All language subtitles for 13 Studio One Light Setup.mp4

We welcome my studio.

This is a loft called the Reynolds
lofts in Louisville, Kentucky.

It's about a 1200 square foot room,
it's 25 by 25 with approximately twelve

foot ceilings.

This might be a pretty big space for a
lot of you, but for me it was a huge

upgrade from my small living room that
I started in.

And in my living room, I built sets
very similar to what's behind me.

It's just basically creating a

space and a unique area to shoot in.

And you can do this even in your home.

But here we are in this studio, and we
have the advantages of tall ceilings to

really build this set and build a
lighting scenario around this.

Now I just want to be clear that this
might look like a big space.

You can take this same set and apply it
in a small space, such as a living room

with eight foot ceilings.

You don't need twelve foot ceilings or
a big 25 by 25 room to do this

throughout this lesson.

In upcoming lessons, you're going to
learn how to take regular materials

that you can purchase at home, depot
lows, or your local hardware store, and

take it into a small space that you
have available and really build a cool set.

Now I want to take you through all
these materials that we took to build

this set behind me, because this is
going to be a very important foundation

for all the future lessons.

And I'm going to show you regarding
production and design

with my work.

I like to see structure.

I'd like to see lines.

I like to see natural

feeling spaces.

And with this particular set behind me,
we wanted to create a room.

So when someone looks at it, they're
looking at the image as if it was a

space and not a studio.

Because a lot of photographers like to
use that seamless background with a curve,

and that's not something that looks
like a room to me, or

doesn't look natural.

I want a space with strong lines,
ninety degree angles.

And so that's what we've created behind
me.

And it all starts with white paper.

If you plan on shooting three quarter
or a headshot,

then you could set up a simple white
background and get away with it.

Instead of hanging a background, a
floating, seamless background, we've

decided to tack the white paper onto
the wall because it gives me the

ability to direct the model to lean on
the wall, and it's going to make an

overall more engaging shot.

For this particular shoot, I want a lot
of space for the model to move around.

And so we need a lot of paper in order
to do something such as this,

or using white paper from savage.

Universal it's their standard nine foot
rolls.

Because we need so much paper, the nine
foot rolls just provide a lot more

material to work with.

Now that we have a background in place,
we just have to cover the floor with

that same seamless paper.

My assistants have rolled it out and
tape the same seamless paper to the floor.

The problem with this is that now we
have this line where the edge of the

wall meets the floor.

The way to solve this problem is to

seal the edge with white gaffers tape.

Now that we have our background and our
floor made, what we need to do is build

our walls.

And these walls are made with v flats.

V flats are two pieces of Gator foam
that are taped together with gaffers

tape that allow them to stand on their
own.

One side is white, one side is black.

That gives me the ability to both
bounce light and cut light throughout.

This tutorial you'll be seeing these v
flats in use in the studio,

a lot of times are used for modifying
light, for bouncing light, for cutting

light, for flagging light.

They're very versatile, but in this
case, we're going to be using them as walls.

These particular v flats are made from
four by eight Gator foam, and they're

reversible.

So one side is white and the other side
is black.

And

they're pretty tough to find.

Luckily, I'm in a big city, and I was
able to find this material at a

plastics manufacturer here.

Locally, if you don't have access to
materials such as Gator, foam don't

worry.

There are plenty of options in your
town that you can find to create a v flat.

So I'm going to have hunter, my
assistant, bring in a simple solution

and a simple material that you can
purchase at any hardware store.

So this is a four by 81 inch insulation
board that every hardware store cells

in any market it's polypro it's foam as
a seat.

One side you're going to have to paint
or peel off,

but the other side is white,

which gives you the ability to

instantly use this in the studio.

The one thing I really dislike about
this material is that it's flimsy,

it'll break pretty easily compared to
my Gator foam v flats that I have.

But if you're on a budget or in a
pinch, this will definitely work in the studio.

If you want to create a v flat at home,
it's pretty easy.

All you have to do is take two of these
boards, stick them together and create

a gaffers tape hinge that allows you to
make a v and have these boards stand up

on their own.

Now that you know what a v flat is and
how it works,

what we've done behind me is my
assistants have now covered these e

flats that I've had in the studio with
that same white paper that we used on

both the floor and the background.

Now that we have our walls set in place
and

a background and floor taped,

I want you to remember that this
doesn't have to be perfect, because in

post processing, what we're going to do
is clean up all these lines, remove all

this gaffers tape, and make this final
image absolutely flawless.

What I firmly believe sets my work apart

are the details.

And none of that really comes together
without a team.

And although I might have a vision, I'm
not the expert in many of the facets

that are required to create one of my
photographs.

Right now I'm joined with some of my
favorite people.

This is gunner deathridge, who is our
stylist for wardrobe on today's shoot.

And Bethany hood who is our hair and
makeup artist for today.

With every photograph, it's important
to collaborate, discuss your mood and

concept before the shoot.

