All language subtitles for 12 Studio Natural Light and Strobes.mp4

So far, we've been working solely
outside.

We've been working a lot with natural
light coming up.

We're going to be working with all
artificial lighting and no natural light.

But right now we're going to blend the
two.

We're going to use both natural light
and strove lighting to make a

compelling image.

In this lesson, I'm going to show you
how you can manipulate a kitchen, or

any room in your house, into a high end
working studio.

When I first gotten photography,

I didn't have a big studio, I didn't
really have a place to shoot.

So I built out my living room.

It was carpeted floors, those eight
foot ceilings, a really small space,

and I made it work.

So the first problem, obviously, with
this space, is that I have no

background.

As you can see, I'm standing in this
regular kitchen, but I'm being lit by

massive Windows behind the cameras.

And it's a super soft light, it's a
beautiful light.

And we're going to incorporate that in
the image we're about ready to shoot.

Obviously, I'm not going to pose a
model in front of kitchen cabinets.

So what are we going to do to make this
space work?

So what we have here is four by eight
polystyrine.

You can find it at lows or home depot
or any regular hardware store.

It's pretty flimsy.

It's pretty cheap,

but it does the job.

Here's the back here, as you can see,
it's just a regular piece of foam core.

You can get this four by eight piece of
foam for under twenty Bucks.

And while it has its uses today, we're
just going to use it as a background.

So what my assistants have done here is
taken this wallpaper,

it's stippled wallpaper, it's textured.

It's

pretty inexpensive stuff.

And we've layered a layer of paste

onto the front side of this piece of
foam core and then rolled this

wallpaper onto it so it sticks to the
piece of foam.

Once this wallpaper was glued to the
phone core, we just went over it with a

gray flat paint,

and then we took

black,

mixed it with the gray, and then
splattered it onto the wallpaper with a

paper towel.

And once that was done, then we took a
paintbrush and we put

a little bit of gray and white together
and then splattered it onto the phone.

You might be wondering why we just
didn't paint the phone core itself.

And the reason is because we don't have
that texture on this phone.

Core it's just a Styrofoam, and we need
that really granular texture.

You may also notice that there's some
errors in this background.

We have some wallpaper that's kind of
unglued,

and some paint that's kind of randomly
splattered on here.

But the beauty of texture is that it
can be easily cloned out in post

processing and Photoshop.

We could set this up right in front of
my kitchen and used this as a flat background,

but instead we've created two of these,
and we're going to place them in a v shape,

which is going to give us a lot more
room to play work with our model and to

create an awesome image throughout.

This tutorial you're going to see is
building sets.

So you're going to be seeing us build
structures and walls.

And I love that sort of depth, because
it allows us to really create some

awesome shadows in a three dimensional
space.

I'm going to bring in my assistants,
we're going to build this set, and

we're going to

hide this ugly kitchen behind us.

We've constructed our sets in our
kitchen here.

And let me kind of walk you through
what we've done.

So we've taken two of our polystyrene

foam core diy

walls here, and we've form them into a
v, and we've held them with our c

stands that are just holding the tops
very lightly, just to hold them in

place.

We have a c stand over here from a
venger that's raised with a boom arm

that is attached to a superclamp that
is lightly holding the top side of

these four by eights.

And that that's what's holding

this entire set in place, as well as
some gaffers tape on the back side that

is basically holding the two flats
together.

You're going to see a few of these
bubbles and a few of these lines from

the wallpaper, and some glue that's
held together.

But surprisingly, once we get this lit,

those are, for the most part going to
disappear.

And if anything is left over, then it's
an easy fix.

And Photoshop.

So as you can see in this camera here,
it already looks like we're in a

completely different space.

We're in a professional studio.

Now, even though we just painted this
about two hours ago, now that we have

this set built, we're going in our
model of coal, and we're take a test

shot with just natural light.

I've switched spots with our beautiful
model in the coal, and now we have this

awesome window light that's sort of
just spilling on this background and

spilling on our model's face here.

So we're going to take a shot and just
see what that looks like

right now.

