All language subtitles for 18 Editorial Spread Shoot.mp4

For this final section of the tutorial,
I want to take everything that we've

gone over, everything that we have
learned in this, and create one awesome

editorial spread on an editorial story.

In this iconic location called
Churchill downs.

Churchill downs is where the Kentucky
Derby is hosted in.

Nearly 300000 people once a year come
here to watch a two minute horse race.

This is perhaps the most iconic
location in all of Kentucky.

There are photo shoots that happen to
hear all the time.

So this is the perfect background for
our editorial story.

Today.

Our subjects today are allie and Dave
moisen, both singers, songwriters here

in Louisville, Kentucky.

And Dave was actually just recently on
the voice and got a four chair.

Turned.

This couple, or some of my favorite
people,

they're really good friends of mine.

And so it's going to really be awesome
to work with them and create this

awesome editorial story.

Today,

the objective with editorial is to
collaborate with a writer and create a

nice story that can be printed in any
magazine.

Today, normally the writer would be
interviewing Dave and alley.

But since we're not doing this for a
written piece, we have the freedom to

basically do whatever we want.

So we're going to take advantage of
this awesome location and create some

images that you might see in a
magazine.

As you can imagine, in a location such
as this, there's a lot of options.

It's actually very overwhelming.

So we're going to pick our first
location, get set up and start the shoot.

We're here in the lower section of the
grand stands and some box seats.

And the reason why it shows this
location is because we have so many

great leading lines and structured
lines here.

I can really work with these bars to
frame our subjects.

So I'm going to place David alley here
in the box and the corner, so they can

use these bars and these chairs as
armrest.

Just so it overall feels more
comfortable.

As you can see, we're in the bright,
hard sunlight.

Light is not that flattering on the
faces throughout this tutorial.

You know, I've used hard light.

I love shooting in hard light.

But I know that I want a proper
composition.

I want this background, and I want to
use all these nice lines.

And so the harsh sunlight just isn't
going to work.

In this case, it's not in the right
position.

So I need to diffuse the sun and create
my own light.

I've already had my assistants build or
set up here.

They've created this six by six panel,
which is going to diffuse all that hard

light out.

Then I've extended this six by six with
this piece of fabric here, just to keep

the scene in shade.

While this might not be the prettiest
setup, this does the job.

It keeps my entire scene in shade.

Now I've placed David alley in the
corner here, because I want them to use

all these bars and the chairs to form a
nice composition.

I'm using all these metal bars to
create leading lines.

And what leading lines do is direct the
eye towards a subject.

And something to keep in mind is I'm
playing with horizontal lines as well

as vertical lines.

In this composition, vertical lines
will give the subject more power and

strength, and horizontal lines create a
calming effect to the entire image.

And finally, diagonal lines

create impact.

They create chaos.

And so with all those lines in mind
here, I'm creating an image that's

unique to what the mood is.

Now that I have the composition formed,
I'm going to take a shot and see what

that looks like.

Now as you can see in this image, we
have this bar that's running straight

through the front side of the image.

That's what we like to call a leading
line.

Then we have these nice other diagonal
lines that are creating some nice

impact to the image.

And then in the background, we have all
these other lines that are creating

horizontal as well as vertical lines.

So this all comes together to create a
really awesome photograph.

The whole goal with lines is to bring
the eye to the subject, but they're all

directing your eye to Dave and alley
here.

Now you can see in this test shot that
they're perfectly exposed, but my

background is way too bright.

So I need to increase my shutter to
properly expose the background.

But there's going to be a major problem
with that is that now Dave and allie

are going to be completely dark.

Now I'm going to take a shot and see
how dark they're actually going to be.

Now I've increased my shutter, I've
properly exposed for the background,

and my subjects are pretty dark, but
they still have a nice fill over them

because I'm using this diffusion panel.

And this diffusion panel is still
letting in light.

That's going to fill a little bit of
those shadows.

Now to bring David allie out of this
background and properly expose them, we

now have to bring in our own artificial
lighting.

So what I'm going to bring in is a pro
photo b two system.

I have the b zu attached to a venger
grip arm, which we're then going to

attach to an adventure c stand, which
is going to rig over daven alley here.

I'm modifying that b two head with a 65
inch pro photo, deep white umbrella.

This light setup is very similar,
almost exactly the same light setup as

what we did on the rooftop of 21 c.

Except in this case I want a larger
light source, a little bit more of a

softer light on daven alley.

Now that Lewis has attached this grip
arm to the cstan, and we have this pro

photo b two modified.

I'm going to get this in position to
where I feel like it's going to be a

nice, soft flattering light over daven
alley

right there.

Now the advantage of using the pro
photo b two system over let's say, the

d one or the alien b, is that we don't
have working power out here in the

middle of its grandstands.

So we're using a battery pack to power.

Our strobe it's

a really mobile system.

I really like to look at this shot.

Our pro photo b two is almost full
power, but we're right locked in

perfect where we need to be.

Now, as you can see in this shot, I do
have my work station and the light

stand in the shot, but because I'm
shooting on a tripod, we're going to

take all that out and post, and we're
going to make it really easy for

Jordan, a retoucher, to remove all
that.

And the way that's done is that when we
get the shot, we have David allion, a

great pose and a great position, and we
have a nice image.

