All language subtitles for 11 Strobes on Location-2.mp4

But now we're in a completely different
location.

We're at the mohammeda leaf center in
Louisville.

So in the last shot, we are in the
shade.

So we had complete control with our
speed light.

So now we're in the harsh sun, so we
have to change our approach completely.

So let's first take a shot in the hard
sunlight and see what it looks like.

So in the case here, the background is
one of the most important facets of the composition.

Normally we could just move the model,
but I really like the background the

way we have it right now.

And because we want this background to
be the way it is in the frame,

the light isn't flattering on her face.

We can't control the sun there's hard
shadows on her face that are caused by

the hair, and it's just not a
flattering light.

So what we're going to do is cut the
sun, create our own shade, and then

bring in some additional lighting to
compensate for that.

So Lewis has brought in a three by six
diffusion panel, which has totally cut

the sun and created a nice soft light
on claire's face.

So now let's take a shot and i'll show
you what it looks like.

So right now I'm exposing for her face
only.

So as you can see, this photograph

Claire looks great.

The light on her is even and soft,

with the highlights in the background
are just gone.

So any time we add diffusion to cut the
sun, we're going to lose a significant

amount of light.

So in order to get a correct exposure
on claire's face, I've had to lower my

shutter speed, which in turn brought up
the background, blowing out the detail

in the highlights in these steps.

So normally,

I would probably decide to bring in a
larger diffusion panel where we could

really cut the sun in the entire frame.

But in this case, we only have a three
by six, which is removing those strange

highlights on Clair.

So now I need to properly expose the
background by increasing my shutter speed.

So I think this shot is exposed
properly, and it looks pretty good.

But obviously Clair is way too dark.

So now it's time to introduce
artificial light.

But I know I don't want hard light on
what, soft light?

And so one way to modify that is with a
shoot through umbrella.

The way this works is I want to open
this umbrella up when I have hunter

come in with the same speed light setup
you saw in the last image.

And it's going to work very much the
same way as what you saw previously

with the diffusion panel.

So there's a few different places that
you can position this light.

Let's put it on the camera, right, and
see what that looks like.

So by placing this light, camera right,
when the sun is coming in from the

camera, left,

it's filling in these shadows and
creating a very unnatural light source.

I see a lot of photographers do this,
but it's not my style, it's not what I

do.

So I'm going to place this light on the
same side as where the natural light is

flowing.

So hunter, come on this side, camera
left.

You're going to place that light at a
nice 45 degree angle,

bring it forward, feather it out a
little bit.

Beautiful.

Clare chin up slightly?

Keep coming up with that.

Good.

Good.

So as you can see from this image, what
we've now done is completely controlled

the sun and then brought in artificial
light to properly expose the background.

Because we don't have light on the
opposite sides.

We now have natural shadows, which is
something I really like.

So the shot turned out really great.

And I was able to in a harsh, hard
sunlight, one of the worst lighting

scenarios that we as photographers are
handed.

I was able to control the sun and
really get a great shot

with just these couple of tools.

So with all this being said, we're
going to take this final image we're

going to take into post processing and
see what we can do with it.

so far in this tutorial I've only
taught you one way of healing and

working on texture in an image.

For this image image, I'm going to
teach you a new way, and that is

frequency separation.

Already.

Have the image open and Photoshop,

and I've done my capture.

One adjustments

it's the same adjustments that we've
been doing for every other image.

I've been darkening the highlights a
bit with exposure, bringing up the

shadows and bringing back a little bit
of that contrast.

I didn't have to shift the white
balance since it was already a warm

image, and that's where I wanted it.

With this new technique of healing, the
first thing I need to do is show you

how to set it up.

The first step is to duplicate a
background layer twice.

So I'm going to hit command j on the
keyboard two times

I'm going to rename the first one low

and the second one

high.

And then I'm going to deactivate the
high layer so we can see what we're

doing to the low.

I'm going to select the low layer.

Go to filter,

noise,

medium.

And I'm going to zoom in a bit

so I can see the details,

you know, a little bit more.

Now I need to move this radio slider
until I just see the details disappear.

You're going to move it to the right a
little bit.

See how it looks there.

That looks pretty good.

Let's see if I could bring it down a
little bit.

Now, some of the details are coming
through now, so I'm going to raise it

back up.

A radius of ten, worked well for us.

So I'm going to hit ok.

Now I'm going to reactivate our high
layer.

Make sure that I select it.

I'm going to go to image

and apply image.

The settings that I use here will be
different depending on if my image is

an eight bit or sixteen bit right now,
I'm in a pit, but since you guys should

be in sixteen bit, i'll show you those
settings.

First,

I'm going to make sure that the low
layer is selected under layer here.

I'm going to change the blending mode

to add,

make sure that invert is checked.

We're going to make sure that scale is
set to two

and that our offset is zero.

But since I'm using eight bit, I still
need to make sure that the layer is set

to low,

invert is off.

My blending is set to subtract.

My scale is two and my offset is 128.

I'm going to go ahead and click, ok to
apply.