And so I want to talk to these guys a
little bit about what we're doing

today.

I know that I want to start simple with
lighting.

And so I'm going to be using one single
strobe.

It's going to be very bright, it's
going to be very hard,

and we're going to use that against our
set that we've built.

I think that it's important that an
overall mood and a concept is built

before we even step onto that set.

So gunner, what have we done today to
really accentuate and bring out that look?

Well, I think taking into consideration
that you're keeping it simple and

you're keeping it really contrast you
with the hard light.

It's important to play off of that with
the clothing as well.

What I have styled for Alex today as a
solid head to a white outfit.

I've chosen something that has a black
outline on a black button, something to

give you

your eye away to focus.

It gives you a chance to really see the
beauty of the outfit.

And also a really blank canvas for you
guys

with your shot and your lighting.

That sounds great.

So that's anybody think that we need to
do with her?

Make it, to make sure that this concept
really comes together.

So I think with a look like this,

the hair and makeup can go one of two
ways, either all in, or to stay pretty

simple, just like everything else.

But today we've chosen

to

do a little bit more of a natural color
with brown on her eyes.

It's going to bring out the blue, but
it's going to give it just enough to

where it's not shouting, like,

look at everything in the photograph,
but let's focus on her eyes.

So we're going to keep it a little bit
more or less involved with the neutral color,

keep her lip color a little bit more
neutral, but enough to give it shape.

So instead of going super bold with her
hair or her makeup,

it's going to be extremely classic.

So it's probably slicked back out of
her face

and

just a bit of a smoke around her eyes.

So it's intriguing, but she's not lost
in the photo when you're considering editor.

Either the makeup can be extremely all
on guard, like a heavy liner look, or

a darker shadow lashes, things like
that.

Or it could be a little bit more
natural, where it's just all we focus

on is her foundation and her contour
and a little bit of a glow.

So maybe on some other shoots we would
get a little bit more of a darker lip,

or a heavier contour, or

stronger focus on her features.

But on this one, we're really focusing
on the brightness of the shot,

making sure that every single element,
from the white in her clothes to the

white in the background, to just the
simplicity of her face structure.

That's what we're focusing on.

We're just trying to get a clean shot.

So that's the direction that I took the
makeup.

In the past, I used to bring on more
drip style as, hair makeup, and a full team,

and then they just left, which

sort of left a gap in creating the
final photograph.

Because a lot of times when I'm
shooting, there's touch ups need to be

made, there's wardrobe changes that
have to be made.

And there's a lot of things that can be
done while I'm shooting

that I really need that team in place.

Now it's more important than ever to
bring this collaborative aspect into my photographs.

And so I have these guys stay with me at

all times.

Throughout the entire session gunner,

talk a little bit about that and the
collaboration that you and I have on

the set.

So typically I come in not just as a
wardrobe Silas, but as a creative

director.

And what that really means is, will you
and I talk about a direction and

envision?

You tell me what you need out of the
photograph.

And my job is to be the leas on between
you and the talent.

I need to make that middle segue as
smooth and easy as I can.

So whether it be you setting up your
frame, and then I put the talent in the

photo, and I work with them on posing
and making it natural.

And we communicate back and forth to
really talk about what looks good, what

we like, what we don't like.

And it's a collaborative effort to get
the end product that we need from that.

And I think that's something to
remember is that you and I are constantly

bouncing back and forth ideas.

And so when we're posing, and when I'm
posing, I make sure that I have a

second pair of eyes on that tethering
screen and the laptop.

And I get really the almost the final
prover, especially of the decline that

we're both working for, as far as what
you do.

So the clothing and the wardrobe and
the overall mood.

And then I look at it and I'm like,
this is it.

We see separate things completely.

You're looking at the pose and the
natural movement of the body.

And I'm looking completely at the
clothing, the hair, the makeup.

And then that's where you come on to
setups or such.

I think being a makeup artist, being
very detail oriented, I think that hair

and makeup is probably the last thing
that the photographer is looking for.

But that's where staying onset the
entire time

is my job.

I'm getting it right straight out of
camera, making sure that the lip is

good, everything is good, and it needs
calls.

Yeah, yeah, this, of course, you're
going to have to do some post

processing.

But my job onset from start to finish,
just to make sure that that shots right

in camera.

So minimal editing

is

the idea.

Now that I've introduced my team and
the people that I collaborate with,

we're going to head into the studio and
start working with this set in this

high key style of lighting.

You've now moved into the studio.

We've talked about the styling.

We've talked about hair and makeup and
the concept and the overall mood.

So now it's time to talk a little bit
about the lighting

and the overall sort of high key

scenario that we're about ready to dive
into

in my hand.

Now I have a pro photo d one, it's 500
Watt monolite.

And we're going to start really simple
today with just a bare bulb light on a

sea stand.

And what I have right here is a pro
photo zoom reflector.

And the purpose of this seven inch
reflector is to really hone that light

in and give it a little bit more
directional specular flare.

