All language subtitles for 03 Direct Sunlight-2.mp4

So in the last shot, we were in the
middle of this high grass,

and now we're in this

awesome stone structure.

The sun is lowered a little bit,

but that's actually a good thing,
because it's going to add a little bit

more drama and a little bit more
contrast or photograph.

So let's get Maria against the stone
structure, and let's see what we come

up with.

So we place Maria on the stone
structure here, and we're going to use

our hand to sort of reference

where this nice red rank light is going
to fall on the face.

So where she's placed right now?

As you can see, we have that nice
contrast dramatic lighting on her face

with the nice highlight on her

cheekbone.

And because the sun has been lowering
throughout the day, now there's a nice

shadow that's being cast across this
stone structure.

So I love the light.

How it is right now

it's right where we need it.

So we're going to shoot this and see
what we come up with.

So I hope this is kind of open your
eyes to shooting in harsh, hard sunlight.

And I hope you take this technique and
use it in your own work.

And so we're going to take this now.

And go over to post processing and take
it for the next one.

The shot that we're about to work on is
very similar to the last shot that we

processed.

There's going to be a lot of the same
steps,

but let's go ahead and open and capture
one and get started.

Now that we're in capture one, we're
going to go over to the library tab

under user collections.

We're going to hit the plus button

and make a new album.

I'm going to call it f stoppers.

You can name it whatever you want.

And we're going to hit, ok.

Next, you have to find the image that
we're going to work on, which is

located in your lesson folder.

So I'm going to go ahead and grab that
image.

We're going to select it and drag it
over into capture one,

just like last time.

We're going to make sure that under
collection is a selected album.

We're going to select the image and
import one image.

Over on the right side of the screen,

we can select that variant,

right click it

and click new variant,

and that'll open a new instance for us
to edit

again, just like last time, we're going
to go over to the color tab

on the left side of the screen,

and we're going to adjust

the color temperature

to be a little bit warmer.

It's still about the same as the last
shot, a little bit too cold.

So I'm going to make it just a touch
warmer.

And next we're going to go over into
the exposure tab.

And with this image,

I want to bring the highlights down and
bring the shadows up so that it

has a more natural balance to it.

So I'm going to pull the exposure
slider back just a touch,

and you'll notice that we get a lot of
detail and color back into those highlights.

Next for the shadows, we'll go to high
dynamic range and pull up the shadow

slider just a bit.

Just before we export this out,

I might just want to up the brightness
a little bit

and increase the contrast as well.

It'll just give us a nice punch, while
still keeping those details that we

rescued from the highlights and the
shadows.

From there we can right click the
version that we made all of our

adjustments on,

go to export

variants.

And this is where we want to make sure
that we know where we're saving this

too.

So I'm just going to save it to the
desktop.

I'm working at apet, but I recommend
you guys work in sixteen bit, just so

you have that much more color data to
work with.

We're going to make sure the icc
profile is still set to Adobe.

Rgb

resolution is still 300 pixels per
inch.

The scale's fixed at 100 percent.

And we're opening with Photoshop.

The last thing we still need to make
sure that we're doing is that there's

no sharpening on output.

If that's all good, let's go ahead and
click export one variant,

and that'll automatically bring it up
into Photoshop.

Now that we have this open end,
Photoshop, we're going to make our

healing layer, where we're going to
remove all of the distractions that we

can see.

So we're going to go ahead and hit

command shift, n

to make a new layer.

We're going to name it heel

and hit ok.

At this point,

I like to go around the image, zoomed
in to look for any distractions that

are catching my eye.

So we're going to zoom in with command
plus,

and holding the space bar

and dragging it actually lets you move
around the image so that you can easily preview

any section of it.

I'm noticing.

We're going to remove this.

There's some dust on our pants,

something catching light right here.

And

the biggest change for this image, I
think, is this clump of flyways here.

So we're going to save that for last.

For now

let's go to our healing brush tool.

Using the square bracket keys, I'm
going to make my brush smaller,

and we're going to go around

the image and look for those areas that
we made a mental note of

that.

We need to clean up,

just like the sky in the last shot.

The healing brush tool probably won't
work with this piece of grass, just

because of this transition here

and the fact that it's touching the
edge of the frame.

So we're going to use the clone stamp
tool.

And you can get to that by hitting s on
your keyboard or on the left side of

the screen.

