All language subtitles for 15 Adding Studio Fill.mp4

Now we're sitting here with Gunnar once
again.

And I want to introduce you to
anestasia, who is our hair and makeup

artist for today's shoot today we're
going to be doing something a little

different than what we've done in the
past.

We're actually going to be
photographing a male model, and it's

going to be very dimly lit, very moody,
very ambient.

And we're actually going to be lighting
him from behind, rather than in front.

So with that mind, what do you think
going as far as the clothing and the

concept?

I mean, male models are always a little
bit like, difficult when it comes to

styling.

But I think since you want this kind of
like harsh air lighting, you really try

to set a mood with it.

I think that we should kind of go a
little bit more clean cut, keep the

vibe darker.

So I think I'm going to put him in a
like, suittail coat, which I think is a

little bit interesting in comparison,
is like a regular blazer.

And I'm just going to be like a black t
shirt, which I think keeps young and

kind of hip.

But he actually came with a gold chain
necklace and gold watch, I think are

like great accents for the solid black
look, dark backdrop.

So that way you really get a flash of
something, but it's also not going to

take away from him.

So as far as the makeup and hair side
of things,

what do you do for a male model?

Well, what I did for him was basically
just go in with a little bit of

concealer and spot treat on a very
micro level.

Just any redness, any small blemishes,

just little spot treatments, so that
the overall effect isn't mask like, and

you don't see the makeup, but he looks
very perfected.

And then I just go in and I do things
like groom the brows

so that he looks polished, but not like
he's wearing makeup, or like anything's

really been done to him.

So right now, my team is setting up a
gray seamless background with a nice

ninety degree angle, which we'll get
into.

So let's take a look and see we can
come up with.

We've now moved into the studio, and as
you can see behind me, we have some

gray seamless paper from savage.

And this is max he's going to be our
model today.

I like it because he's got some really
strong bone structure.

And we want to like this to really
bring out those features.

So far in this tutorial we've been
using a cannon five d.

Mark three with a 24 to 728

lens.

But today we're moving up to a phase
one, I q 180 with a Schneider forty to 835

to 56.

I love the phase one system, because of
the dynamic range, today is going to be

one of our most dim, low key lighting
setups.

The files are eighty megapixels, which
allows us to bring out tons of detail

in the shadows, if need be.

But remember that this is just a tool.

This shot can be accomplished with any
camera system.

As always, as you've seen, we're using
the pocket wizard plus three system,

which fits right under the hot shoe,
the phase one.

So now that you know the camera system
that we're going to use, now it's time

to bring in the lighting scenario.

So I'm going to sit max down right
here, and we're going to bring in this

light.

In almost every lesson you've seen,
we've been putting the light in front

of the subject.

But today we're going to be doing the
opposite.

We're going to be taking this light and
put it behind the subject, which is

going to provide a nice highlight on
its face.

What we've done is move this pro photo
d one with a pro photo shallow white

umbrella with a diffusion on front.

And the light is actually bouncing into
the umbrella and coming out through the

diffusion.

It's a very soft light.

And so replace that kind of behind him,
which is going to give us a nice

highlight or a kick on its face.

The position of this light is
superimportant.

So we're going to cut off the studio
house lights.

I'm going to show you exactly what this
light is doing.

Now I've placed the light behind max.

And as you can see, there's absolutely
no light on his face.

It's just providing sort of a rimlight,
which is highlighting his hair and the

side of his cheek.

But now we need to bring this light
around so that it provides a little bit

more light on his face and really
highlights his nose and his cheeks, and

really brings out that nice bone
structure in his face.

If we're to bring this light around,
suddenly the light will become split

lighting, which is only lighting one
half of his face.

As you can see, the other side of his
face is in complete shadow.

Now for demonstration purposes, let's
bring this light around a little bit

more.

We're going to enter into the realm of
Rembrandt lighting, which we've done in

previous lessons.

So we're not going to do that today.

We're going to have this light behind
him.

We've now worked our way completely
around the model, but let me place this

where I think this light should go.

So we've pulled this light back.

