All language subtitles for 14 Studio Two Light Setup.mp4

So right now, what we're going to do is
change it up.

I've showed you how to take one bear,
bold, strobe,

build a set and create a dynamic image
off one light.

And now we're going to up the Annie and
introduce a second light, and also

introduce modifiers,

big soft modifiers.

We're also going to change the
background and make it a lot more

moody.

And so this is a world that we're very
familiar with, and gunner and beth and

you are very familiar with, because we
do this a lot in editorial photography.

And so gunner, what do we do in here?

Did I know?

Well, I think since we're going to go
dramatic and it's going to be a moodier

shot, I think that we should definitely
step the styling up and go from

something that's not so bright and
crisp to something that's a little bit

darker and sultrier.

I want to do a black satin gown.

Something that's going to reflect and
absorb light beautifully, as to take a

nice play on the curves.

Bethanie, what do you think you did on
hair makeup?

So with the makeup, instead of it being
so masculine like in the brighter shot,

we're going to add a little bit more of
the shadow on her cheek, a little less

on her eyes, making more so about her
face shape.

When you blend out her outer cheek
area, like along right here and up

through her temple, it makes it a
little softer.

It makes a little bit more feminine.

It gives you less

lines, less angles, if you will.

So just makes a little bit more softer.

So

with all those elements combined,

we're going to collaborate on this very
dark, dramatic, moody shot.

So right now, my assistants are
building a set that consists of a lot

of different canvases, a lot of
different layers and tones of blue and

gray.

And so let's head it in the studio and
start building this light setup.

We're back in the studio, and we've
switched it up.

Now we're going for a very moody

atmosphere, compared to our last shot.

We're using two elephant canvases.

These are custom made canvases from
Sarah Oliphant in Brooklyn, New York.

They're hand painted, they're made from
scratch.

It's a process that's customized to
each individual photographer that works

with Sarah.

And it's a really great experience.

I initially found these canvases
through anie libevitz's work, and I saw

these awesome gray backgrounds over
canvas

through portfolio, and I had to have
them.

So I ended up reaching out the Sara a
few years ago, and we really started

from scratch and building this first
canvas, which is behind me, it's a nine

by twelve

custom made canvas that is considered a
standard lebe of it's gray.

And then in front of that is a four by
five custom piece that was created most

recently, which has a lot of texture to
it.

It's a lot of shades of blue and gray
mixed together to make this

awesome background.

They are an investment.

They do cost a lot of money, but I feel
like it's really well worth it in the

end.

Because of the shots that you can
capture with these backgrounds, a lot

of photographers gravitate towards
seamless paper.

And as you saw in the last shot, we
used seamless paper, but for this kind

of moody, dramatic image that we're
going to be going for, I prefer

textures.

I like the inconsistencies.

I like the raw, organic feeling that
canvas brings over something that's mat

and flat like seamless.

It's like placing one of a kind
painting behind the subject.

It just adds to the overall mood of the
shot.

And it makes my photographs one of a
kind as well.

So we're going to bring in our
beautiful model, Shannon, and then

we're going to introduce our mainlight
and our key light and dive into

lighting.

So in the last image, the shadows were
super hard.

We used a bare bulb one light scenario
on a set that we constructed.

But in this particular set, we're going
to start modifying that light.

We're going to knock back those shadows
and we're going to introduce what I

like to call the soft lighter.

So this is what I'm going to be using
to modify our key light it's a pro

photo, 41 inch,

shallow white umbrella,

and we have a medium diffusion panel
over the front.

And how this works, the light actually
fires into the umbrella.

The light bounces inside of the
umbrella and flows out through this

white diffusion, which creates an
ultrasoft light.

It's by far my favorite modifier.

So we're going to go ahead and bring
our light, and let me show you exactly

what this is going to do on our model's
face.

So I've brought in our key.

Light it's about six to seven feet away
from our subject.

I've modified it with an umbrella, and
I put it in a pretty typical place

where a lot of photographers

go to instantly.

And let's just see what this looks like.

