Modern Women's Portraiture

Lesson 23 of 37

Emily Soto's Photoshop Actions

 

Modern Women's Portraiture

Lesson 23 of 37

Emily Soto's Photoshop Actions

 

Lesson Info

Emily Soto's Photoshop Actions

They're two of your actions that are included yet and the names of them arthuis alisyn any victoria area yeah so with my photo shop actions like I told you guys before combined my work flow which is what I showed you guys today for me I do pretty it's a pretty simple workflow I I I have a lot of models that have nice skin so I'm lucky that I don't do too much skin retouching I go through and I do this my skin retouching then I add in more of an ethereal kind of look to the image so it's all these steps that I showed you combined and I'm going to go through those and show you guys each step that we went over today and then I'm also going teo show you I now have lightning preset I bet are these three haven't been released yet but I'm going to show you guys uh uh version for light room in case you're not you don't use photoshopped that kind of recreate the same kind of moon and phil to the image the alice in action is a very whimsical pretty action it has a lot of color and works I've use...

d it for I use that for different look bugs and celebrity shoes a lot of clients really like it it's kind of a mix of my style and they whenever they ask for I want something with your style usually they have mike okay, I'll use this action for it are all find something that they want from my words and so what I've done with actions is pretty much whenever people if I have a shoot that come down people like oh, I love that she like how did you added it? I get a lot of emails so I developed an action based off of that photo shield so I'm always sometimes we use action sometimes I'm just trying to create new ones and I do my own thing but it's pretty much my workflow combined so I'm gonna show you guys listen a minute find my lightning okay? I'm gonna go ahead and first open up the the one that we already had it open that one back up so the first action that I'm going to run on this one is alison, I'm going to get a window actions and I have alison loaded in here so to load that blew the actions you just double click you downloaded to your computer and it opens up automatically and photo shop so but you might have to go over here to open up your open up your photo shop action so what I'm going to do is press play there's portrait and landscape here so the first one the first action that it is with these there they have told tips so they go through each ted so that you can kind of make it your own. If you want to change your neighbor, the colors are changed. The look of it. You can do that, you know, show you guys right now. So this one's area light is supposed to mimic the sunlight? This is a studio shots is a little bit different. I do like having humans, hugh saturation and flares and in my studio shots, but I usually told them down just a little bit by changing the opacity. So I'm goingto press continue. So this is another way of doing. Q saturation is by going your adjustment tolls and doing a grade. Ian fell so it's the same technique that I should you guys just a different way of doing it. So with this layer, you could go in and you can click around. Just click so you click directly in your image and you can drag the drag the hayes just around a little bit. So you're liking, so I'm gonna put it right there and if I would probably put it there if I were outdoors a swell. I like it to be kind of in the direction the models looking towards center press ok, this is a curve. So I'm gonna go ahead and press ok so that for this curve what it's doing is taking away some of the reds it's changing the color a little bit to make it more warm and it's also added, adding a little bit of contrast to the image so if you wanted to go in and change any of this that's, why these air popping up so you can change it to your liking next year? The next layer is selective colors so it's changing different color channels so you see the color change here and then the next one's another haze layer so once again you click directly in your image you can move it around usually I don't like it covering the model's face, but I like it kind of around the model, so I'm going to go ahead and press ok and then the last layers grain so what I would do after this is I go through a turn each layer on and off so that I can see exactly how it's affecting the image, so I really like that layer like hes coming in here's the selective color I'm going to turn that down just slightly, so I definitely recommend just changing the opacity each photo that you take the lighting different, the locations different so it it really varies depending on the photos, so then this is just a solid color so it gets the image of blue tent and it's on a very low pass. Ity but you can see there. I like that layer. This is a black and white tents of slightly de saturating the image this was our curve layer. So for me, I don't like too much contrast, and we're not going to lower that just lately, and they're in here is a little bit more contrast here's the selective color layer like that layer here's, another curve that added the change, the red and here's the area lights. I'm going to tone that down because I was a bit much for an indoor image, and then I have my vignette, I'm gonna turn that down just lightly as well, so that that's, alice and action and I want to show you guys the victoria when it's a little bit of a darker mood first. All right, go ahead and run this action on my outdoor photo so you guys can kind of see the difference between and dorn and outdoor photo, especially since I had the same model for for both shields go on and to lead all of my previous layers, and I'm going to run the alice and one more time, so the first one was again in the sunlight. So I can for this one if there were trees or darker background you see it a little bit more but since the skies right you can kind of see just see it on her face and I like that I like that you see a little bit of hes on our faith and it softens the image is going to move that in a little bit can you see the curve here slightly different warms the image up a lot of press ok and then right here, if I wanted to change the contrast light we could move it around sooner press ok and then there's the color selective colors is popping up so I see that it kind of gets across processing filled to the image so it's it changes the colors a lot with this layer and a piss ok then I have another soft soft light so right it's coming in right over here I really like that layers I'm gonna move it around right around here. Go ahead and press ok? And then I have a film grain layer with the film I'll show you guys another waited that I do it in light room usually I I put my grain layer in light room so then what I would do is just go through in turn each layer on and off again and see how it's affecting my image I really there's not many adjustments they would youfor this outdoor him and I really like it maybe change the contrast lately but it's really important? Like I said just to go through each layer and see how how it's affecting each image another thing I would change on this one would be the vignette I'm going to go down a little bit of not I'm going to go back to this and I want to show you guys the other action that I gave you guys the victoria action I'm gonna delete this layer and just let it run from a race here at that at a contrast and this one's the curve layer so you can through very contrast c right now here's the queue saturation I'm going to move this around. Okay, then I have another soft hes going to move that over here usually. Like I said, I like having it towards where the models looking I'm gonna press ok there once again go through and look at the damage do you have any questions so far are based on this the action? Well, first of all, we have tons of people who just love your style and really doing on dh and so if you could just review again what within the actions, what are the steps that the action does? Yeah, totally okay and some of it I didn't teach you guys each one of these because something they vary from each action. So with this one this action I'm going to go ahead and I'll turn them all off and like like I showed you guys it comes up each step so you kind of see what it's