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Bring Details to Life with Alien Skin


Bring Details to Life with Alien Skin


Lesson Info

Bring Details to Life with Alien Skin

I've opened some images from a shoot it's very interesting this shoot wass all shot in my studio home with strobe and I didn't actually change any lighting scenario at all throughout the whole shoot and you know, I got a very different look and all of the images, so I'm just going to show you a whole other different finishings that I do on alien skin to give me sort of diversity in my finished product but at the same time why I choose different filters for different moods and what they are I really loved this girl as an example because as I was sitting at my lighting, I took a few images in straight from camera they looked like this I'm just going to go into my arrangement in float all on windows so that I can move around and finish up now what I did was corrected the color of this image tio here in re touched her face. Now she is very natural fricka lt's on her face and I didn't want to remove them, so I'm just going to show you how I get around retouching freckles so that the there i...

s no sort of loss off natural skin so it's not overly smooth, so this is the image straight out of camera with no correction and as you can see it's throwing quite dark and warm because I didn't change any settings until I opened it in the role window actually, and capture one so as you can see, when I saw this dark yellow image actually loved the mood of it so much that I opened one in its original form. And then I open one and it's corrected form, which is their color, create reform, finished form, and I can get to very distinctly looks from alien skin, keeping that original files I'm going to show you what that looks like, but first of all, I want to show you some face retouching I have this, everybody talks about it two minute role with retouching, and the reason I have a two minute role is because I wanted to be a bit of retouch quickly and efficiently and as many images as I can. I'm going to light in this image up so that you can see it really well, I needed to be out of get in and get out with my retouching so that I can show my client twenty five to thirty images, and at this stage I'm doing all of my viewings. I am doing them retouch so it's really, really important that I finished the product so that my client sees a very basic retest image that is beautiful, that she wants to buy it, but I'm not spending so much time on it. That if they don't pitch, said, I've wasted five days retouching. So this is how I learned about the two minute rule. This is how I talk myself. I used to tools to retouch your face, the clone stamp in the healing tool and after every touch the face and then I check the general background cropping. I check the body, I take my image straight into alien skin, and I finished my product. I finished my finished look in alien skin, so I'm going to take you through this. Now I re attached my role is I want the face on the computer screen to be around the size of my fist. So when I hold my fist up to the screen that's where retouch I noticed a lot of photographers up in here retouching really close, every poor, you know, and then you pull back, and before you know it, you've seen eight hours. This is not fashion retouching. This is porter, reattaching it's, quick retouching and even it's so quick and so efficient that if my client bought a large portrait, I would then go back and re re touch it, you know, and speed a little bit more time, because it's going to be a huge image, but if they just buying stephen by teens or by teens this's enough okay so I used clone stamp in healing toe and this is great there are three lines on this girl's face that don't belong there and those of the little frown lines we always remove vertical lines of the face so if I go to my healing toe I can literally draw on that line so at the moment I'm on this is my client stand okay and then this is my healing toe so I want to go my short cat for the healing toler's j I'm simply going to get a smalls circle you can see it over the line and draw down and let go okay down so I've got to be really quick damn done and done the good thing about using the healing toe really good for straight here's I'm just going to show you on the street here I only remove straight here's that cross their eyes or face or forehead that are really strong I don't spend a lot of time doing them and I use my healing tool for all obvious round sickles docks backgrounds and vertical and horizontal lines on the face so it keeps it looking like really skin it keeps a nice natural look and then I just draw around there have a look at this little white here it's coming up right over her eyebrows down onto it I live and this is how good the handing toler's on photo shop I can just draw down and release and if I don't get it the first time I go in and do a little segments like that the healing told fastest most efficient told these even one through here let me see how this week's on dh if the healing told doesn't work I will then going use clone perfect just like that so I got ran and I do my first round healing tool I'm going to show you how I do it just on a few little bumps like this pimples I just draw a little circles I just wiggle we go with my way come tablet I do not use a mouth to eat it because I don't want couple tunnel syndrome and after I've done that I've done a basic cleanup let me just take you back here I'm going to go back to the top to their you can say it's very quick really easy right now I'm going to go to my client stamp I make my client stamp about the size of my thumbnail so the faces around the size of my fist my clone stamp is around the size of my thumb now I don't work up any closer than that and I make sure my aarp a city is at one hundred per scene my flow is at twenty percent ok a lot