All language subtitles for 09 Bounce Flash.mp4

So by now you should have a pretty
solid understanding of how I use

natural light.

So the beauty of artificial light is
that I can move, I can change, I can do

whatever I want with this.

And I just can't do that with the sun.

So let me take you through the
progression of how photographers use a

speed light.

And it all starts on the camera in the
camera's hotshoe.

So before we turn this guy on, let me
take a natural light shot, just to show

you what we're working with here.

So we're in the shade.

The sun is set.

This might be the only option that you
have if you didn't have a speed light.

So as you can see, the photo is pretty
dull, it's pretty boring.

So I want this light to be the key
light.

I want it to be the main source of
light.

So we have to reduce the ambient light
in order to make that happen.

So I'm going to lower the iso down to
about iso 200 to make the shot overall

pretty dark.

I'm going to show you what that looks
like.

So this shot is obviously underexposed.

So now I'm going to depend more on the
speed light here.

So I'm going to pop it on it's on auto
we're just going to see what happens.

So we have a correct exposure, it's a
direct flash.

And honestly, there are times where I
do like this style depending on the

subject in the background.

But in this case it's just not working.

So we're going to try something else.

So I'm here between a wall and a
pillar.

So what I'm going to do is actually
spin this flashhead around and bounce

this light, and it's going to start
emulating what we had before with

natural light.

And so I'm going to bounce this
artificial light off this pillar, which

is going to flow and spill onto kurt's
face.

So instead of being lit by a small

direct flash, now he's going to be lit
by a bounced, soft light.

So keep in mind to have this flash in
automode.

Ttl it's going to determine the correct
exposure for me.

So as you can see in this shot, the
light is a lot bigger of a light

source, and it's coming from behind me
and overhead.

So it's going to reduce all those

strong shadows that a direct flash
creates.

So what we have here is a correct
exposure, it's a decent shot, but it's

not really my style, and it's just not
going to cut it in the editorial world.

So the first thing I'm going to do is
I'm going to turn off my speed light

and get a correct exposure for the
natural light we do have left.

So right now, remember, I'm a couple of
stops underexposed, and right now I

need to go two thirds or one third it's
going to be right under a correct

exposure.

So I want to bump up my iso, because
we're losing light rapidly, and I'm

going to try to get this where it needs
to be.

So when you look at this photo, I'm
right under a correct exposure.

And now is the point where I turn on my
speed light and I add that small,

subtle hint of artificial light.

So when I power on, the speed light
it's still going to be an auto mode and

ttl.

But I want full control of this
artificial light.

So I'm going to shift it over to manual
mode,

and I'm going to just take a wild
guess.

At 164

power also have the ability to zoom the
flashhead from a wide beam to a narrow

beam.

And in this case, I want a wide beam
because I just want to fill the scene

with light,

so then that we have a correct exposure
we can compare

what we took, previously with the
bounce light to this shot, with more

natural light.

So in my work, I don't want it to look
over lit, and that requires me blending

both natural light with artificial
light and balancing the two.

So now there's a way to make this even
better.

So let's say you want to bounce the
light, but you don't want to bounce it

directly behind you.

And you also don't have access to the
pillar behind you, or anything behind

you for that matter.

So what we're going to do is grab a
reflector and we're going to bounce

light off that.

So what a reflector, given us the
ability to do, is put this light

anywhere we want.

I can't move this pillar, but we can
certainly move a reflector.

So I just placed my assistant hunter
here with a white reflector from

overhead.

I'm going to take this flash out, I'm
going to turn it up, and I'm going to

bounce light into this, which is going
to give us a really nice cinematic

lighting over its face.

So as you can see in this photo, we've
lit curt with a bounced light directly

from other above.

And what this does is just spills the
scene with light and really gets a nice

cinematic style of lighting.

So this is the style of lighting that I
prefer.

But you can also take this reflector
off to the side as well.

So we're going to do that, and I'm
going to show you what it looks like.