We're going to remove that lightstand
in the workstation, out of the frame,

and then take a background plate, which
will guarantee that we have a working

file that we can just copy and paste
and mask in that background.

If you do decide to composite, you need
to make sure that your background

remains untouched.

Because if anything does move in the
background and this change, you're

going to have a really tough time in
Photoshop and post processing to

correct that.

Now that I have my camera, the
diffusion and my lighting down, it's

time to take a bunch of shots to get
that final image.

My goal with David alley is to form an
editorial story.

And so with the copy, and the story
that's going to go along with these

images, I need to create images that
really collaborate with that.

And so in this case, I want a really
comfortable mood.

I want a light hearted mood where there
are a couple there together.

It's very similar to lifestyle.

We want something that's very
energetic, very lighthearted, compared

to, let's say, some of the fashion
editorial stuff that we do

as I shoot through a lot of these
frames.

What I'm trying to do is get them to
crack up, interact with each other and

just be very comfortable with the
camera.

Yeah, because kiln, the game,

natural rock stars.

And allie is just

giving me the

fiercity.

No, it's fine.

It doesn't matter at all.

Oh, somber.

Now I think I have this shot.

It's really energetic, it's really
awesome.

But I need to move David allie out of
the frame and also move my work station

and the lighting out so I can get that
background plate, so we can composit,

and make sure that everything is
cleared and out of the shot.

So now I'm going to take a shot get a
background plate so that we have this

in post processing.

In many cases, I may bracket and get
multiple exposures so that we have a

lot to work with in post processing.

But in this case, I've perfectly
exposed the scene.

So this shot here is the only image I
need to complete this composite.

So now that we have this set done,
we're going to pack up, move to another

location, and try to go for something
completely different.

Now we've changed locations.

We come into the infield of the track,
and I really love this scoreboard.

It's got really good horizontal lines.

I pull back my camera, and I'm going to
go a little wide on this shot, because

you always want to take a consideration
copy.

The client might want to put titles
over the photo, or even put the entire

story over the photo.

So shooting wide like this, and
providing an image such as this is very

important to the entire spread.

So unlike the last photo, this
scoreboard is a lot less busy, so text

will pop off the image.

So for composition, here's what I'm
thinking.

Let's take our first shot.

As you can see, I've framed them.

I've pulled way back.

I'm shooting full body and Dave and
allie are now on the right side of the

image, which is providing all this nice
empty space and negative space.

On the left side of the image, the
fence line in front is providing a nice

horizontal line.

That's lining up with the flowers and
then the scoreboard.

And then this text, which is on the
left side, the windplace show all that

is in a horizontal format, which is
giving a nice, easy calm feeling to the

entire shot.

As you can see, most of the shot is in
the shade, but we have this bright

highlight that's creeping in on the
left side of their face.

In previous lessons, I've showed you
that you could place a modifier in

front to block that highlight.

But in this case, I would be placing my
key light too far behind them.

And so I need to bring in my six by six
diffusion panel to block out that

sunlight.

As you can see on their face, the
highlight has been softened and blends

within with the shade that was already
there.

So in the infield here we're on a bit
of a time crunch because the sun is

moving so fast.

So this is a prime example of why it's
good to have assistance onset.

Now that I have that light diffused on
the left side of their face.

I'm going to take a shot to show you
what this looks like.

Now this image looks really good, but I
know I'm going to need some artificial

lighting to really bring them out and
add some contrast to the shot.

We have hunter here with a pro photo b
two kit.

That's attached to a monopod.

And then it's modified by a 65 inch
umbrella, just like the last shot,

because we are on a time crunch here,
and I am positioned so far back.

It's great to have hunter on a monopod
instead of a c stand.

And that way I can direct a light,
position the light.

And we have a very mobile system.

So remember, we need to position the
light following the flow of natural

light.

So I'm going to position hunter here,
right in front, kind of overhead.

We're going to feather that light so we
get a nice fall off on their face.

Now that I have the position of this
light where I might want it, I'm going

to take a test shot and we'll see what
that looks like.

Now as you can see in this photo, the
light is great.

Everything is awesome, but we still
have an issue with the pose.

So we need to put them in a position
that's flattering to their bodies and

flattering their faces, and really
works for the overall lines in the shot.

So my idea here is to raise allie, have
us sitting down and follow these

horizontal lines with their legs.

Then Dave will be standing in, which
we'll create a nice, vertical pillar in

the frame.

All right.

So allie, let me have you

sit up,

and then let me have you turn and
follow this fence line with your feet.

Here.

There you go, just in the same kind of
position that we were.

And then stagger your legs.

So I get a little bit more of your
knee.

Try the other way.

So yeah, there you go.

Very nice.

And then Dave, you can kind of stand a
little bit in front of her,

and just the other, you go.

As perfect.

All right.

Dave, come a little bit forward towards
me.

Just straight, straight on.

But I like you leaning that way.

Well, like I like you against the
pillar there.

Just just move your shoulders towards
me.

Your left shoulder.

There you go.

Perfect.

Yep.

Now that I have them in a confident,
comfortable pose,

the idea is to now bring out some
energy and emotion.

All right, yo, crazy.

Here we go again.

I got some Chuck Norris jokes I can.

So you can see from these photos, I've
altered hunter's position to have that

light a little bit more overhead.

Because, as you know, I really like a
cinematic light from overhead.

So I'm just filling in some of these
shadows

to really create a nice mood here
that's still natural and balancing the

sunlight.