doing this first one was a high the high pass layer so what it is doing is sharpening the entire limit image so it's the same thing when I was sharpening the eye you would go to filter other high path and then but instead of just dropping the eyes that shopping the entire image on ly it's at thirty percent so right here I could go up if I wanted it sharper I could go down or I could create my mask so these air really made so that you can adjust them and change them around here liking this is another way of adding contrast. This is a black and white layer so it is just black and white changing it too soft light and then that adds contract that their c I would change my apostle e over here so it's a little less contrast the next is just a vignette for my images I don't use too much of a vignette but I know a lot of people prefer it, so I have those included the next layer is a d saturation layers so like I showed you guys earlier I'll just go ahead and pull us up. It would be the same as going to yur huse saturation layer and then going over here just instead of adding a flare adding colors is just solely be for decent training the skin so you could just go to your saturation and change it. I don't recommend going past around fifteen to twenty because then she starts looking grey but but maybe around nine or ten but you guys can see right there how much of the saturates the image so that's what this layer is doing and with each of them you could quit double click on it and you see it right here and this one was a negative ten so you see exactly how how it's affecting the image and and and if you want to adjust it, you could do that as well. The next this next one was selective color, so you see it makes the image a little bit more blue, so if you wanted to, you could go into all the color channels. I've changed every color channel just slightly so it would be a lot of tweaking, but you can either go through and look at those and change it to your liking or you could change your apostasy right here to make it more or less depending on the image, the next one is curved and this is just give it adding a little bit of contrast to the image so I could turn that one and off you can see it darkens the background a lot as pop to her skin so it's the same thing is going into your adjustments going to curve and then going up when your brights and down on your dark so it's just adding contrast to your image the next one is the grady is I haven't called great aunt flora it's just adding q saturation so that it's coming up kind of like a light would be if it was below the model. So just as a little bit of haze and a little bit of dreaminess and moved to the image so I could turn that on and off to see how it's affecting it I really like it right there that's good for me so I'm going to leave it the next one is the same thing this is the hue saturation layer the only different actually the only difference is that I did grady and I hew saturation so with the radiant layer you khun you click directly and so it's just a different way of doing it you could directly and put it where you want teo, you can also change the angle right here so you want more or less depending on the image, so I could have a little bit more if I wanted teo press ok, it's also a color grading if you I'll show you guys right now how to use the grady in school so another way if you didn't do hugh saturation, you could go into here and go teo grady in so right here and then write it automatically will give you a white radiant. So this is another way of doing the hugh saturation matter that I showed you, it automatically will pop up so that it's coming up from the bottom of the image, what you can do is go in and change the color so it's a little bit of a different method than using color rise with you saturation. So I'm going to go ahead and press on that I'm going to click right here, click the white and that's where you would go in and change your color, so right here with color pops up and then you can go in and change it, so you're liking. So for this action, it's a little bit of a gn orangey yellow, so just going in and changing at an impressive okay going to press, okay, you're here and then I'm going to change the angle so I'll have it coming down just a little bit from the top corner kind of where her head is tilted towards and I'm going to press okay there and then change my apostle e again so this one's a bit more yellow than that? This was more peach, but that shows you guys the method that the action's using rather than hugh saturation so I'm gonna pull those backup I'll go ahead and delete the one that I showed you then right here I have a color balance so it's another technique if you want to change your colors, you could go down to your adjustment holes and goto color balance and then it's the exact same thing as selective colors encourage there's so many different ways to do things and photoshopped so so it's another method of changing the changing the color so I could warm it up or I could cool it off right over here and I contained it here. So that's what that layers doing let's see if they're any questions here in the audience if not while you're thinking of them, I have one I'm curious what it is when you are starting to shoot the image like when we were shooting against the backdrop were you thinking of how you were going to post process it then or is this something that you more finding your exploration with the image haven't idea what the client wants or what I want from the show, so I definitely think of it beforehand so for this when I wanted it to be just a little bit more do saturated and wins the cool so I knew I was going to go in and add some flares and change the hugh saturation and de saturate the skin just a little bit like I said earlier I used covering my balance I already had cooled off my image slightly, but yeah, I definitely knew going in that that's that's the direction I was going in that's right editing and that is similar to what susan had asked that she actually has a lot of your actions, but how do you know when to use which I know that's a question people get overwhelmed something right? She said, I try several to find what I like, but are there any tips to think of when looking at an image before actions if say you didn't know what you were going to do before? Um yeah, I mean, I have like a lot of before then after is on the actions that people could go in and rush, but yeah, I think that I have just created a new victoria collection and that one's more a little bit more dark and moody, so I have those available than I have alison, which is pretty is just looking through their certain layers that I love to take from certain actions been nora one there's a great deal saturating layer that just always works really well, I think it's using vibrant, just taking down vibrance a little bit so so they're they're certain layers I'll pull from actions and the always one works really well for my film, I process I added all of my black and white phone with it so so there's different ones for a different different shoes, but it can't be a little overwhelming and there's a blessing through and just because people are asking fashion actions dot com yeah, that's where they could find yes okay, thank you. Wait a long question, just a question sometimes I like to de saturate some of my images, but I go a little bit too far. How do you prevent yourself from doing that when you're yeah, you just really looking at the scan because it is you ve to de saturate too far, so any toe, as soon as it starts getting like grey are looking a little bit to go sleep that's when I'll stop, so, like I said with you saturation or if I'm using vibrant, I go down maybe too negative ten to fifteen, I don't really go passed that on what I do is, I'll go down to ten or fifteen, and then I go into selective colors. And then I started taking out, maybe it's too red, so in her scans, all going, too. So I could be a little bit more selective with the colors instead of de saturating, saturating the entire image. So take out those reds, or take out the greens are or any of the colors that I'm looking for. So I think, that's a good way is starting with vibrant sora hugh saturation going down to maybe negative ten. And then, if there's, another color that irritating you go into selective colors and and it just not to your liking.