And to be perfectly honest, I don't
even own a zoom reflector.

And in this case especially, we don't
need one, because I'm not even

concerned about spill in this case.

So in this light scenario,

we're really going to try to mimic
sunlight.

And direction of light is everything
here.

So we're going to place our beautiful
model Alex on the back wall on this background,

and shift our light around to see where
our shadows are falling.

Now that we've placed Alex on the wall,
I'm going to turn on this modern light.

And one thing to remember with this
style of lighting is that the modern

light really truly resembles what the
final output is going to be.

And as I turn this light,

you're going to see the shadow sort of
change.

And they're going to adapt.

As I

bring this light back, and I'm going to
shift it from left to right.

And that's one thing to really truly
notice with this style of lighting.

Another important thing to remember
with this lighting is we're attempting

to mimic sunlight.

So I need to make sure that this light
is high and it's pretty far back.

We're approximately fifteen feet from
this wall right now, and I'm going to

shift this left and right.

And I'm going to go sort of direct,

just to see what that looks like.

I've now shifted this light to be
directly in front of her it's eye

level, and it's very directional.

And as you can see, there is a little
shadow in the background, but because

it is so direct, it's sort of wrapping
around our head.

Let's take a shot to see what this
looks like.

As you can see with this particular
shot with this really direct look.

It really resembles sort of a straight
on speed light look.

And this isn't really something I'm
going for, because I want some more

drama.

I want more shadows.

So to create more shadows, what we need
to do is emulate the sun.

And to emulate the sun, we're going to
tilt this head down, and we're going to

raise our cstan up by about eight feet.

As I raise this c stand up, you're
going to see the shadow under her chin

start to appear.

And that's really what I want to see,
because it's going to start edging out

our chin, it's going to really bring
out her bone structure.

Let's take a shot in this position and
see what it looks like

if you were to compare both shots at
this point.

You're going to see that one has a
little bit more drama, one has a little

bit more

mood to it, has a little bit more
strength.

And that's the one with those strong
shadows under the jaw line.

So I'm not quite in love with the shot
yet.

I need more shadow because we have a
very white background, very white

clothing.

Everything is white.

I want to cast a little bit more
shadows.

I want to get the shadows a little bit
more long.

And in order to do that, what we need
to do is shift this strobe to the right,

so that we cast a longer shadow on the
left side of the frame.

As I shift this light to the right,
you're going to see that the shadows on

her right side and the left of the
frame become much longer and much more dense.

Let's take a shot here and we'll see
what it looks like

now that we've shifted this light to
the right.

And we have more shadows on the left
side of the frame.

There's a lot more contrast, there's a
lot more

separation from the background to the
subject.

And so what I would do now is

start positioning her in sort of a
composition.

That's going to work with this style of
lighting.

If I wanted to really accentuate these
shadows even further, then I could

simply have her come off the wall and
step forward.

So I come off a wall,

boom.

And so as you see now, these shadows
have really separated from her body.

They've really cast a longer shadow on
the wall.

If you wanted to create more definition
for the subject to the background, this

is definitely one way to do it.

It's important to remember, in a lot of
fashion images that you'll see,

you'll see this same similar style of
lighting.

You should be able to really dissect
this style of imagery by looking at the

shadows in the wall, and definitely the
shadows under the chin and the shadows

on the face.

For this particular image, I'm going to
have Alex step back on the wall.

And we've designed this set so it's
very versatile.

I can have her leaning against the
wall, I can have her sitting down using

a prop.

I can have different elements, because
we've built this room, we built this

set.

It's not just a floating seamless
background.

And now that we have this lighting, we
have this set built, it's really time

to start posing and bring in gunner and
bringing in Bethany, and start

collaborating to really get a final
image.

Now that we have gunner here on set for
any wardrobe changes or anything that

needs to take place in that world,

I'm going to get Alex moving a little
bit.

Fortunately, this light scenario

allows Alex to move around and have a
lot of motion in the photograph because

there is so much light on the
background, there is so much spill

everywhere.

So we can get her moving and get a lot
of motion in the shot

all right.

So what I'm going to have you do is
turn a little bit towards me, and let's

just hop back and forth.

So we're going to hop from one side to
the other.

Ok?

So it's like, just

yep back and forth.

All right.

Go ahead.

Out

and hot.

All right.

So I like this.

But what I want to do is get lower and
get an angle to where it's going to

increase the height of the model,
increase the height of Alex as she's

jumping.

In order to do that, I got to get on
the crowd.

All right, go ahead

and.

Boom,

sleep.

So as you can see in this shot, now
that I dropped really low, her height

has been really accentuated,

but it's still not quite there.

So gunner, what do you think?

What if we moved her into the corner a
little bit and played on where this

corner of the set is happening?

I also think I can give us a chance to
alogg at her, even.

I agree.

So I'm going to take what gunner said.

We're going to move a little bit more
into the corner, but I'm going to

change the angle of my composition so
that we capture a lot more of the

corner.