Now as you can see in this image, the
light modifier is in the shot,

but for me it's more important that I
have a nice quality light on the

subject's face, versus having a nice
composition with the light out of the shot.

And because that modifier is in my
shot, I need to move everyone out of

the frame, take a background plate, so
that we can composite all these

modifiers out in post.

And just remember that compositing is a
whole lot easier if you're shooting on

a tripod and you keep the frame the
same.

So in the studio, I love to move
around, really change and alter my composition.

But on location, I often shoot on a
tripod for this very reason.

So I'm going to get everybody out, and
we're going to take a final shot, get

my background plate, and we're done here

for our last shot today in our
editorial story we've gone into the

interior of Churchill downs.

We've got into the mansion.

And the mansion is this high end, super
swanky sort of club area in the

interior of Churchill downs.

And we are given this lobby area to
work with.

As you can see, the ceilings are about
eight feet tall.

We can't bring in a ton of equipment in
here.

We could do a crazy light setup.

But I'm going to keep it simple for
this lesson.

For this last shot, I want to go
completely different than the other

shots.

I want to use the floor and use this
interesting tile pattern we have

right here in the lobby.

The setup behind me is pretty crazy.

I looked at my surroundings and I
figured that I needed to do something a

little different, something a little
unique for this setup.

So I've rigged my camera to get an
overhead shot, so that we can use this

floor as a background.

So what we've done here is I've set up
an avenger c stand with an avenger grip

arm.

That's holding my phase one at a ninety
degree angle.

We've rigged this all together using
manfroto superclamps and manfrodo

umbrella swivel adapters.

So this setup prevents me from having
to hover over daven alley or have any

legs of the c stand, or even have a
tripod in.

The shot it's completely overhead.

And because I have this phase one
camera raised so high, I can't get

behind the camera to see the lcd.

And so that's why tethering is so
important.

Here I can review the images, and I can
fire the camera remotely from my

laptop.

The lighting is very simple.

Here I have a completely white ceiling,
which is going to allow me to bounce a

strobe into the ceiling, which is going
to reflect backgown

softly onto David alley's face

by firing this pro photo b two into the
ceiling.

It's becoming a large light source,
which is very similar to the umbrella

I've been using.

Just keep in mind that these ceilings
are white.

If it was any other color, it would
introduce a color cast that would be

really tough to color correct and post.

So now that we have this rig set up,
we'll bring in Dave and allie, have him

lay on the floor and pose them just
where I need them to get a really cool

and fun shot.

As you can see, I've placed David alley
with their bodies in different directions,

which creates an interesting contrast
with these shapes on the floor.

Now that I have David alley on the
floor here, I'm going to take a quick

test shot and i'll show you what that
looks like.

As you can see in this shot, the light
is bouncing into the ceiling and then

reflecting off the tile floor into the
camera, which creates a hot spot.

And so to prevent this, what we need to
do is move dave's body, position,

covering that hot spot, and move the
light directly over the camera.

So shift a little bit this way, Dave,
there you go.

Perfect.

And then I'm going to take this light,

move over Dave here,

and I'm going to shift it so that it's
directly over the camera.

Now that dave's body is moved over that
hot spot, and the light is behind our

camera, let's take a shot and see what
it looks like.

So many times I might use an on camera
direct flash to do this sort of style

of lighting.

In this case, we had this nice white
ceiling we're going to take advantage

of to make it a little less specular, a
little bit more soft.

Now that we had this lighting locked
in, we're going to work on the

expressions, really try to bring out
some energy in their faces.

Nerds

on the floor

that's really, really good.

Your hair looks bombin.

You know who?

Allie

perfect.

We've got a lot of great images.

These are actually some of my favorite
of the entire set.

I never thought I'd be using the floor
in this lobby when I first walked in.

But the lesson here is that you have to
keep your options open and have an open

mind.

My goal going into this whole day was
to create a lot of variety.

And I think we did just that.

On a normal editorial.

I might shoot up to ten sets.

But in this case, we went with three
main photographs.

We kept it light, we camped an area, we
kept it energetic.

I think we got some really great work.

So now we're going to take these into
post processing and try to make them

even better.

We now have all three editorial images
back from clay.

So now we're going to go through them
one by one,

starting with a couple in the stands, I
have it already imported into capture.

One for the first shot, you can
actually see that we have three images.

This is because in the first shot, play
like the expression of alley.

In the second shot, he like the
expression of Dave.

In the third shot, we have a clean
background without any photo gear in it.

So now my job is to combine all three
images into one seamless image.

We're going to do this using Photoshop,
but in capture one, we still need to

process them so that they have the same
exposure and colors.

We'll start with our first image,

where we're going to be using alley.

We need to make new variants for all
three of these images.

So when to click on the top one, hold
shift and click on the bottom,

we'll right click it

and click new variant.

Now we have a copy for us to work on
for all three images.

I'm going to deselect them and go to
our first variant.

I think the color temperature for this
image is pretty good.

So we're going to go straight to
exposure and continue with our usual

capture one processing.

So we want to darken the exposure for
the highlights,

bring up the shadows a bit.

We lost some of that contrast, so we're
going to add that back in.

Now we need to balance the exposure a
bit

by using brightness.

I think right about there is good.

