All language subtitles for 10 Strobes on Location-1.mp4

We're now here in downtown lubl,
Kentucky off a side street.

And previously we discussed how to take
a speed light and bounce that

artificial light to get a flattering
shot.

So now I'm going to take this speed
light off camera, which is going to

allow a lot more control over the light

and give me a more engaging shot.

So before we power on this speed light,
I'm going to take a shot in just

natural light to show you what we're
working with.

So I placed Claire here in a position
where I think that these vertical lines

are going to really play through repose
and play to our body, and we're just

going to photograph this natural light
or in the shade.

So keep that in mind.

Perfect,

chin up a little bit beautiful.

Let's have your hand over the other.

App,

great,

strong look.

Perfect.

Mouth open a little bit.

Chin up, slightly beautiful.

So I love natural light, especially in
an environment like this where we're in

shade and you don't have to control the
sun.

This is something I probably would
deliver to a client if the elements

from styling, hair makeup and the model
all came together to make a really

awesome shot.

So I think we can make this shot a
whole lot more interesting by bringing

in some artificial light.

So there are instances where a direct
flash will work.

I don't think it's going to work in
this case, but we're going to give it a

shot.

So before I power this flash on, I want
to lower my exposure by one stop

so that we can get a correct exposure.

With a flash on, I'm going to lower my
aperture from 56 to f eight.

So when I do add this direct flash as a
few giant airs, as you can see in this

shot, the light is coming from the
ground, which is never flattering to

the human face.

There's just no shadows.

There's no drama here.

And because I'm turning this camera
vertically for this

specific composition,

now the flashet is so far from the lens
and so far to the side that it's

creating these very strange shadows.

And this is not going to be a
flattering light.

So we obviously need to get this flash
off camera.

And one way to do that is with the t.

T l cable.

It's a simple hardwired cable that
allows me to shoot with my right hand

and hold the flash in the other.

So I have more control and can add a
little bit more drama to this shot.

So once I've attached this ttl cable,
now it gives me ability to take this

light and extend it from arm's length,

and really take it and get some sort of
different style of lighting.

However, the problem is limiting to
your arm length.

Another problem is that I'm right
handed.

I want to photograph Claire with my
right hand and hold the speed light

with my left hand.

But unfortunately, the light is sort of
coming in from the right side of her

face, so

I have to switch my hands and awkwardly
hold this camera

with my left hand and the speed light
with my right hand.

And it's just not the best solution.

But let's give it a try.

So as you can see in this photo, even
though the direction of the light is

changed, which is a lot more flattering
to claire's face, it's still not a good

shot.

If you can remember, from our natural
light lesson, with directional sunlight,

there's a very pinpointed, precise

direction that this light needs to
fall.

And my arm just isn't long enough to
get there.

So even though this cable doesn't
exactly work for this particular

scenario, I do want you to remember and
keep in mind that this cable I use it

for almost every portrait that I shot
within the first year of my

photography.

So even though I don't actually use
this cable anymore, I still keep it in

my bag because it is so reliable.

So if we're not going to use this cable
at this point,

we're going to introduce what most
photographers use, which is wireless

radio triggers, pocket wizard plus
threes, and give me the ability to fire

this flash.

Remotely.

I have one on my camera and one
attached to the flash.

But with these units, I still have to
manually change the power of the flash

through the settings menu on the speed
light.

It might be a little less convenient,

but I'm used to setting these flashes
in manual anyway.

And we're going to need to know that
once we get into studio.

So the real reason why I introduced the
pocket wizard plus threes is that it's

going to give me the ability to place
the light further than what my hand and

my arm can reach.

So since I work with assistant, I'm
going to have hunter come in and we're

going to put this speed light on a
light stand.

And he's going to hold this light
exactly where it needs to be.

So we have a simple, small lightstand
here with an umbrella adapter that has

a cold shoe where we can attach this
speed light to this lightstand.

So now that I have the ability to place
this light

anywhere I want,

I have to really consider

where I want this light source to come
from.

Looking at the test frames that I've
captured, I think that I need to follow

the flow of the natural light and have
this speed light fall on her at a nice

45 degree angle from camera, right?

Keep in mind, all of the techniques
that we learned in natural light still

apply here.

So basically I'm working with my own
sun, and we can control it and place it

to anywhere we want to really get a
nice flattering light.

So I'm going to have hunter raise this
light stain up to give him enough

extension that we can put this light at
that nice 45 degree directional angle.

Ok, so this is pretty solid, but I'm
going to have hunter come around a

little bit more so we can get that nice
wrap around the face and get this light

super dramatic to where it needs to be.