of people try and work with europe a city moving and the numbers at the top of my keyboard changed the flow if you depressed this button here so I can go six for sixty percent, I can go three twenty for twenty percent three for thirty, obviously and basically what I do is I work on the faces around twenty to thirty percent flow with a one hundred percent o pay city and I work on a very soft brush, so off the brushes, I usually go with this one here, which could nice be that age so that you can climb around the face and that you get this beautiful soft and if you go, teo, the sitting here, which is the stamp sitting for clients source, I turn off show overlay it absolutely drives me crazy when they put that on there. I don't know why they did it. They clearly didn't make for the shop for me. All right, now what we're gonna do is I'm a thirty percent I select anything, doc and I go under it and then I cloned it out. Now this is really, really important, and I just want to make sure that everybody because this is the one question that I get asked all the time is, how are you cloning so quickly? I look at it like this, I'm going to go to my brush tool for just a minute, and I'm going to put, um some little lines on her face so I can show you what I'm focused on this is the highlight area on her forehead that there I work from this area out because the heat is around and it's miracle we want to start from the highlight out without flattening it down if I just go along her forehead and I just go willingly all the way across and what I do is I actually flatten here whole hid down and I start to lose the shape on her forehead so I'm just going to do it and show you if I just flatten this out this is wrong, so wrong and I see people doing it all the time what you're losing is both the light and dark so you're losing the shape of the heat and what you need that was this big flat space ok and that's what we do not want what we want is to just go from this highlight here I'm going to go twenty percent and I'm going to go up into this little dark pet here I'm going to keep this shadow here because it looks really, really good and then I'm going to come down the bridge of her nose so we've already used the healing told to take off here little frown lines now I'm going to go up the bridge of her nose down the bridge of her nose but keeping these freckles because these freckles a hair and they're his skin and that really cute, but we do not want this little dak line under here, I said then I come from this highlight area under her eye and I tip up very gently, so I'm just changing my I don't know if you can see this, but basically I'm resetting every time you see the clone stand go off, I'm rescinding were my clone is stamping from so I sit up here and I go up and I reset it so it follows me on, then I change it just about every second or third click I take off anything there, anything there? This little shadow here is very common on the face and it looks like a moustache. We don't want any women to have a moustache at all, so I just kept down into this area here I moved my navigator around now I've got a good highlight here and I've got quite a dark shadow here that I want to even up, so I'm just gonna tip from my highlight up into my shadow area right here. So that's how fast I want it to be that clean I wanted to be, I don't want it to be over reattached I don't want it to look soft, I don't want to lose shape and then I have a look around the wrist of my image and make sure there's nothing floating in the background that I don't want in there, I look at her arms now you can see this two things, I can see her tag, and I can see her bra so let's remove those because that's, how I would finish it before I go to any in skin, make sure there's nothing in the background. I don't really remove freak als, but I due to light in them just because I don't want them tio stand out when I've got something this strong, I could go in and clone it exactly the same way I did her face, so I've got two choices I can go in and just clone away like this, but you end up getting soft patches. So this is something that I love to do I actually create, cut out, so I'm going to les eaux, the image, the end and the shore capital s it was al that's, my leslie there I didn't take the lesser up to a piece of skin because I want riel skin and I copy and paste, and then I pick it up with my moving tool, and I drop it over the area that I want to cover, I go to my curves, which is command in and basically, I just dropped down my curves until they make it darker, and what I've done is I've cut a little patch of skin, and I've just climbed it across, all right? So as you can say, didn't wait very well, I'm just going to delete that I'm going to show you again, I'm going to give it to my lesser I'm going tio move my lesson this time from there two I just cut it out my moment there, I'm gonna actually cut out this. Actually, I'm going to use a bit of headrests. I don't care what you use as long as it has really texture in it and that you're not just cloning out this stuff patch, because all they have to do is stop the eye from looking there. I'm just going to flatten this down, and then I'm going to go in and clone, so I go and clean up clients, so basically my client stamp is my fastest go to retouching for everything absolutely love it can't go in here and just like that, that's what we ended that was so we were here and then we were there, all right? And now you're no longer looking at that area, they were going to look the little tag, and I'm going to go climb, stamp eighty percent. Any percent, because I want to pick up the texture of history's don't just want to make it a little smooth, mushy bit, and we've retouched out image and we're ready to give it a look remembering I always go, teo dodge, and then and I put a little bit of a dodge in the eyes, I don't want to over white in them. I just