That it's going to look a little weird
at first, but we're going to go and

change our blending mode

to linear light.

But now this should look exactly like
the original.

Let me back up for just a second and
explain just what frequency separation does.

The simplest way to explain frequency
separation is that we are separating

all of the texture from all of the
color.

So all of the texture

is contained here.

In this high layer,

we zoom in there's next to use zero
color.

But you see all of this texture.

And if we

turn this off, to see our low layer

there's no texture, it's all color.

This will allow us to work on the
texture without affecting the color

below it.

So I'm going to turn this high layer
back on

and set it to linear light again.

Now we have our base image, but for the
sake of having a nondestructive

workflow.

I'm going to duplicate this high layer
using command j.

I'm going to clip it to the one below
it with command option g,

and I'm going to set that to normal.

This way we can work on the texture on
the high layer.

And if we make any mistakes, we can
back it up, and we still have the

original version of the high layer.

The next thing I want to do for
organization is click on the top high

layer, hit shift,

and then click on the low layer to
select all three of them.

Command g to make a group, and i'll
rename that to fs for frequency

separation.

Let's open that group up,

select the high copy layer.

Hit j on our keyboard so that we can
use our healing brush.

And we need to change our healing brush
settings from the ones that we

originally used.

So right now it's set to current m
below.

But we only want to work on this high
copy layer, so we need to change it to

current layer.

I want to make sure that our hardness

isn't quite all the way up, but around
ninety percent.

Now we would heal away the texture,
just like we did with the other technique.

So I would sample some good texture,

then paint away the bad

sample some good

and paint away the bad.

Frequency separation is just another
way that I can heal out bad texture.

But it does have one advantage over the
first method that I taught you,

remember in the original technique that
I taught you, if we tried healing in

areas of harsh transition, the healing
brush would try to deal with color as

well as texture at the same time.

So that caused some issues for us.

I'll show you a quick example, just to
remind you,

i'll make a new layer really quick,

make sure that we're set on current and
below for this technique,

going to make my brush a bit bigger.

We'll sample and i'll try and work on
some areas of a harsh transition.

As you can see, since it's trying to
deal with both color and texture, the

healing brush kind of messes up and it
doesn't look that great.

So I'm going to delete that layer.

Make sure that we set our brush back to
current layer.

The benefit of using frequency
separation is that our healing brush

doesn't have to deal with that color.

It only has to do with the texture on
top.

I'll go ahead and toggle this layer on
and off, so you can see the adjustment

we just made and as you can see,

the color underneath of the texture has
not been touched at all.

I'm going to continue working on this
image, just like we were before with

the other method of healing.

I'm going to sample the good texture
and remove the bad.

I'm going to speed this up so you guys
don't have to watch every move that I'm doing.

I've got the skin texture to a point
where I'm happy with it.

But while I was working, I noticed that
there was a bunch of stray hairs on her

dress that I kind of want to try
addressing with frequency separation.

So I wanted to zoom into them,

and let's see if we could take care of
these.

I'm going to sample good texture from
the dress,

try painting away this hair,

and it works just like it did on the
face.

It's replacing the texture of the hair
with the good texture from the dress.

And to speed this up as well, and take
care of the rescue hairs,

we cleaned up the dress.

And just as frequency separation has
the advantage of working around harsh transitions,

it also has the disadvantage

and possibility of leaving behind color.

Let me show you what I mean.

We've removed all of these hairs but if
you look really closely, all the

texture is fixed, but you can still
kind of see some light remnants of hair

color.

The same is true

with right here, where there is one
hair,

you can kind of see almost like a
shadow of where that hair was

for her forehead.

I plan on fixing that with dodge and
burn.

Since I want to keep that area looking
as natural as possible for the shirt,

I'm not too worried about keeping it
natural looking.

So I'm going to take care of it by
clicking on the low layer,

making a new layer using command shift.

N,

i'll call it mid

hit.

Ok.

Going to make sure we're using our
brush tool,

set our flow relatively low.

Again,

we're going to sample around here,

and we're going to slowly paint on our
mid layer

to cover up that hair color.

The color we selected was slightly too
light.

So I'm going to pick something right
here,

and I try that.

Again.

Let's lightly paint in there,

which is another darker color.

And now you can't tell that hair was
even there at all.

The next thing that I want to take care
of

is the shadow right here.

I just want to extend this sunlight a
bit and also remove some of these

leaves that are sitting on the ground.

I can't take care of these areas with
frequency separation, since it's only

meant to be used with really small
textures.

So I'm going to go back to using the
first method that I taught you with,

just a straight up healing brush.

I'm going to close up our frequency
separation group.

Since we're done with it,

we're to create a new layer with
command shift, n,

call it heel

hit.

Ok.

I'm going to make sure that I'm using
my healing brush.

So I'm going to hit Jay on the keyboard.

Going to zoom in on these leaves.

Remember that we set our healing brush
to current layer.

We need to change that back to curn in
below.

We'll make our brush a bit bigger,

sample good texture

and paint the leaf away.

This leaf here is on the harsh
transition.

