Skip to main content

Post Processing Q&A

Lesson 21 from: Build a Family Photography Business

Jules and Joy Bianchi

Post Processing Q&A

Lesson 21 from: Build a Family Photography Business

Jules and Joy Bianchi

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2200+ more >

Lesson Info

21. Post Processing Q&A

Next Lesson: Post Processing

Lesson Info

Post Processing Q&A

don't have questions for me. I feel like I've been talking alive. Or maybe you six in 10 minutes, 10 minutes for questions. And if we don't have questions, or if no one wants to see some other thing, I'm happy to move on. So this question from the chat room, um, lemonade, just from lemonade. Does making changes in camera Raw two photos. Family to change the photo. Can it damage photo without the layer mask? Making the changes damage the photo? Yeah, I guess. Um, permanent. The reason I always understood and cheese were recipes that you could change them. I'm not that technical. Does anyone know that I don't think destructive. Like if you're making an edit directly on the image layer, I think, is the question. My my father, who's he's been an art director for for almost 30 years. And he has always told me that layers or your friend and Photoshopped, that's he's just it's just her debt. Yeah, so any time you can make a layer do it because you you will. You'll permanently put that at it d...

irectly on the image, right? I know you're not supposed to flatten an image and save it until you're 100% ready and done. So if you're working on something, save it is a PST file and come back to it later and then and maybe even do a save, as if you're gonna flatten it so that if you want to work on it again, you go back to your PFD file as opposed your Jake. Because I know that there when you're opening it, working on it, closing it, opening it, working and clothing, the compression keeps happening, and you can It gets more more corrupt. But to be honest, open and close and open and closed a pegs many times and then printed them a huge cameras and they look fine. So I think that I know there's probably a lot of truth to that. But I've never been much of a techie, kind of Ah, a person like that. So I don't know. I am not going to ask you. All right, Cool. Uh, question from Laura W. Texas. Um, she said she loves the close ups of kids where the eyes pop. Is that strictly the 100 macro Iceland's 2.8 that you had mentioned before or is that something that you work on a bridge to get the eyes the way Some of the images you took with Yeah, I love those I do love that macro thes were Let's do some. I liked her. Let's do you want to go to the wrong ones will be better. What is the matter here? Better just look at them like this. I really loved this land because you can see how sharp Maggie's eyes are, and yet it's already soft at her chin. So definitely lends itself to the sharp, sharp eyes. But that image right there, really that's on the wall was shot with the 51.2 at. Like I said 2.0, or 2.2 or something and has a very similar quality. I think the difference is that that's a very specific kind of look like. I don't often use a 50 for a portrait and and I just where we were with shooting the baby and we're in the bedroom and we had not that much light. And it was I love that picture so much. But if I were a pickle ensue, portrait's it would be that macro lens just because, especially with a family session, you can get in close and get a razor sharp portrait. And I hate it when the eyes aren't sharp. So and then back up and do more portrait with a 50. You definitely can't do that. You're either enclosed or it's not a portrait. Yes, and then do you do anything in post for the eyes to pop? Sometimes I do, and I can show you a couple things that I'm done to help. I've pop because that is a big deal. Let's, I think, did fanatics with blue eyes in the blue shirt. Yeah, that's cool to him again. Do a title one maybe. Let's try and then a little white balance a little warm. That's all right. I like that. I don't open it dough because you can't go down because I can't go to the bottom of the screen. All right, so let's pretend like I could just close it when you're when you're adjusting your exposure. If something's maybe stop to under. But the expression is perfect. So that statement just kind of work. Do you have any sort of rules or something used? Teoh know when you've got the exposure right on a face to face prince. Even at a nice density level when you actually printed and display it What I like how much do you Usually the only thing that I rely on for that is much like in my camera Is the the highlight enabler. Appear a little, See the triangle. So if I would if it were to be overexposing you start seeing this, I just make sure just exactly like I shooting camera. Just that the important informations not blinking. And then, to be honest, I trust my lab. You know, I have We tried toe calibrate monitors and but the end I do just trust the lab because I don't know what that