We're going to still have her hop back
and forth and maintain this motion in

the photograph.

We're just going to change this
composition so that I shoot a lot more

of this corner.

All right.

So what I want you to do is walk, like,
forward.

So turn this way,

not towards me, towards the wall, back
wall.

There you go.

And go that way.

There you go.

And

jump

straightforward.

Yeah.

Go ahead.

Good.

Yeah.

Like you're looking back over there.

That's really nice,

because i'll just have the histo,

because just have your hands as well,
so that it looks like you're in that

motion.

It's like, it feels natural at that
point.

Go ahead.

Perfect.

Well, more time.

Let's get it a little bit for that.

So I like the direction of where we're
going right now.

But as you can see, we're going to
start revealing some of this studio

space of the background.

But we don't have to worry about that,
because in post processing

it's very easy to simply copy some of
this background and move it over, and

paste that white in there, and complete
this background.

You're going to start seeing that.

Shadows are just going to start being
everywhere.

To me, it doesn't really matter,
because we've locked in this sort of

sunlight style of lighting again, it
allows the model to really move around,

and we can add a lot of motion from the
photograph.

I'm not bothered by it.

But what do you think, as a stylist,
coming in?

Like, it's not necessarily something I
would look at just the same way.

You wouldn't necessarily look at
specific things on the outfit.

But I like this.

I think it looks natural.

Even though it is a hard light, it does
feel like a hard natural light.

And I enjoy that.

Yeah?

As photographers, I think we look at
shadows, and we look at lighting in a

specific way.

And your normal clientele isn't you
going to pay attention to that?

They're not even going to look at that
rightly.

So I like where this is going, but I
don't think that this set really calls

for a lot of motion.

It just isn't feeling right to me.

So I think we're going to get Alex
leaning on the wall, rather than

actually moving.

So why don't you just lean against that
back wall there, but really lean into

it?

I cruise back.

There you go,

think long and lean near.

So tell.

And this outfits, like, so elongating

really play off of that.

Yeah.

And this is just going to bring out the
length of your body especially if I

shoot this from low to high,

will like that.

So we're going to see what this looks
like.

I'm going to go ahead and adjust this
bow while yours out here.

Ok.

So the thing to remember with fashion
photography is that it's all about the

close.

We're not shooting glamour.

It's not about the model's body.

It's about the close, and how they
fall, and how they move, and how they

really look in a scene.

So the biggest juxtaposition here is
that we have these really strong lines

of the

set that we've built, but we have
really soft and angular lines of the

model's body.

And so we're going to really play with
that and try to create even more lines

with Alex here.

So, yeah, bring that foot back a lot
more.

Like, yeah, but you can.

There you go.

It's nice once you have these

hands flat against the wall.

Not like, but relax sort of just drop
them.

They look nice when the rest is able.

Ok.

So the one thing to remember is that
now her chin is shoved into her chest

pretty much.

I really want to bring out a jawline,
because this lighting really plays into

that.

So I need to raise her chin up to
really accentuate that jawline.

Good, awesome.

So another thing to remember is, once
we have this pose locked in, I need to

work on the face at this point.

I really need to get the model in a
nice expression.

If you're working with everyday people
you're going to have to get them

laughing or just comfortable.

But with working with models, you have
to really lock in.

Something that's either heavy, hard, or
something that's just very soft.

In this case we're going edgy, we're
going editorial.

So I want to get Alex,

really have an expression that's hard
and really strong and almost angry.

And that's what we're going for with
this particular shot.

So get angry.

So the first thing that we need to do
with expression and posing

is, I wanted to really pinch those
brows.

So we need to get hurt almost.

Yeah.

There you go.

Very strong, but a little bit less.

It's all about the subtleties.

So

the little thing can change the fabric
of the entire frame.

And so when you're going for this
strong, hard look, that's the first

thing is, you want to pinch these
brows.

You're going to have the model pinch
your brows a little bit.

Yeah.

There you go.

Keep that chin up.

Alex,

there you go.

Perfect.

Every model has their own personality

but when they're on myset and in front
of my lens, I think it's important that

they play a character.

I lead them in a direction of a certain
character.

And in this case, for leading Alex into
the direction of masculinity,

very strong strength and

almost angry.

While this is an awesome shot, I think
that we need to bring in something to

really extend her.

Legs out, to make this even more
masculine, Gunnar is now put in a stool

that I'm going to have Alex sit on, and
we're going to bring out this

masculinity even more within this pose.

And because I'm very ocd and I like
structure, I want the lines of the

stool to line up with the exact edge of
the background.

Now that we have Alex in this masculine
pose,

I'm going to shoot around a little bit
and play around with this

space.

Chin up a little bit.

Good.

Chin up and around, and look off
camera.

There you go.

And so the worst thing you can be in
this scenario is completely silent.

So I want to direct, I want to
position, I want to pose.

And along with Gunnar, we're going to
make this the best shot it can be.

Can I put her hair back?

Yes, please.

