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Retouching & Adobe Photoshop Techniques

Lesson 18 of 28

Special Shoot: Halloween

 

Retouching & Adobe Photoshop Techniques

Lesson 18 of 28

Special Shoot: Halloween

 

Lesson Info

Special Shoot: Halloween

00:00:01.98 --> 00:00:05. this set up the way that I've shot it, and I'm probably 00:00:05.51 --> 00:00:07. going to this with all the images, but I've shot it. 00:00:07.75 --> 00:00:10. How a photographer that composites would shoot an 00:00:10.36 --> 00:00:14. image. Many photographers, for example. One of my 00:00:14.07 --> 00:00:15. good friends, You'll Grimes, and he shoots it a lot 00:00:15.7 --> 00:00:18. like this and what it is because you have one main 00:00:18.61 --> 00:00:20. light, which is defining the features on the face 00:00:20.9 --> 00:00:23. and setting the mood of the photo. So if it's centered, 00:00:23.46 --> 00:00:26. it'll be a little bit more high key, little brighter. 00:00:26.45 --> 00:00:28. And as you bring it off to the left or right access, 00:00:28.55 --> 00:00:31. it gets more dramatic. Okay, that's cool. But then 00:00:31.05 --> 00:00:33. we have to back rim lights and why that's really nice 00:00:33.9 --> 00:00:36. is the quality and direction and st...