Yeah, I have that hand behind you,

right hand?

Well, not like this.

Just like,

yeah, there.

So if you look at this test shot we
just took, it just seems pretty drab.

I think that there's this weird ghostly
shadow on the background.

Even though it is super soft, there's a
few things that we can do to make to

make this even softer.

I think that what needs to happen now
is we need to take it from this angle

of where it is six to seven feet away.

We need to bring it in.

Because remember, as we inch this light
closer to the subject, closer to

shannon's face, the size of the light
becomes bigger, which is going to make

our light source a lot softer.

Distance is crucial in this scenario.

Think of it like the sun.

The sun is a massive light source.

It's the most massive light source that
we know.

But even though it's a giant light
source,

it is relatively far away,

which creates those hard

shadows.

And the same thing applies to this
light source here.

As we bring it closer to our subject
it's going to be a lot softer.

But if we are to move it far, far away,

that light would become suddenly harder.

So let's inch this light forward, and
we'll grab another shot.

Chin up a little bit for me.

Jin, this way.

Look at me

perfect.

Now, if you're to compare these two
images, one is dramatically different

than the other.

We've completely

softened those shadows in the
backgrounds, and overall quality of

light is far better.

If you can remember, in the last set,
we had super hard light, it was super

strong, and it was super far away.

And now we're bringing all this
lighting in, which is creating a much

softer light source.

So I think we've got a pretty engaging

light here.

But there's a couple of minor
adjustments that we need to make.

One, we need to feather this out,
because I really want the light to not

actually hit the model.

I want the light to actually wrap
around the model's face.

Secondly.

I want to tilt the head of the pro
photos that it really gets more

overhead.

It's more cinematic, it's more natural.

And so that's what we're going to do
right now.

So again, I'm going to feather this
light out here, and when it tilt, this

head down, which is going to create a
much more cinematic, more natural,

feeling light source.

And so we'll take a test shot and we'll
see what this looks like.

Step a little bit back

there.

So I come from a cinematography
background, and a lot of films that you

see every day are lit from above,
they're lit with a light source coming

from the sky, are coming from the
ceiling.

So with this position,

we've feather the light forward,
meaning that the light is actually

hitting the ground in front of me, and
the light is basically spilling on her

face, it's flowing on her face, which
is going to look a lot more natural to

the human eye.

Rather than the light being direct and
facing her, the light is facing off of

her.

And so what this position has done is
change the shadows on her face and

change the shadows on the background.

Now I'm going to push this light
forward, where it's more overhead and

less feathered.

And let me show you what that looks
like.

As we inch this light overhead,

you're going to start seeing sunken
shadows underneath her eyes and chin

that just aren't flattering.

And so it's too far overhead at this
point.

So we need to bring this light back out
and feather it.

So it's about two to three feet in
front of her.

Now that we have the idea of the
position of the light,

we need to work on the vision and the
concept and the overall mood.

And that does not include her standing
the vision.

We laid out for this photograph

includes something that really resembles

a two page spread, or a beautiful
portrait in vanity fair.

We've brought gunner back in and we're
going to position Shannon into some

sort of flattering pose.

That's really feminine.

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

The first thing I'm going to do is get
this lighting down to our level,

to look very similar to how we finally
locked it in on the last shot.

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

So from this test shot, there's one
glaring air for me, and these shadows

are just too.

Darkness there's no really natural sort
of feeling.

It's almost overly dramatic in this
case.

So what we need to do is introduce a
fill light.

And that's usually a light that's
large, it's very soft and I usually

place it in a position that's going to
be similar to how natural light would

fall onto a background.

With a filllight, I usually like
bringing it in directly behind me, or a

little overhead, and then point it
down.

But it's got to be large, and it's got
to be a very soft source of light.

And a modifier that I've used to create
this soft light is a 65 inch deep white

umbrella from pro photo.

It's very similar to this umbrella,
except it's 65 inches.

Because this modifier is so huge, we're
going to have to bring this in and

change this whole film setup.

So bear with us.