We have a ton of light that's just
flowing on our model's face and flowing

on this background.

And it looks awesome.

It looks pretty good, but it's not
exactly the vision, or it's not exactly

the mood that I want.

I want a lot more shadows.

I want a lot more depth.

I want

to be able to see this background as it
stands as a v shape, with this natural

light that we have.

This big window light

it's pretty flat.

It just fills the entire scene.

And we're going to have to bring in
artificial light to really create those

interesting shadows and create that
depth that's within the vision.

If we wanted to add more shadows and
more depth is shot, we could just shift

this to the side

and suddenly we'd have that nice

sidelighting, the nice 45 degree angle.

But I've purposely placed this
background here because I want this

natural light, this big, nice window
light, to act as a fill.

Because we want to use this window
light as a fill,

we have to bring in artificial light.

We're going to bring in one single
strobe to add depth and add those

dramatic shadows.

If you haven't heard of the terms key
light or fill light, key light is going

to be the brightest point, the
brightest light, in our image, and the

fill light is just a secondary light.

That's going to raise the natural
ambience and reduce that shadow

density.

This is the light we're going to use
for our key light it's a palsy buff

alien b.

These things are very inexpensive
compared to your high and pro photo

lights, and they're around the same
prize as a speed light.

And this is going to act as our main
source of light in this shot.

If all you have are speed lights, that
will work,

this is just the next step up.

It's nice to plug this in and have that
fast, recycled time compared to a

battery powered speed light

to really bring out those shadows.

In the depth of the shot,

we're going to place this light
directly overhead to really mimic this

cinematic style of lighting.

So we're going to put this right over
the v flat and see what it looks like

we've brought in our alienbid.

And I'm going to fire it using the same
remote triggers that we use with our

speed lights, the pocket wizard, plus
threes.

But before we turn this

strobe on, if we're to take a look at
the shot that we just took with just

natural light, you're going to see that
it's correctly exposed.

Now if we're to bring in an artificial
strobe, it's going to be overexposed.

So what we have to do is compensate for
that by underexposing

the natural light.

Batou stops,

our strobe is off.

And now I'm going to lower my iso about
two stops and see what that looks like,

as you can see in this shot, it's
underexposed.

And I've been doing this long enough to
really feel out fill light.

And I think this is about where we need
to be.

Now we're going to turn on this robe
and bring this exposure up to where it

needs to be.

If you take a look at this shot, you're
going to see these weird shadows under

the eyes, and this really bright
highlight on their forehead and on our

cheeks.

And this is not really a flattering
light.

So what we need to do is bring in a
modifier to diffuse this light to

create those really nice, soft shadows
of the face.

To do that, we're going to bring in
this three by six difference, the

fusion panel that we used outside in
the last lessons, and we're just going

to lightly lay it over the top of the v
flat.

Then we're going to raise this alien be
overhead and shoot the alienby

through the three bios diffusion panel.

Ok.

So let's see what this looks like.

We've brought in this modifier and
we've really softened these shadows.

But the problem here is that this
modifier is just too far back.

We still have those strong shadows
under the eyes, they're just far too long.

So to resolve this, what we need to do
is bring this modifier and the strobe

forward.

So the light is now spilling on our
face, rather than pointing directly overhead.

Now we've brought our diffusion panel
about three feet forward, and we

brought our strobe three feet forward
as well.

And we're going to take a shot, and now
see what this looks like.

As you can see now, these shadows under
the eyes and that strong highlights

have been completely reduced

and it's looking like a really nice
flattering light just by bringing this

light forward, feathering it off, and
having that light really just wrap and

spill over the face.

Now I'm going to show you why I place
this background in front of the window,

because now we have full control this
natural light using just our shutter speed.

For this first shot, let me show you
what it looks like without natural

light.

I'm going to raise my shutter speed to
200th a second that's the maximum seek

speed.

I'm going to remove all natural light,
and I'm going to show you what that

looks like

in this image.

I've completely removed natural light.

I've cut it all out.

And you see that we've lost a lot of
detail in those shadows.