much more that I can do. Is there something that you do? Oh, no, no. I was just just wondering how to to turn without using a spot. Meaner Teoh. Know what exact exposure supposed to be on the face? How did you get the face exposure? Right after after shading it kind of messed up and you under expose it kind of thing. Um, without sliding the slider through? No. So you're gonna obviously gonna just it But how do you know where to? Just two that really stop. That's what I meant by putting the highlight enabler on is like, Let's go back here to auto. In fact, let's find one that was a little bit under an auto under exposed something, right? These guys, because they're backlit. If you choose auto, they darken right up. So that's what you mean. Yeah, so you know you're gonna bring it up to the right. So the things that I like Teoh I'm talking about faces usually try to focus more on the brightness lighter and not the exposure exporters. Seems Teoh work more on highlights in the overall. I actually will bring that's with her down a little bit and bring the brightness up. And like I said, I like to keep that click so I can tell what's blowing out and pull that up. I do rely a lot on the presets, so I usually will go in first. Just do a little bit of snaps. I think that's fine. And then if it's something like this, where I, you know, shot it a little bit under in camera, I'll just do my own digital. Phil and we can go here to my preset brighter and just try that one first. And I think that looks pretty bright. But I think the background is actually probably now a little too great. So I go back to my basic palette and maybe turn up the recovery ever so slightly and the exposure down a little bit. See how that brings the overall brightness down and then bring my brightness up a little bit? And I just keep watching their faces and making sure their faces aren't gonna blow out and maybe add a little less contrast because you can put that up later, J. Peg. But I have another answer. Your questions like That's how I would have done it basically to taste. Yeah, basically, I don't think there is ever any one right answer. In fact, it's that's like the white balance issue to Sometimes people want their, you know, like this. After you look at it for a while, you like, Yeah, that's really pretty, that pretty. And then if you were to look at it like this for a while after while you say no, no, that's right. That's correct, cause you're I kind of adjust to it. So it truly is just to taste. You know, I think I want people spaces to be bright and contrast in their eyes. See bright. But I know photographers who are much more interested in having even return. I'm a friend forever Way have the same editor, and sometimes she'll make my stuff so bright. And she's like, Oh, sorry, sorry. I was working out where they're all last week and I forgot because because the other photographer likes her stuff just to be crazy bright, you know? So I think maybe you're right. It's just a specifically to taste kind of thing. I have a certain way. I was wanting to look and maybe that's where we end up getting, like our style or a look. We will say like, Oh, you have a really consistent look. I know you know your pictures. I mean, I always get told they love how your pictures with really bright and Christmas vibrant, and I don't do tons of textures. I don't do lots of Twiki vintage colors, although there are some that I did, um, myself that I really like. I'll show you one really fast and I know we have, but the ones that say JB by them are ones that I had made for fun. There's even a JV Olive. My favorite, though, is JB Blues E. And then I would switch play around with the white balance, and I like sort of vintage tones that they would, you know, come out with here. And there was a while that I was really into that. But then again, it's like you said Everything is to taste. Yeah, just after a while. Yeah, but I like them and I like being able to sort of play around with it. And I think it's pretty. I don't have any photos. Help questions before we we go. I know what to clock. Was our sort of gold to start our work life. Can we go back to excuse me? Go back to Texans just a little bit? Because someone in the chat with just me asks, What specs do You need to shoot a texture with facts like how if you want to share your own texture, I think that it least funny when I shoot now, I shoot it with a cannon mark, too, and I always have it on like the middle raw and have it open, too, so it would print. It would be with, like, nine by 13 or something and then So it's just something that, like a healthy 300 dp I resolution not not for basics, probably something a little bit bigger, But like I said before, you can always stretch them out and manipulate them the way that you want to twist them or flip. And I think that's the beauty of a texture. But if it's too small, you're not gonna get the same impact. But if it's too big, you'll be spending a lot of time re sizing it. But because