And as you can see, it's highlighting
his nose and highlighting its

cheekbones, and really bringing out
that nice bone structure that max has.

If you want this light a little bit
more soft, you could bring this light

closer to the model.

But in this case, what we're going to
do is have it back, because I want a

little bit more punch.

Having this light back gives us a
little bit more room to play with our composition,

as well as have room to slide in a v
flat to cut all this light off from the background.

Now that we have our light place, what
we're going to do is bring in a v flat,

which, remember as two pieces of foam
core simply taped together.

And the purpose of that is to flag off
all of this light that's spilling onto

the background.

We want a dramatic background.

So we do not want any light on this.

As you can see, we have now slid this
black v flat into place, which is

completely cutting off all light on the
background, but we still have that nice

highlight on max's face.

Now I'm going to take an image and show
you what we have so far.

So now you can see in this image that
I've got the light exactly where I

want, but there's nothing else in the
shot.

The background has disappeared and
there's no light on its face.

Now I could bring in another strobe to
really lift these shadows up and bring

in some detail, but I'm going to show
you a way that we can use bounced light

just by adding a v flat.

We're still using one light.

Now remember, all of my v flats are
made with Gator foam that's reversible.

So on one side is black, and the other
size white.

And I use that in all of my studio
work.

So for this particular shot, one of the
v flats we have is cutting light, which

is using the black side.

But in this case, we're going to be
bouncing light and bringing in the

white side of the v flat.

Now we're going to bring a single v
flat around, and it's going to be on

the opposite side of our strobe, which
is going to reflect light onto his face.

So now, as you can see it is black on
the inside and white on the outside.

But I'm going to flip it around.

So we just have white reflecting onto
his face.

So ideally I'd put this pretty close to
him, but I need room to shoot.

So I'm going to put this a little far
back.

And remember the goal here is that we
need to bounce light back from the

srobe behind him.

And so what that's going to do is
really wrap a nice light around his

face.

Now that I've brought in this white
veat flat, you can already see that

these shadows on his face have been
lifted.

So let's take a shot and see what it
looks like

now that I've brought in this v flat.

You can see that it's really lifted the
shadows on the right side of his face.

It still maintains that dark mood, but
now there's detail in the shadows.

Now you can control the amount of film
by moving this v flat closer or moving

it back.

I actually prefer and want more fill on
his face.

So we're going to try to move this
forward

and see what it looks like now I've
inched this v flat forward, and I can

already see that these shadows have
been lifted on this face.

But the problem is I'm only about two
feet away from max, and I've totally

lost my composition.

But we're going to take a shot and see
what we're working with.

We're a little closer to the light I
want, but I'm shooting so wide that

there's a ton of distortion in this
shot.

Now, I know we need this amount of fill,

but I also need a lot more room to
work.

So we're going to bring an additional
light source that is going to mimic the

light from this v flat.

Break this demo

swapped out the white v flat for this
interesting setup behind me.

What this is is a pro photo d.

One that's firing into a deep white
umbrella.

That's 65 inches.

That light is going into the umbrella
and out through two layers of diffusion.

The first layer diffusion is wrapped
around the umbrella itself, and the

second layer diffusion is this six by
six diffusion panel.

From last to light.

This six by six diffusion panels, held
up by two avenger c stands.

And these c stands attached to the
panel in the frame with these avenger

grip heads.

You might be really intimidated by this
setup, but I've found that this is the

most natural light possible.

It's the softest light possible.

You could set this up without the six
by six diffusion panel

and just have the umbrella, but I've
found that the umbrella still has that

small, single hot spot right in the
middle.

So by bringing in this diffusion panel,
I've eliminated that and created the

softest light possible.

Don't worry if you don't have this
equipment.

There are a lot of diy solutions out
there.

One would be throwing up a bedsheet and
firing a strobe through that diffusion.

A second option would be taking an
additional strobe and firing that into

a white v flat, which is also going to
create a soft fill.

But because I have these tools, this is
how we're going to set this up today.

And I truly believe that this setup is
some of the softest light you can get.

And you may notice I've now changed the
direction of our fill.

Before, we had a white v flat in the
shape of an l, that which wrapped

around his face from the side.