And it doesn't look as

ambient as what the final vision is.

Now I'm going to do the opposite.

I'm going to drag my shutter and bring
in all this nice, ambient light and see

what that looks like.

I'm going to shoot at 120th of a second
here.

Now we've done the complete opposite.

I've dragged my shutter.

I've brought in a lot of fill light,
we've brought up that shadow density

and really brought in a lot of detail
back into these deep, dark shadows.

But I want something that's in between
both of these shots, a really balanced

mood.

So I'm going to bring my shutter to
100th of a second, and we're going to

take a shot.

All right.

So, I think we're good.

I think we're there with this light
scenario.

So I'm going to start working with the
coal and see what we can come up with.

Perfect,

turn a little bit this way.

So let's bring that arm back.

Very nice.

So the sun is starting to go down.

So we're losing our fill very quickly,
because I cannot control the sun.

But we're going to keep going through
this.

We're going to keep working, and I'm
sure that we can land on something

real, nice,

beautiful Nicole.

I love that.

Since up is real, nice,

very good.

Perfect.

And around this way, dip the head back.

Yeah, there you go.

Awesome.

As you can see behind me.

Our ambient light is now gone.

It's completely shot, like when we've
had the time and the coal to get some

really awesome shots.

And now we're going to go into post

for this lesson.

We're going to be using an image from
the first time clayan's assistant,

built a set.

I already have the image open and
capture one.

But instead of just doing our usual
process, I've a few extra things that I

want to teach you.

So first we'll start with our usual
adjustments.

I need to make a new variant still.

So i'll do that.

I think the color temperature is
actually pretty good.

So we're not going to bother with the
color tab this time.

We're just going to go straight to
exposure.

I think it's a little bit too bright
here.

So we're going to bring down the
exposure, just like we have for the

other images.

It's a little bit too far, I think,

right about there.

And now there's a lot of shadows down
here.

So we're going to try and bring that up
for a nice balance.

We've lost a little bit of contrast, so
let's add that back in.

And maybe it could use a touch of
brightness.

Let's toggle between our original and
our new variant to see what our changes are.

That's pretty good.

But I think this area is still too
dark.

And we can't take care of it with the
shadow slider because it just doesn't

work.

It affects the rest of the image.

So we need to figure out some way to
limit this shadow adjustment to only

the bottom half of the image,

bring that back down to where we have
it.

And we can take care of that problem by
going to this local adjustments tab.

This panel is going to be very similar
to using layer adjustments and layer

masks in Photoshop.

And you can take care of this issue in
Photoshop, but I think it's better

dealt with inside of capture one.

The reason being is that in capture
one, we can actually utilize all of the

raw data from the original file.

But when we export into Photoshop, it
compresses that data.

So we lose a lot of information in the
highlights and the shadows.

So since we have all that raw
information, we can easily bring up the

shadows and still have a lot of detail
in them.

The first step to making a local
adjustment in capture one is to click

on this plus icon.

We're going to make a new layer.

We'll call this lower shadows.

Hit enter.

And now we're going to hit b on our
keyboard for the brush icon, just like

in Photoshop.

And it'll bring up our brush.

We need to make sure that our brush
settings are ok.

So we'll right click on the image,
it'll bring up a new brush setting panel.

We need to make sure that we're using a
very large brush, about there is ok,

and that our brush is very soft, so
that it feathers out, towards the rest

of the image,

we're going to max out our opacity,

and we'll keep our flow around fifty
percent.

Now, just like a layer mask, we're
going to paint on the image to show the

effect of what we want to change.

So we're going to paint over the shadow
area.

And the red area is where our effect is
going to show.

We haven't made any adjustments yet, so
that we won't see any changes,

but we want to bring up our shadows.

So we're going to go to the high
dynamic range area

and bring up those shadows.

And you can see that it's still
retaining all of that information

really well.

I think we masked a little bit too much
in these areas on the backdrop.

So we're going to hit e on our
keyboard, and that will bring us to a

racer tool.

We'll go with a little bit of a smaller
brush

with a low opacity, so we can slowly
paint our effect away.