all cameras and depending on what file size you're shooting at, your J pins are going to be all different sightings anyway, There really isn't a right answer for that one like these. Even the textures in here, I think, are a couple of different sizes. But they're all, you know, like relatively normal. Is there one that you find you use more than the textures? I kind of like the ones that are from, like, paint gravelly kind of things. These down here text like the have sort of a consistent color across the board because but then a little extra crackle, because the crackle part adds that little like bore textural like a textually textually textually. And then the colors were kind of like white balance, like if something a little cooler. But you do that yellow texture really warms the image, so I like to play with. But then sometimes, if there's a lot of other things going on, like I love that furs and the trees and it is sort of depends a lot on the picture. And then I had all these vintage fabrics around my place, and we've done a lot of really cool stuff with, with actual patterns in more stylized things, like a love. I had a wedding couple, and I think this is the example on Jules Cafe, actually where they were just standing in front of a red wall. And so I added, that meant he'd see it on the butt. Oh, yeah, I think you're right. I think it will be an example of it, but it was cool, and it sort of made it like this much richer kind of thing, but it was fun so I don't know. One super go to but a lot of it is just about the picture itself and sort of what? What will enhance it the most, You know, Did you go out looking for textures? Just sometimes you see something, You know, for a while I didn't do that. I would just collect them as I was, you know, in life just collecting them again, just like the presets. Why would just make them as they worked for me and finally realized I have a whole collection here like this Crazy. So And then there was 11 time I was in Massachusetts and I was with my now ex boyfriend. But we had decided, like, let's have a texture day. So we deliberately were now and like, looked for textures and look for different colors and look for different things that might lend themselves to really making photographs. Interesting. So there, that was fun to you. But a lot of them were just like I think I would be working. And you think I need to change this up in the go around. Look at that. Great. That's going to take a picture of that and then put it in the picture. You know? So it kind of came from something like that here. All right, we have some more questions for you, okay? And the question is, from Vicky is a lot of photographers like to soften skin and sharpened eyes. Do you find that You ever do that? Dio And in fact, rad labs who were selling, not selling, but giving his prizes has this retouch. Can I show it? Really? You use that action or we'll just say yes I do about that. I do. I do. Sharp rise and retouch skin. Yeah. Yeah. Um, it's actually have on here. Um, it's called retouch, and it's a really fun one. You can just click it super, too. And it's doing its magic. Things done and what it does, it creates another layer for you. So then you have I bump and photo pro retouch right there. So what? We could do it. Stay. We want to soften Adam Scott, like maybe some of that. Some of the lines around his face. I will go in tight again. I'll go to my brush right now. Pro re touches off. See how it's black. There black fish being Wake him up and I click my ex button. So now we have a white palette. What's gonna turn it on? And so I'm using my paintbrush and again with my bracket keys, I'm going to make it. No, I think it's really huge what it is there. And for this, when I usually like to do, is start kind of soft, but start kind of sloppy, you know, first, like so it's a little too much. So I make sure I get everything. And then I make the capacity 100% and go back to black and make my brush very small and go over the lines that are supposed to be sharp. So you're turning that, So I'm turning this part off. So now if you were to look, if we were to toggle between on and off of that entire layer, you can see how it softens his face, and you might feel like I think it's not. That's a bit much. A little bit much. Begin again. Your brush. Maybe make the brush a little bigger again. I'm clicking the up bracket key just to make the brush bigger, quickly and the size that I want and I want to choose. I'm gonna hit the X button and choose the white palette. So we're turning it on, and I'm gonna go up here and under the opacity and make the capacity not 100% but meeting half Thank over here and start. I'm a chart off. I want to go return pieces of that off a little bit. So I'm sorry. Back to black, but not 100%. We're not turning it 100% off. Just a little dimmer, a dimmer we're dooming. And then with I'm bump, it's the same thing you want to make your circle the same size is his eyeball fish maybe slightly smaller