So I'm going to use the clone stamp
tool.

I'm going to hit s on the keyboard

and make sure that we're not set on
current layer.

Make our brush a little bit bigger.

It option to sample,

line it up and paint the leaf away.

I'm going to do the same

with this leaf over here.

We actually need to make our brush a
little bit softer.

And we'll sample again

and paint that away.

We'll paint that part away.

And there's one last little speck of a
leaf here.

Let us paint that away.

We'll zoom out.

There's one more leaf over here.

It's not near a harsh transition.

So I'm going to use my healing brush

sample

and paint it out,

and i'll move over to the shadow.

So actually something sitting here that
I'm just going to remove really quickly.

Now for the shadows, since it's along
the edge of the photo, I think we

should use our cloom stamp tool, and
I'm going to hit us on the keyboard.

I'm going to sample a little bit
farther back

along this edge of the shadow,

and i'll line it up.

And I'm actually just going to paint
along this line as if the same line extended.

So let's taking care of.

Let's, take another quick look around
to make sure we didn't miss anything.

These pieces of light are kind of
bothering me.

So I'm just going to use the clone
stamp tool to remove them

let's zoom out.

Now, I think this is ready for dodge
and burn.

For dodge and burn, I'm not going to be
doing anything different.

It's going to be the exact same
technique that I've been using on every

image so far.

So let's speed this up and finish this
image off.

I finished up dodge and bird for this
image, and I don't think there's any

other adjustments we need to make.

Let's save this out and send it over to
clay.

First color grading.

We have this retouch back from Jordan.

He's done some dodging Burns and
healing and really taking care of it.

I like it.

It's clean, it's really looking nice.

When first analyzing this image, I see
a lot of texture in this shot.

There's a lot of concrete

also, which he's wearing.

Might play nicely into a black and
white photograph.

I like the mood of her hair.

I like the mood of her face.

And so this is a shot that I'm going to
try in black and white.

In many cases I might go through the
entire color grade process

and then realize, hey, that's not
working, and then make it a black and

white.

But in this case, I can immediately see
it's going to be a great black and

white shot.

With black and white, it's simple for
me.

I simply create a new layer, a create a
base layer, and then apply camera raw.

And I do all my adjustments in camera
and then sharpen and then add noise and

export.

So let's walk you through that.

So first I want to stamp all these
layers down into one layer using

command option shift e.

Once we have our base layer stamped
down,

we're going to convert that to a smart
object

and then go up to filter

camera, raw filter.

And within this palette, this is where
I'm really going to make this black and

white.

It's going to make it super easy for us
to just go ahead and knock out this

black and white in this color grade.

So first I'm going to dissaturate the
entire image.

A black and white image tends to look a
lot better with more clarity.

It's going to really bring out texture
and really bring out a lot of detail.

As you can see, when I shift this
clarity slider up,

a ton of texture, and that

concrete has now appeared.

So we're all the way up at forty with
clarity.

Now we're going to move on to the black
slider and add some contrast.

Now we have a lot of these highlights
in the background, and want to try to

diminish those a little bit by dragging
this highlight slider down.

But as you'll notice, when I drag the
highlight slider down.

A lot of the highlights of the face
went away.

You need to find a nice balance between
a lot of highlights and little highlights.

Great

thing you do is move this white slider.

That's going to add

more punch to all the whites.

Now we're going to adjust contrast.

We don't need a lot of contrast in this
shot because we've already adjusted the

blacks slider.

But keep in mind that a black and white
image is going to look a lot better

with a significant amount of contrast.

Once we have the camera raw filter
applied to your base layer, you can

hit, ok.

We already have a nice looking black
and white hair.

There's just a few final steps that we
had to apply to this image

before we can save it out.

We're going to stamp all these layers
back down

and start applying our sharpening.

If you're unsure how this sharpening
process works, you may want to

reference our first lesson, in which
i'll walk you through it step by step.

Now that we have our sharpening
applied, we're going to add some noise

to this shot to give it that nice film
look.

Once we have our noise layer applied.

There's one final step.

I noticed that our face is a little
underexposed.

So I want to create a curves adjustment
layer and mask in only the highlights

on our face.

And I want to bring up the exposure.

So I create a curved adjustment layer,

and now really want to pump these
highlights

about right there.

I'm going to rename this to face.

I'm going to invert this mass to black,
so then we can paint with a white

brush.

These highlights on our face,

we're going to use a soft brush with a
low flow.

And I'm going to slowly paint these
changes on our face.

So I feel like it's a little too much
someone to switch over to a black

and paint out some of the changes that
I made.

Perfect.

So this is a before and after.

And if you feel like you've gone too
far with this, you can simply bring the

opacity down

just to balance it out.

So I think we've got a really strong
black and white.

The last thing I would want to do

in these lines, and I do that with crop.

So with the crop tool, I select this,

and I want to just

align the background lines to the
gridlines you see in the crop tool.

Once you have those lines lined up
perfectly parallel with the gridlines,

you can hit inner.

So I think we've got a great shot.

I'm going to save this out.

Move on to the