Class Description


Beauty is an ever-shifting, ephemeral, and crucial element to capture when taking a successful portrait. Learn the art and science of photographing beauty straight from four of the best fashion and glamour photographers working today — Sue Bryce, Lara Jade, Emily Soto, and Lou Freeman. Through dynamic instruction, each of these world-renowned photographers will reveal the many skills and techniques that create their unique, unparalleled styles.

During a live mentoring session, Sue Bryce will push audience members to define their true purpose and set an actionable roadmap to make it a reality. Sue will also cover how to craft authentic marketing campaigns that resonate with women of all generations. Lara Jade and Emily Soto will reveal the choices that define their distinctive, award-winning styles, covering everything from lighting to retouching. Glamour photographer Lou Freeman will teach what women want to see in their portraits and walk you through the right questions to ask your clients.

The four photographers will then reconvene for a grand finale: six hours of posing education. Sue will teach her signature beauty and glamour poses, Emily will delve deep into creative posing techniques, Lara will cover fashion posing, and Lou will walk you through timeless boudoir poses.

Reviews

william mazdra
 

Occasionally, things fall into place, and you end up with the kind of event that we just watched. It was marvelous to see these four amazing individuals contribute their own perspectives and content and to see them interact with one another. It was honest, brilliant and a must have to view many times over. One of the best courses on Creative Live and further evidence that Creative Live is going from strength, to strength and is worth every bit of our investment and time.

a Creativelive Student
 

This was such a great 3 days! Each one of those women are so inspiring in a different way. Sue Bryce is my absolute role model and it was a great experience to get to watch and listen to her. She makes her lessons relatable and very easy to understand and remember. So many small tips and tricks that will make a big impact on how I shoot as well as how I market! Thank you Sue. I had never heard of Lara Jade and Emily Soto before this started and I can say thank you to creativeLive for the opportunity to be inspired by two other amazing women in the photography business. The unique style and confidence they displayed was great to watch. I don't shoot fashion, but I was able to take good bits and pieces from it all. I am stepping out of my box... starting today! Thanks again to each of the women and cL for putting this all together. Kristin Campbell Journey Images, Alberta, Canada

Kim Sleno
 

As a participant in the live audience, this is a fabulous course, from Sue Bryce's honesty in helping a person to look within themselves to find your own motivation, her wonderful real examples of posing women, to Lou Freeman's posing for boudoir this is a course that will help a person learn a craft and where they might want to go. I loved Lara Jade's vision of fashion and how she has arrived at such an early age. Emily Soto brings a different dimension to fashion photography that is inspiring, from her use of vintage cameras to her editing skills. This is a course for anyone wanting to learn about photographing women. I highly recommend. Thanks CreativeLive !!