turned that on click X turns on that pallet. And again, I'm probably going to not go full power on that, cause that's gonna be some white eyes. Bumped them up a little bit. And now I think I don't like it when I got to see how I kind of got the edges of his eyes so that I feel like this area here kind of got a little bit much gonna make this very small Go to black turn the capacity to 100%. So I'm turning it off now and again, just going over those parts. So we get his skin tone. I want his skin tone back. I want the eyes whiter. I don't want his skin whiter so you can turn that on off and see the difference. I think we'll be careful with those kinds of things because that two white looks fake. Nobody has bright white eyes, but a little bit is really lovely. And the other thing, too, is that the I bump is great, even right in the iris train on not 100% again, but just a little bit of extra life. Really, really pretty. Scott, You look so good and the first sharpening eyes the asteroid. We're going to sharpen eyes. I am. I'll show you one thing I do like, for instance, where I told you this image, I felt like their eyes were a little bit softer. I love that you can go in also, something they'll use just the sharpening tool, but very, very light. Just a sharp in a little little bit, just a little hint of sharpen. But a lot of times and This is Jay Peg, but what was that? E compass? But sometimes what if I know that the eye is kind of soft? I go back to the raw file and start from there. So let's open this and raw really quickly. And this, too could be a preset. That you designed yourself for this tool, the adjustment brush tool where I wanted to be a little brighter, Not not even very much. And I'm gonna pump up the clarity and the contrast and the sharpness over here to a little bit and just again bring my brush and the same With this brush, you can use your up down bracket. He's to bring the brush down and just paint a little of that in her eyes. And that kind of help sometimes if you didn't miss, if you kind of missed the mark on the sharpness, it's all about perception, too. So if if her eyes are more contrast E, that actually helps them to appear a little bit sharper. It's not great one that's a close up. But if it's a picture like this and you go back, it's a lot, you know, more obvious that I like that, but you can see it kind of makes it a little bit. That's another thing that I will dio to go in. Add contrast and clarity. A little sharpness, a little brightness. Eyes can really save you for images like that that were just like, slightly off it. Like such a great shot. You don't want to just toss it for that. There's some little things you can dio set into that question. Yes, um, so I don't know if do it. If we have more questions, I know I can't answer some more. It's up to We're ready to move on our But I think we have maybe some more questions, and then we can take a break and a good idea and then come back for the That's probably so. Alexander says. You are like a master. In short cut Jules, Jules Canal asks. Excuse me. OK, Jules Canela asked. How do you tubal black quickly in that little pellet like when you're in the mass? Claire. Well, we lost him. I will show you. Wait, that's not the right thing I wanted to open. I think I understand the question. It's when you're in a J. peg and you were having, and we have one of our masks. So say we add a mask there. Is that what she's talking about? When I talk about the fourth here, let's do that and we'll find out. Let us know. I'm sure this question Maybe not questioning saying yes. Yes, he just hit the X key. So when you're in that layer right when you're in the layer and you and you have to be clicked on, see how the little watch difference If you click on that Whoa! If you click on the image, see how that move there like an extra little line of bars around it, whatever imager. And so you can click here on this image and you'll notice. By the way, if you're here, do you see how now, brown? Or perhaps it's going to be green, right? As soon as you quick into the mask, it turns black and white because those are the controls for this mask. So you don't have to make the black and white that will happen automatically, and then you can just so you could have your brush with the right hand and your left finger on the X key, which is usually what I do. Because usually I'm sort of finessing it. I would. But this right hand I'll be changing the size of my brush bigger or smaller. And then with the left hand clicking x X x to kind of finesse something, whatever it is I'm finessing in this case, Nothing. What do you got? I'm not a Photoshopped master, but I like I like something You wanted me to show you something I just learned. I remember I used to call you and your lived in l. A. And I'm trying to fool the show up a little something you just be able to tell me right on the phone. I love Photoshopped, but I learned a new trick, and I'm trying to see if there's any image that I bet