But now I've moved my film behind me
and up, which is going to spill more

naturally on max's face.

I prefer to have light coming in from
above, which looks a little bit more

natural compared to light coming in
from the side.

So before we dive in, let's just take a
look at what this white panel is doing

without the strobe turned on.

Because it is such a big white surface,

we are going to get some reflection
back on its face.

But because we moved it so far back

it's negligible.

We've now powered on the stro.

But something to keep in mind is that
you're going through two layers of

diffusion, and the strobe isn't
actually pointed into this diffusion,

it's pointed away from it.

So you're going to have to have a
pretty powerful strobe to get all the

light needed to fill up these shadows.

So we're going to take a test shot and
see what this fill is actually doing.

Max,

if you look at this shot, it is a
correct exposure.

However, we've lost all of our mood.

Remember that we want the brightest
point in our shot to be coming from

behind him.

So we're going to lower this fill down
to balance out the two strobes.

What I'm going to do now is lower the
power of the stro by two stops and take

a shot.

Now we have a comparable exposure to
when the v flat was placed very close

to max

but now I have room to work.

And so let's compare the two shots.

Let's first look under the left eye.

As you can see in the image with the v
flat,

there's a dark shadow underneath that
eye.

But when we move the fill directly
behind me and above, it's filled that

shadow significantly.

Let's take a look at the right side of
his face.

If you're to look at the image with the
white v flat,

the light is very even on its face.

But because we've changed the direction
of the light.

In the six by six diffusion panel, now
we have created a shadow which is

really bringing out his bone structure.

The most obvious way to determine the
direction of the light is looking

underneath the chin.

If you're to take a look at the shot
with a white v flat, there's an angular

shadow that's being cast from one side
to the other.

But in the shot with the six by six
diffusion panel there's a shadow that's

being cast from straight down, from
above, underneath the chin.

The last thing you'll notice is that
now we have a subtle catchlight in the

eyes.

That's being cast from the strobe
behind me.

There's no righter wrong here.

I actually like both of these shots,
but because the light that's coming in

from above and behind me with a strobe,
is chiseling out his face.

We're going to go with that one.

Now that we have our lighting in place,

we're going to talk a little bit about
posing.

So I'm going to get max in a
comfortable position, and then we're

going to start working with him from
there.

And I'm going to kind of walk you
through this process of what's kind of

going through my head as I photographed
max.

So now we have max sitting down.

And

it's pretty basic, it's pretty generic.

He looks bored.

So what we need to do is, I want to
have max in a position where he's

leaning towards the camera.

It just overall looks more engaged,
he's leading us hands, or she'll really

bring out his shoulders as well.

There we go.

In this shot.

I really like everything is happening,
but one thing that's bothering are his

legs.

So what we need to do is have max
create more lines and more shape in his

legs.

And to do that, what I'm going to have
him do is raise his foot up on the

stool to create a nice triangle.

Now I'm going to have max turn to the
side, because I just want a little bit

of variety or I want something that's
different.

And by him turning this side, I can now
see the tail that's in the code as well.

Turn this side.

Max.

There you go,

right over here.

The one problem I see with this image

is that his knee is facing me, and I
don't really have any sort of angular

lines here.

So what I need to do is have him bring
his knee around, so it's more from the

side, which creates a nice little
triangle.

I really like this position, but at
this point I think it looks a little

stiff.

So what I'm going to have max do is
lean on his

hand on the stool, which is what we did
first,

and then sort of bring his shoulders
forward.

That he's not so uncomfortable looking.

Now on this shot, you can see that
next's hand just looks way too big.

It's way too apparent in the
foreground.

So we need to pull that back

so that's a little bit more
proportionate to the body.

Perfect mex.

Even though we pulled this hand back,
I'm just not liking this pose.

So to get variety, we're going to stand
max up and add some motion to the shot.

Cool.

So I actually liked what you just did.

The key here is that we want to get
macs in a really natural looking state.

So sometimes models will just do
something, and you just have them

repeat it, even though they didn't even
notice they did it.

You had to have them do it again
because it's just a natural thing.