want to make them pop and make them look really pretty this's my finished product now I'm going to open it in alien skin. I opened alien skin from photo shop, and we had a computer crash last night, so I had to set up a new computer science just running the trial vision of both photo shop and alien skin this morning out of desperation, my laptop died last night when I get to hear, I've got all of these choices and I feel like most of you will get any in skin or you've already bought it or download the trials, he can play that you just feel like this thousands of choices it doesn't take me long didn't take me long to find my go to I love color fading, I left california's and polaroid, I love the black and white vintage. And I like what else? Let me show you what I found basically I just go in and I open them and as you can see on the left you get all these choices and you can just put your mouse over them and then you can find the ones that you really love and there's just so many great choices then you can go and take your overall intensity and drop it down my go to guy really love color photo it's just got atonality that I love I don't want the scratches so I just go down on the right and I basically just turn off any texture that comes with that pre set and then I go to my overall and team today and I can drop it back to wherever I want I feel like this has a look that is very high fashion portrait very any leave of its its I don't know the warm times of it I've always been a cold time photographer and as I started to use what elliot's ghetto differently started to go toward the warm times, this is my other go to I love this card a crime and then I'm going to go in turn both the border and the teacher off so yes it takes you a while to play and it takes you a little while to find your merger you're definitely going to find looks that you love but when you do there'll be your go to and you can put them into your favorites and used them over and over again but the choices are just magnificent this is something that I absolutely love it's the coda color forty two I absolutely love it it's just got a beautiful faded luxi look I feel like it's a great finish for beauty portrait's outside backlight absolutely gorgeous so once I accept and I say this is the one that I love I go back to my father's shop then I've made a couple of choices currently if I go windows layer that's going to show you my layers then the exposure six is sitting right there in my layers hasn't flattened it's you know still see it so I can change the opacity if you just swipe up and down a rope a city then obviously I can lighten it dark and it take it to one hundred percent giving us much they like also at this stage I can erase any part of that top layer if I want to pull back around the face or hear but I usually never do a music quite happy at this stage so my next face comes up this is something I've been doing a lot lately I've been shooting a lot of behind the scenes I talk a lot about marketing and social media and I feel like the smartest thing you could be doing right now is having your assistant what I don't care if it's the client's mother who's sitting there watching have them take behind the scenes photographs on your social media they have so much traction people absolutely love them. I've bean opening my behind it means going toe alien skin and I've been using kind of like more of a on instagram feel or more of a sort of funky so this is what I've been doing. I've been going tio polaroid I've been putting really needed fix on my behind the scenes I think I am caliphate ng I love all of the telephone does, and I think I used telephoto warm skin for the last seat that I put last behind the same seat which everybody loved. Then I went down in my filters here and I put lighting a fix because they fear more sort of traction images, marketing images and they are portrayed so there's lots of if you process and light here you get all these fabulous fl ears you can choose, I go along, I put a little bit of a light fleer and you can also take the intensity of your lighting a fix down in europe, a city so if you want to drop that down, I feel like I was getting these really coolmore mixtures is anybody playing with the mixtures f I love that so what I do is I go and to me it's like only in skin on the phone and so then I started to be more graphic and my alien skin editing for my social media instead of just straight out behind the scenes images and everyone's going nuts over them so I would make up contact sheets on finish up if you you'll find out finish up his his great feature cord on file automate contact sheet to anything open will be made into a contact sheet so I'll sit up all my behind the scenes on a contact sheet of nine three and three I pulled may finishing on alien skin and make a context she I throw it on facebook and then I talk about the shoes you know I'm behind the scenes I'm on location I'm in my studio all you're trying to do is be different I see photographers every week posting one image one image one image or you know the selfie the selfie, the selfie or even with ninety nine dollars special ninety nine dollars special ninety nine dollars special it's not what's interesting photographs get more of a bounce on your social media then then a post does I try and posted many photographs as I can but I don't go on and just spam out the chute I don't want to load an album I'll very really do that I will post one two three images from a shoot plus behind the same plus a video I want to keep my interaction it the highest possible level I want people to be really, really interested in what I'm doing, so I want to show and deconstruct the process of what I do behind the scenes and not just attractive to your clients that are being tio other photographers here, a check to your clients who are being photographed so I used any and skin to put that funky whole