So if you're to compare both of these
images,

the first image we captured is what we
like to call split lighting.

And split lighting is where you see a
clear line down the center of a model's

face that separates shadow from light.

Personally, for this shot I'm going to
prefer a little bit more of the

Rembrandt style lighting that we talked
about in our earlier lessons.

So I've had hunter shift around

and move the speed light a little bit
towards me,

and that's the kind of light that we're
looking for in this particular scenario.

So even though we've locked in, our
light it's where I want it there's

still a glaring issue.

These shadows are a little too hard,
they're a little strong, and they just

look unnatural.

They don't look like it was lit by the
sun.

So what we want to do now is we want to
introduce more ambient light into the

frame.

We want to bring up the natural light
so that we're balancing both natural

light and then the flash.

So what we're going to do is we're
going to raise the exposure on my

camera by two thirds of a stop, and
we're going to lower

the flash power by two thirds of a
stop.

So now if you're to compare, the
shadows on their face

they're a lot less dense,

and it looks a lot more natural.

Here this shot is a little bit more up
my alley, where there's still those

hard shadows in the wall.

And so the one way that you can reduce
those shadows is introducing that

diffusion disc that we talked about in
the earlier lesson.

But what we're going to do is bring it
in front of the speed light, to modify

the light, so it makes it a lot softer.

And we're going to completely reduce
these hard shadows on the wall.

So one thing you have to remember is
that once we bring in this diffusion

disc, it's going to eat up a lot of
power, is going to eat up a lot of

stops of light.

So we had to compensate for that by
bringing up the flash power once again.

So we've taken our flash power from
132nd

power to 116th power.

So now hunter's going to raise this
diffusion disk at a nice 45 degree

angle.

And we're going to take a shot, come
over a little bit overhead, a little

bit more,

open the mouth, a little bit clear.

Beautiful.

So now that we have this light where I
want it to be,

we're going to work with the model
Claire, and we're going to try to get

an awesome shot.

Chin up a little bit, slip off camera,
slightly.

Look at me straightening.

Bring that around.

Is a bit more

great

that's great.

More

So a few things we need to keep in mind
is that you have the creative freedom

of the position of the light,

the hardness and softness of the light,

as well as balancing both natural light
and the artificial light.

And so now I think I have the shot
that's taken in post processing.

We've got our next shot in front of us.

I've already got it open.

So let's jump in and i'll show you what
I did in capture one in Photoshop.

I then pulled in capture one and
adjusted the same simple exposure

adjustments that we'd been doing for
all the previous images.

I brought down my highlights and I
raised my shadows a little bit, and

then I added just a little bit of
contrast to even it out.

The healing process for this image was
a little bit more intensive, just

because of all this stuff going on in
the background.

By using the same techniques that I
showed you in previous lessons, I was

easily able to simplify the background.

Next, I did some dodged burn to even
out the transitions on her face and on

her legs.

And finally, for color correction,
there are a few areas of yellow that

were a bit too eye catching.

So I desaturated those a little bit to
desaturate them.

All I did was remove a little bit of
yellow saturation

in the yellow drop down box here.

You should know how to do what I just
showed you.

So let's move on, and i'll show you two
new things that you can use on your own

images.

The first thing that I'm going to show
you is a quick technique to even out

the tones of the skin.

As you can see, her legs are looking a
lot colder than her face.

So we need to even out those skin tones.

In a previous lesson, I showed you how
to use the eye dropper to sample a

color and paint it into a new area.

But that's not going to work for this
image because we're working with a

larger area and want to keep some
variation in the skin tone.

Let me just show you real quick what it
would look like if I did do that.

We're going to make

our color layer,

make sure that the blending mode is set
to color.

I'm going to make sure I'm using my
brush tool by hitting b on the keyboard,

i'll sample with the eye dropper tool.

And let's try painting down.

Here.

You can see that it did improve the
color, but it just doesn't look realistic.

So instead of using this technique, I'm
going to show you a better way to do it

so it looks a lot more natural.

We're going to delete this layer,
because we don't need it anymore.

Let's zoom in on our face, because
that's where the good tones are.

We need to sample a good highlight tone
from our face.

Usually the forehead works best.

So let's hold option

and sample a good highlight tone.

And now we need to sample a good shadow
tone.

So we're going to hit x on our
keyboard, so we don't override that

last sample.

And now let's sample in the shadow
underneath her chin.

Write about here, should work.

The reason I'm sampling a highlight and
a shadow is because I want some good

variation in all of the tones in
between.

So now that we have those tones picked,

let's go ahead and go to our adjustment
panel.