There is the button for it right here.

We need to make it a bit smaller.

So using the square bracket keys, I'm
going to shrink that down a bit

while holding alt or option.

I'm going to sample a good area of
texture

and paint

where the grass is right along the edge
of the photo.

And I'm going to do the same thing for
this transition here.

So I'm going to sample right along this
transition,

and I'm going to paint where the grass
is crossing that transition.

So now that we've cleaned that up with
the clone stamp tool.

Let's go ahead and give it a try with
the healing brush.

I'm going to hit

Jay on the keyboard.

I'm going to sample where I think some
good texture is right about here.

And

we're going to paint away

this piece of grass.

All right, that seems over worked well.

So let's move on to the next area.

We're going to move over to our Jeans.

We're going to stay on the healing
brush tool.

I'm going to make it a bit smaller,

just big enough that the areas that
we're fixing fit inside of the radius

of our brush.

We're going to start sampling

and healing it away.

The light is just hitting our Jeans
right here in a little bit of a funny way,

and sits us a long, harsh transition.

We're going to use our clone stamp tool,

make it a bit smaller.

Let's zoom in just to touch, so we
could see it better.

And let's sample

around here,

making it even a little bit smaller, I
think.

And we'll start

slowly painting that away, just to
darken it a bit.

And we could do the same thing right
here.

That looks

a lot better.

I'm going to go back to my healing
brush.

And continue working on the rest of the
image.

I'm noticing some more areas around
some harsh transitions.

So let's zoom in a little bit.

Go to our closed out tool by heading s
on the keyboard

let's sample along the edge of a shirt,
right here.

We're just going to paint

away that thread.

We're going to do the same thing for
this one right here.

So I'm actually going to make my brush
a bit smaller

sample along this transition

and paint away that thread.

There's a few more spots with similar
threads,

one right here.

I'm going to sample along this edge,

going to paint that away.

Then you notice that

there's an edge right here as well.

So what I have to do is I have to sample

this crease

and paint that crease in.

At this point, you should have a pretty
good grasp on what I'm actually doing.

So I'm going to speed this up

and finish up the rest of these small
blendings.

You might think that removing these
hairs is a little bit of overkill, but

really it's that attention to detail
that really bring your images to the

next level.

So we're going to try and remove this

by using the same techniques that I've
been showing on the last two images,

just simple healing and cloning

is just more of a complicated area.

We're going to make a small brush,

still using the cloned stamp tool.

And we need to sample very carefully
along these transitions to try and get

rid of all of these hairs.

And I'm going to start here on the
shadow

sampling along the transition

between shadow and light,

I'm going to try and just paint that
hair away.

We're basically going to continue doing
this

until

this entire ball of hair

is gone.

For single hairs, over areas of skin
where there isn't much going on around it.

We can try and use the healing brush
tools.

So we'll hit Jay,

we'll sample a good patch of skin here,

we'll paint that out.

But you see, I still caught some of
that, so it's not quite going to work.

We might need to use

a smaller brush even still.

We'll zoom in more

so we can be more accurate.

We'll sample,

try and paint that away.

And that looks a lot better for this
area here.

We're going to go back to our clone
stamp tool,

sample along that transition,

start painting away again.

Sample along this transition.

The edge of their finger.

Just keep painting

these hairs away.

You're always going to be wanting to
sample

areas of similar color, similar light,
similar

texture, just so it doesn't look weird
in the end.

As you guys can see, there's no
shortcuts here.

I'm literally going hair by hair.

So let's speed through this and pick up
what I'm done.

So now, after all that tedious

hair by hair work,

that

clump of hair is gone.

But one thing that's actually left
behind from the hair

is the shadows of the hair over on

the stone wall here.

So that's the one last thing that we
need to take care of

before we send this over to clay.

So in order to do that, I'm actually
going to make a new layer.

I'm going to call it

hair shadows.

I'm going to use my clone snap tool,

make it a bit bigger, because I want to
sample a large area,

when a sample around here,

and just

bring that all down,

just paint that away.

We're kind of getting some weird edges

around here and right there.

So what we can do is we can hit e for
the eraser tool,

make sure that our brush edges

are a little bit softer,

quite a bit softer,

and brush

away those hard edges.

So now we have the hair mostly gone here

we're going to go back to our clone
stamp tool by hitting s on the keyboard.

We're going to sample

around

here.