rength of those 00:00:36.42 --> 00:00:39. room lights can fake the environment that you're compositing 00:00:39.0 --> 00:00:41. in. And tomorrow we're going to shoot composites or 00:00:41.32 --> 00:00:42. we're gonna shoot it. We're gonna actually put something 00:00:42.98 --> 00:00:46. together. So what? It looks nice. And, for example, 00:00:46.08 --> 00:00:48. if I shoot a band and I'm going to composite them 00:00:48.55 --> 00:00:52. in kind of a grungy urban scene to really bright Chris 00:00:52.1 --> 00:00:54. pilots and either side of their shoulders looks like 00:00:54.6 --> 00:00:57. maybe street lamps from above something like that. 00:00:57.77 --> 00:00:59. And so when you're putting them into the scene and 00:00:59.77 --> 00:01:02. you can fake as if those lights air hitting the shoulders, 00:01:02.13 --> 00:01:05. hitting their hair, it makes it more realistic. If 00:01:05.0 --> 00:01:07. you take really subtle soft highlights from behind, 00:01:07.71 --> 00:01:11. maybe it's somebody walking on on the beach on a really 00:01:11.0 --> 00:01:13. bright day from behind. And so you're using those 00:01:13.85 --> 00:01:16. back lights to define what the ambient, how it would 00:01:16.87 --> 00:01:19. affect your subjects. And then your main light is 00:01:19.04 --> 00:01:21. just How would you like to set the mood for the subject? 00:01:21.7 --> 00:01:23. And so that's how I'm going to shoot. And I'm probably 00:01:23.71 --> 00:01:27. composite all of these. But I would say a majority 00:01:27.41 --> 00:01:30. of the income I make from photography is using this 00:01:30.98 --> 00:01:35. setup. Some variety of this setup a main light with 00:01:35.25 --> 00:01:38. two backward lights and my assistant, I we were wandering 00:01:38.26 --> 00:01:40. around Times Square recently and we said to each other 00:01:40.8 --> 00:01:43. Really. Holy crap. How many of these images aren't 00:01:43.37 --> 00:01:47. taken with that set up? I mean, it was 60. 70% were 00:01:47.21 --> 00:01:49. taken with a beauty, destroy soft walks in the front 00:01:49.72 --> 00:01:51. with two backward lights, and it was advertising. 00:01:51.86 --> 00:01:55. It was, um, band album covers. It was sports athletes. 00:01:55.46 --> 00:01:58. So if you guys are interested in making money in the 00:01:58.2 --> 00:02:01. commercial realm for bands, I know how to shoot this. It is extremely versatile. So I'm gonna photograph you first. I probably have to take these off, like, kinda freaking me out. Nice melted face. I like it. All right. So what have you step in there? Awesome. You agree like that? Yes. John is Zach areas today? It's very, pretty cute. I'm gonna bring you all the way up. And as they bring her Ford, I can actually see on her face as she backs up or comes forward. The highlights from the two kickers And that's what I'm looking for now. Typically, you want it on the shoulders and on the hair to give definition. But I have seen it worked really well where people have the highlights coming across the other side of the face. I don't like it with women most of time. It looks good with men, especially if it's an athlete. Let's say it's an athlete with no shirt on. It has those two rim lights rapping on either side of the body and emphasizes their abs in their form. So that's how I would try to use it, All right? And I'm gonna have you kick of Phil, all right? And I'm gonna start off with a zombie beauty shot, and then I'm gonna make it darker, if that's like, Whoa, she has she pretended she was dead in case you missed that, Like, mouth half open. All right. And my camera's gonna be covered in white. This is gonna be really nice. Okay, Try another and same thing with dead. No. Nice. I like the lip curl. She's awesome. There's a guy. She's like curling her lip up. Super cute. Okay, so now I'm going to get more dramatic. Those were my zombie beauty shots. Pretty hot zombie beauty shots. Okay, Thank you. All right, So I'm gonna move this off to the side. And like I said before, when I moved the light off access, that's how you get it more dramatic. So I just wanna give you, like, a Rembrandt from the front. And so I know this isn't a lighting class, but Rembrandt light Sure you're familiar with is when you see kind of the triangle of light underneath the eye and