So bring in this fillight, this massive

65 inch umbrella.

Now I've brought in my fill light, and
I've just randomly picked a power

setting.

Let's just see what this looks like.

The objective with Phil is to raise the
natural ambience of the shot.

But in this case, the fill is too
powerful, meaning that all the dramatic

shadows that we had initially without
the fill are now gone.

And so we need to reduce the power of
the fill to really balance both the key

and then the natural ambience of the
fill.

So to truly see what this fill is doing,

or we're going to cut out the key light
and take a test shot.

I'm intentionally not telling you the
power settings, because in every

scenario they're completely different.

Instead, I want you to see what each of
these lights are doing

and make your own decision for your
photograph.

I've turned my fill light down two
stops.

So let's go ahead and take a test shot
and see what that looks like.

As you can see in this shot, the fill
light is very subtle,

it's very dark.

It's just adding a little bit of touch
of ambience to the photograph.

So Phil is by far one of the most
underrated

sources of light in my photography.

And in many cases, I actually bring in
fill before I even set my key light.

Ultimately, everyone who views this
photograph

shouldn't even notice the fill, even
though it's placed directly behind me.

It shouldn't be apparent in the final
photograph.

So now that we have our fill light and
our key light in place, let's turn back

on our key light and start working on
the mood of this photograph.

And the overall pose.

Let's take another shot and see where
we're at.

The first thing I see with this body
position is that it's not that flattering

because of her body position.

It almost resembles a mermaid.

Her really hair clothing, because it's
so dark and black, is really blending

in the one solid line.

And it's, this is not really flattering
to her body shape.

So there's a few things that we need to
do to reposition her body to make it

more flattering.

So Shannon, once you step up on the
box, like, sit up on the box,

awesome.

Cool.

And so what I want you to do is raise
your dress up a little bit.

Let's bring that foot back around.

Let me have you turn a little bit
towards me.

And because now she's raised her body
up a little bit higher on this box, we

now have to bring this light up to
follow her and highlight her face.

So I'm going to take a test shot and
see what this looks like.

We're looking pretty good.

I'm liking this.

But

what do you say?

I feel like something's missing with
the outfit.

I would

kind of like to add in a foe

skirt on the dress.

I guess, build it out so that it looks
like there's more of

extravagant field to the gown.

It's lack luster to me.

I think it needs some volume, or it
need some length to it.

And weirdly, enough I think that you
have a piece of black fabric in your

closet table call.

Ok?

Well, I feel like because it's black
and it's going to absorb some light,

and sort of the bottom part of the
dress, I think I can make it look like

the bottom part of dressing.

Just bake the entire bit of it.

I mean, i'll just take the dress up on
the head as soon we can get,

if I can grab that and won't make that
happen.

So what I'm going to do is I'm just
going to kind of give this dress the

feel of being a gown.

The difference between the two is, one
is going to be completely formal and

super dramatic, the other one's going
to feel a lot more like wearable and

easy.

This obviously focuses and features

better in a photograph, because it
gives you more to play with already.

You can see that the shape is starting
to change.

I feel like this is not something that
every Silas is going to come prepared

with.

I make clothing as well, so I come
prepared with these types of things.

So I'm kind of used to coming with
backup options and

tricks up my sleeve that not every
stylus.

Is going to have, however, certain
colors are going to be harder to do

this with.

So I suggest, if you're going to work
with a stylus,

make sure that you guys have backup
options as a plan.

I've been on set with gunner many
times, and I've actually seen him do

this quite a bit with various dresses
and various fabrics and what not, to really

enlarge and

enhance the elegance of the photograph.

So there's a few things that we've done
here to really make this photograph

stand out.

So there's your average everyday apple
boxes that you can purchase at your

photography retailers, such as this
apple box I'm sitting on now.

But this box over here really has
character it's old, it's worn.

And I think that really adds

some character to this photograph.

Another thing to remember is that we're
on concrete floors, and we've taken

that nice olifont gray and put it
against this nice concrete floor,

rather than

flowing it out and having that seamless
curve that so many photographers go to.

