Photo Adjustments in Photoshop
Lesson 20 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in PhotographyJoe McNally
Photo Adjustments in Photoshop
Lesson 20 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in PhotographyJoe McNally
Lessons
Class Introduction
14:54 2Location Assessment
07:32 3Gear Overview
01:56 4Direction and Wardrobe
06:41 5Exploring Location and Available Light
04:14 6Bar Owner: Setting the Scene
15:32 7Shoot: Bar Owner
14:27 8Shoot: Bar Owner, Working Location Options
07:27Shoot Set Up: Editorial/Fashion
02:28 10Shoot: Editorial/Fashion
17:06 11Production Hurdles and How to Handle Them
05:42 12Production Team and Planning
05:38 13Location Considerations
11:42 14Call Sheets and Production Logistics
12:26 15Shoot Set Up: Corporate Headshots
02:54 16Shoot: Corporate Headshots
10:41 17Shoot Set Up: Athlete Portrait
06:37 18Team Criteria for Image Selection
04:28 19Culling with Cali
05:13 20Photo Adjustments in Photoshop
04:38 21Flash: Large and Small
14:36 22The Biz: Production
08:15 23The Biz: Archiving and Bidding
10:41 24The Biz: Understanding the Agreement
04:24 25The Biz: Personal Work to Build Your Portfolio
09:21Lesson Info
Photo Adjustments in Photoshop
I'll just pull this one of Ryan. And just so you guys can see the quick, raw process, I won't do, like photo shop on it completely. I'll just show you just kind of how we would handle it. Um, luckily, this one's already in a good spot, which is kind of, as we mentioned before, where we really like to end the shoot so that when we get back to the studio where we're pretty much set, um, jumping in here first thing in photo shop, what I would do is I come over to the camera calibration and you can see the kind of flatness of the file when you first pull it in. And now, when I changed the camera standard, you see how you get that contrast back, which gives it more of the J peg out of camera, look as opposed to just the flat raw file. So I get that warmth in that color that Joe is looking out of the out of the out of the LCD. Coming over here is a couple things you can do. I don't think it's an issue right here. Um, you could enable the profiles for the lenses. I don't know if you guys work...
with this at all, but if they're, if you're pretty close to be like a wider lens, you can just kind of see how it started. Correct. It's taken actual of the vignette ing, um, from the edges of this frame and kind of spreading it out. I don't know if it's a good thing or a bad thing here. I almost prefer the darkness in the corners because it really kind of brings me more into our subject. So I don't think that I would I would switch that there. Um, one thing we do is just try to sharpen, Um, just in camera raw. I don't do too much with this, and I know a lot of Photoshopped bureaus. It probably, you know, call in and say, What the heck is he doing? But I don't like to work and Photoshopped just on my layers that I don't want everything to be done and rob because I want to have control. If I want to come back to it or Joe says, it's looking a little too lighter. It's looking a little too dark. I just you know, I just prefer having my layers coming in here. I'm looking at, you know, the shadowing and the edges again. So, um, I just kind of see what the sliders, air working. So if I'm pulling this out, you can see how it's just kind of taking a lot of the drama away from the shot when I'm coming all the way up here, it's nice to see a little bit more, so maybe I'll just bring the shadows up a bit. Um, the whites I don't know if I want to work with them to too much here because I think they're in a good spot. So if I bring these see, I'm just gonna kind of elevate these so you guys can see what I'm looking at here. Maybe bring these back Teoh about there once again, Gonna bring the blacks up just a little bit. Exposure is pretty much where I want it. I don't think I would change too much about the exposure. Um, color tone feels good to me. I always just mess with the slider to see what you know. If we cool down a bit, what it would look like more neutral, But I just think here that the warmth of the bar and what we have going on in the background just really make too much sense to change that around. Um, the greens, Mogens look good to me. Um, yeah. I think that this file, as I said, I think, is in a good spot. So there's a couple ways to handle this button. I mean, like I said, I'm not gonna go into full blown Photoshopped mode here. Um, obviously, by removing this button, it just kind of your I might get confused as to why there's no one there. Um, there's other ways that you can do. It is you can find a file that maybe has a similar one that has the but that's not shining off the lighter the window where you can grab in. But that also, that kind of brings in the whole concept of, you know, picking him, pulling from different shots that we normally don't dio. Um, but I would probably either tone that down with the Kurds layer just, you know, burning as much as possible. But to me, that's the only thing that's really sticking out, that I feel like that's like, overly dramatic in terms of the terms of the highlights. So grab occurs, layer. And I would just take this up this slider up until I can start to see a little bit more under that bar. So right here you have a little bit more of a feel what's going on? So if I go before and after like that, and then I would just mask it in. So you command I and now I have a brush that I basically just take in the past the way down flow Keep these pretty pretty low. Um and then I just started paint that in. I'm working on a on a laptop right here. So you're not gonna It's not too great, But, um, I'm starting a little, a little bit more detail as much as I can into that, you know, it's just subtle things like that that just kind of taken effect. I might even bring some out over here as well. But overall, I think this image outside of that button is exactly why I would want it
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Ratings and Reviews
Ivan
Oh. Wow. This is a must-see class for everyone who is passionate about photography.
Student Work
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Lighting