And we're going to use gradient map.

Let's call this

skin color correction, skin.

Cc.

We're going to set it to color, blend
mode,

and we're going to hit, ok.

So what this is done is that it's
changed the entire image to the tones

that we've selected.

Obviously, this is way overboard.

So let's back this off and bring back
some of those natural colors.

Let's try around forty percent opacity.

We'll zoom out a bit

and check out how our legs look.

Now this is still affecting the rest of
the image.

So let's invert this layer mask.

Make sure we're using our brush tool,

and that we're painting with white.

So I need to hit x on my keyboard.

I'm going to increase my flow so I can
paint it in a lot quicker.

I'm going to reduce my brush size, and
I'm going to mask in some of that nice color.

So that's looking pretty good.

We fix the color on the legs while
still keeping it looking natural.

Now that I'm looking, her fingers are a
little bit cold looking as well.

So we're going to zoom in on those,

and we're going to do the same thing
that we did to the legs on our fingers.

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

I'm just going to paint the effect.

In

it's super subtle, but I think that
looks really good.

The next trick that I'm going to show
you is super useful, but we're not

actually going to use it for this image.

But still, this is something really
useful that I want to teach you guys so

you can use it on your own work.

As an example, imagine you're shooting
a product, but you only have one color

of that product.

Using the technique that I'm about to
show you, you'll be able to change that

one color into any other color.

In this image, we're going to use the
frills of your dress as the example.

Our first goal to change the color is
to isolate the area that we want to change.

If the area we wanted to select was a
completely different color, we can

easily do that using human saturation.

I'll show you how I would do it if
these frills were, say, red.

The first way that I'm going to show
you is probably the hardest way to do

it, but it gets the job done.

And we're going to use the pen tool

to access the pen tool.

You can hip pee on your keyboard, or
it's right here on your toolbar.

The pen tool is similar to the lasso
tool in the sense that you can make

manual selections with it.

But the pen tool has some additional
features, the main being that you would

make a 0

and then another 0, and it would make a
line between those two points.

From there, you can actually click and
drag out,

and it'll make that line into a curve.

Let me show you how I'm going to use
this tool to select the frills.

And i'll explain things as I go.

So I'm going to undo that example I
just did.

We're going to zoom in,

and I'm going to want to start by
clicking around the edge

of the frill.

There's a bit of a curve right here.

So what I'm actually going to do is I'm
going to click and drag.

It's going to make the line curve along
with the frill.

So when to keep doing that, I'm going
to click and drag

and click and drag.

And we just want to make sure that line

follows around the edge of the frill.

This tool and technique will take a
while to get used to.

But I'm basically just going to keep
clicking around this frill until I have

the entire thing selected.

And speed this up so you don't have to
watch it for ten minutes.

And i'll explain what the next step is
once I'm done

finished penning out her frills.

The last step before you make your
selection is to make sure that you

connect your final dot to your first
dot.

We'll make our selection by hitting the
selection button up here.

And I'm going to choose one radius,

and I'm going to choose one pixel.

And now we have our selection made.

So I'm going to back up a bit.

The first step to changing this color
is to make a new layer with command

shift n.

And I'm, we're going to call it frill
color.

We're going to set the blend mode

to multiply

and hit ok.

Now I'm going to put that layer into
its own group by heading command g.

I'm going to name that group

frill.

And I'm going to add the layer mask
onto it.

Since we had the frill selected, that's
what our layer mask is going to be.

We're going to choose our frill color
layer.

Go up to edit

Phil

selet color.

And we're going to use a color right
around here.

So I'm going to hit ok and ok again.

Now it's filled our layer with that
color.

Let's back out a little bit.

We're going to make a duplicate of this
layer, and we're going to set this

layer to color blend mode.

This still needs a bit of work.

We've lost a lot of contrast doing
this.

So now we need to add a curves layer
and bring that contrast back.

I'm going to add this curzlayer in
between the two color layers that we have.

So I'm going to hit our bottom layer,

click on curves,

and I'm going to make a simple s curve.

Bring that contrast back.

Now, obviously, this looks a little
weird, that if it was never made to

have purple frills, it was made to be
black and white.

But this does show you a technique, an
easier weight, to shift the color of an

object as if it has a different color
than anything else in the image.

There is a way that is much easier to
make a selection for a color change

than what we just did.

But in order to do it, well, the area
you're wanting to change needs to be

different from all the colors around
it.

Now that there are frills don't match
any of the colors around it, i'll show

you that technique.

If I wanted to change the color of
these purple frills,

I would use a hue saturation adjustment.

I would click on the master dropdown.