Again, I'm coming back to that ninety
degree angle, where it looks

a little bit more

like a natural room and less like a
studio.

And then directly behind Shen.

We've placed that four by five elephant
canvas, which adds a little interest to

the overall shot.

So let's take a shot to see if this
black fabric looks authentic.

So I'm really digging on this shot gun.

Or what do you think I think we've
taken it from a dress to like an actual

gown?

It's the smallest of little details
that have made this dress seem so much

more extravagant in this photo.

It's kind of crazy that it actually
blends in the way that it does.

And I think a lot of that, too, is like
the non reflective surface of the

black.

And if you look now, that black hasn't
just framing her leg.

And I think your legs are so much
longer.

Now,

I think I want to extend that.

I think I want to accentuate that even
more.

So we need to get Shannon in a

better position to really bring out her
length.

All right?

Channel.

So come a little bit further on the box
here.

So what I need to do is have you lean
even more to keep coming in on this box

as far as you can get on the edge.

Because we want to get Shannon in a
more elegant pose and really extend her

length.

We need to turn this box so that she
has more room to lean on her right

hand.

So Shannon, come as far forward as you
can on this box,

really provide that in far over this
way.

And then rotate your body

so that your legs go towards the
background.

Perfect.

Bring your left foot over

their right foot.

There you go.

Perfect.

Ok.

And what we want to do is we want to
sort of have her shape her curves with

her left hand.

And so she's going to bring her left
hand over her

leg.

That's going to really shape and form
her body.

And then I want you to really lean back
into this pose, Shannon, with your

right hand.

There you go.

Perfect.

And so as gunner is really preparing
this

black fabric for this shot,

I think we have the pose you want to
think is going to look really elegant.

We don't want the hair on the side of
the face that's being lit, because it's

going to create some really strange
shadows on her face.

So we're pushing all this hair over.

That's going to create a really strong
bone structure.

So rotate that back shoulder.

And remember, bringing that hand up
over your body.

Keep rotating around so that your
shoulder, left shoulder, is a little

further back, keep going, keep going
there.

And I want you to really lean into this
guy.

There you go.

Perfect.

Good.

Chin up.

It's very nice.

Good.

And you're going to instantly see that
her body is elongated.

It's extended.

We've created that length by having
Shannon lean back into this box.

I think we're there.

I think there's a gorgeous shot.

Shanner looks beautiful.

It's elegant.

The one last thing I want to do is have
her break her arm a little bit so it's

not such a straight angle, it doesn't
look so forced.

I need it to be a little bit more soft.

So we're going to have her break her
elbow.

And then I think we've got this
photograph

perfect.

Something important to remember here is
that once you have your model and the

perfect pose, you're going to have to
really start playing with expressions

at that point.

So even though we have Shannon, and
what I'd like to think is the perfect

position, her face is everything.

And so I'm going to have Shannon really
tilt her head, tilt her chin

forward, back,

rotate her head a little bit back and
forth, really play with mood and expression,

because that is really what people go
to first when they look at a

photograph.

They look at the human eye.

So we're going to take a few shots,
work around that world in that realm

and see what we come up with.

And shan't shin up a little bit
beautiful.

Love it shin towards me, slightly

rotate your head towards me, and then
look at me right here.

Perfect.

Chin up a little bit beautiful.

So I think we've got this shot.

It looks gorgeous.

Shannon looks beautiful.

She looks super tall.

And so now we're going to go into post
processing and take it up another level.

Here we are with our next studio shot.

I've already gone through and done the
capture one processing and some basic healing.

Let me show you what I've done.

Here's what we started with as a raw
file.

After capter one processing

kind of just brightened up the photo a
bit, added a little bit of dimension

using the same process we've been using
this whole time.

And in my cleanup folder, the first
thing I did was a backdrop extend, just

so I met the floor.

I used the same technique as the white
room shot

using the marquis tool, and I dragged
it down to fill in that gap.

Next, I did some basic healing on the
background.