We'll do it from here.

Just clone that out.

This is a pretty unique spot, so we
don't want to clone it there.

We're just going to clone that out again

and out to take care of this area.

We're just going to go ahead and grab
this up here again.

We're going to clone those out.

This area right here is too similar to
right here,

so I'm just going to go ahead

and clone that again.

There's a little bit left.

Now, we just need to fix

right here, where we cloned a little
bit too much into the shadows.

We're going to go back to our eraser
tools

and we're going to paint

over that area so that it deletes that
from our layer.

I think this image is just about ready
to head over to clay.

Keep in mind that this was very simple
edit,

and in the future lessons there's going
to be a lot more complicated stuff

coming up.

I just received this image over from
Jordan.

And one thing that we need to keep in
mind here is that this is part of a story.

So I'm going to grade this very similar
to what we did in the last image.

I'm just going to add a couple of new
variables here that might look a little

bit different, but it's still going to
have that nice, warm, raw, organic

feeling to the entire mood of the color.

So the first thing we're going to do,
just as the last image, is, we're going

to take all these layers and we're
going to stamp them down to one layer,

and we do that by hitting command
option shift e.

Or on Windows, it's going to be control
alt shift e.

And we're going to rename this to be
the base layer.

Now that we have our base layer, we're
going to open up camera, and we're

going to apply some very basic
adjustments.

We go filter camera.

And the first thing I'm going to touch
here is the clarity.

We don't want to go too far with this
clarity, because it's going to look

really overprocessed

and really overcooked.

And then we don't want to go too under
with the clarity, because this is going

to look like a blurry mess.

So we want to keep this clarity to be
about right around twenty

to thirty.

Then I'm going to desaturate the image
by bringing down this vibrant slider.

So in this case, I like negative twenty.

Maybe we're at negative fifteen,

those basic adjustments are going to be
done.

I hit ok.

And we're going to get into color
contrast.

And with color contrast, we start that
with a curves adjustment layer.

So we have curves adjustment layer
here.

We're going to rename this to color
contrast,

and we're, just like the last image,

pump up these reds in the red channel,

ever so slightly.

Now down to the green channel,

and we're going to make that subtle
less curve that we talked about.

Let's bring down this lower

line to the bottom right corner, and
the top of the line to the top left corner.

We're going to bring green in the
highlights,

and we're going to bring

magenta in those shadows.

Next up, blue channel.

Same thing.

Going to bring a little red into the
shadows

and some cool blue into the highlights.

Now next up, we're going to add color
to the mid tones.

And we do that

with the color balance adjustment layer.

So we're going to take this color
balance adjustment layer,

we're going to rename this to color.

And again, just like in the last image,
we're going to play with these sliders

to find a nice balance

to where it's not overbearing, it's
still natural.

But it's still as creative and it's
very warm.

So we bring down this yellow slider.

When adjust this green slider, add a
little more greens in these mid tones.

And then finally, to balance us out, to
bring it to a more natural level,

wealth we're going to add a little Sion
to the midtones.

And next up.

Now we're going to grab this hue
saturation layer.

And what we're going to do is we're
going to change the color of the sky.

We're going to make the sky more green,
rather than blue.

The reason why I want to do this, I
think it adds a little bit more interest.

It's going to be a little bit more eye
catching and eye popping, rather than

just a normal blue sky.

So we grabbed this selector tool, and
we eye drop right on this blue.

And so what this is going to do is
going to

automatically select the blues

in this sky,

and then we're able to take this huge
slider and slide that to little be a

little bit more green.

And you could make this sky really any
color you want.

You can make it pink, purple,

whatever color.

But in this case,

I want to just make it a little bit
more subtly green.

Then I'm going to desaturate the sky,
because I don't want so much green.

I just want it to be

ever so subtly green.

Now that we have our basic color grade
applied, I want to show you a little

trick that I do, to maybe add some more
warmth this shot, or perhaps add a

little bit more interest.

So first we're going to go down to the
bottom of our layers palette and select

this tool, which is fill.

And we're going to select solid color.

That's going to apply a solid color
over your entire image.

And what we can do is select

either a blue, or we could select a
brown, or really any color for that matter,

and it's going to overlay over the
entire image.

And then with the opacity slider,
you're going to have the option of

altering that color.

So we've gone so organic, we've gone
very raw.

We've gone warm with this.