What's cool is I can have it. Rembrandt id. But if I think that it's a little too dramatic, I can always have her till her head up to the light and catch it. Some people say Rembrandt, it's not actually the position of the light. It's what it does the face. So a lot of times, if I want to kind of pull out the form in someone's face are in someone's body and give it late a little bit more dramatic. But that person just does not look good with breaking light across their face. They need it kind of flat lit. I will have them the light rake across the body and then have them turn their head up to the light. You kind of make use of it. Perfect. You're gonna look really good in super creepy. Okay. Are you wearing this out later? Okay, good. Excellent. Let's keep it without first. You are really good for the creepy Here. I have a little fill on that side a little bit, and I'm gonna do a really tight shot. Is just here. It's Can I have the 1 50 macro? Perfect. Good. And I'll turn your head up to the light one more time. Okay, So I'm going to grab a macro lens and just get a really, really creepy in her face shots. No idea how really it'll look close up, but it does look like your faces. Feeling us looks good. And I'm gonna need that in a sec. Get it right, Macro shot. And so this is the 1 macro. What's cool about this lenses? If you only have one lens of you, it could be the 1 50 portrait lens, which is good for people. Um, maybe need a little help with compression a que of the bigger chin or a forehead or bigger notice cause it compresses the future. But if I want to get a really tight shot, I can make it so that the only thing in this frame is her eye. So that's really need. I say we get a portrait shot first. You can see good. And I'm gonna come in right here and look ahead straight onto me good and good. Perfect. And I'm gonna have you kick of Phil from underneath perfect and look great at me. And you can take a look in a sec and on the count of three look really afraid. Go good. Okay, so it's gonna pop up in a sec heaven. Um, And to give you an idea, I'm gonna go in and do one at all the way. Like how? How tight I can choose. I like it. All right. So I'm gonna show you how tight this one's can get just because it's something I find useful in the studio. All right, I'm gonna get in your personal space. Just warning you. Okay? Awesome. Okay. And I might have blocked a little of my own light, but just to give me an idea, this wasn't even as close as it goes as high as it goes. And I could have just her I if I want. So if I'm doing beauty shots, the key is that you don't get in the way of your own light. So if I was getting, like, really leave, it had a really exotic makeup on the I. That's what I watch for. So I'll shoot like three or four more pictures and then we'll see afterwards. We're don If I was more if you want. Okay. Break your neck. Good. nice and creepy and who pull away the fill for a second and turn your head back towards the light just a little bit. Good. And now break your neck that way. Perfect. You look very unattractive. Sorry. That's true. Okay, awesome. Thank you. Probably regulator who have next. Hey. Okay, So this is the awesome handiwork of Adam. He did that face. How cool is that? Like I love That looks amazing. So cool. Where you going? To celebrate. I have to figure that out now. Okay, um, let's see. It's kind of two silver reflectors or whatever. We have one, and she's running. Okay. All right. And I'm gonna have you can get right underneath your chin reference. Well, different. So I want to get a shot that really makes your eyes pop, because everything else is kind of a map. A flat look. So I thought if I added a silk of full reflector underneath, it will make her eyes sparkle. We'll see. So I'll probably do one that's pretty from the front. And then I'm gonna light actually from behind, So it's a really dark, creepy look. Okay, So other one for pretty, for creepy. I think you always pretty. Um, take 1/2 step forward. Right there. That's one. Let me get okay. Here we go underneath. Perfect. I have very big, sad eyes. It's very sad, people. Your hair back just a little bit on either side. Good. Perfect. And I'm gonna have you close your eyes for one and turn your shoulders to your right. So right now, because I'm trying