instagram look going on on my behind the scenes and then I social media it all right? Here's another really great example of how I use any skin I'm shooting and I photographing this girl I've got a four shot of this which is fantastic let me show that that one I've got so many images to play with that one very here let me do another faith and let me do another finishing I'll take you back up this is my process all right, so first of all healing toll short cutters j getting told looks like this amy straight lines any vertical lines, any stray here's this is my go to face retouching fast, fast and efficient, right anything this way I removed those lines because nobody likes them and they would go to here I can even remove if I wanted to remove a straight hearing. This is how good the healing tool is and then I just draw a straight lines down nice and quick this is about being efficient so just to answer anybody's christian is that saying, um this is the heck vision of feathers shop I'm the biggest photoshopped hecker in the world I retouched for twelve years before the shot was invented I'm that old twenty five years ago I learned how to do this with a paint brush my child the first vision of photo shop I thought it's sacked I figured it was never going to catch on and aren't always have a job it caught on and then it got really good and then I thought I'm going toe not have a job if I don't learn how to use it so I have had every vision of photo shop up until this latest one now I'm on creative cloud because I think it's just the best thing adobe even did and ok, here is my healing time's going to show you how I would do that not that I removed smiles on people's faces at least they asked me to ok and then I take it back out so I can see her whole face but not so close that I can't see everything else I'm going to go twenty percent about the size of my thumb now I'm going to go from the light area and tip up so one hundred casino pay city twenty percent flow into my dark areas up under there never remove the lid underneath the I only the shadow underneath the bottom led the bottom lid exists here don't ever remove it I'm going to show you what happens when people remove it. It looks very awkward in flat and you remove the complete shape under the eyes here and magazines all the time. It looks like bad skin softening on dit skin, softening software, and it looks horrendous all right, so he's going to step up and to hear talented first of all from alicia, she asks, basically she's plugged in photo shop, she gets an up greatest six after installing it doesn't show in photoshopped alien skin joe is actually in the chat room who is able to help out with some of that stuff. So if you have a technical question, you might want to jump in our chat room. Put the chat on top right corner sue question from something on facebook and a couple others you were asking, does this mean that you don't use frequency separation? I don't even know what that is. Yeah, yeah, somebody tell me it's like earlier you were talking about how you need torun this is a portrait, not fashion, you know this is retouching that's, a quick thing to do and not something that is going to be crazy, elaborate look there's a lot of fancy words and love of fancy techniques that come out, but if I can press a button, then I can make money and one of the things about alien skin was it became a go to for me because I saw a lot of photographers released a lot of actions over the last fifteen years, particularly in the last eight years, actions became the biggest thing people ask make and I released my own actions and I was like, why would I do that? I don't want to sit around and make actions I just want to buy the protections on the market from the alien skin was every action that I've ever wanted in one software I don't have any other actions now, there's nothing else I used for my editing is just the bomb for may, it has every choice I could possibly want, and I feel like you can get really lost in the technical aspect ofthe further shop, but I'm meeting photographers now that don't photo shop so they just need to learn the basics. The basics are cloning warping and basic color correcting I'm not a professional retouch I mean, you get these professional re touches, who did we just have on recently with felix he's? Absolutely amazing critic is it and take it was your particular like a scientist? I mean he's it's beyond he nice finish up the way a brain surgeon does I mean, it's not this not how you use for the shop I use finish up to make money and my portrait business here. I'm not getting scrutinized for my father's shop. I'm just cleaning up images. I'm just going to finish my healing tool around the back jobs. I've got a few straight here that are picking up light and then they're nice and quick. The whole point is speed until you know what it's like when you've got teen further ships to reattach eighteen people to sell to so that you can in an income you've got staff, you need to get this done. You will not be re touching up here on the handing till doing every poor you simply will not be running a two minute system. You be nice and quick and then you'll be choosing beautiful print finishing as fast as you can. All right, this image here absolutely love. It looks beautiful. I finished by reattaching I'm going to open it now. The reason I'm processing alien skin from finish up because a lot of people are like, why don't you just open it straight from finder, you know, so that you could process, I want to proceed. Eat one of my individual portrait I don't want to just give it a batch process I want to work every one of my images so that every one of my images has a beautiful personal feel that every one of them has been manufactured to look a certain way I want to choose which of my images look good in black and white my go to black and white sitting and this comes from fifteen years of shooting