But now we've only processed one of the
images, and we need to have the exact

same exposure changes on the other two

capture one makes this easy for us by
giving us the option to copy our adjustments

and paste them onto another image.

So I'm going to do that by selecting
our image,

clicking this up arrow

to copy our adjustments.

I'm going to select our next image.

I'm going to hit paste.

And you can see that it made those
adjustments for us.

So now let's go to our third image

and paste them again.

And now all three images have the exact
same exposure changes.

Now to finish up and capture one, we
just need to select all three of our

images.

So we're going to click one hold command

and click on the other two to select
them.

We're going to right click

export

and go to variance.

And now we're just going to do the same
exporting process that we have been

now that we have these exported.

We're going to open Photoshop

and find our images on the computer.

I believe this is the first one.

So we're going to drag that into
Photoshop.

We want to stack these images on top of
each other.

So for the other two,

I just need to drag them into the same
project.

So I'm going to hit

check right here, and that'll bring it
in, go back

and bring in our last image.

Hit checkmark.

Now we're good.

They import it as smart objects.

So I'm just going to right click them
very quickly

and rasterize them.

Now I just need to cycle through them.

And if you look closely, the camel, the
camera shifts

just a little bit in each frame.

So we need to fix that.

I'm going to click on my top layer,
hold shift and click on the back.

Auto, align.

Layers.

Auto is fine.

Hit.

Ok.

Now Photoshop is going to automatically
line up everything on a shot so they

match perfectly.

And now if we cycle through them,

everything matches up

perfect.

You'll see that from our autoa lining.

We have a little bit of space

on our canvas.

So we're going to zoom in,

go to those edges.

I'm going to hit c on my keyboard to
bring up a crop tool.

You're going to want

original ratio.

And let's just pull that crop in a bit,
so we don't get that extra border.

Check

the other side.

Bring that in

just a bit, right there.

And ok.

And now

we're ready to work.

The first step to compositing is to add
layer masks to our top two layers so

that we can manually mask them in and
bring them into the bottom layer.

So we're going to click

on this one.

First,

add a layer mask,

and we need to invert it

so it doesn't show through by command
I, we can enable these.

Actually,

i'll go to our next one,

do the exact same thing.

We're going to add a layer mask and
invert it so it doesn't show through.

Now

we're going to go to our first layer,
right above our base layer.

I'm going to go to our brush tool,

make our brush

pretty big.

Go to a boat

there.

We want a soft brush

probably about there.

And

this is the shot where we're going to
be masking in the second.

Select for Dave.

So now we just need to paint in

where Dave is.

My flow rates set a little too low, so
let's increase that,

just so we can paint a lot quicker.

We're going to keep painting.

So now we've replaced Dave.

We just need to check to make sure that
the edges of our layer mask

isn't showing through anything that we
don't want in there.

I can see that we're kind of getting
some ghosting

from the feathering effect.

I'm going to make my brush size quite a
bit smaller.

I'm going to switch to black so we can
remove the effect.

Hitting x on my keyboard.

We'll start painting this stuff out.

And we just want our lines to match up
really well.

If we'll do that, we'll paint white,
right here.

We'll actually make a smaller brush, so
it can be a bit more accurate.

Paint black.

Now that matches up.

Well,

I see a bit more right here.

So let's try using black and just paint
that away.

That's looking good.

I'll switch to white again.

We're just going to keep looking for
these ghosting effects and remove them.

Paint black, right about here, to bring
our leg back

for anything else.

I think that's looking really good.

We're going to zoom out.

And now we need to remove some of this
photo gear.

So we're going to click on our top
layer mask,

make our brush a lot bigger,

and repeat those same steps that we did
for Dave.

So I'm going to make sure I'm using
white to bring in the effect.

When to paint this out,

just make sure that we get everything.

We'll zoom in to make sure that we're
not getting any ghosting.

Make our brush a bit smaller.

We're getting some right about here on
the chair.

We'll paint black to remove it.

Check around, just to make sure we're
not missing anything.

A little bit on a shoe,

a little bit more.

Right here

that's looking really good.

So now that we have our base composite,
I'm going to group these together, just

to simplify our layers a bit.

We're going to click on the top one,

hold shift and click on the bottom

command.

G,

I'm going to name this

base,

will minimize that group.

And now,

just like every other photo,

I have to do all my healing and clean
up.

I'm just going to do this using the
healing brush and the clone samp tool.

You guys already know how to do it.

So I'm going to speed up this section
of the video.

So I just finished up with that healing
cloning.

Before I actually started, I noticed
that there was a bit of ghosting on

allie's face.

So I just went into the layer mask and
fixed that really quick.

Before I started the cloning process,

most of the healing and cloning was
just done on their clothing and their

faces a little bit.

I removed this yellow line that was on
the concrete because it was

too distracting to me.

And now we need to deal with

these harsh transitions on the bars.

I'd prefer if these areas were
completely in shade.

So I'm going to use a couple of
techniques to extend that shadow.

First, we're going to start with this
one.

When I go to our top layer, I'm going
to make a clone stamp visible layer

with command option, shift.

E.

We're going to use our lasso tool.

By hitting l on the keyboard.

We're going to select

an area of this that is already in shade

and command j to duplicate that.

And now we're going to use a transform
tool by hitting command t on the keyboard

and dragging that over.

We're going to zoom in a bit,

and we de match these edges up as best
as possible.

So I'm going to shift it around.