to go for dramatic. Your chest is light. And so if it's straight towards the light and straight towards the camera is getting a lot of attention so I can turn her away from the camera. If I wanted to be darker, I can actually turn her the other direction. But even if it's as long as it's not straight to, the camera will be less distracting. Here we go. So we're gonna chopper face in Do kind of. Ah, pretty creepy shot. Good. Now I want you to squint your eyes at me a little, Okay? So watch the difference between when she squints. When she doesn't one. Looks like she's, um, thinking and the other looks kind of just like a straight beauty shop. So she looks Squint Your eyes and it's a little bit more intense. When I have a model, I'm doing a beauty shot and she's standing there. I mean, this to be mean. But she looks a little look. She needs to be thinking about something. It looks a little blank. Um, all this say, can you mean favorite? Can you squint your eyes a little bit? And I don't mean, like, squint all to save Prince from together and I'll demo instead of squint. I'll say, kind of flash your eyes at me, and so it makes it look like they're thinking, and it's a little bit more engaging. Depends on if it's a beauty shoot. But for something like this, I feel like, you know, maybe she's She's thinking some bring your chin down a little bit, so 00:10:01.792 --> 00:10:05. be creepier and, uh, squint just a tiny bit. Good. 00:10:08.66 --> 00:10:11. That looks awesome. Super pretty. Okay, so let's go 00:10:12.25 --> 00:10:13. creepy dramatic. And I like your little course it 00:10:13.96 --> 00:10:16. sing in school again, 00:10:17.28 --> 00:10:20. s so I'm gonna have you bring that kind of back around. 00:10:20.5 --> 00:10:23. So she's kind of back and backlit ish. 00:10:25.54 --> 00:10:28. Yeah. Kind of split light in her. Okay. Right there 00:10:28.45 --> 00:10:31. is fine. Perfect. All right. So I'm going to have 00:10:31.51 --> 00:10:34. her lip from basically the side. And if I photographed 00:10:34.53 --> 00:10:36. her from the front, it would look like split light. 00:10:36.88 --> 00:10:39. But I'm gonna have her turn towards the light and 00:10:39.64 --> 00:10:42. then roll her head back towards me a little. So when 00:10:42.16 --> 00:10:44. she rolls her head back and if she would say, This 00:10:44.35 --> 00:10:46. is the light right here for you guys looking. If she 00:10:46.65 --> 00:10:49. faces me completely, then it's just profile. If she 00:10:49.48 --> 00:10:51. faces the light completely issues profile, she faces 00:10:51.3 --> 00:10:53. me completely. Then the light isn't flattering. So 00:10:53.91 --> 00:10:56. if I have return towards the light within, kind of 00:10:56.46 --> 00:10:58. kick her head back at me, she's still looking at me. 00:10:58.47 --> 00:11:01. But the light is catching on her face. So I don't 00:11:01.27 --> 00:11:03. have you pulled a hair back on That said just a little. 00:11:04.11 --> 00:11:07. And I'm still shooting with my mackerel ins. You have 00:11:07.44 --> 00:11:08. to take one step forward, 00:11:09.93 --> 00:11:12. half step back. I lead right there and what I'm looking 00:11:12.61 --> 00:11:15. for as I wanted. Just a little light on that side. 00:11:17.41 --> 00:11:20. Oh, that's right, an apple box because I'm super short. 00:11:22.09 --> 00:11:24. These were the other glasses for me to put on, and 00:11:24.84 --> 00:11:26. I need a photo of myself later. 00:11:27.91 --> 00:11:29. I just couldn't actually shooting these because they're 00:11:29.97 --> 00:11:31. solid. I love you. 00:11:33.86 --> 00:11:37. Okay, Awesome. We'll do it. Perfect. So I'm gonna 00:11:37.27 --> 00:11:39. get shot here. Good, 00:11:42.36 --> 00:11:42. Good. 00:11:44.26 --> 00:11:48. And drop your front shoulder and any creepy rings 00:11:48.11 --> 00:11:49. on the old normal cute rings. 00:11:51.33 --> 00:11:54. You're just cute. Close your eyes. I see if that goes 00:11:54.36 --> 00:11:57. black. Okay, I'm gonna come in for a really tight 00:11:57.04 --> 00:12:00. shot and get a detail with your eyes closed, because 00:12:00.07 --> 00:12:02. right now, when I look at that, it looks cool with 00:12:02.05 --> 00:12:04. their eyes. But if I want something more serious, 00:12:04.68 --> 00:12:07. the eyes of the only thing that are shiny and bright 00:12:07.16 --> 00:12:09. So that's where my eye goes, which is good for a portrait. 