film my go to is in actually in um vintage sittings vintage black and white is the dirac type and the reason I love it um is I feel like it is so like film I mean vera fifty black and white filters that I like the actually resemble film I used to shoot on so if I go up to black might films these films were really what I used to photograph on there's a thirty, two hundred ofan delta thirty two hundred actually spin maybe five years shooting on this film in thirty five mil when I was shooting in the studio in the late nineties and it resembles there's so much also you can pre sure before somebody asked me something really important where was that in that sitting I'm going to find it okay I'm gonna maybe take this to my favorite black white I'm going to drop the intensity back just a little bit somebody asked me this I showed demonstration off this filter here once on creative life and then I'm dropped the overall intensity back and I dropped it it's kind of a monochromatic filter, but I like the color come through in a lot of people tried and it didn't work. See, this here is his color and black and white. It means the image underneath is sitting his color and black and white. So if I take my overall intensity out it's being put into black boy, if I priest color and then dropped the opacity, that is the filter I get. So a lot of people were saying, I took the opacity down and it was still black, white that's why it was color or black wine, you can change that to color or black and white, so that was just a little bit of that. How did that happen? And why I dropped the opacity down so it's not too dark and I can actually, which is really incredible in this software change the grain. So at this point, I can actually take my overall grain strength down from one hundred, and I usually have it'd about sixty I don't want to put too much grain in my image, and but just enough just enough to make it very film, like, you know, a little bit cranky, lots of mood. And I think what I love the most about this is when you look at the grain in this image in the finishing this black and white I feel like everybody says to me, this is equivalent to shooting film. It is the closest I've saying so you can imagine after twenty five years of shooting the first twelve years I was on medium format hessel bled film all of a sudden I've got this digital camera, which was the original kodak camera. It was thirty five mil. It only shot j pig. It flared all the highlights. It was so horrible. It's through magenta I mean, it was groundbreaking technology for its time. I feel like it took twelve more years off digital cameras to create cameras that resemble the film and camera that I it's using for the first twelve years of my life. So if I think about my career is twenty five years, I felt like I was producing my best work in the late nineties when photos shot was becoming a tool that we were using in the studio where film was being scanned the process. When we were shooting on these beautiful big heads will bled medium format cameras there was being scanned and then I was hand retouching. Then we were scanning them with big drum wrong scanners, and we were photoshopping, which made our process quicker now all of a sudden it's two thousand fourteen I've got cannon five d mark three's which I shoot on I'm also shooting on the I q two fifty phase one these cameras just make munificent and now we have the software that replicates the work we were actually doing fifteen years ago it took a long time I think for digital to produce quality like this but now I'm so blown away there's this big return to, you know, photographers shooting film cameras but not may I am spend my whole career learning how to do this so I'm not going back and I really, really love really really really love what I'm producing now I'm digitally questions tamara and three other people were wondering how do you reach the correct skin tones especially if they're color cast from the surroundings? Ok, so again I don't I sit order white balance on all of my cameron's basically I sit my own skin tone based on how I process my images in roll window and I usually go when I opened all of my images and roll window I tried the auto sitting first as photographed and then I adjust my sittings and and order white balance I'm always within a stop of where I want to be for my skin time also I don't like my skin tone looking like a normal skin tone I've always either wanted to be colder or warmer the normal skin I feel like that's the difference between when I'm doing the turn ality they say when you teach color creating okay, so if you go back to the old day c forty one process, they're basically we would sit out c forty one processes which a big printing roles we would sit them on natural skin time so we would have a dorothy so we would take a skin time. And then basically we were matching skin tone it's all we did, we were plus plus five raid plus forced up to rid minus science just to try and get, you know, a good enough skin time. Now we just do this pretty much straight at the camera. We open it on photo shop, we don't really change our images. Basically, I'm looking for the honey skin times, but and overall tone in my image really belongs to me and what I can see in my eyes that I feel like we I can see this whole every photographer. Heather, look, I definitely have a look but it's my, I couldn't tell anybody how I see it, but that's the look I wanted slightly de saturated it's, a little bit warm it's, kind of just my look, so I don't do anything to see it, the white balance or skin title, anything and then dez and four other people also wanted to know are there any special considerations you have when retouching darker skin tones? Do you do anything different based on the tone of the individual I love shooting in retouching darkest skin tones I feel like the options in alien skin just so beautiful because I like anything