Do.

I'm just going to pin a few of these
strays back for you.

So that

i'll deal with that in post.

So what gunner is doing here is he's
clipping the hair back on alex's

neck, because that's going to reduce
the amount of work that I have to do

and my retoucher, Jordan Hartley, has
to do.

And post processing.

One thing to keep in mind is that we
still are using one single light, one

single strobe.

And this allows us to pose and work
with the model in various positions

without moving the light at all.

You might be asking yourself, if you're
using one light, using one single

strobe, why aren't these shadows darker?

And it's because we're using a wall of
white.

We're using white paper on the
background, a wide paper on the floor,

and white walls.

And what that's doing is acting like a
giant reflector,

bouncing this light everywhere and
reducing that shadow density.

If you wanted to do this with a
different color or a different style of

background, you might have to introduce
a fill light to really fill out those

shadows and reduce that shadow density.

Keep in mind, I haven't moved this
light at all.

Once

later this, I'm going to dive into that
precise style of lighting, where you

just can't move the model too much.

But this style of lighting provides
that ability to pose and move and add a

lot of motion to the shot that you just
can't do with other light setups.

Perfect.

Chin up a little bit.

Great.

I really like where this shot is
heading.

I think that we're

pretty much there.

But the one thing I want to do is,
instead of having Alex leaning forward,

which I feel is predictable, it's easy,
we're going to have her lean completely

back in the wall, which is going to add
a lot of angularity to her body and a

lot of strength and masculinity.

I've got Alex in this lean.

Now it's looking really strong.

I think that she needs to do something
in their hands.

So just have a hand over your body.

There you go.

The hand up,

because obviously she is a female
model.

I think this adds a little bit of
softness, and it's going to juxtapose

between the hardness of her face, the
hardness of the pose,

and then their hands being very soft.

I like the shape of their body,

but I still have a little issue with
our composition.

So I'm going to switch my camera to a
more horizontal format.

And a lot of times in the editorial
space.

We don't get that option.

I hack the shoot vertical because of
page and page count.

But in this case, I have the ability to
be creative.

And so I'm going to change my format to
horizontal.

What I'm going to do is use these lines
and this structure, really guide the

eye to her face.

And her body.

And also the angle of her legs really
play a crucial role in this as well,

because that also acts like an angular
leading line to her face.

So I'm hanging out on the ground right
now.

And the reason why I'm so low is
because, again, I want to add to the

height.

I want to add to power and add strength
to this shot.

So I'm getting super low to the ground,
and I'm going to sort of shoot up her

leg onto her face, and that's going to
really lead the eye, as well as these

other angles and structured lines in
the background.

Ok, so this particular shot, this is
where we need to be.

I love this.

But the one thing that I'm not liking
is that I don't like that the posture

of her legs are the same someone to
bring that right leg back.

So it adds a little bit of variety to
the shot.

One thing to keep in mind is that her
chin is now shoved into our chest.

So we have to raise her chin up

perfect,

really pinch those brows.

This beat toast.

There you go.

I know you feel ridiculous, but you
look really good.

So we're going to take a look at what
we've shot so far.

And we've got a lot of great shots.

I think that

there's a lot of different options, a
lot of different expressions, a lot of

different compositions.

And I think it's important to remember
that

you're going to see a lot of this

studio space where the white v flat
ends.

And in post processing, what we're
going to do is literally just copy this

section of wall and past it over here.

And it's a very easy blend.

It's a very easy composite there.

From astyling and creative standpoint,
I think that the fuda is beautiful in

the line is grays.

We're also kind of mimicking the lines
on the chair with the legs, the shadows

really catching the back of that
beautifully.

I think the shirt is also really nice.

This black line is also mimicking the
stool.

And the shot, I think it's really
beautiful.

I don't prefer the expression in this
one to the other one.

I think it's mainly because the other
one has such a nice squint to the eye.

It feels intense.

It feels like it has a purpose for the
look.

And the pose.

This one, to me, feels like we kind of
caught like mid glance and like mid

change of the face.

So I think we can both agree that our
leaning shots are by far the best of

the set.

I think that this is probably our best
image of this at.

Why is it?

I think, while stylingwise the pose is
really strong, I think that the

lighting, obviously you've nailed in
this shot, I think everything's working

harmoniously right here.

Well, because she's just draped in
white, and the background is white.

I think shadows are going to add a
little

dynamic edge to this.

And I think it's a very important

aspect of this photograph, because
that's what is really truly bringing

her out.

That's what's really separating her
from the background.

I think it just overall adds a lot of
interest to the photograph.

And we all know that shadows create
drama, not necessarily light.

What's your preference on the being
cropped out?

Is that something that bothers you, or
from a photography standpoint, or

you're ok with that?

I would say that that is one of the
biggest critiques that I always get

out of other photographers is that I
like cropped,

weird crops.

I like strange crops and

crops that look like they're in a
magazine.