And let's start painting away

our layer mask.

Just undo that

with a little bit of a larger brush.

We don't want to use pen pressure for
this because we want it to retain the

size that we chose.

And that's looking really good

the only thing is that I don't want the
effect to show on her arms.

We're going to hold command and hit the
plus icon on our keyboard so we can

zoom in to this area on our arm.

Now we want to erase the effect from
her arm in hand,

but we need a smaller brush.

We're going to right click

and go with a smaller brush.

We'll increase the hardness a bit.

And we're going to have automas
checked.

This will make it so that if we go over
the edge a little bit, capture one

knows that there's an edge there, and
it'll try to follow it as best as possible.

We're going to increase our opacity.

And now we're going to start painting
the effect away from our arm.

That's looking pretty good,

and I will do the other one.

As you can see, there's a nice sharp
line here along our arm.

So we know that capture one is doing a
great job with automask.

Now we'll zoom back out,

and just like in Photoshop, we can
toggle our layer adjustment on and off

to see what we changed.

That's looking pretty good.

So I'm going to go ahead and export
that.

And we can continue working in Photoshop

now that we have our image open and
Photoshop,

just like all of our other images.

My first step is do the healing process
on our skin and clothing.

So we're going to speed this up, as you
guys should already know how to do it.

I finished up with my basic healing in
cloning, but now I want to deal with

her hair.

And this photo was very frizzy, and a
lot of photographers and retouchers

have a hard time dealing with this.

If we zoom in,

we can see that this patch here,

I would just like to give it a little
bit more shape,

but all this frizziness is in the way.

So I want to remove it,

but still keep it looking natural.

A lot of other people might try dealing
with this by using the clome brush and

just painting it away.

But i'll show you why you shouldn't do
that.

And we're going to make a new layer and
call this

hair frizz

hit.

Okay.

Go to my clone stamp tool.

We'll make it a bit of a harder edge.

Let's find a good spot to sample from
around here should be good.

We'll sample, and we'll start painting
it away.

We can even go in with a bit of a
harder brush.

You can see that we've created a very
clean edge on our hair here.

But that's just not how hair is.

Naturally.

There's always going to be little hairs
poking out of the edge.

And this type of retouching just
doesn't look right.

So I'm going to show you how to refine
this and keep it looking natural.

We still need to clone this area out,
because we don't want those hairs

underneath of what we're going to do.

But we need to make a new layer so that
we can actually manually paint in

hairs.

I'm going to make a new layer.

I'll call it hair painting

head.

Ok.

Now we need to zoom in very close,

right?

A boat there.

I actually missed a bit of hair there.

So we just go to clean that up really
quick.

We'll just refine this edge a little
bit on our previous layer before we start.

Now, we'll go to our hair painting
layer.

We'll go to our brush tool.

We'll want to increase our flow rate,

about 80.

And we're going to make sure

that our hardness

is really high, probably about 90 and
95 percent

somewhere around there.

We're going to make it a lot smaller,
because we're actually painting hair.

So we need it to be about the thickness
of a hair

we'll go with that.

And now we can sample

all the different colors in our hair

as we paint each hair in.

We want it to look frizzy, but still
refined in a way that looks good.

I'm going to hold option to sample a
color in our hair.

And we'll try painting in a hair.

Our brush is a bit too thick,

so we're going to undo that,

make our brush even smaller.

Let's try that again.

Still a bit too big.

So we'll just keep trying until it's
about the right size.

I think two pixels will work good.

And now you just need to kind of start
throwing in

a bunch of fly away.

We're going to keep sampling different
colors in our hair so that as we paint in,

there's still the same variation as
there is in the rest of our hair.

We'll grab some of the light hair up
here.

We're basically just hiding that bad
cloned stamped that we made right

before we did this.

As you're painting, you're going to
want to think about how the hair would

naturally flow.

You're obviously not going to paint a
hair going out like that.

And you don't want it coming up really
far, because then it looks very

obvious.

You just want to keep it subtle and
natural along the hairline that we

already made.

We're almost done on this section, I
think.