with contrast okay really white skin and on a dark background the contrast get you the best black and white gives you the best sort of ethics cross process look when you pump up the polaroids and alien skin it's the actual muted skin times like the honey skin times that give you more of an ambiguous black quite so dax skin tones also the same dag on black dark on white just look incredible because you know the glow and the contrast in the image the best filters look better on the most contrast off skin in background. So if this girl here is very honey times and I put her on a very honey time background so there's not a lot of contrast and here here she doesn't have a lot of contacts and a skin and so it's going to give me the maria it's kind of money you know, I call it muddy because it's kind of more ambiguous than if she had really strong contrast so I can even give contrast in the image like go to something like this dropping my intensity and try and give him more of a contrast and this is actually where I see it these images I kind of gave them this color photo I'm actually sitting in polaroid here polaroid is one of my favorite sits on a and skin and then I just dropped back the opacity I feel like it had the most amount of punch for here it made her dark here doctor maybe highlights lighter it gave her this sort of warm skin tone it almost puts a purple into that all effect backdrop which I just think looks very fashion also I was really taken with the's fading tze you gotta watch the fading though, because it has a tendency to put it into blue, which makes the skin times really people but I do you see, this is something that I've done before on alien skin you can't layer filters and alien skin yet but you I'm no doubt you will be over soon won't you, joe ian's gonna like palm to forehead? What did she just say that? Ok, so basically what I'll do is I'll open my image like this in for the shot and clearly there's too much people in this too much blue I'm going to open my window layers so you can watch this so there's my layer there and then basically what I can do is I can go in a race back, write anything that I don't want so let's say I love have it faded tone went on my I love how it faded tone win on my backdrop, but I do not like it at all on the here. I've just taken my hope a city exactly the same as clone stamp depressed that you gonna work and your flow till thirty percent nice stuff brush you can erase big anything you want to know what I'm doing is I'm just taking my alien skin filter off where I don't want it the case, I'll just do the quick vision so that you can see and I'm going to leave the purple halo so that you can see what I've done, so basically it looked too cold on his skin, but let's say I really liked it on the background. I can now flatten my image when I'm happy with it or keep it in layers, but you know, I'm a one legged kind of girl and then I can reopen it and finish up. So what I started to do a sorry in alien skin. I started to stack up my alien skin layers so that I could to multiple layers and soon hopefully you'll be able to do that, and then I can bring in a time that suits his skin and do exactly the same and use my lady I'm asking to a race back whatever I didn't like that to me it was just about using multiple layers and then at that stage there are so many beautiful choices so I love these cream brown highlights I love the shadows and science yellowed is my go to absolute every time go teo for these images so basically everything in polaroid I just love the fashion punch I really love the polychrome but I love the public crime like this one here so basically I like the pollock crime which is my favorite this one here with no grain I feel like the polychrome with grain is too grainy so I love that one with grain this to me resembles images that we were taking back in the sort of mid nineties we're doing a lot of ethics cross process processing so we were taking trenny film e six film we're putting it through the c forty one process sir we were getting these maje enters really high contrast images if it didn't if it wasn't high key everybody look did o r like walking did they all got blue lips but it just had this look that we just loved and it was very, very, very big for its time absolutely love all the ethics this is still on polaroid loved the six seven ae film I just feel like this has occurred plainly funky film grain look I really love that really love that really loved that love all of the lighting clears love lots of thie uh that crowns the one thing I don't want to see you do on aliens again I'm going to be really honest here is last time I used it in the round went out and got the trial vision and board it uh is everybody started to produce images that were very generic like this like they were using you know, these wit plate borders and everything I just feel like it looked like you've gone and dumped a filter on there and had used no imagination I mean, they definitely have the place and if you want to create a wit plate look then I feel like you can definitely do this without wit plating I know all the purists will be like no, you should be with playing, but they're not watching this anyway, so we're ok. All right? Um my go to favorite I absolutely love these strong wit plates, but I actually if I use them what I do is that go down and I take the border off because I don't actually want that scratchy border I love the effect in a differently is fashion looks really good but it's just not my not my damn alright in cinema there is a favorite filter in cinema that I absolutely love and I would have never said this I would have never said this three years ago, but I am so pull toward these warm times now you notice in all of my work I'm getting these warm times I feel like when I say there any liver that's iskan vanity fear is of the tone in these images is so beautiful I don't feel like they