I would choose greens, because there
aren't any in this photo really.

I'm going to hit our eye dropper tool.

I'm going to select this color.

Now I can narrow our selection down
even more by shifting these points

around on the spectrum.

So I'm going to move this over a little
bit

right there.

Now let's see what happens when I move
the hue slider.

We're kind of catching some other areas
because they're kind of the same color

as our frills.

But since they're not next to the
frills, it's really easy to mask out.

To make this selection, all I would
need to do is invert my mask and then

make a quick selection with my lasso
tool.

So I'm going to do that with command I

to invert my layer mask.

Hit l to make sure we're using our
lasso tool,

just draw around it really quickly.

Now I'm going to hit commandi again,
and it'll invert only that selected area.

Like I said before, this isn't actually
what we want for our final image.

So we're not going to keep any of these
changes that we made.

I just wanted to show you how to do it
so you knew how.

So I'm going to delete

these last few layers

to bring it back to white.

And now this is ready to send off the
clay for its color grade.

With this shot, we have Claire in the
alleyway,

because our arms are crossed your pose.

And just the overall feeling of the
shot.

I want to move into a cool direction
with the color balance and the color tone.

So the first thing we need to dive into
is we need to create our base layer and

build upon that.

Once we have our base layer,

we're going to convert this to a smart
object

so that we can create a nondestructive
workflow and apply a smart filter of

camera raw to this shot.

And the only thing I want to do here is
just bring the clarity up.

Clarity is going to add a little bit of
punch to this shot, as we discussed in

previous lessons.

Hit, ok.

Next,

we're going to go up to curves

and work on our color contrast.

Now we're going to move into the red
channel.

I'm going to bring the reds

significantly out of this shot.

Right there.

Next up, green.

We're going to create a subtle s curve
here,

adding a little bit of magenta

and some green in the highlights.

Once we had that subtle s curve on the
green channel, let's move into the blues

on the blue channel.

The only thing that we want to do here
is bring up some blue in the highlights.

Once we have the color contrast applied,

I want to move into vibrancy and just
desaturate this image,

just to keep a consistent workflow
among all these images.

I'm going to pull this adjustment layer
under the color contrast.

Next we're going to work on the
midtones and that's color balance.

So I'm going to play with these sliders
and really try to balance out the blue

in this shot, because it's overall very
cool.

So when it balance us out, to create a
really interesting color tone here.

So bring up these reds,

maybe bring in the greens.

Finally, the bluesome,

we have a really nice balance shot.

Now

it's not too blue, it's not too warm,

it's right in the middle.

So with color balance, we've applied
color to just the mid tones.

Now I want to apply color to just the
shadows, are just the highlights, and

selective color is a great way to do
that.

So we're going to go up to this
selective color adjustment layer.

Then we're going to go to the color
drop down menu here.

And I want to select blacks, because
the only thing I want to affect here is

the blacks.

In this shot,

we're going to move down to the yellow
slider.

And when I drag this yellow down

to about ten percent.

And what this does is add a significant
amount of blue to the blacks,

as you can see in is before and
afterward.

And I could add a lot of blacks into
the blacks, just like this, or can take

out the blacks

just with these sliders.

Same thing goes for

the magenta.

I can add a lot of magenta, or I can
remove magenta by adding green into the shadows.

And then same with cion.

I can add

Sion, or I can add red.

This is also known as split toning, or
a split process.

And you can do it within the selective
color adjustment layer.

Once we have our selective color
adjustment layer applied,

we're going to move into my sharpening
process.

My sharpening process has been applied.

So next,

I'm going to move into noise.

Once I have my noise applied, we're
going to create another layer.

So I can go in with some final touches
on camera raw, and just move those

temperature sliders to create a nice
white balance as a final adjustment.

So I'm just shifting these temperature
sliders, as I did in the last shot,

just to find that last little touch of
color

that's going to make this shot

just that much better.

Here you can also play with the
exposure contrast, highlight shadows,

whites and blacks.

Once you have a nice balance color
tone, and you feel like this is it,

you're going to hit, ok.

The last step is, I want to elongate
claire's body by pulling these pixels a

little bit, and transform in this shot.

And to do that, I want to create a new
layer, because we don't want to work

off this smart object.

Once I have that new layer created,

I want to hit commande, or control t

for the free transform tool.

And I'm going to pull

this shot up, just a hair,

and hit enter.

We've elongated claire's face,
elongated her body.

Once again, it's important that you
save this out and rest your eyes.

Because you might come back to this
shot and completely change the color.

It might look completely different to
you.

So now we have this shot complete,
we're going to move on.