It's a little bit too large on the
side, so we're going to hold option and shift

while dragging on one of these corners

to uniformly scale it down.

Let's come, move it around,

and use the arrow keys to be a bit more
accurate with it.

I think that's pretty good.

Let's enter on our keyboard.

We'll make a layer mask for this

command I to invert it.

And now we need to do the same thing
with all our other layer masks.

And we need to use that a brush tool to
paint the effect in.

So I'm going to go to the brush,

make sure we're painting with white.

Reduce our flow.

Just start painting this in.

Our brush is a little bit too soft, so
the mass is bleeding into the

background a bit.

And we're going to increase the
hardness,

make sure that I'm painting with black.

Reduce the size a bit.

Let's just fix that really quick.

Zoom out to check our work,

and that's looking pretty good for that
area.

Now, to deal with this one, to fix this
area, we won't be able to use the same

technique as the first area, because we
would need to sample from this area,

which is in focus, and this area is
not.

And that blur would just be too
difficult to replicate.

So we're going to have to try and shift
the color

to match it.

And then blend this transition in.

I'm going to start

by choosing our black and white layer
adjustment.

I'm going to set it to luminosity.

And now I can use these sliders to
brighten or darken that specific color range.

This is pretty green.

So I'm going to start with the green
slider and bring that down.

So now it's a lot darker,

but you can see that it didn't affect
the saturation.

So we're going to need another
adjustment to tone that down

I would do that by using a hue
saturation adjustment layer,

going down to greens

and pulling back on the saturation.

Notice how the adjustments are
affecting all of the green in the

entire image.

So I'm going to disable our hue
saturation, go to the layer mask of our

black and white adjustment,

invert it so it's not showing.

And I'm going to go to our brush tool
to paint the effect in, just over the bar.

Make sure that I'm painting with white.

We're going to paint that in.

I'll do the same thing with the hue
saturation adjustment.

We'll reenable that,

invert the layer mask

and paint it in.

Now we can easily compare

the area that we're changing to, the
area we want it to match to.

So we'll go back to the black and white
adjustment

and adjust that luminosity a bit.

We'll try there,

and i'll switch to the hue saturation
adjustment.

Go back to our greens,

and i'll try and make that match

that.

We need to shift the hue a little bit,

bring it to a boat

there.

And basically we just need to keep
going between our black and white

adjustment and our hue and saturation
adjustment,

until we match these colors as closely
as possible.

Still think we need to fix

the green

lightness a little bit.

So we'll bring it down

to our huge saturation.

And the greens

let's saturation down.

I think right about there is looking
pretty good.

Now we just need to deal with this hard
transition.

The easiest way to do this is just by
using the clone stamp tool and brushing

over it.

So we want to make a new layer.

I'll name it bar transition,

hit ok.

Go to our colon stamp tool, and we'll
zoom in,

make our brush a bit bigger,

check our softness,

bring it down a bit.

We're going to sample along the bar

and just paint

over it a bit.

I want the effect to kind of come in
slowly.

So we'll reduce the flow.

Megabrush

a bit softer,

sample

and paint.

We'll zoom out to see our working.

Pretty good.

I just want to fix it a little bit more.

Hang.

Right there.

Can you painting a little bit down?

And now that's blending pretty well.

Lasting that clay.

Wanted me to take care of in this image

was just to darken this area in the
background a bit.

So I'm going to simply do that by using
a curved adjustment,

pulling down the curve a touch,

inverting that layer mask and painting
the effect in.

Weather brush,

and make the brush

quite a bit larger.

Go read about there, check our
softness.

Will make it really soft.

We'll start painting that in.

Now it's not much,

but it does even out the image just a
little bit.

This is looking pretty good.

There is this distracting chair to the
left side, but clay's planning on

cropping that out anyways.

So let's move on to the next image.

We're just going to save this out
really quickly,

and then we'll go back and to capture
one,

we'll open up shot two.

We need to start by making our new
variants, just like last time.

So we'll click on one,

hold shift, click on the other,

right click,

make a new variant.

And I need to make my adjustments on
our first image.

Again, the color temperature is looking
pretty good.

So we're just going to go straight into
exposure.

I want to bring up the shadows,

add some contrast,

maybe bring up the brightness a bit.

We need to copy these adjustments over
to our other image.

So we're going to copy adjustments,

select our other image,

and paste them in.

Now we're going to be using this image
to remove

this light.

But since we have extra light in this
image, the background's a bit brighter.

If you switch between them, you can see

that is brighter in this shot.

So I'm going to go to my plate image

and just bump the exposure up a touch a
little bit at a time, and compare them

is a little bit more.

Let's try that.

And a little bit more.

That's looking pretty close.

So I'm going to select both of them

and export them out for Photoshop.

My process for this image is going to
be pretty much exactly the same as the

last one.

So I'm going to open it up.

Just need to find the right images

right here.

Drag it in,

go back and drag in.

Our second shot.

Head hunter,

i'll rasterize this one.

Select both of them.

Go up to edit,

auto, align layers and hit ok.

When it's set to auto.

And just like last time, we have a bit
of extra border around the edge.

So we're going to need to crop that in
a little bit.

Let's see on the keyboard to bring up
the crop tool, make sure it's set to

original ratio, so we don't change too
much.

Let's bring it in a touch

and go to the other side.

Bring it in

a little bit.

Check the top,

slick and good.