Zoom out.

See how it looks

maybe a little bit more.

Now it's looking pretty good, but I
still don't think it's quite fitting

into the image.

It's a bit too soft compared to our
normal hair.

So what I'm going to do to fix this

isn't, we're going to go to filter,

sharpen an unshart mask.

Let's move this over so we can see what
we're doing.

And we want to sharpen our lines up

until they match her natural hair.

Let's bring that up even more.

We can turn our preview on and off to
see the effect.

It's a little bit too much.

Back that off.

Zoom out,

and that's looking really good.

So I'm going to hit, ok.

There's one more thing we need to
address before we move on.

From our newly painted here in every
image there's noise.

It's just something that happens
naturally from a camera.

And when we went and painted this in,
there was no noise.

So

we need to add it back in.

We're going to go to filter again

under noise and ad noise.

We really don't want to add much.

It's going to be super subtle.

Just clicked it on and off.

And you notice, right about here you
can see some slight variations added to

the hairs.

It's super subtle, but even that small
amount of noise makes it look that much

more realistic.

So I think two percent is pretty good.

We'll hit, ok.

Keep in mind that the sharpening and
noise that we just added was only

affecting our hair painting layer.

So now let's go and toggle this hair
painting layer on and off

to check our work

that's looking really good.

We need to deal with to make this look

completely realistic

is to remove these flyways that look
like they should be poking out.

I'm going to make a new layer to deal
with this.

I call it flyaways.

I'm going to zoom in really close,

go to our clone stamp tool.

And now what we want to do is sample
from further down in our hair

and replace

this flyway.

We're going to make our brush quite a
bit smaller.

We'll sample right about here

and start painting that away.

You want to keep in mind that you're
going to be painting along the grain

with the hair so it doesn't

break up the flow

and catch the eye.

A bit

that's looking pretty good.

I'm going to speed this up really quick
and just take care of a few more of

these hairs.

Now we're not going to remove the hair
phrase on all sides of your head,

because this chute was specifically
styled to have frizzy hair.

I did want to change that one spot just
because I felt like it was extra

distracting.

So we took care of that, and we're
going to leave the rest alone.

Now that we've taken care of the hair,
we need to deal with the background.

And the lesson clay talked about how
awesome it is to use hand painted

backdrops, but it's really hard to make
them perfectly without any wrinkles or

anything.

So I'm going to have to remove all of
these wrinkles just to make it look

really smooth.

Since it's textured and there's so many
color variations, this actually makes

my job really easy.

I'll show you two ways that we can deal
with it.

The first method we'd just be using our
normal healing brush.

So we'll make a new layer for this,

be background healing.

Our background fix

hit, ok.

Go to our healing brush.

Zoom in,

and we'll have to remove this wrinkle
with the healing brush

make our brush

large enough

to swipe that away.

We'll sample,

just paint it out.

You can see that the healing brush does
a great job for this.

And you can never tell that there was a
wrinkle there.

So we'll go up

and try and get rid of this one as well,

to heal that out

and it's gone.

The perks of using a healing brush for
this is that it's very simple.

You just sample and swipe the wrinkle
away, and usually it's gone.

But sometimes

the algorithm for the healing brush
doesn't quite understand what to do

with all of the texture.

So you can get some weird results.

Another downside of using the healing
brush for this is that it actually

replaces the texture.

So if you wanted to keep the texture
exactly how it was, you wouldn't be

able to use this.

So that's where the other method comes
into play,

and that's just using our normal dodge
and burn.

On this side of the canvas,

the wrinkles are a little bit wider, so
this is a good place to use it.

We'll make a new dodging burn layer.

We'll name it dB.

Background, to differentiate it from
our other dodge and burn layers.

We'll go to our brush tool

I think we should use a boat,

really low flow, say about five.

We're going to make our brush bigger

hit d on our keyboard to reset our
color palette.

We're in a sizer brush to fit in this
lighter area.

If I'm painting with black,

and we'll just start painting.

And just like we would dodge and burn
skin, we would paint on the lighter

areas with black to darken them.

