part said whoops, did not mean to do that. I'm gonna go ahead and click on my actions and do a little bit of frequency separation. Just a little bit of clean up. Clean up Lasso Tool Feather. said it 20 pixels. And then now let's go to filter blur. Gaussian blur. Let's just clean it up. Mm. Do that a bit. Let's just zoom in some, see if we can get that. It's not to clean up a bit. So let's do it this And then we upset did not do that right to hang on. Let's do slash ASO filter blur. Gaussian blur. Now let's just raise my values. There we go. Okay, said again, this is fairly on the sloppy side. All right. Now I'm going to flatten this because I'm not going back to that half circle curves. I'm gonna take this far left point. I'm gonna I'm gonna raise it a little bit to taste. Now I'm going to try to bring in a bit more depth by playing in this the hell exposure hill. I don't know what we call it, but in the history a gram and here I'm just playing with it to taste. Just seem in. Mm. Think this is where I would want it off circle. Let's do brightness and contrast because right now it's just looking a bit darker than I wanted to look. But I do want a bit more of a matte look. Oops, did not mean to do that. All right, let's add switch my four grounds of black just make sure we are black. Oops, I didn't there we go half circle gradient and that is not, I totally cut the wrong thing. So now foreground set to black. Try that again. Four cross at the black gradient. There we go. Now what I would do in this instance and this is and I'm trying to figure out why I picked this one but I think I know why I'm just gonna hide this gradient layer. Right? I'm switching my excuse that I'm switching my foreground here to white. Sometimes I play with headlights and this is what I would do. Honestly guys and I do have some brushes but I'm not going to use any specialty brushes for this because anybody can do it. Let's make a new layer. Go to the paintbrush, choose a nice a nice soft round brush, make it nice and big. So you see here you got this headlight, boom, now that's a little too big. So let's make it a little softer. I mean a little smaller do. And I'm gonna load it lower the opacity and I'm gonna bring my greeting it back a bit. Mm And that is what I would do with this particular image. Now I would do some dodging burning, which I can still do. So let's go out and flatten this one, duplicate the layer by dragging it down to the plus sign. Edit Phil change it from normal to overlay. I'm on my dodge. Mm And you know like I said, you know, I am someone who who likes things to be a little bit natural. I am changing I changed my from dodge, I went to burn. Mhm and there you have it. Mhm. Here is it before and here is an after. Yeah. So I want to bring in one more image when we were on the lakefront and this was one that had more of a full body and I wanted you guys to see what I would do if you know you had a more cloudy day. Um it just the scene didn't look like how you wanted it to. So this is what we're going to add it right now. So let's bring the exposure down, bring our shadows up, bring in our, bring our blocks up right now, I guess so 80 85 millimeter 1.4 lens 16 aperture 6400 shutter just in case we forgot, bring my white balance down, adding some blue and added some clarity and I'm gonna bring in my saturation. No, this looks fairly good and how I want it. Mhm But I think I'm just going to bring in a little bit more warm and I would add vibrance, I don't think I added any vibrance at all. Now it's going to open now, let's open it and bring it into Photoshop. Let's go the crop tool. I'm going to go out and crop this down so how I would do it and now I got a crop down, I'm going to just to use my patch tool to get rid of this little bitty piece of light that was showing. I'm gonna go to filter sharpen on a sharp math Amount set at 89 radius 1.6 threshold zero. Looks good. I am going to go to my half circle, I'm going to add A levels adjustment layer. My middle slider here is my mid tones and I'm just going to raise that to taste. Next I'm gonna go back down to the half circle and I am going to go to brightness and contrast and the brightness and contrast adjustment layer at a bit of contrast. Then I'm gonna go back to the half circle and I'm going to add a color balance layer and this is where I start to kind of fine tune how much warmth I want. Now I'm not gonna undo any um I'm not going to do any dodging burning to this one although I could but I'm not so because I want to show you guys just how quick you can do some things so I think this looks really good. I'm going to use my I dropped a tool, I'm gonna sample some of this water half circle gradient and I'm just going to kind of move it because remember default selenium but you gotta make your movement before you click OK. And I think I need some more contrast. So background layer, half circle brightness and contrast adjustment layer, a little bit of contrast. And then lastly I'm going to add a new layer, make sure that my um website the wrong thing, make sure that my foreground is set to white. And I'm just going to use one of the brushes that I created. Mm hmm. Mhm. Because I had that light at camera right. I have such nice highlights on her face here that I probably could dodge and burn in. You know, to accentuate. Let's do that. I'm just going to flatten everything down, duplicate the layer, go to edit fell. So you see my values here click OK. Go from normal do you overly? I'm gonna go to my dodge tool. Let's just add let's just play for just a second and kind of bring out some of these already existing highlight. Mm Okay stupid. Now I'm gonna go to my burn tool. I don't like that. So let's do edit fade. You guys remember I use edit fade a lot if I feel him very heavy handed. All right now. Mhm. What? Let's do new layer brush and I liked when I start adding brushes like this. I try to do it where my highlights are. So I clicked it twice when you use my command free transform tool. So command T on Mac. In control T in windows. Now I can move it. Do you see that now? I don't want that intense portion here. So I just start to bring it around. I can get a little faintness whips. That wasn't an accident. So let's undo that, then I can kind of lower the opacity, the way that I want and I get a nice little soft shot and literally I tried to go through that you know as fast as I could while talking and it probably did seem fast for many of you, but I really have went faster. So hopefully this gives you guys some you know, some quick tips and techniques that you can do with editing and as I said before, you can always find me at W teachers on facebook and if you want to learn any of my more intense things that I would do in in terms of editing a W teachers dot com is where you can find that and thank you guys so much.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Recognize and shape good quality ambient light for dramatic highlights and shadows.
  • Use your existing surroundings as light shaping tools to enhance available light.
  • Utilize minimal camera equipment (one strobe) to create dramatic looks that mimic multiple equipment set ups.
  • Post process with tips to enhance the dramatic light captured in camera.