00:12:09.98 --> 00:12:12. But let's say it's maybe a makeup artist feature. 00:12:12.88 --> 00:12:16. Then I don't want that. So perfect Cliff as 00:12:17.75 --> 00:12:18. good. 00:12:20.46 --> 00:12:21. Chin down a little. 00:12:23.93 --> 00:12:27. Perfect. And can you put your hair bank on that side 00:12:27.23 --> 00:12:30. just a little bit? So it keeps creeping and then head 00:12:30.89 --> 00:12:33. towards me. A tiny bit more good, include race. 00:12:34.88 --> 00:12:37. And I'm gonna do one more with the reflector underneath. 00:12:39.88 --> 00:12:42. Very pretty. Um, can I see what you guys have? A hair 00:12:42.38 --> 00:12:42. tie 00:12:43.98 --> 00:12:46. and your interest in all ways to your hero. 00:12:47.61 --> 00:12:48. I mean, you can if you want. 00:12:51.26 --> 00:12:52. So I'm gonna have you pull your hair back aside as 00:12:52.85 --> 00:12:53. it goes for one. 00:12:56.93 --> 00:12:58. Yeah, just a sight as you can for one. 00:13:02.69 --> 00:13:03. The itch. How does it feel? 00:13:09.28 --> 00:13:12. It's the same thing. Just like that. Good. We'll start 00:13:12.96 --> 00:13:15. with Phil. Closure is tight and no eyes at me 00:13:18.29 --> 00:13:20. and get down low and give you a long neck 00:13:21.58 --> 00:13:23. and I'll head straight towards me. Green head here. 00:13:23.95 --> 00:13:26. Good. Could come in a little more and drop your front 00:13:26.94 --> 00:13:28. shoulders low as it goes. Perfect. 00:13:30.13 --> 00:13:32. And close your eyes from coming and really tight. 00:13:32.68 --> 00:13:33. The last one. 00:13:34.58 --> 00:13:36. And had you continue whole body straight towards me. 00:13:37.14 --> 00:13:39. I'm gonna feel that right there in close your eyes. 00:13:45.49 --> 00:13:45. Mmm. 00:13:47.9 --> 00:13:52. Okay. Cool. Thank you. Thank you for the next victim 00:13:52.24 --> 00:13:52. you to play with. 00:13:54.08 --> 00:13:54. Oh, no, 00:13:55.7 --> 00:13:57. no, we haven't. I guess. Um, can I have another lens, 00:13:57.93 --> 00:13:58. please? 00:13:59.38 --> 00:14:03. Hi. How are you? I'm afraid he's going to kill. May 00:14:03.69 --> 00:14:06. I know that? Because you love Kenna and I because we love you too. Tree. Bring this to the front again. I'll make you look hot and creepy. Yeah, the seven. The blue. Perfect. You kill Mei like Heidi. I'm gonna back up. All right. In your arms crossed turn sideways With the whole body gone and I lean towards me Good And lane perfect. This is like we're gonna see if that was group you're gonna get smile. So okay, creepy. Not be creepy. That's good. That's good. Creepy. What? That was good. Creepy. No, I wasn't good. Creepy. Okay. Oh, God. All right, Now I'm gonna have you back up. Keep going. Let's say when. Okay. Right there. All right. Street at me. Look angry. It's a good Oh, that was good. That was believable. Okay, Perfect for me. Your hand. Okay. Okay. And one more serious. Okay. Very last. Not gonna let you go. Yeah, I don't. Right. Come closer. Come closer. Okay. Ready? You bring this in the front a little more, I make you really angry and creepy. Okay? All right. And every turn sideways could bring one arm up and leaned towards me. Good. Just like that. Oh, good. I have, like, wounds coming out the side, your face. Awesome. Okay, Perfect. I'm gonna composite you looking something creepy. Awesome. Thank you. Think someday who did 00:16:07.52 --> 00:16:09. Whoa! Thanks, George. 00:16:10.92 --> 00:16:11. Surge. It's awesome. 00:16:14.52 --> 00:16:15. That non Ugo. 00:16:19.75 --> 00:16:20. So cute. He is 00:16:22.5 --> 00:16:26. cute. He is. Am I getting your picture now? Yeah. 00:16:27.6 --> 00:16:29. Yeah. All right. 00:16:31.27 --> 00:16:31. Okay. 00:16:32.74 --> 00:16:35. It's a test. Okay? I need, like, 00:16:37.12 --> 00:16:41. Sassy. Okay. She's like I got sassy, please. Okay, 00:16:42.32 --> 00:16:42. Awesome. 