you I could be. I thought of something. Hold on. Let's see if you do it. Okay, lets see this works. Maybe one. There's joy in my image. And as much as I love her, I don't want her in my image. This might not work because it's in a lot of stuff going on. But I I'm gonna circle her. I'm gonna delete her. It's gonna ask me, content aware. And I'm going to say yes. And then she disappears. Actually, didn't do to better job. Sometimes usually they get It's like dead on and you don't especially for hares in the face or things like that. And that's what comes up getting just hit, delete and that that's what comes up. It's a photo shop. I think it's with CS five. So close. You tell it what content you wanted to look at your sickly. That's right. There was your in several of my shots. Find something And there you way and again. It's probably not gonna work that great for, but it's so great for a first pass rather than trying like Clone Clone clone, clone clone. So you get now for her. I did make it a little more specific around her because there's so much information, but somebody you can literally just make put a box around them and they hit delete, and the box will come up and ask you, Do you want to use content aware, which means it's taking into consideration the convent around her? I'm gonna say OK, pretty well. Yeah, that was something that the miss. It's a mess that didn't work so great because I e. I really want to show you one that that works because it's so great. I mean, I love that I love that to London. When I discovered it, I was watching someone else shows somebody something in photo shop and they just did it. Here, here, here, this will be This will be great. I brought my system would be great. And if it's not, then I renounced myself. It's just Photoshopped guru, all right, so saying We don't want this piece of trash here. Let's just try with the box piece of trash, be gone. All right Now, just like a shadow and even brought in more like trash e 10 Mark. You know, it's all this. Should be some tan bark here, so brought in the tan bark. I think that's cool. It's a timesaver right there. Do you get time away from away for more questions and I'll just get rid of trash? All right, I got another question, but you don't. So you mentioned earlier that you trust your lab very much, and Hugo Tip is asking, Do you calibrate your monitor. And can you talk a little bit about monitor calibration? Um, no. Awesome. Right. Okay. When I lived in Italy, we actually would calibrate our monitors every month, and we were very diligent about it. And then when I moved up Teoh to the Bay Area, we stopped doing it. We haven't done it for a long time, and I swear I have never seen a single difference. I know monitor calibration people, you know, why wouldn't like it? But for me, personally, like, I didn't notice that much of a difference. And I know if some people are super super sticklers about the printing, but but because it's so subjective. And then we've been working with our lab pick Taj for such a long time, and I do. My image is the same way all the time that I have been really happy with the result. And to be honest, the only time I ever see the prince when they come in albums, because any loose prints, the clients just get them themselves. They're you know, they're ordering them online. They're being dropped, shipped. I don't ever see those prints. I like to be a hands off. If I possibly can. So, um, and I think I did. You are a friend who's a part of it was like she's a big stickler on her. Images are gorgeous, and but the truth is, I used to be a much bigger stickler about things like that. And what I discovered and this is really true is that clients a lot of time just cannot tell the difference between good and great. And we, as artists are like a lot of us have these high lofty goals, and we struggle to get perfection in the color and everything perfect. But it's kind of like what we're just seeing with the eyes if they love the expression in the face. Is there going Oh, my eyes aren't razor sharp? No, it's not as important to them so And because we were just saying, Oh, it's to taste like it's all to taste. So as long as you are happy with the results that you're getting, I don't know that there's, I mean, I'm happy to hear. I'm sure people are like writing nasty things about me saying these things, but I just think like I tried to be a stickler about it, and I didn't find that it made that big of a difference. So I did this. I would have let that part go. And you know, I was okay. So and I'm curious and Michael's you got the furrowing his brow at me. I think a lot depends on how close your monitor is to begin with, like some of my monitors when I calibrate them. It's a very subtle shift, and so it really wouldn't make a difference. It would just be to taste. But I have one monitor that even when I calibrated, it doesn't come close. If I try to do any work on that, it's gonna be Oh, right about that. I have one that's it's dying, and