And our skin

just took out some wrinkles on the
background,

fixed up a few blemishes on our skin,

but there's a bit more that we need to
deal with.

Her legs have little dots all over them,

so we need to figure out a way to
remove those without taking too much

time on them.

I'm going to go click on our healing
layer,

make a clone stamp.

Visible layer

that's with command option shift e.

We're going to go up to filter

noise

and dust and scratches.

So it looks a little bit weird right
now, but we'll change our settings.

We'll try and boost up our radius so
that these black dots are gone.

So what this is doing

is, as we move the radius,

it's kind of using a smart blur on it.

We don't want to go too far.

We just want to be so the prominent
pores aren't showing as much.

Right there, I think, is pretty good.

And then we want to adjust the
threshold.

What threshold does is, as I move the
slider to the right, it'll reintroduce

some of the fine textures without
bringing back what we want it removed.

So i'll bring that a little bit to the
right.

You can start to see that the noise is
coming back in.

We'll keep going up.

If I go too far,

it'll bring everything back.

So we want to kind of find

the perfect sweet spot

so that

we have our fine details back without
these dots that we want to remove.

Let's keep

bringing the around,

and let's see, our preview

it's a little bit too much.

Bring it down a bit.

That's looking pretty good.

I'll hit ok.

And we actually don't want them to be
completely gone.

So we're going to pull our opacity back

just a bit,

so that it lightens them and doesn't
remove them.

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

And you can still see them, but they're
not as drastic.

Now we're going to make a new layer mask

so that we can mask

this effect in only on this area,

and we'll invert it,

go to our brush tool,

and we'll start painting the effect in.

It's looking pretty good.

There's a little bit on the other side
of the shoe

cool, and there's a little bit on the
other leg as well.

So we might as well just take care of
that.

So now that we have that mask thin,

there's another area that we could try
this on.

It's a little bit of a different size
of detail.

So we're going to need to redo this,

we'll make a clone stamp visible layer.

Again, by holding command option, shift
and e,

go up to filter,

noise

dust and scratches.

Now let's use a smaller radius,

zero that oak really quickly.

First we're going to move our radius up,

just until the hairs disappear,

right about there.

And I will shift our threshold over

and see what kind of detail we can
bring back.

It's a little bit too far.

So let's leave it right about

there.

We'll hit, ok.

And I will do the same thing.

We'll add a layer mask,

invert it

and paint white on the layer mask

to remove those hairs.

And you can still see all of the skin
detail.

There's a little bit more there.

Perfect.

You can even use this method to clean up

dots on a background.

Since these dots are a little bit
bigger than both the hairs anthropores,

we're going to need a bigger radius.

And we'll start by making our clon
stamp visible layer.

Going up to filter, again, noise dust
and scratches.

We'll adjust our radius until these

spots disappear.

We'll mess with our threshold a little
bit,

maybe pull it down,

bring it up.

It's a little bit too far.

So we'll go down again.

You can see that there's a little bit
of an outline.

So we're still a bit too high in the
threshold,

right about?

There looks good.

We'll hit, ok.

Make a new layer mask.

Invert it

and start painting in the effect.

Over the dots, we want to remove

this pass of dust.

And scratch has actually picked up
these spots here too,

so we can paint those out really easily.

There we go.

Let's see if we can get the rest of
these

on the right side back.

Draw

this dust and scratches.

Technique can not only save you a ton
of time cleaning up troublesome skin,

but it can also help you easily remove
dust and spot patterns.

Now that we've finished up with that,

we can minimize our cleanup folder.

And I want to show you a new way to do
dog and burn with curves.

In previous lessons, we've been using a
soft light layer filled with fifty gray

and painting on that to lighten or
darken areas.

Now I want to show you a different way,
and it evolves using two curves layers.

So I'm going to go ahead and make two
curves adjustments.

I'm going to name the top one dodge,

and the bottom burn

I'm going to

make a point

on our curve.

And since this is a burn layer, we're
going to want to pull the curve down so

that we darken the image.