So, as you can see here, replacing the
reflector in various positions,

from left to right, front to back.

And each image has a unique feel of
their own.

So we've got a lot of great shots here,
but we're going to pick our favorite

one, and we're going to head into post
process.

We've got our last image was curred.

Here he's standing in front of this
awesome gongi concrete wall.

I've already done some adjustments and
capture one and Photoshop.

You guys should know how to do this
already.

But I'm going to give you a run down on
how I did it.

We started out with the raw,

and I'm going to enable my capture one
process layer.

I really wanted to bring up the
exposure, get some nice color on his

face as well as contrast.

I brought up the exposure a bunch, and
I shifted the color to a bit of a

warmer green tone to get this nice skin
tone on him.

Next we did some healing.

I took out a bit on his face.

And on the background.

There are a lot of other things that I
could have removed, but it boils down

to a creative decision.

And I wanted to keep the same grungy
field that the image already has.

So I left a lot of this stuff in.

After I did my healing,

I went ahead and did some quick dodge
and burn.

Nothing too crazy.

But one thing that this dodge and
burnlayer did introduce

is a little bit of desaturation

under the eyes,

where I brightened it up a bit.

The first thing I want to focus on this
lesson is one way to fix color issues

in the skin tone.

I'm going to start by making a new
layer with command shift.

N.

I'm going to call this color fix.

And I wanted to set the mode

to color.

We're going to make sure that we're
using our brush tool by heading b on

the keyboard.

I'm currently set to a relatively high
flow, so I'm going to bring that down.

We're going to make our brush eyes a
little bit smaller with the square

bracket keys.

And now I need to sample a color

by holding option on the keyboard.

And I'm going to choose something near
that.

Area with a similar color that I want
it to be.

And I'm going to paint

where that issue is.

We'll do the same thing for this side

sample neared the area that we need to
fix.

Just paint over that issue.

What this is doing is replacing the
color that was there previously with

the one that we sampled.

So it blends a lot better with the
surrounding area.

You can do this for any area of skin or
clothing

if I wanted to.

I could just take some of his skin tone
and I could change the color of his scarf

to brown.

You'll notice that this isn't making
any textual changes.

It's just making a color adjustment on
a new layer.

I don't want to change the color of a
scarf.

So I'm going to undo that.

Just remember that it's very important
to use this technique in a subtle way.

If you go too far off it and paint over
a large area, it'll make that entire

area the same color,

and it just doesn't look natural.

So we're going to want to use this
technique sparingly

in order to keep a natural feel to the
image

under his eyes was actually the only
area that I wanted to fix.

So let's move on to the next issue

in my capture.

One process, in order to get his skin
tone looking this way,

I had to warm up the image and add a
little bit of green.

I didn't like what this did to the
background.

So we're going to change that into a
more desaturated color.

In previous lessons, we've made color
adjustments by just selecting a

specific color range.

In this case that's not going to work,
because there's similar tones in the

background as there are on his face.

Instead, we're going to have to isolate
curt from the background by using a

layer mask that only affects the
background and not curt.

You could do this with the lasso tool
or other selection techniques, but I

think it'll take way too long.

So instead, we're going to take an
easier route and use channels.

We're going to start by going to our
channels panel.

Each of these channels represents a
specific color.

So using the red channel as an example,
anything that is lighter, there was

more red in it.

Anything that is darker, there was less
red in it.

So the goal right now is to find the
channel with the most contrast between

curt and the wall.

While scrolling through, I think that
the blue channel has the biggest

difference between curt and the wall.

So this is the one we're going to use.

I'm going to make a duplicate of this
channel so I don't affect the current

blue channel.

I'm going to duplicate this channel by
clicking and dragging it down to the

new layer icon.

And you can see that it made a copy of
it for us.

Next, I want to increase the contrast.

So I'm going to use a level's
adjustment by heading command l.

I'm going to bring the white point on it

to the left.

And you'll see that the background is
getting a lot brighter.