look layered I feel like it's time to see images so evenly and so beautiful that when I drop my hope a city down I'm just finding on overall mood to my images that I think it's really, really great what I do to get this painted lee look now is I choose a time like this that I really love I fled in my layer you don't have to of course I always save my layers and stages so that I can go back any time, but what I do now is just go command in so it brings out my kurds. I've already seen my kids when I've opened this in fetish up, so I've already said it where I wanted, but I'm just going to give it a little tweak I always lift up my mid zone off my curves to maybe one stop and then if I put a stopper into here and drop this down, I'm going to make my dax daca without compromising my lights so I'm going to delete this and just show you what would happen if I just pulled this down I pull this whole curve down and that's not what I want to do you can pull these off by just racing them off each other, so I put us I basically touched there and put a little mark there and lifted up a little okay? Because it's going to give me an overall lift in the likeness of my kids and then I'm going to put a little stop of there and then I'm going to pull us down like a little espn okay? Because it's going to make it darker docks, lighter, lighter and then I'm going to put another stop here summit one, two, three I'm going to drop the highlights down out of this image and the reason I'm doing that is I want it to look really muted times, and so I'm just taking that shop highlight off I shot this with a strobe, but it's a very diffused strode through a very large scream that felix and I taught in then what I've done is I've done a mid range sort of in my contrast and then taken the highlights write down and then given at this beautiful, warm yellow tone so that I get this painted lee look so the one thing that I do now as I put the image on photoshopping a lot of people commented so painted lee it's so painted lee it's painted lee and that's all I do so I just use my filters that way I take my highlight down I make sure that the strobe or the natural light is shot very flat and I just get this beautiful look that I love he has a really great example I was shooting this girl let me saying I put it here for you I was shooting the skill on strobe here and then what I did wass I had a look at the image and then we put this one down let me try this one all right exactly the same spot this girl wass sitting in and basically what I did wass used to stroke for this one and then I turned off the natural light pumped up my eyes so and they use the natural light for this one I posted this on my facebook page and said what do we prefer natural light or strove and wanted natural light although it vastly changes how much I can filter this and aliens can tell it's have a look at what I would choose to do this image here is going to naturally have more contrast than the other image because it has the strobe and this tribe is actually behind me so I'm sitting directly in front of my client the strobe is sort of to my left but really flett behind me putting a strike directly to hear just like natural light and because the strobe is soft and it's pushed there is swim diffused her a scrim I'm going to get this nice, even tiring straight b look that I, um like basically I can push any of these two as much contrast as I want just go through and I really watch this live side for a mood that I want to me it's about finding a mood and I know what it is I'm instantly drawn here I've drawn here and I'm drawn here because I feel like these time's just really suit this image I'm also very drawn to this calif odo with that and I'm gonna take the scratches off because you can take off anything you want. I'm really drawn to this whole mood here, so I'm going to accept that and once you've opened only and skin and you've used alien skin salute say I love that filter I can then go to filter in a state of reopening alien skin exposure six is sitting up there, I could just had exposure six and the same filter that I use for the last one is going to apply itself on top of this one okay, so now I have two very distinct looks the problem is with the right image is because this is shot natural light so it has a different line of contrast through their eyes and and then the doubts of here here I feel like this looks under exposed with this filter so I can get more choices with more contests in my image so I'm just going to reopen this and any skin and choose something else and I want to give it something that is its own heads its own mood I want to make it different than the one that I chose before because when I'm selling to my client I wanted to have lots of choices and I wanted to love them all I want them all to match and when I say match I wanted to be a common theme yes, I like black and white but I don't think that it's the strongest vision for this image so I'm going to go back to my color fittings because it's nice but it's not well to me I absolutely loved the mimosa let's go through and choose something here just looking for a general look oh, look at this with a nice one bounce through warm warm told about the warm oh this is soft and beautiful okay was involved yeah I'm about here let's go color fading gonna go to the bottom and work my way up I guess what I'm looking for is a mood oh, I like the stain this is gorgeous and I love the cold here this one here love the magenta is in here but I'm going to take it right back or c c I will apply a filter and alien skin even a twenty percent if it's just going to turn my image beautifully oh I really love that and that suits the mood of this image there is no filter the air that doesn't have a mood that suits you that you can use absolutely so much fun you're gonna get crazy playing with it all right? So it maybe one or two questions on the end of this