We'll hit enter on our keyboard.

Zoom out.

We're getting a little bit of something

over here.

So I'm going to go back to my crop tool,

just take that in

a little bit more.

It enter again.

Now we're good.

So we'll make

a layer mask

on our top layer.

Invert that so it doesn't show anything.

Use our brush tool

fairly large.

Increase our flow a bit.

Make sure we're painting with white.

We'll paint

that light away.

Slick and good.

Let's.

Zoom in quick to make sure we're not
getting any ghosting.

We kind of erase dave's head a little
bit.

So we're going to make our brush

smaller

switch to black and paint away the
effect.

Just make sure we get everything

to zoom out to see our work.

And now we just need to do a little bit
of cleanup

and fix this patch of grass right here.

We're going to make it all in shadow.

I'm going to speed this section up,
just to clean up a bit of the

background and a bit of this hair, and
i'll slow back down.

And I deal with this area of grass.

So I'm finished up with that healing
work.

Zoom in and i'll show you

a few areas that I've worked on

some stuff on the wall,

some of your hair,

and then the rest of it was mostly

cob webs

along this railing.

You may have noticed that for the last
two images, I did no dodge and burn and

my healing.

Wasn't that extensive?

It was pretty simple.

The reason being is that this is an
editorial portrait.

When working on these types of images,
you want to keep the work pretty simple

and natural looking.

In contrast, when working on a fashion
image, you're generally going to do a

lot more work to remove those
distractions and refine that concept.

So now that we've done all of our basic
cleanup,

I want to fix up the transition of
light in this patch of grass.

So that it's all in shadow.

I'm going to zoom out,

make a clone stamp visible layer by
hunting command option shift e.

I'm going to use the market tool by
hitting m on the keyboard.

And we're going to make a selection

of this grass that is in shadow.

We're going to hit command j to
duplicate it.

We don't need to stamp visible layer
anymore.

So we're going to click on that and
delete it.

And we'll go back to our new grass
layer,

hit command t on the keyboard to open
up the transform tool,

and we'll just drag that over so we can
cover up that light area in the grass.

Our checkmark, to complete that.

Now that we have this area covering up
the light part of the grass,

we need to add a layer mask.

Maybe sure that we're using our brush
tool.

We're going to be painting away the
edges so that they blend better with black,

going to make our brush a bit bigger.

Going to make sure that we're using a
soft brush.

We'll start painting

around those edges.

Now that's looking really good.

So let's just do another quick look
around the image to find anything else

that might be sticking out.

I'm going to make a new layer for this.

I'll call it final cleanup.

And I've noticed this black bar here,

and there's this leaf in the grass that
I want to remove.

So I'm just going to zoom in really
quick,

go to that area, use my clone stamp
tool.

We get a bit bigger

sample.

Paint that away

sample again.

Just paint around those flowers,

even it out a bit

right there.

And we'll go to take out this leaf.

We'll use a harder brush for this

sample.

Some grass

right about here.

We'll paint that away

it's looking good.

Is there anything else in the grass?

We need to remove

some

fluffs or something here.

So let's just take that out.

And I just want to fix this little
blade of grass here.

So that's looking good.

Let's look at it quick.

Before and after,

i'll hold option and click on our base
layer right there.

And it'll hide all the layers, except
for that one so we can keep toggling

that on and off.

They'll show us all of our work.

That's looking really good.

So I'm just going to save this out so
we can move on to our last image.

So for our last shot, I've already gone
ahead and done the capture one process

and a little bit more of my Photoshop
processing.

So i'll run you through those layers
pretty quick.

Even though this is an editorial
portrait, I still wanted to refine it a

little bit more than the last two
images, because it has a very strong

look, and I wanted to clean it up just
a little bit more.

Here's the capture one processing just
brought the exposure down a touch and

added a little bit more contrast.

My healing,

just simple cloning and healing

my dodge and burn using curves.

We'll toggle that on and off

it's very basic.

We wanted to keep everything looking
natural,

so we'll minimize that.

And the last thing I did is some basic
color correction.

Already sued those layers pretty quick.

It's a select of color adjustment.

And I just

brought in some greens and yellows into
their skin tone.

I pulled down the magenta slider in the
reds,

and I pulled down the yellow in the
yellows tab.

And then I did another select of color
adjustment

to kind of deal with this redness on
her chest and a bit on his neck.

So I brought in some greens into the
red channel, and then I masked in the

areas manually.

And the last color correction
adjustment I did is just to brighten up

this part of the image to match this
side a bit more.

So I used a curved adjustment for that

it's enable it.

I pulled up the curve and just masked
in manually with my brush tool right here.

Just talk of that on and off.

So now it creates a nice balance
between the top and the bottom of the

image.

I've talked about these color
techniques a few times in this tutorial

so far, so you should be able to
replicate my work.

Now.

I'm going to show you one final thing
we could do to improve this image quite

a bit.

I'm going to show you how to make
luminosity masks and how to use them to

add contrast to your image in a
controlled way.

In order to make luminosity masks, we
need to jump over to our channels tab.

I'm going to hit command and click

on our rgb thumbnail.

And now we need to save the selection
as a channel.

So we're going to hit this button down
here.

What this has done is made a channel of
just the highlights in our image.

And with this still selected, I'm going
to hold command, option shift and click

on our highlight thumbnail.