And we would paint on darker areas with
white

to lighten them.

It does take a bit longer than using
the healing brush.

But if I really wanted to keep this
texture exactly how it is, this is the

way that I would have to do it.

I'm going to speed this up and i'll use
both methods.

It'll be a creative choice that i'll
make as I go, depending on what I want

to do with the texture.

I've gone through and use dodge and
burn for most of the wrinkle removal.

But there's a few spots that we need to
deal with with a healing brush because

there are texteral issues.

We'll go to our background, fixed
cloning layer,

make sure we're using our healing
brush, and zoom in.

We want to have a very hard brush

so it doesn't time blend the colors too
too much.

Well, sample,

just take this out.

It's looking pretty good.

Just continue doing that.

A little bit of weirdness going on
here.

So we'll try and

heel that out

and make our brush smaller.

I think that's pretty good to leave
that there.

If you look, you can kind of see some
slight remnants of the wrinkles.

But I purposefully left them in there
because I think they add a nice element

to the texture.

And there's just two more spots that I
want to deal with.

There's some specks over here,

and there's this area down here.

I'll move to my cloned stamp tool,

zoom in,

just quickly clone this stuff out.

Now that I'm done with the background,
I'm going to do some dodge and burn on

her skin.

I'm going to speed through this, and
once I'm done, i'll show you something new.

So we've finished up with our dogs and
burn.

And there's only one thing that we need
to do to finish this image up, and

that's local color adjustments.

We've done something similar in
previous lessons, where we would mask

in areas of the background, and we've
changed the color a little bit.

But skin is quite a bit different it
has a lot of variations and is much

more difficult.

And the area that we're wanting to work
with

is about a four arm area,

right here on both arms and a little
bit on our neck.

We're going to correct this color using
selective color curves and hue saturation.

I'm going to start with selective color,

and we need to choose a color range

that this is mostly contained in.

So I think that it should be in the
reds and magentas.

We'll go to magentas.

First we'll pull the magenta slider
down to introduce some greens and

balance it out of it.

Next we'll pull up some yellow,

bring some natural skin tone back into
it.

We're going to leave the scian slider
alone.

Just zero that out.

Let's go up to reds

again.

Let's start with the magenta.

Look there

let's pull in some yellows.

I think we'll leave the science slider
on this one alone as well.

The forearms are looking a bit better,
but we haven't painted on our layer

mask yet, so it's actually affecting
the rest of the image.

Let's go ahead and invert that by
heading command eye.

Go to our brush tool.

Let's bring up our flow.

Zoom in to the area,

increase the brush size a bit,

and it'll paint that effect in.

The color isn't quite there yet, so we
can do a few more things to it.

This is looking really desaturated
still, so we're going to introduce some

new color to it with curves.

I'm going to add a curves adjustment
layer

first let's add some yellows by
clicking on the rgb dropdown and

choosing blue.

This curve here

will let us affect the blue channel
only.

So if I drag it up,

it adds blue,

and if I drag it down, it adds yellow.

I'm going to pull it just slightly down
to add a little bit of yellow.

We're going to go to the red channel,

add just

the smallest amount of red.

And now there's some areas that are
looking over saturated.

So we'll mass this in first and do with
that.

Next.

We'll go ahead and invert our layer
mask,

make sure we're still on our breast
tool.

Let's paint

it in this desaturated area.

We can actually use this same curves
adjustment to fix this area on her neck.

So we'll paint a little on.

There's

looking good

a little bit,

almost near her shoulder.

I think

that's looking good

now we need to deal with the saturation.

So we're going to make a hue saturation
adjustment.

It's looking like our reds in our
yellows are a bit oversaturated.

So let's go to our red channel,

decrease that saturation

and go to our yellows and decrease that
a bit as well.

Now we'll invert our layer mask

and we'll paint it in over the spots
that we think are too oversaturated in

red and yellow.

Just make sure that we're painting with
white

and start painting that in.

Now, before we save this out for clay,
we're just going to clean up our layer

panel a bit to a group these last color
adjustments.