And I'm going to bring the black point
to the right.

And this will increase the blacks

where Kurt is.

Again, our goal here is to increase the
contrast between curt and the wall by

exaggerating the contrast that is
already there.

I'm going to drag this a little bit.

Farther to the right.

I think that's good.

We have a nice clean line

between curt and the wall.

I'm going to hit ok,

and then I'm going to start using my
brush tool.

I'm going to hit b on the keyboard and
set our blending mode on our brush to overlay.

What overlay does is allows me to
lighten the light areas and darken the

dark areas.

If I were to paint white on a dark area,

it wouldn't change.

I'll show you a quick example.

I'm going to enlarge, my brush size,

going to switch to white.

I'm going to increase our flow, so the
effect is exaggerated.

And if I paint white on his sweater
it's already dark, so it's not changing.

But if I were to paint right on the
edge of the sweater,

it would lighten the areas that are
already light,

and it won't affect his sweater.

So we can increase contrast even
further this way.

So my goal here is to make the entire
wall white and olive curt black.

I'm going to start by painting curt
black.

So i'll switch to black by hitting x on
my keyboard.

I'm going to make my brush size smaller,

and I'm just going to start painting
black, Oliver curt.

I'm going to zoom in a bit.

And although this method works well,

it's not perfect.

So we're going to do our best to keep
within kurt's outline.

Our brush is a little bit soft,

so I'm going to increase that hardness

to about 70.

And I'm just going to start painting
along the edge.

I'm going to keep changing my brush
size according to what area I'm working

on.

So for his ear, I need to make my brush
smaller to fit in there.

We're just going to keep painting

around this outline.

I'm going to speed through this part,
and if I hit any problem, spots i'll

let you know.

Now we've got curt silhouette almost
finished.

But you can see that there are these
few white points that wouldn't change

because they were too light for overlay
to deal with.

So we're just going to change our brush
mode back to normal.

Going to shrink my breast on a bit,

and we're going to paint black over
those spots.

Now that we've taken care of that, we
can do with the wall.

We're going to zoom out a little bit
and make sure that we change our brush

into overlay mode again,

and switched to a white brush by
hitting x on our keyboard.

Now we can make our brush a bit bigger.

Now we can easily paint around the edge
that we've already created.

So we're going to just continue around
curt.

You don't have to worry about white
painting over curt, because it's pure

black and overlay doesn't affect it.

And now we have this white edge around
him.

From here, we can paint the entire wall
white manually.

But I'm just going to make a selection
of curt

using the lasso tool.

And I'm going to make sure that I draw
within this outline that we've created

now that we have curt selected.

If we were to do anything here, it
would just affect curt.

So we want to invert this selection

by adding command shift I.

And now is, the background that's
selected.

Now we want to fill this selection with
a foreground color,

which is set to white.

To do this, we're going to hit option

and delete on our keyboard, and it'll
fill that in for us.

We'll hit command d to remove that
selection.

And now I'm actually noticing that
there's a bit of black bleeding into

this white area.

So we're going to go back to my brush,

make sure that we're using white.

And I'm just going to paint over this
area here

let's zoom in a little bit to that area.

And I'm actually seeing a bunch of
white showing up here.

So we're just going to clean this mask
up as tidy as possible.

So I'm going to switch the black, start
painting in this area

there's some more stuff up here.

So I'm going to switch to white and
paint on there.

Now we can see a little bit showing
through here.

We're going to switch to black

and paint right there.

Just continue going around the edge to
make sure it's pure black.

And now I think

our layer mass is ready.

In order to use this channel as a layer
mask, I need to hold command and click

on the thumbnail for the channel, and
it'll make that a selection.

I need to go back to my layers panel,
and we're going to use a huge

saturation adjustment layer to change
the color of the wall.

You'll notice that curt is all red.

Now that is just because our Photoshop
has a setting that shows us what's masked.

So to turn that off, we're just going
to click on the thumbnail for that layer.