segment here mad mannequin and then jamie and four other people were wondering how much you re touch older clients as far as like lines on the skin wrinkles stuff like that what do you do differently for older folks now differently absolutely no differently I I don't know let me see if I can find something that I can play with absolutely no differently I feel like it is the executive the same rules apply sometimes they have more lines okay so I don't have I only have a silly before shot but that's enough for us to get a good look at an older face let me open this okay, so these here I'm finished sorry these here finished image there and as you can say, I've kept all the integrity off the lines that belong on her face when your client is in the late fifties they've got sitting lines and wrinkles that you don't I wish I had that before to this image so I could show you the exact image or trying do one for facebook so I can show you but this is here before shot with no makeup on, so let me just show you how I would re touch that. These lines here are end from smiling, but these aren't lines here are not so we removed those okay, these lines here from smiling these air from the sun. So we just tape up into here we've got to take sunspots, this creek, the highlight on the nose because it's trading at the nyse, these call your nasal labial isn't that the weirdest thing? But it's significantly slims down the nose, so I have a very wide nose and when I smile by now is gets wider. I don't have a big nose. I had a white nose, so when you get the shadows around here, if I light in those shadows, my nose looks significantly more nose job. Michael jackson is in here, so when you touch the shadows on either side of the nose, you significantly reduce it. Now we don't like puppet lines under the mouth, so we just kept up into those and that there is a ce far as I need to go on this woman face it shouldn't be more than two minutes you're just taking the stuff we don't like, you're not taking all the lines off now she clearly has one thing and there is no definition in his chin because this is him before shots, so I haven't directed here or posed her to push her chin forward, so I'm going to show you how I would give her a chin. The first thing I would do is break this vertical line here because if those two wind joined, it wouldn't go all the way up, so if I break it by simply cloning it, then basically I'm breaking your eyes vision of seeing that the chin and the naked connected all right? So I'm just going to clean up unique here a little bit like this again, this is a before shot, so what? I wouldn't even do this, so you know, this is not a portrait I'm going to clean up their chin just a little bit, just nice in general, I'm at thirty percent flow. Now I'm going to take these lines out, and the reason I'm going to do that is because it's showing you were here, chin is connected, and if I take them out, I'm going to get definition between hitchen and not then I'm going to go to my burnt all ok? So I've been inclined sorry doesn't mental and I'm going to put it on then and then I'm going to make a nice small brash and eighteen percent I'm just going to be in let's make it five percent like so light I'm just going to put in a little bit of a, um faux shadow just like illustrating a faux chateau and now we have this illusion that she has a chin so I'm going to take you back to the original source and with via and that's how quick I would do an older face so really comes down to practice practice practice clone, clone clone and really all I'm doing is I don't want to make her look city if you want me to make her look video I could do that and five sweeps I want to make her look like the most beautiful sixty year old woman that she is which is exactly what she is so she smiled for all of those years she has natural lip lines I take off any vertical lines on the face so anything around the lips like this I remove it and this one has a beautiful any in skin filter it's the original one that I just showed you I used the color fading and then I took the move out of her gray here I re opened it on uh alien skin again and I put a warm skin on top so I've double filtered there it's on so I actually got this beautiful soft look with hiss, and I'm really into double filtering at the moment it's where I met, I love it any more questions for me? Absolutely, I think we've got maybe two more we've got just a little time from jr weiland uh, what advice would you give two photographers who want to develop their own look with alien skin without being too similar to other photographers established? Because that's, one of the the potential issues with these kind of filter based programs is that it can look similar what you think? And yet I've spent my whole life trying to make my wig looked like any live of it, so it looked like, no, you know, I don't really care too much about a look, because the photography is always very different. I feel like this people that instantly trying copy you straight away like they'll go and try and buy the same background and do the same sort of shots and then the same filter, but ultimately it always comes out in some way you really just have to choose what you were drawn to and what you're attracted to, what you're attracted to yourself, that's what you love, what you love is what other people will love, I don't try and people please with my work anymore, I try and client, please. And sue, please. If I like it, it's, good to go of my client like that. I'm getting paid, and then I'm really happy to just find your own sort of flow, and and you'll easily you get a look that you want.

Class Description

Beauty is in the details and Alien Skin helps acclaimed glamour photographer Sue Bryce bring those details to life.

Alien Skin helps photographers enhance their work with photo effects inspired by film. Learn how Sue uses Alien Skin to complement her work.