00:16:45.16 --> 00:16:47. All right. I'm gonna do your close up shot first and 00:16:47.91 --> 00:16:50. have you put your finger up to your lip. Really? And 00:16:50.76 --> 00:16:52. don't turn it towards your left. Turn it sideways, 00:16:52.54 --> 00:16:52. like, 00:16:53.81 --> 00:16:56. Okay. You like my voice? That's what you do. You think 00:16:56.56 --> 00:16:59. I'm like, oh, say, like, I tell them really ridiculous 00:16:59.02 --> 00:17:01. things, but she knows me loves me. So it's okay. And 00:17:01.47 --> 00:17:03. it's tight and as you can. Good. 00:17:05.79 --> 00:17:07. All right. Now look like you're up to no good. 00:17:08.3 --> 00:17:09. That was good. That was believable. 00:17:11.21 --> 00:17:12. I know. Kelly, switch hands. 00:17:13.52 --> 00:17:17. Something good right there. It's anybody that way. 00:17:17.4 --> 00:17:19. Little good. Yep. 00:17:21.32 --> 00:17:23. And put your finger to this side, and I would have 00:17:23.04 --> 00:17:24. joined back up just a tiny bit 00:17:25.38 --> 00:17:28. in a lean way towards me. Keep leaning good 00:17:32.63 --> 00:17:35. and put underneath your neck. Good. And head back 00:17:35.24 --> 00:17:39. towards me for Fitz, you know, Happy. Good. 00:17:41.02 --> 00:17:44. Okay. Now face towards me and look, do one real pissed. 00:17:44.26 --> 00:17:47. Okay, this is her double face. Perfect. Her face. 00:17:48.71 --> 00:17:51. I can both of you guys back up just a little. Can 00:17:51.12 --> 00:17:53. you lean your chest away for it? All right. So my 00:17:53.24 --> 00:17:56. thoughts here ready, is when she's standing up like 00:17:56.7 --> 00:18:00. this. The lightest part that I can see is basically 00:18:00.29 --> 00:18:03. going to be the bright colored red and then her arms, 00:18:03.44 --> 00:18:06. and then her face is a little bit further back. So I'm gonna get a lot of attention drawn to her hands. So if at least I can have her Lian Ford, it pulls the hands away. So it's a little less distracting something. Okay, So, Lian Ford Perfect. Good. I'm going to take one step forward. Ah, you look cute. Good. And then turn your heads to the light a little. And the one last left and then handing it? Yep. And in the hand loose. Okay. Super sexy. Super sassy. Okay, perfect. Tension up a little bit. Okay. Perfect. Love you. You're cute. You're cute. You you're awesome. Okay. No, I get to mine. Okay. On anybody, reflector. Okay. All right. Okay. Hold it straight on. Like that. Chain out just a little bit right there. Perfect. No. Here, turn your head towards the light a little bit. Your eyes, huh? Did you think that's it? Don't look so miserable. I was like, What is that? Smile. My glass. They're following up. Good. Yeah, we're good. Uh oh, God, I look like my photo. Right? That's what we did today. Suffered with hair and stuff. All right, Perfect. What you got? Yeah. Oh, yeah. Where's our music? Can do that in here. Okay, Stay right there. Good. So right there. Perfect. All right, So I have him back further than where I would have somebody 00:20:04.393 --> 00:20:07. normally, but the double rooms look cool. So I'm gonna 00:20:07.77 --> 00:20:09. try like this real quick. 00:20:10.25 --> 00:20:12. See how the lights looking right. So come forward 00:20:12.42 --> 00:20:13. a little bit 00:20:14.63 --> 00:20:16. right there. Perfect. 00:20:20.16 --> 00:20:22. Okay, here we go. All right. So turn sideways. 00:20:23.56 --> 00:20:25. Perfect. Turn your head a little bit more to your 00:20:25.48 --> 00:20:28. left. So I'm looking for where I can still see the 00:20:28.02 --> 00:20:30. profile, but I can also see details in the front, 00:20:30.03 --> 00:20:32. so that's perfect. Right there. Here we go. 00:20:35.82 --> 00:20:37. And chin down a little. 00:20:40.66 --> 00:20:43. All right? So I'm going to D'oh! That's so cool, Guy. 00:20:43.82 --> 00:20:44. Go, 00:20:47.86 --> 00:20:50. Huh? Oh, my gosh! you look ridiculous and awesome. 00:20:50.84 --> 00:20:53. All right, when I take one step towards me and I'm 00:20:53.31 --> 00:20:54. going to So what? I'm gonna do something with the 00:20:54.9 --> 00:20:56. lights a little bit. I have this for a fill in the 00:20:56.79 --> 00:20:58. front. That's from a back room. Like, have you bring 00:20:58.81 --> 00:21:00. this up? So it's actually reflecting off the front, 00:21:01.35 --> 00:21:04. so keep going, Like, right there. Right there. Perfect. 