With our perfect mask of curt, we can
use our huge saturation adjustment

layer to desaturate it a bit and only
affect the wall.

We also want to warm it up a little
bit.

So we'll pull our hue slider a little
bit to the left.

And I think that's looking great.

While I just use this channel mask to
isolate curt from the background and

only affect the color on the wall.

This technique can often be applied to
any of your images so that you can

isolate and work on only specific areas.

Now that we've got this image looking
good, let's send it off the clay for

its color grading and sharpening.

Alright?

So I just got this image back from
Jordan with his retouch and his color

correction.

Now we're going to dive into the color
grading process.

The first thing, as you've learned in
all the last lessons, is that we first

need to analyze the shot and see where
we want to go, see where we want to

lean with the white balance.

So I look at this image and it's
already really warm.

We used a bounce flash on this
particular image, so we need to balance

us all out.

And then, because of the texture in the
wall and the overall mood, it's still

maintaining that natural feeling.

But I want to lean cool to this,
because we have this nice concrete wall

in the background.

So first we're going to create our base
layer

by hitting command option, shift e

or control alt, shifty.

We're going to rename this to our base
layer,

just like I taught in the last lesson.

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

So that we can apply a camera raw
filter without destroying this layer.

We're going to go ahead and move this
clarity slider

it's about fifteen,

maybe back it off to ten,

perfect.

And before I touch any of the white
balance or any of the exposure controls

here, I'm going to move into color.

And then we can apply this filter
again, just for the final touches.

Once we have this, we're going to
desaturate this image using the

vibrance adjustment layer,

because there's already so much warmth
in this shot.

We want to really desaturate this image
to give it this nice cold concrete feeling.

Now we've desaturated the image, so now
we're going to move into color

contrast.

I'm going to create a curves adjustment
layer.

I'm going to go ahead and move to the
red channel.

We're going to pull a significant
amount of responses red out of this shot.

So I'm going to select the center point
in this line and drag it down towards

the bottom right corner,

right about there.

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

Only thing I want to do in the green
channel is just push the highlights,

add a little bit of green to these
highlights,

just like that.

Now we have a subtle s curve on the
screen.

Channel.

Next is the blue channel.

With blue, I want to add a lot of blue.

So I'm going to drag the shadows up

and drag the highlights up.

Once we've added some significant
amount of blue in this, and we've added

a lot of good color contrast, we're
going to move into the midtones and the color.

So we select a color balance adjustment
layer.

And now I'm going to play with these
sliders to really balance out this tone

in the image.

So first we moved to the scion and red
slider.

I want to add a little bit of red.

We'll play with this magenta in green,

and then move on to the yellow and blue.

Now that we have a perfect balance of
color here,

we want to go and move into my
sharpening process and then apply some

final touches to this shot.

So first I need to stamp all these
layers down into one layer and then

duplicate that layer.

In this particular shot, you can really
see how this sharpening process brings

a significant amount of detail back
into the shot.

But because it can look very over
sharpened, we need to back that down in opacity.

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

these layers down, apply some noise and
some final touches with camera raw.

If you really want to have a
nondestruptive workflow,

adding a final camera off filter can be
applied to a new layer.

You just want to make sure that this
new layer is converted to a smart object.

So when you go into camera, apply some
final touches here,

and that'll be it.

So I've messed with the white balance a
little bit, some temperature, just to

apply a final touch to this, just in
color.

And remember, this is a creative
process, so

it's subjective.

It can be totally different for your
eye than it is for my eye.

But I'm just going with what I feel is
right for this mood, this texture and

the overall shot.

So I lower the exposure a little bit to
give it a little bit more drama.

Going to bring this contrast up,

bring the shadows up,

and I don't need to do anything with
the clarity or vibrance, because I've

already applied that with an adjustment
layer.

I think this is a strong shot here.

We have a really nice mood, a really
cool tone.

It really plays off this concrete
texture.

So I'm going to save this, export it
out and move on to the next