Pet Portrait Overview
And with that I think we're going to dive right in to painting with photoshopped with jack davis jack you're incredible instructor and I want you to know that are you ready to take it away you've started drinking early this I love that I well again I'm glad to be here and glad to be back and as I've mentioned repeatedly I love creative live as well and how it works out so um very glad to be here this morning I think we're going to start off we're a little bit where we left off yesterday and we were talking about pet portrait was one of the things we did we finished off with we started off the day with a portrait of my mom we did a hand coloring effect than we did a painting on that we uh followed it up at the end of the day with another portrait pet portrait ce ar pet portrait's were actually quite big and I'm in terms of your business you mentioned that's one of your main things a traditional porter photographer or any photographer maybe it'll hasn't because obviously working with ani...
mals is like working with children like doing a wedding shot right? How consider all those pet children and weddings to be a combat photographer you should get extra pay double peg if you're dealing with anything with people is a matter of fact that's why I don't do people it's just they're so messy but pets are especially tricky in terms of shooting so that's a talent but one of the things that's nice about people who are getting into pet portrait's and if you aren't you may want to because for a lot of us are pets are our family they are a family member it's not this object it's our it's, our family it's our children and one of the things and it's kind of a sad topic and this came up before is that we usually outlive our pets by definition so we have these beautiful in ten experience is unconditional love that will never get from a bloody person let's be honest and uh and yet it's a transitory experience. And so for us to be able to do a portrait of a pet is one thing to be able to do a painted a portrait of a pet whereas we mentioned yesterday a painting one of the main benefits of a painting versus a photograph is nobody's gonna think of that painting as a documentation of a moment it's a it's a documentation of a soul sort of speak it's it's a it's a capturing of a moment whether it's a sunset, a landscape, a little still life or a portrait by doing a painting it's now being taken out of the realm of capturing of a moment and it's now capturing the essence of something and when it comes to a pet portrait, I think that's especially so it's something where you definitely is the proverbial put it across the mantle place or, you know, have it in a place of honor in your home. So speaking of unconditional love and spiritually entities, this is a portrait that I took of a friend of mine's dog hate even call it a dog because it's one of the most spiritually little souls I've ever come across a dog named django and don't ask what breed it is uh she calls it ah shall in temple guard dog from tibet on dh of course it's its who knows what it is it was saved you know from certain death at it from a from the shelter but this is django and amazing little soul there and as we talked about yesterday the first thing even though it's a beautiful dog and even a nice image natural light with a little satin pillow with us in the background that's all it is there's no studio and environment matter fact if you can shoot an animal, just bring in some sort of back dropped to simplify the environment and you know, do is some natural side lighting from an open window for me I love those you know you you want to capture the moment so the pet is going to be with its owner and capturing that but the next step in here was going to be on enhancing doing our little tango. So here is the before and here is doing a little tango because we have for, um, we're able to use that clarity remember on a portrait that clarity that edge enhancement is something you typically stay away from portrait unless you, you're doing a high school football team, you know, grungy our kind of thing, usually it stay away from it pets and for go for it so you can you can see that I went a little little crazy in terms of both color and tone and pulling out some details. So that's going to be your step there? I'm just going to jump right to the final painting. This is what I got up at five this morning to do this painting because they wanted to cover pits and I love it. I this is the exact a technique that we did yesterday and the fact that this is a photo shop painting, um, with no real paint on it and I think, captures the spirit of django really? Well, I'm very, very happy with it. So here is again our, um, before and after. So I think what we're going to do is we'll start off with a pet portrait this morning even this very expressive one that's the other topic we're going to do today is how to get a little bit more expressive we couldn't do darth maul so django is about as close as I'm going to get to a kind of a grungy little darth maul because he's a grungy kind of dog in the most wonderful sense so we're going to do that but before we do that I thought I would do a few more things related to this topic of enhancing because I can't emphasize enough that the reason why your painting is to do this interpretation of bit of a moment of an image of a person, place or thing and so your painting will never be any better than your enhanced photograph, right? So with this idea of how far can you push that photograph, especially since one of the reasons you may be doing a painting is because it's a challenge photograph it isn't a great so to speak photographed by itself you're needing to embellish it just to kind of salvage it. The moment was fantastic thie impression I was shooting here in san francisco is I'm going back and forth between the hotel and hear just shooting out the window I love drive by shootings because I called them and you get these wonderful people with you know, the the afternoon or morning light, you know, casting shadows and this wonderful big city isolation of the individual and he's just great shots that I would make will make wonderful paintings. But by definition, there's going to be all sorts of complexities in the image and this, you know, there's a car here would that's not part of the story. And so how you isolate elements within your image so you can start with it. Since we are cloning our photographs here, it's not like a traditional painter would come up here and say, well, I'm just not gonna paint the car here in this case since we're using that as a source material it's easier to remove the car and have your source be done. So enhancing, I think, is something that I would like to start off with a few more tips related to that because it's really is essential to the topic of painting the more expressive few khun b with your image is the better source image you can start off with, the better you're going to be. So, with that, I thought I would start on open up a few images from some of them we did yesterday, um, I was going to use light room like by definition, since this is a class on photo shop, I know you all have bridge, and you all have adobe camera raw after lunch. When we get into dealing with third party filters and things like that, I think I'm going to jump in the light room, and I'll use that as a source was able to set up a catalogue for that. So I think we'll continue on with adobe kamerad. I've selected the images and bridge, you've. No, you notice here that I just gave you that one of yellow. I'm using the filters over here on the left hand panel so I can isolate just the images I want to work on. I mentioned that when we started off a couple days ago, any time you can spend learning the bridge in photo shop or the library module in light room is going to be a payoff huge in terms of your float.