So you just kind of like, brush your.

Yeah.

There you go.

Let's try that again.

So I want you to actually do the motion.

Very nice.

Perfect.

Now that we have Mac standing, we're
going to have him move around, add some

motion to the shot

and get some variety.

Perfect.

I like that.

Max,

it's very nice.

Why don't you rock back and forth now?

So you're basically take a small step
forward, and then you take a small step

back and repeat that process.

And while you do that, why don't you
just act like you're sort of buttoning

your jacket, or have your fist on your
jacket, or something like that, and

you're playing with a jacket?

Perfect.

So what I'm doing here is just having
macs rock back and forth.

Even though it's very subtle, it adds a
little bit of motion to the shot.

Because, again, we want to get macs in
sort of a natural state, a comfortable

looking state.

And adding motion will do that.

Great.

I'm sure you've noticed in fashion
photography, that

when working with female models, the
posing can be really over the top.

But when working with male models, the
key is just to get him comfortable in

front of the camera.

So there it is.

This is that low key light setup that
I've been asked to ton about.

There's nothing crazy about, it's

pretty straightforward,

but I really love it.

It's one of my go to setups.

We've taken a ton of great shots here,
and now it's time to go through them.

Pick my favorite.

And we're going to head into post
process.

You ran a photo of maximum studio.

I have it open in Photoshop already,
and i'll show you what I did in capture one.

So the Ross started like this, and we
didn't change it too much.

And capture one, we added a bit of
contrast and we cooled down the color

temperature just a bit.

The first thing I want to do in this
photo is just remove this little sliver

here.

I'll do that by extending the
background.

So I'm going to make a new layer.

I'll call it

background.

Extend

it.

Ok,

zoom.

We'll go to our clone stamp tool and
make our brush quite a bit bigger.

Make sure that it's a soft brush.

Right about?

There should be good

we'll increase our flow of touch.

Now we're going to sample,

just paint that area away.

Just continue scrolling down.

We'll sample

paint

just from the bottom here.

Now

make our brush a bit smaller.

We'll sample

the paint.

Now I just want to extend the shadow a
little bit as well.

So I'm going to sample this edge of the
shadow,

put some of it right there.

Just make sure that we get everything.

Seeing a little bit of an area that I
still need to fix here, i'll go back to

my clone stamp tool.

Just

keep painting,

zoom in really quick.

It's looking good,

maybe just a little bit more.

Now I'm just going to do a quick clean
up of his jacket and hair.

So we're going to speed it up a little
bit.

To do all of that, I just use the
healing brush in the clone stamp tool.

But now what I want to show you is

how to use the clone stamp tool and
lightn and darken blend modes to fix

skin texture.

The first thing we need to do is make
two new layers, one named lightning and

one named darken.

So we'll go ahead and do that.

Put that one right there.

I'm going to change the blending mode
of lightning to lighten

and the blending mode of darkened to
darken.

And I'm going to go to my clone stamp
tool

and we'll zoom into his face

so you can see what this does.

What I want to do to fix this spot
right here is choose our darkened layer.

Because the bright portions of this
blemish is what's distracting and

drawing our eye.

We need to sample some darker texture

and paint over it.

Since our layer is in a darkened blend
mode, only the darker pixels that we

paint will show through.

This is allowing us to preserve the
texture of all the other pixels around

that bright point.

Let's keep selecting some darker pixels
and fill in these bright spots,

paint

a little bit at a time.

Now right here we have the opposite
happening.

We have a dark speck surrounded by
white pixels.

So we're going to choose our lightn
layer,

sample some light pixels.

And now we can remove these dark pixels
by painting on them with light pixels.

And only the white ones will show
through.

There's a few more areas that we can
work on.

We just want to keep sampling light
pixels

and covering up the dark ones.

We're going to lower or flow a bit.

This technique works particularly well
in this case because we have a strong

backlight that is creating a strong
transition between highlight and

shadow.

So we'll continue looking for some
darker areas that we can paint

light your pixels into.

Should work pretty well for this blemish

sample.

And paint

sample

with paint.

And it's just filling in that darker
area with new texture.