Usually I like to keep the input at
around 146,

and the output at 128127

will define.

And we'll invert that layer mass by
hitting command I, and we can move on

to dodge.

Now we're going to do the same thing
for the dodged curve layer, but in the

opposite direction.

So we'll brighten it up to about there,

and we'll invers the layer mask.

We'll select dodge,

hit shift and click on burn.

We'll command you to group them

and call this dB.

In the previous technique that I showed
you, we would paint white or black on

the same layer to lighten or darken the
image.

But for this technique, if I wanted to
lighten the image, I would need to

paint white on the dodged layer mask.

And if I wanted to darken the image, I
would have to paint white on the burn

layer mask.

This process might seem a bit more
difficult, but when doing dodge and

burn with a soft light layer, on
certain images, you can introduce some

color shifts that are very difficult to
fix, by using this method that I'm

about to show you, you can avoid those
color shifts altogether.

I just wanted to make sure that I
taught you it so you had the option to

use it in your own photos.

Just like with the last method, we need
to smooth out the transitions by

darkening the light areas and lightning
the dark areas.

I'm going to start with this spot here,
so we'll go to my dodge layer mask.

Make sure that I'm on white,

or reduce my flow to about ten percent,

make sure that my brush is soft,

and start painting in that area.

We would do the same thing if we wanted
to darken something just on the burn layer.

We would choose the burn layer mask

and paint on the light areas to darken
them.

If I needed to darken our lightning an
area more than my current curse layer

would allow, then I would just need to
duplicate it and redo the mask over the

area, and it would be twice as bright.

Let me show you with this area here
i'll duplicate my dodge layer.

I can go even further with it by
duplicating a ton of the layers, but

obviously that's way too overexposed.

We don't need it that bright.

So let's delete all of those.

Keep in mind that when you duplicate
the layer, it copies the mask over too.

So you need to make sure that the mask
is only affecting the area that you're

wanting to change.

I'm going to go around the image and
just clean up some of the transitions.

We'll speed this up so you don't have
to watch the whole thing.

As you can see, I spent a lot longer on
this image working on the face and the

legs.

We had a lot more work to do on the
legs, but now after the processing,

they look a lot better.

Before we finish up with this dodging
and burning.

I want to show you one last change that
I want to make.

This photo was supposed to be a bit
more feminine and soft.

And often defining characteristic of
femininity

is soft round cheekbones.

In the last lesson, I showed you how to
give our model more masculine, sharp,

cheek bones.

But in this one, I'm going to use dodge
burn to soften up those transitions and

give for cheekbone a nice feminine,
soft look.

We're going to start by burning here on
this light area.

Make sure that we're using a white
brush,

make the brush a bit bigger

and just paint right there a bit.

Now we'll switch to dodge,

and we'll go ahead and try and lighten
up this part of her cheekbone a bit.

Now let's tuggle it on and off.

That's looking a lot better to my eye.

Once again, this is just another simple
way to give your model a more masculine

or feminine look.

The last thing I need to do before I
save out this photo is I need to even

have the skin color.

And I'm going to do that using a
gradient map.

Before we do that, let's close up our
dodging burn group.

And just like last time,

we're going to sample a highlight with
good color in it.

We're going to hit x to switch our
colors on our brush.

And we're going to use the eye dropper
to sample

a shadow.

Let's go over to gradient map.

Click on that,

we'll call that skin color.

Set this

to color

head.

Ok.

And now it's affecting the entire
image.

So we're going to invert our layer mask,

make

increase our flow for our brush,

make sure that we're painting on white,

and make the brush a bit bigger.

And start painting this away.

It's going to be in full effect for
now, but we'll dial that back once we

have it all masked in.

So just keep painting anywhere that we
see some skin.

We use a bit of a harder brush here

in all of these little areas.

Let's go down her

arm

to the other arm really quick

and zoom out.

Just take harry's legs,

and then we can dial the effect back,

painted a little bit too far there.

So we'll paint on the mask with black
continue on.

So it was a smaller brush.

