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Skin. The Complete Course

Lesson 6 of 43

Student Shoot: Andrea

 

Skin. The Complete Course

Lesson 6 of 43

Student Shoot: Andrea

 

Lesson Info

Student Shoot: Andrea

We're ready for our next photographer were back at around eleven okay let's try that okay. Hi are you from around here? Nice all right, so I had a question about this actually now that now that we're facing down um is it just basically to keep like how far? Um well like are you still trying to kind of block I am I am still trying to block it you just said that you know when you tilt the camera up you don't want to see the hairline ok and chances are shooting down in the angle of the lens shade we probably wouldn't have too much problem but I'm still using this for insurance I don't get make sure that blocks the flare all right, so yeah, I like what you're doing just right there with the nice soft pose you know we're gonna it's gonna take a little bit longer to get up there uh there we go thanks. Nice go ahead and go ahead and bring up one hand again kind of I c I should have left you alone you're opposed things doing all the hard way I like it when they just do it on their own yeah, ex...

cellent. Excellent. I don't think think think think I don't think do just dio okay good, good do you want something else to have a try it as well or uh we can is anyone ready teo jump in one more person here do we uh turn that you're all going to get a chance and I break so you don't want to be live on creative live way don't step forward I actually may may jump in here and make another change so uh, since I have a little bit of time before our lunch break let's see um let's um let's change the chair and I'm actually what I'll do is I'll have you on an apple box. Well, I'm not gonna have you standing there and you're gonna sit on the apple box, okay? And, uh, move moving a little closer here. Come tio okay, now, so I'm just going to change uh, one thing and we'll see how that what happens with the light when I change this so we've been working this small umbrella fairly high, so I'm getting a lot of shadow on the face I'm just going to move it down, which is going to change the exposure as well and it's gonna make the shadows a little less, uh, less deep they're going to travel down the neck, not as far, okay. Um and I'm going to go now for a little more level with the subject kind of angle, and I'm just making sure I block everything here and okay, so let's see test eleven four ok, do it again. More eleven for all right? So should be like my quarter. I like my court over my shoulder. All right, ok, a little well, hoppy. And now I'm gonna let you working for me, you know? So I I don't have to do so much work because you're really good at this. So so go ahead and just do some things for me. Yeah, ok, very nice. You want to do the james bond thing again? You know, we can always go back to that it's uh, okay, I'm gonna count to three. One, two, three strike again. I'm kind of missed you're saying speed the one, two, three let's see if I got that line. Here comes what's happening there we owe. Okay, so, uh, you know, we got some hair there now, uh, this hair is like fabulous on the right side. Not so good on the left and her expression she's missing the camera she can't find it that's very typical when using this approach. But I confined like something like this where she's nailing the cameras have got a great expression, but the hair doesn't look so great and we can swap we can take some of the hair from this shot, put it into this shot and make a nicer looking image out of it so I'll go ahead and shoot a few more of this and then maybe we'll give a chance to one of our students to do the same thing okay, we're gonna do more spinning you got another idea and I may want to do shoot that too but let's do the spinning feeling first okay and one two three okay let's see what we got and my on play still here there we go okay good. So one, two three all right again twenty three all right uh one more one two, three now let's go back and do do something a little more yeah, that that was interesting. I can that's good so I want to get a little more over yeah, there you go. Yeah, exactly again I'd point out that I'm shooting these horizontal more for the sake of this this instant display which doesn't seem to be here we go yeah um normally I would shoot this sort of thing vertical but since it doesn't rotate on the display I'm shooting horizontal let's get yeah yeah exactly. Uh um can you kind of wrap both hands around your knee? Uh can you get both come up? They're great alright, excellent. Okay, all right, so I think I've got enough to work with and uh so leave we will love tio talk to tacoma our makeup artists and I have talked a little bit about how she prepared the makeup excellent will come on out here, I guess I need the mike. What is? What is the question? Just if you could share a little bit about how you went about doing this makeup, given the lighting situation that you knew we were going to do, okay, great. So well, first of all, knowing that a big point of the workshop today is in post production and, you know, teaching in to do some great retouching tech makes I did make sure not to make everything flawless, and that was on purpose, so we didn't do a ton of concealer, but when we are working with a more mature woman, you need to make sure that you're going to even out some texture and the skins, so always starting with a good primer, is key that's also going to help everything toe last under hot lights. It's we shared down the foundation to make sure that we can actually let any of the flaws on her skin show through, so he shared it down using water on a foundation brush on lee used concealer underneath the eye area nowhere else on the face to give you guys an opportunity to see some places that you would typically need to retouch if you wanted tio use this photo. Kept everything pretty light but with the makeup because we wanted it to look in the brighter lighting a little bit softer and in the deeper lighting a little bit more dramatic I went kind of medium tones on the eyes it's on dh used a little bit of a deeper shade in the outer corner to create that drama that would show up in the darker lighting we kept the lips nude so that it wouldn't look overdone you can always do more color on the lips for something more glamorous but when we're going to do something softer as well we kept the lips very nude and did some gloss because that's going to always look great in lighting um yeah does that hopefully the answers questions have another question for you this is from kim photo she's from norway thank you can you tell her what a good primer is? Oh my favorite by far is smashbox photo finish foundation primer they have one for every skin type I think they're now up to ten primers so the classic is a clear that's the one I always suggest to go with if you don't know which one to choose otherwise there's color correcting there's ones to create a luminous skin there's hydrating there's oil absorbing for people with oily skin so that is by far my favorite primer on the market um what questions do you normally ask the photographer when you're approaching issued sure, so this morning, obviously I met with lee first and just asking kind of what he's looking for, so main direction that I got was to not make everything flawless, so we wanted to see her skin through everything I always like to ask, you know, do you have a specific look you're going for? What kind of lighting are you going to use? You know, I I know if you want something that's going to be really soft, but you're using very a lot of light but high key lighting than I need to be a little bit more dramatic, but the makeup also, if you're going to be shooting in black and white versace color it's. Good for me to know that because I can adjust the makeup to look better in a black and white photo versus a color photo s o just and if you have visuals, that's, always great for makeup artist. Awesome. Well, thank you so much for sharing. Thank you know, coma.

Class Description

Skin. Everyone has it, everyone wants it to look good, and if you're a photographer who shoots people, you need to be able to light, shoot, and retouch skin. Hollywood photographer Lee Varis has shot celebrities, movie posters, and magazine articles where the skin has to be perfect. He is the author of the popular book Skin, and he's coming to creativeLIVE to share his knowledge with you! Lee will take you beginning to end through multiple shoots with different types of people covering how to pose and light them well, and will then cover in-depth how to post-process in Lightroom and Photoshop. You'll learn how to fix blemishes, smooth out wrinkles, and address other skin concerns so you can make your clients look their best.

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.