And if you go through, and you flip
through a vogue, or of any fair w or v,

a lot of times

the dimensions

aren't lined up with necessarily the
aspect ratio of what the photographer

captures.

So there's a lot of strange crops.

And so I like being tight as possible,
but not getting the full frame.

So a little tow crop, a little
headcrop, doesn't really matter to me.

I like that you can still see the snap
of the shiel, and it's not as

distracting in that, right?

I think we found our final shot that we
really love.

So we're going to take this shot head
over into post processing and taken up

a notch.

The initial vision for this shot was to
have our model in a pure white room.

But as you can see,

the background in the set, that clay's
assistance built didn't extend far

enough.

So we're going to have to fix that in
post.

So let's make that our first task in
Photoshop.

I've already gone ahead and done or
capture one process.

It was very simple, the same thing that
we've been doing on all of our images.

The only things that I did we're
brought down the highlights a bit,

increase the shadows and added some
contrast

to take care of this background
extension.

I'm going to start by using my market
tool, by heading m on the keyboard,

making a large selection

of this white background.

It doesn't really matter if we have
more selected over there.

I'm just catching a bit of her knee
here.

So we're going to move it over.

I'm going to hit command j to make a
duplicate of that area.

And then I'm going to hit command t to
open our transform tool.

And I'm just going to stretch this out
to the left,

hit enter.

And we've already taken care of most of
the issue

from here.

I'm going to make another new layer.

So command shift, n.

I'm going to name this background edge.

Hit ok.

Now to extend this line, I'm just going
to duplicate it using our clone stamp

tool.

I'm going to hit s on the keyboard,

increase my brush size.

I'm going to zoom in a little bit so I
could see a bit better.

Move over to the area we're working on.

Hold option to make a sample of this
edge.

Now drag this over and line it up with
the rest of the line

let's click and drag this out.

Just paint

in the new area

it's back out and see how it looks.

And already that's looking great.

The next thing I need to do to make
this look like a pure white room is

remove this tape along the edges.

So we're going to zoom in,

take a look,

and we can take care of this with the
clone stamp tool.

Again,

I'm going to make my brush size a bit
smaller, using the square bracket keys.

Make sure that we're using a harder
edge on our brush,

about

95.

Maybe zoom in a little bit more.

And I actually want to make sure that
our line is perfectly straight.

So I'm going to make a selection of the
area that I want to work in.

That way, when I'm using a clone samp
tool, I can't go outside of that area,

and it'll give us a perfectly clean
edge.

I'm going to use the lasso tool

by hitting l on the keyboard.

I'm going to select over here where I
think the edge starts,

make a large selection,

and finish my line

over here.

When I release the pen from the tablet
Photoshop will fill in a line between

my starting and ending point.

So it'll be perfectly straight.

Now I can sample some good texture
right about here

and start painting this tape away.

And since we made that selection, it'll
give us a perfectly straight edge.

I'm kind of seeing a difference in the
lightness between the area that we just

cloned in the original background.

So to kind of blend that difference,

I'm actually going to use our healing
brush,

make the brushes a bit larger,

we'll sample up here,

and i'll paint along the edge of that
difference.

And now you see right here that it's
actually smoothed out that transition.

And we're going to do the same thing
for this difference right here.

And now it's gone.

Now to work on the opposite side, I
need to invert that selection.

So I'm going to hold

command shift and hit I on the keyboard

and has selected the exact opposite of
our original selection.

I'm going to go back to my clone stamp
tool,

make our brush a bit smaller,

sample a good point right about here,

and I start painting along that edge
again.

Now that we've finished up that line,
we can remove our selection by hitting

command d on the keyboard

and now we need to take care of this
area behind the chair.

It'll be a little bit trickier because
of the shadows, but we can still use

the exact same technique that we used
for this area.

I'm going to zoom in a little bit again.

Use our lasso tool by heading ll on the
keyboard.

Click right where we finished with the
last line,

go around.

So we have a large area to work in

and finish off this selection where we
think that the edge finishes.

Let's let go of the keyboard and
Photoshop will fill that line in.

So it's perfectly straight.

And now we just need to deal with this
part of the tape

and go back to our clone stamp tool.

We'll make it a little bit

softer.

And now we just need to sample similar
areas to clone away this tape.

So we're going to sample right here
along the shadow

and paint the rest of that tape away.

When we start working close to this
chair, we can't use a soft brush on our

clone stamp, so we're just going to
make it a little bit harder.

Zoom in a bit,

make our brush a bit smaller

and start sampling and painting again.

We'll do the same thing with this edge
of the shadow, as we did over here,

will sample the edge of the shadow,

bring it down so it lines up.

Just keep painting it out.

We're starting to see a difference in
the light between where we painted in

the original background.

But don't worry about that yet.

We'll take care of this tape, and then
we'll smooth that edge out.

This part is a little bit more
difficult because we don't have

anywhere to sample along this shadow.

So we're going to try and imitate it by
using a soft brush.