00:21:04.5 --> 00:21:07. So what I'm looking for is because it's he has a shiny 00:21:07.29 --> 00:21:10. surface on that backlight is going to give him the 00:21:10.41 --> 00:21:14. rim on the funky head thing, and then I have them 00:21:14.2 --> 00:21:16. move the light to the front so we'll have a really 00:21:16.12 --> 00:21:18. bright strip in the front of the helmet. Before it 00:21:18.68 --> 00:21:21. was kind of from behind. It wasn't is defined, so 00:21:21.21 --> 00:21:23. it's gonna give him another bright strip. I love this 00:21:23.77 --> 00:21:24. is this is awesome. 00:21:26.6 --> 00:21:28. Is it really metal? Hold on. I just have 00:21:30.66 --> 00:21:32. No, 00:21:33.1 --> 00:21:36. I'm let down. Okay. All right. So don't lean forward 00:21:36.41 --> 00:21:38. a little bit. Good. Neck out. 00:21:39.62 --> 00:21:41. Okay. Now lean like you're gonna fall over because 00:21:41.78 --> 00:21:43. you're looking pretty good like that? Yeah. Okay. 00:21:43.63 --> 00:21:46. I will kick your flying. Yeah, that's good. Ok, Well, 00:21:46.87 --> 00:21:49. Marlene Ford and chin down a little. 00:21:50.66 --> 00:21:53. All right. And let me do less. Head shop. Perfect. 00:21:54.74 --> 00:21:58. You look awesome. I love this very hot shot. 00:22:01.19 --> 00:22:03. Look like you're about to take off. You look super 00:22:03.75 --> 00:22:04. cool. 100. Your headshot. 00:22:06.18 --> 00:22:10. Okay. Your profile picture. I like it. Thank you, 00:22:12.89 --> 00:22:13. I think. 00:22:16.24 --> 00:22:16. Are you ready? 00:22:18.28 --> 00:22:22. Okay. So Jeff looks normal until a sly Ah. Okay. Come 00:22:22.87 --> 00:22:23. forward. 00:22:24.39 --> 00:22:27. I, um can I rotate this a little bit down? 00:22:29.18 --> 00:22:34. Good. Whoa. Well, so I know that face angry. Yes, 00:22:34.42 --> 00:22:36. that Okay, Perfect. 00:22:37.74 --> 00:22:38. Really serious 00:22:41.25 --> 00:22:45. thing, huh? You are super creepy. I like this on front. 00:22:47.58 --> 00:22:48. It's coming. It's going. 00:22:51.36 --> 00:22:54. Hey, it looks creepy. Okay, so let me actually teach 00:22:54.87 --> 00:22:56. something. I get really excited. I can't help it. 00:22:56.96 --> 00:23:00. Okay, Um, so what I look for for dramatic shot like 00:23:00.6 --> 00:23:03. that, I think the lighting has impact. So usually 00:23:03.37 --> 00:23:06. what you're looking for is the shadow from the beauty 00:23:06.13 --> 00:23:08. dish. It falls off just enough to where it starts 00:23:08.99 --> 00:23:11. to become a shadow on that Rembrandt side, and then 00:23:11.24 --> 00:23:13. a really crisp highlight. So you're looking and it's 00:23:14.0 --> 00:23:17. really intense contrast because it falls to shadow 00:23:17.21 --> 00:23:19. and then boom with a sharp highlight. If you don't 00:23:19.71 --> 00:23:23. like the highlight as strong. You can pull it back. 00:23:23.11 --> 00:23:26. You can also power it down. You have diffusion on 00:23:26.08 --> 00:23:28. it, make it a strip light. There's a lot of things 00:23:28.18 --> 00:23:31. you can do, but that's that's pretty good and freakin 00:23:31.23 --> 00:23:31. creepy. Sarah, 00:23:33.38 --> 00:23:35. a little more teeth. Oh, God. 00:23:37.35 --> 00:23:39. You're gonna put this is your profile picture, OK? 00:23:39.15 --> 00:23:39. I laughed at me. 00:23:42.84 --> 00:23:43. Sit up a little, 00:23:46.01 --> 00:23:48. Okay? I'm gonna turn this black away for a second. 00:23:48.69 --> 00:23:52. So one of the things in fashion photography that you 00:23:52.0 --> 00:23:53. learned that you learn is you don't need to have catch 00:23:53.8 --> 00:23:57. lights in every shot. Totally opposite in Portrait's 00:23:57.25 --> 00:23:59. in all four treats. You wanna have catch lights? Um, 00:23:59.52 --> 00:24:02. if aiken think of it tomorrow. If there's any shots, 00:24:02.6 --> 00:24:05. if there's catches that are uneven or if there's catch 00:24:05.62 --> 00:24:08. lights that aren't visible in portrait, you can retouch them in. But in fashion, if you want creepy, get rid of the catch lights. And so that's what I did By raising the light up a little bit higher and having him bring his chin down. Who's supposed to be creepy? No catch lights. It's creepy and kind of kind of dead, so I'm gonna have you do that? I'm going to switch to Monochromatic. Good. Try this. Look, the fishing up a tiny bit, no see, has regarding a low angle a little less of the smile. I like that. Okay, so these these lessons, we very, very creepy because you're awesome.