And what this is going to do

is intersect that selection with itself
to further refine the highlights.

With our new selection, we're going to
hit the same button to save our

selection as a new channel.

If we click on our new channel, you can
see that our image is getting darker.

What we're doing here is we're slowly
isolating just the brightest parts of

the image.

So let's go ahead and rename this
channel to highlights two.

And we're going to repeat that process
again.

So I'm going to hold command, option
shift

and click on our newest channel

and that'll refine the highlights even
more.

We'll click this button to save our
selection as a new channel.

Again,

we'll go take a look.

And it's even darker.

What this is showing is the absolute
brightest points in the entire image.

Let's rename that new channel to
highlights three.

And now that we've created channels for
our entire range of highlights,

let's move on to the shadows.

First, I'm going to deselect everything
that we have selected by having command

d on the keyboard.

And since shadows are the opposite of
highlights,

I'm going to take our first highlights
channel,

duplicate it here,

and I'm going to invert it by hitting
command I on the keyboard, and it'll

give us just our shadows.

We'll rename this to shadows.

And now that we have our first shadow
channel,

we're going to repeat the same process
that we did with the highlights to

refine those shadows even further.

We're going to make sure that we select
the shadows in this channel.

So we're going to hold command and
click on the thumbnail.

And now, again, we need to hold
command, option, shift

and click on the thumbnail to intersect
that selection with itself.

We're going to save that selection as a
new channel.

Rename it two shadows too.

We're going to further refine it by
intersecting that selection with itself.

Command option, shift,

click on the thumbnail,

and now save this selection as a
channel.

And you can see it's even darker.

So now this is the darkest point in our
image.

We'll deselect by heading command d on
the keyboard.

And now that we have the highlight
range and the shadow range, the only

thing left is the mid tones.

To make the midtones channel,

we'll select everything by heading
command a on the keyboard.

So you can see that everything is
selected.

To isolate our mid tones, we need to
subtract both the highlights and the

shadows from this selection.

I'm going to do that by holding command
option

and clicking on our highlights.

What that does is it actually subtracts
the highlights from our selection of everything,

and i'll do the same thing for the
shadows.

So we'll hold command option and click
on our shadows.

It'll give us this warning that says,
no pixels are more than fifty selected.

The selected edges will not be visible.

That just means that we won't be able
to see these marching ants for our

selection.

So we'll hit ok.

We'll make our selection into a new
channel,

hit ok.

And now what this has given us is a
channel with just our mid tones.

The reason why I've gone through this
really complicated process to make all

these channels is so that I can use
them as selections to have really

refined layer masks.

Let's go back to our original colored
image

and see how we can use these to improve
it.

I think that I want to darken the
midtones a bit, and then also select

out the highlights

and

brighten them up just a touch to create
this nice contrast between the

highlights and midtones.

So we'll go down to our mid tones
channel, hold command and click on the thumbnail.

This warning is ok.

It has made the selection

go back to our layers panel.

I'll make a curves adjustment,

and remember, this is going to be red,
because it's just showing that we have

a selection there.

We'll click on the thumbnails for the
curb.

And now if we darken this,

it'll only darken the mid tones

and pull it to write about.

There

let's toggle this on and off

to see the result.

And now we wanted to make a selection
of the highlights so that we can

brighten that up and increase the
contrast between mid tones and highlights.

Let's go back to our channels,

look for a highlight channel that we
want to use.

I think let's use highlights three, and
see how that looks.

So let's hit command and click on the
thumbnail.

It'll make a selection for us.

Go to our layers,

hit curves

and click on the thumbnail to get rid
of all that red.

And nothing's changed yet because we
haven't adjusted the curves.

So let's bring this up.

And it's adding in some brightness to
only the brightest parts of our image.

Let's move it around, I think right
there.

Just toggle it on and off.

I'm going to group these two,

and let's just call this luminosity
changes.

Now we can toggle this group on and
off.

And you can see that we've created a
really nice contrast between those mid

tones and highlights.

You might be able to achieve the same
result by using a curves adjustment

layer with a ton of points and slowly
tweaking them until you get it right.

But using this method, we have exact
control of what we want to do.

This technique has a wide range of
uses, and not only just for models.

You can use it on landscapes, for
backgrounds.

You can use it with color adjustments.

You can use

any adjustment that you want with it.

We have this image looking really good.

This was actually the last image of the
tutorial.

I hope that you guys learned a bunch of
tips and techniques to help your own

post processing.

We're going to save this one out.

We're going to send it over to clay for
its final color grade.

Jordan just finished up on the color
correction and retouch of this

editorial story of Dave and allie
moisen.

Something you keep in mind with an
editorial story is that we want the

color process and the color grading to
be consistent throughout all three

images.

So we're going to keep it subtle, and
we're going to keep it light, and then

we're going to apply that same gray to
all three of the images.

So first let's start with the first
image we shot in the story.

And to minimize those and start working
on this image,

the first step is that we need to
create our base layer by hitting

command option shift e.

We're going to convert this to a smart
object so that we can go into camera

and apply our clarity.

We know, filter camera.

And then we're going to bring this
clarity up to about twenty,

just for some extra detail

hit.

Ok.

Once we have our smart filter or camera
applied,

we're going to desaturate the image
using the vibrance adjustment layer.

We're going to drag this to about
negative ten.

We have to keep it subtle.