And sampling over here

will change our brush hardness,

sample in a good white space,

and slowly paint that out.

That looks pretty good.

Now let's take care of this difference
in the light here.

We're going to do the same thing.

We're going to use the same technique
with the healing brush.

We're going to go a little bit smaller,

make sure that our edge is a little bit
softer,

we'll sample in some good texture,

and we'll start painting over.

That difference.

There's a little bit over here still.

So we'll do the same thing again,

sample some good texture

and smooth that difference out.

I think that's looking pretty good.

So let's do the other side.

Now we'll hit command shift.

I to invert our selection.

And now we can work on everything else.

We're going to start right out this
corner here.

Go back to our clone stamp tool.

Sample a good white piece of the floor.

Start cloning that.

But now we've hit the edge of a shadow.

So we need to kind of zoom in

quite a bit.

So we can do with this small area.

Just sample along here to make

this shadow edge a bit better.

We make our brush even smaller.

Now,

sample inside of the shadow

and paint along this edge.

We've got that little area done.

But now we still have to do all of this.

We're going to make our brush size a
bit bigger.

Clone inside of the shadow,

start painting the tapeway just like
before.

We're getting closer to this chair.

So let's zoom in

our brush size a bit smaller.

Sample,

start painting it out.

Zoom back out, see how it looks

so far.

That's great to take care of this area
right here.

I think we should just sample

this section here and we'll bring it up.

So we're going to increase my breast
size,

hit option,

sample the good area,

bring it over

and just start cloning it out again.

Looking.

Now these shadows don't line up
perfectly because we sampled from here.

So we're going to fake it and push our
shadow over a little bit.

We'll just do that by manually painting
it in,

by sampling the shadow right here.

And let's start painting so that they
meet up.

That's looking pretty good.

There's just a little bit of tape left
over, right here, in this shadow.

So let's try and clean that up a little
bit.

We will select some of the floor over
here,

start slowly painting that away.

We'll zoom in a little bit.

And we need to take care of this harsh
line here.

So for this, I think we should use the
healing brush.

I'll hit Jay on my keyboard,

shrink down on brush size, we'll sample
right about here.

Let's try healing that out.

Since we're dealing with the edges of
some shadows, the healing brush isn't

quite working.

It left a little bit of a weird
transition here.

So let's just clone that out with our
clone brush.

I'll shrink it down,

so it's easier to work with,

sample,

kind of paint that out.

It's looking pretty good.

There's just a little bit of tape left
here.

let's sample inside of this area and
bring it over here.

Awesome.

Now that we're done, with this area.

We can remove our selection by hitting
commandey on the keyboard.

And you can see that we have a
perfectly straight line across.

I'm going to use the same methods to
clean up this line and the vertical one.

So we're going to speed up this video

while I work on it.

So I just finished cleaning up all of
the edges.

And normally my next step would be to
do my healing and dodge and burn.

Since this room is pure white, it's
really important to make it look

flawless by removing all of the
imperfections on the floor and on the walls,

since the room is white, is very
difficult to spot these imperfections.

So I'm going to show you a quick trick
using the curves adjustment layer, so

you could spot them a lot easier.

We're going to make a new curves
adjustment

and just bring it down

quite a bit.

Now, all these imperfections on the
floor are a lot easier to spot.

We'll zoom in so we can go ahead and
take care of them.

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

So I'm going to hit on our background
edge layer so that our new layer will

be on top of that.

And command shift n

and I'm going to name this background
clean up

hit.

Ok?

Now we can just go through all of this
area with our healing brush and clean

this up as best as possible.

I'm going to go ahead and clean up all
the dirt on the floors and the walls,

and then I'm going to go on to cleaning
up the blemishes on our model and doing

some basic dodge and burn.

As soon as I'm done cleaning up the
dirt on this floor, I'm going to delete

our curves adjustment layer so the
model looks normal again, and I can

continue working on her skin.

I'm going to speed this up,

and once I'm done, we'll slow it back
down and show you a few more things.

I've just finished up with all the
minor work on this image with some

healing and dodge and burn.

But now I actually want to use dodge
and burn to contour her face a little bit.

This is going to be slightly similar to
the global dodge and burn that we did

on the image of curt a few lessons back.

This image was shot with the intention
of evoking a very strong masculine pose.

So we're going to emphasize that by
giving her a strong, sharp cheekbone

we're going to do that using the same
layer we use for dodge and burn.

We're going to hit command shift.

N,

we'll call this contour.

Set the blend mode to soft light, and
fill it with soft light, neutral color,

hit.

Ok.

Now we want to zoom in a little bit on
our face,

make sure we have our brush selected.

Increase our brush size.

We'll check the hardness of our brush,
just to make sure that it soft.

Now, in order to give her cheekbones a
very sharp look,

we're going to paint black below the
cheekbone

and white right on the edge of it.

So let's go ahead and resize our brush
to fit in this area here,

and we'll just paint in

a bit of black.

And now let's switch to white by
hitting x on our keyboard.