I'm going to stick within the warm
palette.

So I'm going to select

about a nice brown here,

hit.

Ok.

Now we have this

gold brown color,

and we want this to overlay it on our
image.

So we're going to change the blending
mode from normal

to hard light.

And then now,

with the opacity slider, we're going to
reduce this way down

to around two percent.

But as you can see, it's hard to
notice.

So if you just move this opaci slider
up,

it's going to really affect the
highlights.

Because we have that blending mode set
to hard light.

This color is going to apply mostly to
the highlights.

It will affect the entire image though,

because this image was shot near or
close to golden hour.

I think this golden brown color fill is
going to really play to that style of

lighting.

As you can see in this image, although
it's similar to the last image that we

graded, there is some color
differences.

This has a little bit more green.

There's also a little bit more warm in
the highlights here.

But it's important to remember that if
I wanted this to be an editorial story,

I'd want each image to be pretty close
or identical to the same color grading

as the last.

The next step is, I sharpen this image
with blur, and so fall along here as I

take you through these steps.

Again, the first thing we need to do is
we need to stamp all these layers down

into one single layer and then
duplicate that layer.

But when we do that is command option,
shift e or control alt, shifty.

You're going to duplicate this layer by
hitting command j or control j.

Then you're going to put these in a
group by highlighting both of them,

holding on shift, and then clicking on
both,

and then hitting command g or

control g.

Or you could simply

click this folder down here to create a
new group, and then you would put those

layers in that new group.

The first step is that we need to
change this group name to sharpening.

Then

we drop down to the blending modes
here, and we change this to overlay.

It's going to look really funky for a
little bit, but just bear with me.

This first layer on top, we need to
then invert that layer by hitting

command I or control I.

Then we dropped this blending mode down
to vivid light,

and that's going to return this image
back to a normal state.

Then we go to filter

blur,

surface blur.

We want to keep this radius at ten in
the threshold at eight.

We want to keep those Numbers fairly
low.

Otherwise it's going to look super
overprocessed

over, sharpened very quickly.

So as you can see,

this is without,

and this is with.

We've brought back a significant amount
of detail.

But as we discussed in the last image,
this might be a little too much.

So we're going to back this off by
lowering the opacity to fifty percent.

Now that we have our sharpening applied,

we're going to stamp this all back down
to another layer, and we're going to

add noise.

Then I'm going to show you one final
trick that I do to really make this

image stand out.

We stamp all these layers down again by
using command option, shift e or

control, alt shift e.

We're going to call this

the noise layer.

We got the filter

noise.

Add noise.

Remember to keep it at gauziant and
monochromatic, because we do not want

color in the noise

at two percent.

If you go over two percent, it's going
to look crazy noisy.

And we don't want that.

We just want a little bit of organic
raw film look added to this

hit.

Ok.

Now that I have the noise applied, I
want to talk about the crop for a second.

You'll notice that our feet, our toes,
are actually cut off at the bottom.

Well, sometimes I like that because it
has this really editorial magazine look.

In this case, I don't think it's really
working.

Because at the edge of the structure
there, we have this like grass at the bottom.

I think we need to crop right under the
knees right around the shins to give it

a better composition and deliminate
this strange crop right at the toes.

So to do that, we select our crop tool
over here.

We want to select the corner, hold down
shifts so it maintains aspect ratio,

and then drag this up

right

there.

I like that,

and enter.

So at this point we still have this sky
in the background here.

We're still seeing that there's a curve
in the structure,

but now we don't have that weird crop
of the toes.

And then one final trick is that I want
to increase the height of Maria, our

model.

So to do that, I'm just going to simply
pull the pixels and transform this

image and pull it down just a hair to
extend the length of her body.

And do that, I hit command t

or control t.

I hold down shift, and I pull that down.

And I'm going to drag this,

just a hair

right there.

So as you can see, overall it's
extended her length made her look and

appear taller.

In this case, it works because Maria
standing we're shooting load to high,

and we're able to pull these pixels to
extend her length.

When it wouldn't work is when a model
is sitting or laying down.

And at that point we'd be extending her
width rather than her length.

As I look over this image, I think we
have a nice complete look here.

I think we have a nice warm grade.

Looks, really good.

This is definitely a shot that we'd
deliver to my client.

But keep in mind we're keeping
everything pretty simple right now, but

we're going to get more complicated as
we move forward.