I only use the default palettes and things on. I know better than to do work on that one. But then that's because, you know, I've had it for years, and I see it up against the other monitors. And yeah, that's not you know, but you're right. What about you, Dan? You know, I'm kind of with you more artsy with tickets to taste, but yeah, I do have, Like you said, I monitor myself that is way off, and I use that. And then I got the images back. Like, I think maybe it comes from the fact that I did shoot film for so long. And I always relied on the lab to get the color for me, that it was sort of foreign and such like a weird concept to suddenly be that involved with it. So it was okay with me to be a little more hands off, because I always had been. You take a little, but you said it to the lab. Is his color man injured you ideo, But they're they're actually a really big stickler for color. So everything goes through what is called quality testing. Curious anyway, so they don't send any images out without it going through a quality check. So, what else you got? Canada? Well, this one isn't so much a technical one, but it's from And you'll have to excuse pronunciation because this some vowels missing, but f l v t leftist photo. Sorry, I'm finding some men want their wrinkles edited out to make them look younger. You're encountering this very often. No, not used with men. But I will say if I decide to do photo shop, work on the mom or what? We're putting things in albums, and I find that I have ended up doing a lot of softening or wrinkle reduction on the mom. I will go and look at the dad and try to at least make him look comparably aged because it seems very unfair has usually they don't care. And it might be the mom was like others that little Can you please he's not gonna say anything, but I just do it and I don't even say anything, you know. And for him, it will be a more subtle approach. But you know, you don't want her to suddenly look 10 years younger and then he's. That seemed unfair to me, so but I I don't I don't recall recently any man requesting that specifically, but a lot of times, if I notice it, or if it's suddenly glaringly obvious because she's glowing, I'll do it cool. Well, I think that kind of wrapping up. Do you guys have any more questions in the studio or even tips like things that Yeah, I'm totally open toe Oh, for writing up the like skin tone I think it was Zach and Jodi. The one tip I've been using from them was the When you're in bridge, the luminous gushing that color the h h s l Oh, yeah, yeah. Let's go there. Let's go. Let's pick something. That was the one that we messed around with, right? And we made a funny color. This will just go there. You go to little when in Venice, and then go to your orange and just bring it up just a little bit. Ah, yeah. You know what's cool about that? In a way, we can call this one on Lee do that, H s l adjustments. And we'll save it as face bright or for Zach doing. But But now that's all. So let's try it on somebody else. Your like that little one with them on the bench. Yeah, let's try that. That might thank you. When I go to face bright, it didn't bring it up very much, but let's go back to camera raw default and then we'll dio I gotta make it brighter. And then we can make really face for uber face bright. We can call this one face great. I like to call them the same thing in the beginning so that they're next to each other, that if you did one called uber face bright and face right, they wouldn't be next to each other. You have to because they're alphabetical. And if you're like me and you have a ton of them, don't want scrolling down. If you're playing with face bright to go, is it face bright or Facebook? Plus pretty good. You know, we're like have to scroll all the way down. That's why I like to have on my black and whites together, and I have all of my white balance stuff together. Why don stay out of the white balance messes with black and white two or the nappies? Thank you. That was awesome. My room has a really awesome women. It's adjustment. I think it's an eyedropper, and you just That's what I do that a lot in it shifts the orange limits. You can just select your you know, your location, and then just use your bet. You that that is something here. If it's enlightened, I'll bet you it's here. It's probably all but you. It is probably let's go back to our cameras defaults targeted just minutes later. I bet you it's right here and we could probably dio saturation. I would be. So go to one of the doctors. It is. It's this one. And then you can just pick words or limits this guy. And then we'll radio, click, click, click and drag like that. No making little numbers. It's number contributes the other one. Oh, it's still it's the icon, right beside it. Samples I way e. I like anything like softening things on Mom, My mom. Is that something you do just kind of as a courtesy to them? Or is that something you will say? What would you like? This done it. So