ABOUT AUDREY'S CLASS:

During this course Audrey Woulard will do a deep dive into how she uses light in the most simplistic way possible to create dramatic looking images. We will heavily dive into capturing ambient light, and utilize just one strobe and one modifier. No other photography equipment will be used. In this class you will learn to recognize many different types of light that photographers may overlook. You will be shown how to recognize light at different times of day and what it can do. We will go over how to utilize our natural surroundings to bend and shape light to create different looks that are often created with multiple light set ups. In addition to finding the light, we will go over different interpersonal skills that will help guide your subjects to setting up the shoots for the desired outcome.

We will explore different locations and will showcase how light changes depending on the different surfaces it is shining on and how to use that to your advantage when photographing people. How light reflects color and how to use that to your advantage for a dramatic look in the most simplistic way. How to use just one strobe light to aid in your light exploration to work with ambient light to achieve different looks. In order to have control over shaping light, you need to be able to control the photo session. Where applicable, we will go over different ways to help steer the photo session timing in your favor to have maximum photographic control.

Once the images are created, we will utilize Adobe Photoshop and Adobe Camera RAW to showcase tips and tricks to accentuate the light that was captured in camera. When we are using Photoshop it will be by hand, and there will be no actions used.

WHO THIS CLASS IS FOR:

  • Intermediate Photographers who are wanting to learn how to use light creatively with a minimalistic approach.
  • Beginner photographers who are interested in how to combine ambient and created light.
  • Beginner/Intermediate photographers who desire to level up their creativity

SOFTWARE USED:

Adobe Photoshop 2020
Adobe Camera RAW

ABOUT YOUR INSTRUCTOR:

Audrey Woulard is a portrait photographer, and she is a Nikon Ambassador. She has been a full-time professional photographer for the last 17 years photographing teens and their families. In addition to her portrait work, she also photographs select commercial assignments for brands such as Iams Pet Food and Pottery Barn. Audrey has been a regular instructor for Imaging, and WPPI for over a decade. Her work has been featured on the cover twice for Professional Photography Magazine. She has been featured in Rangefinder Magazine, InStyle Magazine, People Magazine, and US Weekly magazine. Audrey was awarded the Professional Photographers of America Vanguard Award for her sharing of talents and service that has enriched the profession of photography. She is the creator of AW Teaches which is a website dedicated to providing education to photographers. Audrey resides in Chicago with her amazing husband, and they are the parents of four young men that they are immensely proud of.

Lessons

  1. Class Introduction

    Audrey will go over everything that she will discuss during this course.

  2. Understanding How Light Works

    Audrey will break down how she assesses lighting when she is creating her images. She will show you some of the things that she looks for when attempting to determine good light from not to good light.

  3. Philosophy Behind The Equipment

    Audrey will go over the equipment that she uses and will go over some of the reasons why she chooses certain pieces of equipment based on her personality.

  4. Navigating Full Sun

    During this segment Audrey will go over how she approaches photographing in Full sun using a strobe, and using only available light.

  5. Navigating Full Sun and the Forest

    Audrey will use the same full sun techniques while capturing her images. Instead of being in an urban area, she will be in a forest location.

  6. Light and the Urban Location

    Audrey will give her techniques for photographing in a busy city. She will go over how she is able to make her subjects stand out within elements of chaos.

  7. Simplifying Light and Location

    Audrey will bring viewers into the city, and show you exactly how she makes light and her location work well in the images she creates. She will show you how a very small, and busy area can have a big impact and why.

  8. Simple Editing Techniques

    Audrey will edit some of the images in Photoshop that were captured during the course. She will give a few simple techniques that she utilizes when she post-processing her images.

  9. Finding Your Style

    Audrey will talk about finding your photographic style. She will walk you through an exercise she has done when she was attempting to assess her style of photography.

  10. Closing Words

    Audrey will give a few closing words about what was covered during this course.

Reviews

Michael A. Gruich Jr.
 

My goodness! This class is like a breathe of fresh air in the morning. Vey easy to follow along for some very amazing results. Really enjoy the friendly presentation, filled with tips and clear explinations for working with light using a minimal setup. Thank you Audrey

a Creativelive Student
 

Audrey brings together and simplifies divergent ideas in photography. Finding beautiful available light (based on direction and quality) on location is her first priority. She then perfects the light using a single strobe on her subject. Her style emphasizes shallow depth of field using fast primes and high-speed sync, and her post-production is minimal. She offers a pragmatic workflow and a creative philosophy that values getting out in the field and making photos. The reliability, ease of use, and affordability of the newest off-camera flash solutions make this kind of dramatic portraiture accessible to more artists.

Yo Pal
 

Wow! I love her non-complicated process and the stunning results! I can't wait to use all I learned from her shooting on location as well as her editing tips. Audrey has a great personality and is a teacher I would watch over again. Will search for more of her classes. Did not want the class to end! Yolanda