Make our brush a bit smaller

let's paint right above that black area,

if you want to follow the natural line
of our cheekbone.

So you're going to want to also bring
it up

closer to the bridge of the nose as
well.

We're going to do a little bit on the
other side as well.

Just to balance it out,

we'll switch the black

pink below that white line,

and i'll toggle the layer on and off to
see the effect.

I think that looks great.

We've really sharpened up the features
on our face.

And now I want to move on to a quick
color fix.

We'll zoom out

to me, this floor looks a little bit
cyan.

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

Click on the master dropdown, go to
cyans.

We'll just check to make sure that this
is where that color is.

And that's definitely where there's a
lot of cyan in there.

So we're going to drag this saturation
down to desaturate it and remove it

from the photo.

The final adjustment I want to make to
this image is just to pull in her

clothing a bit with some liquify.

I'm going to make a clone stamp visible
layer.

By holding command option shift e.

And I can either hit command shift x

or go to filter

and click on liquify.

We want to make our brush size

a bit larger.

Part of what there, make sure that our
pressure is pretty low.

And we just want to push in

this area

as well as

her pet right here.

Just push that in a bit.

The goal when doing this is to make the
lines more straight and appealing to

the eye.

So we just want to push it in

a little bit in a few more places.

I think that looks great.

So we're going to hit, ok.

That's all the adjustments we want to
make on this image.

So now let's save it out and send it
over to clay.

We're here back with another image from
Jordan.

This one is schot and studio it's
looking really awesome.

I really like the way this has come
out.

He's composite.

This background is applied as todge and
burn technique.

It looks really good.

But now we've got to move in the color
process.

But we have to keep in mind that we
have to keep this color very subtle,

because there is so much white, and
there's already so much contrast to

this shot.

We really don't need to do much here

we're and apply a base layer

command option, shifty or control ult
shift e.

We're going to convert this to a smart
object so that we can apply our camera

raw filter.

In this case, we're going to bring up
the clarity.

About ten is

where we need to be,

because there is so much contrast to
this shot already.

We don't really need to apply too much
clarity.

Next

let's move on to vivirance.

To saturate this image a little bit,
not by much because it's already so dissaturated.

Move that slider down to negative ten.

Next up, we're going to create a curved
adjustment layer and play with a color contrast.

We want to keep this simple because
there is so much white in this shot.

Pull the reds down slightly.

Move onto the green channel.

Little bit of magenta,

little green in the highlights.

Not too much, because again, this is
going to affect all of the white.

Move on to the blue channel.

Bring some warmth back in,

a little bit of blue in the highlights
to even it out

perfect.

Once we have our color contrast
applied, again, we're going to move

into color balance

and work on the midtones.

So I'm going to first start with a
yellow and blue slider.

I want to bring this all the way to the
yellows,

see what that looks like, and then
bring it to the blues and see what that

looks like.

Just define where you want to land,

like in somewhere in this range.

Moving on to the green.

Imaginta.

Perfect.

Next up

is the red and cyan,

about right there.

So as we've done in previous lessons,
I'm going to play with these sliders

until I really find a nice balance of
these mid tones.

Great.

So I've landed on negative 25 on the
blue and yellow, negative fifteen on

the green imaginta and negative ten on
the red and Sion.

I decided to keep this a little bit
warm because I like that it feels hot.

I like that it feels like it's outside

and it's got this hard directional
sunlight.

Once we have our color applied,

we're going to begin our sharpening
process,

stamp those layers down,

duplicate this layer

and group them together.

When it changed the blending mode to
overlay on the group,

and then select the first layer in the
group and change that to vivid light.

It's going to look crazy,

but bear with me.

We're going to invert this layer.

We're going to go to filter blur,

surface blur.

We're going to keep the radius at ten
pixels in the threshold at eight.

Can it hit?

Ok,

obviously this looks a little over
sharpened.

So we're going to back this down

to fifty percent.

Now that we have our sharpening
applied, we're going to stamp all these

layers back down,

just like we've done in the last shots.

We're going to apply some noise.

This is going to reduce banding and
give it a nice film.

Look

the last step

is we're going to make some final
adjustments in camera raw.

Nothing too crazy,

but I want to do that with a
nondestructive workflow.

So I create a new layer,

convert it to a smart object,

and so that we work off an adjustment
layer,

rather than the layer itself.

So now I'm going to play with these
sliders out here just to make some

final adjustments.

So I've increased the exposure of hair
just to bring out some brightness.

I've brought up some shadows a little
bit and brought out the whites a little

bit.

We don't want to blow out any of this
white in its frame.

And when it, keep it exposed,

we want this to look and feel like it's
in a bright room.

Now that we've made our final
adjustments with camera raw,

I want to duplicate this layer

and transform it

so that we can elongate alex's face.

And we do that,

creating a new layer,

hitting command,

dragging

this

up.

Perfect.

I think there's a gray compelling
image, especially for an editorial.

So now we're going to save this out.