So this is a senior portrait. Shot two shots, one with her looking off the cliff like that and one with her is looking this way. So we'll start. We'll work on this one. Uhm so I'm gonna edit this one. It's a photo shop image, and the reason it's a photo shop image is because when you have, this contrast is situation. You cannot get the shot in one shot, so she's shot with lights to match the light that happens on the background. But the light that's happening on the background, I would need an incredible flash to be able to fill in the mountains back there and get them to not have deep, deep shadows and stuff like that, because this is literally sunset. And so the light is striking off the cliffs and off the off the off the lake and things like that. But it's really contract you. So what I did is I shot her, so we shot shot, shot shot until I felt like I had the right shot of her. Then once I had the right shot of her. I said, Get out of the shot. So her mom jumps up there grabs her of...
f the cliff. They pull her out of the shot. And then I fired away five successive shots as an HDR. Then I take the HDR in tow, light room, emerge the HDR. So I get what you see in the background is the HDR. Then I just simply open the HDR version and the shot of her on the cliff as layers. And then I cut her out and she's right where she's supposed to be. So there's no perspective issues or anything like that, and it just she's just layered on top of it. That makes sense. So what you're seeing is emerged shot, but she's exactly where she's gonna be. It's the best way to do. Emerge. Yeah, focus out of focus. So I got Trump's focus from so untainted she's in focus. I take the shots, she gets out, don't change the focus, shoot. So I am shooting a landscape that's out of focus. Critical, right? I'm shooting an out of focus landscape. If you if you change the focus, the whole everything's off, it actually changes the way the photograph looks, things warp. And you wouldn't like the photographs. Oh, yeah, when you say out of focus, your shooting with a shallow depth of field so that she's in focus. But the rest of thes senior And technically it's not a shallow depth of field. It's just that she's a lot closer than that. IHS. Okay? And so I think that the shot was taken It 56 or somewhere around there. Let me see. I can actually tell you, um, if I go here Ah, no is, Let's see 32 So it was actually pretty shallow, but But it was pretty wide. And so, you know, it's it's ah, but I want it to feel like it's all about her not to. This is pretty not distracting, but the key is HDR for the background. And then she gets laid in after, well, she's laid in first. Shoot her first soon as you know, because what happens is you end up shooting someone and I'm on a tripod, and so I'm shooting her. But sometimes you're like, that's not quite right. And then you kind of do this and then shoot. So if you shoot the HDR first, then you're locked into position, so you shoot the person first until you're No, it's perfect. And then as soon as you're like, that's the shot. Camera doesn't move. Get out. Take the HDR without changing anything, all right? And then you layer them together. So we're gonna go in and edit this image. We're just gonna edit the original because I want to show you one other thing. Um, that I use quite a bit when it comes to something like this. And that is have you ever heard of puppet warping? So the puppet warp is is a weird tool, but it's a very useful tool. And so I'm gonna click on her layer, and I'm gonna go upto edit, and I'm gonna goto puppet warp and you can see that it creates, like, this mesh around her. And I don't really know how it figures out the mesh, but it kind of tries to follow her basic structure. So if you look at it, see how, like these seem to follow her arm just a little bit and this seems to follow her hair. OK, so what I want is a little bit more wind, so I want it to flow the dress to flow a little bit, and so What you do with puppet warping is you're gonna come in and you're gonna create pins. And those pins air gonna be locks. They lock in a certain area. So, like, I would lock in this area right here. Okay, so now I'm going to try and edit these pin See how I'm placing a pin kind of Let me see if I can see that pin right there. So as you click on those areas here, you placed pins and those pins lock that whole area in so that it can't move anymore. So I'm gonna lock in this area around where I want the wind to kind of blow her dress. So I'm gonna I'm just gonna start locking things in because what I want to do is I want to take the bottom of that dress and have it go like that. And so I'm just gonna come in here and lock. And I don't mind that if this area right here kind of Swayze's well, but the front of it should probably stay fairly accurate. Toe where is? And the other problem that I have is I don't want her shoes to start going with it. right, because her shoes wouldn't necessarily sway with the wind. So I'm going to lock in this area around her shoes and if you can click on the actual points of intersection But you can also click on other areas. So if you find certain areas that you think OK, well, this would be the right area. Can't get too close, but you would go like this is the right area and this is the right area. There, Right there. Okay, so now all of those air gonna be held. Let's see if I want to put some right up here and there. So now you can see that I've got these pins all along this area that I want to be held, and then I'm going to click on pins here like this and this. I want to grab pins here, so I'm just going to click on a pin. And now I'm gonna grab that pin and see, See what I'm doing and see how that whole dress starts to move. So then I can click on that pin, and then I can click another pin here and grab that pull it up and out grabbed this one pull it up. Out. So now the wind is starting to blow that dress a little bit. The other thing that I kind of want her to dio is I want her. I was quite a ways away from her, so I couldn't like director very well. And I wanted her to kind of pull that dress up a little bit more like that and so I can take her elbow and I can move it. So I just have to kind of click around her arm. So that were kind of locking in this part of the arm like this so that you can see that this is the arm, and then we're gonna come like we'll go to, like right here. And then I'm gonna put some locks right here, some pins right around there. And now I'm just gonna grab this and I'm gonna see how I can move her arm. But I need I need to shift. Click As many of those pins is, I want to move. So I'm going to click on a shift click this one and this one and this one that one. This one That one. This one and that one And then I think if I just kind of locked that one and let these moving, it'll work right. So I grab onto it and then I say, I'm shifting up. That's not good. Okay, so let's unclip that one and let's just go now. See how I can shift that arm up a little bit. You don't want to go crazy because then you'll all sudden change her whole body structure. So we're going to grab it and we're just going toe, lift it up just slightly like that and then hit, OK? And you can see now how she's kind of hoisted up that dress a little bit and it foreshortened her belly just a little bit. But that's OK, because now I've got that a little bit more bend in her arm, and what you could do is you could make a secondary layer. Just hoist the arm up and then go back in a race out the belly change That happened as a result. Or if you, if you mess with the pens long enough, you can hold that belly in place and then just grab the arm so the puppet warp is a very useful thing as well, but especially look down here on this area, and most of the time I'm not trying to change people's arms and like whatever. But I just did that show you could most of the time. I'm just trying to get like, a ribbon to flow differently or AH, or address to flow differently or something of that nature. That's usually what's happening. Sometimes you'll get a person that's bent weird, and you could just bend them back up. You know, I mean so. But then it's just a whole half of a body going bird like that. So it's very easy so that those air some of the most important tools that I use and really inside a photo shop. My whole goal is to get in and get out of there as quickly as possible. So I never want to be in Photoshopped very long. It's not because I don't like it, and it's not a useful tool. It's because it's just not a productive area for me, so I don't necessarily use photo shop all that often. But when I use it, it's critical to be used, and so figure out what it is you absolutely must do in photo shop. And usually that has to do with actually changing the structure of a photograph. And at that point, it's indispensable. So for me, photo shop is a plug in the light room. I do almost everything I can inside a light room, and then I'm gonna go to photo shop. And that's where I'm gonna change the structure of things. But I'm always using liquefy in order to kind of short dresses and make sure that they're you know exactly where I want to be. I'm always using photo shop when I'm working on product photography to get it perfectly stabilized and right, You know, the right angles that I want on dime, always using Ah Photoshopped when I'm doing like, heavy retouching, Those are the most of the time when I'm doing it