Lessons
Day 1
1Calibrating Your System for Accurate Results
40:07 2Shoot Prep: Workflow & Lighting Setup
17:07 3Shoot: High Key Beauty Portrait
19:13 4Shoot: Hollywood Glamour
17:54 5Student Shoot: Colleen
13:48 6Student Shoot: Andrea
12:27 7Image Review and Q&A
15:46Skin Tone and Black & White Points
27:01 9Image Selection
25:20 10Global Color Correction
21:02 11Retouching Basics
46:12 12Advanced Skin Smoothing Technique
46:36Day 2
13Luminosity vs. Color
14:44 14Shoot: Low Key Dramatic
28:43 15Student Shoot: Ian
11:54 16Student Shoot: Michael
11:20 17Student Shoot: Colleen
03:41 18Shoot: Beauty Light
12:57 19Luminosity Blending in Photoshop
16:07 20Applying Luminosity
12:19 21Color Correction in Lightroom
23:57 22Detailed Retouching
23:55 23Color Space Discussion
19:16 24Darkening and Lightening Skin
21:10 25Spot Treatment
12:20 26Sharpening
29:57 27Compositing
54:51Day 3
28Introduction to Shooting Movement
11:41 29Shoot: Dancer Leaping
10:52 30Students Shooting
44:15 31Shoot: Dancing
14:59 32Student Shoot: Ian and Colleen
08:57 33Shoot: Dancer Portrait
15:49 34Dancer Session Q&A
11:30 35Figure Retouching
10:52 36Liquify Filter
10:16 37Masking and Edges
13:22 38Importing a Background
16:47 39Color Change and Motion Blur
24:45 40Enhancing Color
17:59 41Removing Tattoos and Adding Effects
21:30 42Lee's Photoshop History
21:56 43Final Portrait Edit
19:03Lesson Info
Shoot: Dancer Leaping
Come on out here are you doing today? Are you ready for this? Are you pumped? Yeah ok so this is kind of the mark s o first let me you know just stand here and let me get a focus on you and we'll do some tests um so let's get our readings sixteen ok, can we get some ratios on there too? Okay that's for six forty that's for six forty ok and that's not quite aimed yet. All right, wait let me make one little change here sorry I'm just gonna shove this in the corner a little bit more like I lost weight go okay, okay, so we're gonna have bringing flags for flair way any of those black getting a b flat so okay, so then right now the only thing that's missing in my set up a zay need to flag the camera from these rear of the flats so I'm going to put some black cards probably right in here yeah on this side because we don't block the way the monitor actually enough that we could make that work like that so bear with me folks, can I ask a question from bernardo kilos sure. What do you think abo...
ut the einstein six forty first sport photography? You know about einstein six forty do you know about that night? Ok, sorry, I promise but that I'd throw that out there um yeah can you yeah, this one's gonna come in thing that actually flip it around so that clips aren't sticking into the frame way could just spend the stand you want think yeah oh, I see he's your weight on that's right it's white on the uh ok that's fine uh bring it on a little bit and lower moments away folks that's good all right and this one let's pull push it in just a bit coming through so I'm just you know, looking from camera position to make sure that yeah that's good and ok um let's see all right let's see where we're at here okay, we look kind of bright oh, you didn't change your case hang on yeah, that uh let's try this again. Okay. That's probably better good all right uh okay, so this is the deal we're going to do the hardest shot first, which is the leaping one so you know whatever you whatever you do just kind of trying to see if you can get the leap to to send her over this part and we'll adjust as we go along okay? So taking a like a step and you know, do whatever it is you're gonna do, huh on and whatever you feel like you can do best okay all right, so just so people know what I'm doing I pretty focused on her position there over the over the tape so now hopefully when she leaves she'll the focus won't change and I'm also uh shooting at like sixteen and a half s oh I've got plenty of depth of field in case she's not exactly in the same position um and I'm looking to catch the peak of the action so I probably won't get that on the first shot but we'll see here what happens okay and go I got that first hot today no but now that I know what you're going to do I can again yet okay okay all right yeah yeah that's fine okay and go let's see what we got ok I'm done uh ok yes let's let's do a couple more see if we can get that front leg up a little higher I don't know a look good look good all right and got hard huh pretty good pretty good uh yeah let's do let's let's try it a couple times if we get a better one I'm pretty happy though go got a little higher that time okay? Okay let's try I'm gonna leave leave a little more room for your to the top and go well, you never know see not too bad okay try something else many anything else you okay what way we'll just have to see we'll have to have to find out so those in the internet audience that may be sensitive to crotch you can stop watching now all right, I got you a little hop first ok. All right, well let's see yeah ok pretty good all right yeah no that's good let's let's try it a couple times and go that's nice okay, no, you know it is like a truck well, you just do another one yeah, yeah, there you go. I don't know if I caught that and I didn't catch that right now you know what to look for so I'm I'm I'm watching for that bottom leg to bend in okay? So go for it, okay? Not too not too shabby, huh? So first question is from a c sean walder who says is there not a short delay between the shutter push and the actual fire causes the missing of the moment so how do you compensate for that? Uh the only way you compensate for that is the calibration in the wet where uh in your head so you have to you have to learn that kind of anticipate and try to fire before you think the action is going to get there because your cameras not goingto react instantly to the shutter release no camera does the mir has to come up and that takes a certain amount of time it's much better with dea solares than it would be say with a medium format type camera is a bigger, heavier mirror and for years when I was shooting film um when I was shooting film, I used these big medium format cameras, and I got good at anticipating, you know, when that mere would be up in the shutter would go. And then when I switched to the smaller de solares, when digital came along, uh, you know, it was like I was shooting, you know, to, uh, uh, too soon. Um, so it's, really just a matter of practice over time and get used to kind of make anticipating adequately. And, you know, I'm not going to hit every single one. I'm not. I don't practice this enough every day to be really good at it, but your sports photographers and people like that, we'll get more practice and it's, very important to actually be able to anticipate.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Luis
Skin tones correction and portraits editing are new to me. This course provides a set of tools for me to improve my portraiture work. Lee doesn't just show you how things are done, but also the reasons for the corrections. The delivery is a bit dry because the topic is quite technical. You can have a break between lessons, if it becomes too overbearing for you. I highly recommend to take this course, if you are planning to do portraits, head shots, or even senior pictures.