Once we've desaturated the image a bit,
we're going to move onto the color

contrast using the curves adjustment
layer.

First

we're going to go to the red channel

and bring these reds out, just a hair.

Then we're going to move onto the green
channel

and create a slight s curved

like that.

Great.

Then the blue channel,

we do the same thing.

Now that we have our color contrast
applied,

we're going to get into the midtones
with color balance.

So I'm going to play with these sliders
a little bit and find a nice balance of

color.

That's going to work for all three
editorial images.

Ok,

it's starting to look real nice.

The final step is that we're going to
get into our sharpening process.

So we hit comanch option, shift,
eplicate

this layer,

group those together,

change that overlay

and change this

to vivid light.

Invert the first layer,

go to blur.

Surface, blur

hit.

Ok.

We're going to rename this group to
sharpening

and stamp the next layers down

and go into noise.

Once we have our noise applied,

I'm going to go back into camera on a
new layer and make some final adjustments.

So the one last step to this whole
process is that I want to crop this

image to remove some of these
distractions on both this chair and

then in this box here.

So I'm going to select the crop tool,

hold down, shift on one of the corners,

and pull this up,

so I feel is a great crop.

Another thing I noticed is that these
vertical lines aren't necessarily

lining up

with the gridlines.

So want to shift this around and rotate
the crop box to line up and be parallel

with those vertical lines.

In the stands,

once you have a good crop, you're going
to hit enter.

Now I have a great crop on this.

It leaves plenty of room for editorial
copy.

So now I'm going to take what I've
applied to this shot and move it over

the next shot.

So we want to open

our next shot.

And the first thing we need to do is
create a base layer.

I hit command option, shift e,

name it bass.

Convert it to a smart object

and apply our clarity.

We're going to go up to twenty on the
clarity.

Just like the last image

and hit ok.

Now that we have our base layer and our
foundation here, we're going to take

the color adjustments we made on the
last shot and drag them over to this

new shot.

So we just highlight color, color,
contrast and vibrance.

We're going to take these three layers
and drag them on to this,

and we immediately have the same color
toning

with exception of the final touches

to this shot.

Now that this color has been applied to
this shot,

we can begin our sharpening process.

We've sharpened the image, and now it's
time to add noise and make our final adjustments.

We convert that to a smart object,

although we're applying the same color
gray to all three of the images.

This step gives us the ability to work
with cameroll to make the final touches

on each individual image, because each
one of the images is different.

So I noticed that her hair, her blond
hair, was a little green.

So I want to add a little bit of tint
to that, a little bit of magenta.

And then I love the flowers.

I love the warmth.

In this shot,

I was going to boost the warmth up.

Just a hair,

bring in some blacks here.

Just a touch.

Boost the shadows,

add some contrast a little bit, and I
think we're there

when it hit.

Ok.

The last step in this whole process is
that we want to crop this image to

straighten out all these horizontal
lines.

So we're going to select my crop tool

and to select a corner,

I'm going to hold down shift,

so you maintain the aspect ratio.

Then I'm going to rotate the image

so that's completely parallel

with all these horizontal lines.

Ok.

Now that we have this shot complete,
we're going to move onto the next shot.

So the first step of this is that we're
to create our base layer.

We're going to convert it to a smart
object.

When we go filter, camera, filter,

we're going to bring this clarity up

perfect.

Then

we're going to select

the color, the color contrast and the
vibrance from our previous shots

and drag the layers over to this next
shot.

Once we've done that, we're going to
start our sharpening process.

So the last steps, to complete its
entire editorial story,

just to add some noise, our camera, and
then crop

and convert that to a smart object.

So you maintain a nondestructive
workflow.

When you go to filter, camera, all
filter

and I'm going to make my final
adjustments.

So I noticed that the floor went a
little too blue.

There

is going to bring the temperature

a little bit of warmth,

add a small magenta tent.

And I want this to feel warm.

I want this to feel hot.

So I'm going to boost this exposure a
little bit,

so it looks a little bit more direction

and adds a little bit of contrast.

The blacks

great,

playing with the highlight slider here
just to see what it does.

I'm liking what it does.

I think we've got a solid shot.

So the last step to this whole process
is I want to crop this image in.

I want to take the crop tool,

hold down, shift,

select the bottom left corner and drag
this in

to where these lines line perfectly up.

And we have a perfect composition

right there.

The best part about this shot is that
it can be rotated to any orientation to

fit within the editorial story and the
amount of pages.

So if an art director wants to rotate
this image vertically,

they can do so.

And then also they can rotate it and
flip it upside down so that the focus

becomes either on allie or Dave.

Let me give you an example.

So if I rotate this image,
counterclockwise,

suddenly the focus is on ally.

But then if I was to rotate this image,
clockwise

the focus will be on Dave.

But I think in this case,

keeping this image horizontally is
going to work best.

Remember, with an editorial portrait
it's crucial to keep the colors subtle

and simple.

But now we've got some color
consistency across all three images.

We've got a nice grade applied.

The retouch is done.

It's time to save them,

and they're ready to be sent out to our
client.

So this is the final image of the
entire tutorial.

I've shown you multiple ways to color
grade and Photoshop.

And I hope that you can take these
techniques and apply them to your own

color grade to develop a unique style.

And just remember that color grading is
a creative process.

It takes time and it's completely
subjective.

So remember to have patience when
you're developing your style