I'll call that color.

Cc, for color correction.

We'll group our dodging burn together,

let's call that dB.

I'll group all of our cloning layers
together.

I'll just call that cleanup.

Now that we've got everything fixed up
on our image, we can save it out and

send it over to clay.

We just receive this image back from
Jordan, and it's got a great retouch.

I've had some time to think on it,
analyze it, look it over,

see which direction I want to go.

Jordan did a great job with bringing in
this raw detail and the data in these

pants.

But after analyzing this shot a little
bit, I think I want to bring those up

even more.

And we're going to do that with curves

in the curves adjustment layer.

So before I move into the color portion
of this, let's brighten up the pants

first.

I want to stamp all these layers down.

We're going to create a curves
adjustment layer.

I'm going to bring up the shadows on
the rgb channel.

Once we have a really nice exposure of
these pants,

I'm going to go down to this white
mask, and I'm going to invert it using

control.

I'm

going to rename this

pants.

I'm going to make sure I'm selecting
this black mask.

And I'm using a white brush.

When you use a nice soft brush with a
low flow,

we're going to go to five percent.

And then I'm just going to paint on

the exposure to these pants.

So once we have these pants highlighted
taste,

I'm going to go back to our base layer
and work in camera raw.

But first I need to convert it to a
smart object, so that we're working on

a nondestructive workflow

when you go into camera.

And the first thing I'm going to do is
bring up this clarity.

Because we have so much texture in this
background.

Clarity is going to really bring out
that detail.

So you can go a little bit crazy with
the clarity if you want.

In this case,

excellent.

Now that we have the camera and the
clarity applied, I'm going to create

another curved adjustment layer, and we
don't work on the contrast.

First we're going to go to the red
channel.

We're going to pull out these reds,

ever so slightly.

Next we're going to move onto the green
channel.

We're going to create a subtle s curve,

magenta and the shadows

and green in the highlights.

Next we're going to move to the blue
channel, and we're going to do the same

thing as we did with green and create a
subtle s curve.

Is going to add some warmth through our
skin,

and then blue in the highlights.

Excellent.

Once we have a color contrast applied,

we're to move on to color in the
midtones.

And I do that using color balance.

So with the midtones,

I want to make this even more cool.

We're going to cool down the entire
shot.

So I'm going to drag this blue and
yellow slider to the right.

Just find a nice balance of blue.

Then up to the green and magenta slider.

We're going to play with that

until we've cooled off that magenda.

Next is a sign and red slider.

I think we have a nice balance here
when we play with these colors even more,

and don't be afraid to get crazy.

So another step in this creative
process is we need to reduce the vibrance,

someone to drag this down.

And as you can see, if I went too far,
it's really desaturating our skin, but

maintaining the blues.

So we just need to balance this
vibrance to where it's not too desaturated,

but looks

very dramatic.

I'm going to shift this vibrance down
to keep an organized workflow.

And the next,

we're going to move on to my sharpening
process,

stamping this layer down,

duplicating this layer,

grouping these layers

and rename it,

renaming this to sharpening.

When it changes this blending mode to
overlay,

then I'm going to drop this down,
change the first layer in the group

to vivid light,

and when it invert that layer, go up to
filter blur,

surface blur.

Keep the radius at ten threshold at
eight hit.

Ok.

We've added a significant amount of
detail in this background and on our skin,

a little overboard.

So we're going to back this off by
fifty percent

on the actual group layer.

Keep that in mind.

Once you have our sharpening applied,

we're going to stamp a new layer,

go into noise,

add noise.

Keep it at two percent.

And make sure it's always
monochromatic.

We don't want colored noise because
then it looks like you're shooting at a

high iso.

Perfect.

And one last step

is stamping these layers down.

And we're going to go into camera and
make our final adjustments.

I'm going to convert this to a smart
object.

Go to filter,

camera, all filter.

And then I must first start with the
temperature sliders and the white balance.

So I could go very cool here.

But I really liked this golden

look in her skin.

All right there.

Great.

So once we've applied camera to our
smart object, and you're going to move on