And we can zoom in

a little bit too far there.

Let's just grab

toes here,

and i'll start dialing this effect back.

We'll pull back the opacity quite a bit,

probably around

there, I think

let's toggle it on and off.

It's looking pretty good.

We've got a nice even skin tone.

The last thing we need to take care of
before we save this photo out

is I need to do a little bit of liquifi
right here.

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

Using command option shift e.

I'll hit command shift x to open up
liquify,

make sure that our pressure is low.

And we'll just push

this area of our arm end.

We'll pull down her shoulders a bit.

I kind of want to pull in her leg.

A touch,

we'll add a little bit more

curve, right there.

That's looking great.

Let's hit.

Ok.

This photo is probably one of the more
dramatic retouches we've done.

We've done a ton of work on it, and as
you can see, we've taken it a long way

from a raw file.

Let's get the saved out and sent over
to clay for his color grade.

And sharpening.

This might be my favorite shot of the
entire tutorial so far.

You might know me for this style and
this look.

So we're going to dive right into the
color process now that Jordan has

finished his retouch.

So I know where I want to go with this
image.

I want to go cool.

I want to have a lot of green, a lot of
blues, but maintain some warmth in the skin.

So first

we're going to stamp on these layers
down, create or base layer.

Now that we have our base layer,

we're going to convert this to a smart
object

and move into our camera.

We've got a lot of texture on this
background here, and I want to bring

that out with some clarity.

So we're going to bring this clarity

pretty strong,

say around 25.

It's looking pretty good,

hit.

Ok.

And next we're going to disaturate the
image using the vibrance adjustment layer.

We've got to really desaturate this
image.

About negative 25 is a good balance.

Once we've desaturated the image, we're
going to go up to our curves adjustment

layer and work on the contrast.

We're first going to go to our red
channel.

We're going to pull out the reds

just subtly,

then move on our green channel, just
like all the other images.

We want to create a subtle s curve.

We're going to grab this line down here
in the bottom left hand corner and drag

it to the bottom right hand corner

to bring in some magenta

in the midtones.

Then we want to grab the top right
corner of this line and drag it towards

the top left corner

for a little green in the highlights,
but not too much

great.

Next up, we're going to move to the
blue channel.

We're going to do the same thing and
create a subtle less curve.

It's already looking really good

now that we have some contrasts applied
to this shot.

Let's move on to the mid tones and the
color balance.

Once we have our color balance created,

we're first going to start with the
blue and yellow

and we're going to shift this over to
blue.

Once again, this is a creative choice.

You don't have to go too blue.

You don't want to go too green.

You don't have to go too warm.

It's all subjective, and it's all
coloring to taste.

When I work on the magenta.

And finally, work on these reds a
little bit

there.

All right.

Now that I've played with these sliders
and

work to the red Sion, green, magenta,
yellow and blue,

I think we've got a good foundation
here to start my sharpening process.

We're going to change this blending
mode to overlay on the group,

and change this blending mode to vivid
light.

We're going to invert that layer, go up
to filter blur,

surface blur.

Remember to keep the radius at ten, in
the threshold at eight.

You can play with those sliders a
little bit.

Be careful, because it can go really
overprocessed,

real quick.

And then we want to lower the opacity
on the group.

Perfect.

Once we have our sharpening applied,
we're going to stamp these layers back down.

And just like the others, we're going
to add some noise

and induce some final touches with
camera raw.

When it convert this to a smart object

filter camera,

we're going to play with the white
balance, mostly here,

spring back some

subtle warmth of the skin,

maybe a little bit of green.

Perfect.

Now that I've worked through this shot
a little bit, and I'm analyzing it, I

think I could add one last step

to complete the process,

and that's selective color.

I want to work on the blacks,

so I want to add a little bit of blue
to the shadows, as well as a little bit

of magenta.

And remember, keep it subtle.

Now we've applied our final step to
complete this process, a little bit of

selective color.

I think we've got a fantastic shot.

I'm a huge fan of this.

Someone to save this out and move on to
the next shot.