Film Noir Male Retouching


The Portrait Lighting Challenge: Natural vs Studio


Lesson Info

Film Noir Male Retouching

natural light on the left straight on the right got a nice highlight something I did do with this drug again we took four images so I can't say we didn't measure up I did papa little highlight into here by using the dodge tour watch slowly coming down his test onto his side torso just to match the highlighters and the left image um I can add that by simply going to my dodge told ten percent and heading the highlights that are already there just to jump up um and what it's doing is it's just creating a little bit once and it's also good around the arabs etcetera and so it doesn't look like much until I take it off so if I take it off you can see the difference okay so I definitely used my dodge tall for a more pointedly look I might have gone too fast I'm just gonna back it up I'm not afraid to back up my finnish hope if I take too much if I do too much I do not reattach a lot on men's faces because once you smooth them out they definitely looked like they are wearing makeup or I've bee...

n retouched in men suit being a lot rougher I will remove that little way scar and this little sky things that I really not important but I will not smooth out his forehead because he suits although these lines on his face they make him look strong and masculine um also exactly the same for this side which is the natural life I'll simply take the shadow and his little scar there and then just innately had around here and then this little scar on the arm because you look at it and that's why I'm going to take that out um at the moment I love the shape of this I love the highlight your both beautiful images so let's have a look I'm going to save both them retouched I wouldn't do any more retouching in there he has a great body position um I feel like any sort of been eating or anything I'll do I'll do after any skin so after I choose the tone of the image then all cheers maybe if I'm going to bring in some more dip I'm going to go natural light first I am going to open exposure five my instinct is to go to a black white because I love photographing dark skin dark silhouettes on black backgrounds and they just look beautiful but look at what that gone timed us I mean that was my last filter which was yellowed six hundred with aging removed at one hundred percent now that to me is gloria ce until I see this and now I just see this bronze nous the d saturation I see you know body shapers see the muscles they see the power of his arms I love that and when I click through all of these polaroids and just oh how I love I love that um it starts to become hard to choose something because obviously they all start looking good let's have a look at what he looks like a black white secondly I sometimes feel that we put a lot into black white when it could just be decent rated uh there is a really favorite black and white I use and it sits in the vintage section of the black white and it is called and we have to nominate black model color and its cord dagger type look at this magnificent heavy grain and you can go to your brain and minimize the grain in this image to their butt to mei this is where I want this image I'm going to apply it I absolutely love this I don't think you need to doing things more I think in under three minutes we've created a sort of portrait you can put on your studio war that is powerful and beautiful and I can if I if I go to my bottom layer because my bottom layer is still sitting in color and just decent trade it then I can go to my own in skin layer and just dial it back enough to get the back highlight so I've taken my top layer down to sixty five percent my bottom layer is simply de saturated like a wise and just that's what anne in skin has done for it I'm going to flat in this image and at any time now I can pop a yellow or raid into this image because one stop of yellow or red into a black a white gives me a warm black white and it's the black white that I'm very attracted to not the blues off the great times now I'm going to repeat the same process I'm going to make the image black might by just simply control you d saturation I'm going to give it exactly the same um filter and alien skin which is the big girl type in the black of white with without grain knocked down to about fifteen twenty percent because it is a very grainy filter but it is the sexiest black might filter then I'm just going to take away uh what was it sixty five and then I'm going teo flatten and I'm gonna pop a yellow and a red because I just simply want a woman up um I like both I feel like now that I've done the glowy but here I may have done too much now that this is picking it up so let's just see if I can't I do the opposite and just pull back so I'm using the bed until and I'm really I'm doing what I did before I'm really just going to just work around his muscles with bannon this more light on this image on the right than there is on the left and also strangely it's colder so I'm just going to double red yellow and red now they more matched in color time um I loved them both so I'm going to save them exactly as they are

Class Description

As a photographer, nothing defines your talent more than your ability to capture, create, and place the right lighting. Award-winning portrait photographer Sue Bryce joins studio lighting wunderkind Felix Kunze for a lighting for portrait photography masterclass covering the universally most-used portrait scenarios. You will learn how to work with both natural and studio light — so that you are prepared to walk into any environment and take a gorgeous photograph.

Sue, internationally-renowned for her ability to paint portrait subjects with the glow of natural light, will teach you how she sets up different lighting scenarios. Felix, who's worked with the top photographers on earth, will then take the reins replicating Sue's shot — all using artificial lighting techniques he has honed from experience. The two seasoned photographers will take turns shooting, each learning and asking questions of the other in real time.

By the end of this course, you will know how to shoot a variety of portrait styles, including the classic beauty shot, the silhouette, high-contrast glamour, the soft flat light portrait (master that back light!), and old-school Hollywood glamour — all with both natural light and artificial light.