Class Description


Learn in-depth techniques for retouching images to perfection, helping your clients look their best, and expressing your creative vision! Whether retouching skin, whitening teeth or reshaping body features, Adobe® Photoshop® allows you to perfect reality as well as express your creative vision. In this workshop portrait and fashion photographer, Lindsay Adler will cover essential retouching techniques and teach how Adobe Photoshop allows you to make the impossible possible! Lindsay will cover countless creative Adobe Photoshop techniques: creating porcelain skin, changing colors, displacement maps, adding textures, adding makeup in Adobe Photoshop, quick retouching plugins, and dozens of other techniques you can apply to your own photography.

Let Adobe Photoshop become your next realm of creative expression through this workshop. Lindsay will also include a couple live shoots and live retouches so you can see an image start to finish and learn the nuances between a portrait, beauty or avant-garde retouch.


SOFTWARE USED: 

Adobe Photoshop CS6

Reviews

Sean
 

Fantastic Photoshop course. I knew Lindsay was great at Photography, Lighting, Posing and Public Speaking, but I am really blown away by her mad (great) skills at Photoshop. Lindsay really is a fantastic teacher. She turns what might be a more or less dry topic into a fun and entertaining topic. Thank you Lindsay and thank you CreativeLIve. You have a real superstar with Lindsay Adler.

a Creativelive Student
 

This is a great workshop for photographers wanting to learn and hone in on their retouching skills. As a photoshop user and photographer of 10 yrs I have been able to take away some further techniques to help better my skills and more or less tailor them. I would suggest you have some adv beginner knowledge of photoshop because I don't think some of the techniques you will be able to keep up with unless you buy it. There are two things that I wish she did better in her teaching and that is to teach new users to label all their layers and what they are as you are working. As you can see Lindsay ends up with 20 layers and unless your the one doing the editing you will have know idea what is what when you have to go back to it. So its best to teach this in the beginning so people get into the habit of organization early. Also I wish she used a Wacom. It really does cut your editing time in half and you have more solid movements in precisely selecting areas of a photo. From a photographer to other photographers. Use a wacom. You can start with a basic baboo for $89 and when the apple wireless mouse cost $69. Time is money, and a wacom truely save time! I used to use a mouse and my trackpad and once I switched I was like OMG what was I thinking before! So I wish she just emphasized that point more. Overall I think it was $99 well spent.

Christian G.
 

Not only is Lindsay very knowledgeable and a very good teacher but I REALLY TRULY appreciate her no-BS, straight-forward style.. No time wasted on long tangents talking about herself (or what have you), on cute remarks or on off-the-mark humor. She has showed us many great techniques, has presented to us various creative/different ideas AND she has also really been able to explain "how she thinks of a solution", how there is a bit of trial and error, "even" at her level.. All in a all, a truly excellent course and worth every penny!! Thank you Lindsay and thank you to the CreativeLive team for a great course!!