that's good. Good question, and in terms of a lot of it is about how much time do I want to put into an image? If I don't know that she's gonna love it, there's two thoughts about that. One is, if she looks really haggard, she isn't going to love it, So if I can see in there that there is a really great expression, are a great last on the right, and I treat my voter shop work super differently in the family portrait, then with weddings, because we have so few images we call them, call them, call them down. So a lot of times it might be one or two choices with her, a great facial expression. So it's not that much work. And I don't want the first thing a person to think when they see my images. Oh, you know, you want to be a She made me look awesome, you know? And then I get it's about their experience of being around you. So if it's something as simple as the totally red pro retouch and you're like, you know, soften it up, done, I say do it, you know, And not everyone just close up things that you know. If it was your picture, you would be looking at that, you know? So it doesn't hurt to make her feel better about herself. Jewels gave me a picture for last mother's day, and I'm looking at it going. It was it was awesome. I was like, I never looked so good and I don't think dio your area really skin. You remember that? I really like Okay, I actually do well. Look for five people a little bit. I really like the liquefy tool and it's that's one of those things. You have to be careful what? You definitely. I never tell a client if I do that. But if somebody chose, say, strapless and they're doing this just part part of family and their arms, like, just looks big in the frame, I will just go ahead and slender down to where it would. The way that they think there are probably would look, even if it really doesn't look that way and nothing super exaggerated just so that it's not, isn't the first thing that they see. Oh, giant wet arm, you know, Or if it's something we're like a neck or I could just sort of soften it. Like I said, Liquefy again, Easiest tool in the world way. Okay, all right, we'll show you. I mean illegals, Hillary, I don't want to look for the baby weight. That's already O. J here. Oh, so you couldn't even look if I ate the whole thing. Usually I'll just take a little selection, but you can. It's a filter liquefy, and we'll look at it and there's a bunch of tools here. So I find sometimes the easiest tools just to thin down an arm. Is this tool here that pucker tool? So let's let her her chunky leg here. I tried to make the again, impressing upon the bracket key to make the circle about the same size as her leg. And then I just like little careful wishes. Is anything happening? It's gonna be one of those things were like bullets in that once. Is there some kind of delay? Well, let's not use actual. Let's use the brush tool, you know, exaggerated. OK, well, here's an object like so we're just pushing it a little bit down. They want to make it look like she broke her knee e I wouldn't do that would probably just zoom in a little bit and say, saying, You wanna make him look even more so, Yeah, you can take it, you know, push him in slightly. You know, I love Miss Tools. Why didn't that one work? Why didn't talk her work? I want Tucker doesn't work. When you when you look afraid the whole thing or something. I know what Tucker just kind of pulls things in. So if you it's great for When you put it on an arm, you just run it slowly up the arm and it just kind pulls it in and it makes it really simple. But, um, I'm working today. Well, you knew there's the one that's right for low pucker. It's it bloating out toe. Go to Mt. Right? That and just a little bit and something I have because all my family let's hope this will actually were since my pucker tool didn't work and bring bring the tool just about that, a little smaller than her I and then slowly Whoa, that's not right. A little bit bigger. Yeah, you could make it kind of look like her eyes a little more open. See how it's kind of puffin it up, e. But just settle, settle, settle, settle. And then it's here. Let's just say OK for that and it'll go. And now if we go close up and look at her, I here. Where's my, uh, history? Brush history? Pabbott. We could go watch her. I see how it kind of just looks like it. Like I didn't if I should have just blown up her way, usually could tell the difference and it looks like you're right. I think we should have used a slightly bigger brush and blown out. But lower lid not just made her eyeball look huge. You get the idea you wanted to be a subtle is possible. So she's not like what happened to my I, she says, Like I'm laughing in. My eyes are open.

Ratings and Reviews

a Creativelive Student
 

Really nice job. Comprehensive and generous. Talented and giving as always. Thanks Jules and Joy.

a Creativelive Student
 

I love the workshop so far!! Tons of great ideas for my new business.

Student Work

RELATED ARTICLES

RELATED ARTICLES