I'm going to continue working on this
image using the same technique until

its face is all cleaned up.

So I just finished up.

This is just another skin retouching
technique to add to your skill set.

Here's a little preview of what I did.

It's a very subtle change, but you can
see that it kept all the skin texture,

and it looks pretty good.

My next step is to do some minor dodge
and burn with curves.

So we'll speed it up while I work on
these basic skin transitions.

And now our last step is to add a flair
from the direction that the harsh light

is coming from.

So we're going to zoom out.

We're going to make a blank layer.

Let's call it

large gradient

in a head.

Ok, hit g for a gradient tool.

It's set to pink, bucket right now.

So let's click and hold and choose
gradient.

We need our circular gradient tool.

Ought to reset our gradient colors.

So we'll hit d on the keyboard

and x to switch.

So we're using white for a gradient.

The light is probably coming from

right about over here.

So I'm going to click

and drag

out towards max.

Let's go right about

there.

Now, going to change this layer to
linear dodge, add

and bring down the fill quite a lot.

So it's a nice subtle flare.

I don't know what there's good.

And we're going to reduce the opacity,

seduce our fill even more.

We're going to make another new layer
and call it

small gradient,

hit, ok.

We're going to make another gradient
from the same point, just not as large.

About there should be good.

And we're going to bring that opacity
way down.

As you can see, we're getting a little
bit of banding here.

Batting is just the lines that you see
in this flare.

So in order to get rid of it, we need
to add some noise to it.

So i'll go to filter, noise, add noise.

We'll bring this up a bit.

There.

Should be good for the bottom one.

Now we'll go to the top.

We'll go to filter again,

noise, add noise.

We'll add the same amount of noise for
this.

So we'll hit, ok.

The last time we used a gradient, we
actually change the color of the

gradient to add some warmth to the
image.

But the light on max's face is pretty
white.

So I think I'm just going to leave it
how it is,

and clay can make a decision on what he
wants to do with it later on.

So I think this is ready for clay's
color grading.

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

We've moved on to this shot of max.

Jordan has applied his retouch, and now
we're going to get into the color

process, just like the last image.

I know I want to move cool with the
color.

So we're going to dive right in

when it, stamp these layers down

and create our base layer.

I'm going to convert this to a smart
object.

So again, we don't have a destructive
workflow

camera,

and I'm just going to mess with the
clarity slider.

I'm going to bring this up to about
twenty

hit, ok.

Now that we have our camera raw, we
have our clarity applied,

we're going to desaturate the image
using the vibrance adjustment layer.

We're going to bring this vibrance down

pretty significantly.

It's about negative 30s.

Pretty good.

Next, we're going to move on to the
color contrast using the curves

adjustment layer.

We're going to move this down to the
red channel,

and we're going to bring out these reds
quite a bit

about right there.

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

And we're going to keep this subtle.

It's the slightest s curve.

Once we have that s curve formed very
subtly.

We're going to move on to the blues,

and we're just going to push the blues,

both in the shadows

and the highlights

look pretty strong.

All right.

And we name this to color contrast.

And now we're going to move on to our
midtones, using color balance.

Someone to first work

with this yellow

and blue slider.

And then I'm going to move on to the
magenta and green slider.

So at negative ten,

plus five on the green.

And now our final step

with the color in the midtones

is the Sion and red slider

bout right there.

Looks real nice.

All right.

Once we have our color applied, we're
going to begin the sharpening process.

Command option shift e to stamp the
layers down,

and then we're going to duplicate that
layer using control

or command.

J,

then we're going to group those layers,
use to control or command g,

and we're going to rename that to
sharpening.

We're going to change the blending mode
of the group to overlay, and the first

layer in the group

to vivid light.

I'm now going to invert that first
layer using command or control.

I.

Then we're going to filter blur.

Surface blur

it's going to bring a lot of detail
back into this shot,

a little too much.

So we're going to back this off on the
group layer

using opacity.

Then we're going to stamp these layers
down,

apply some noise.

And this noise is going to
significantly reduce the look of this

banding here, especially with this
flare.

So we're going to filter

noise, add noise,

hit.

Ok.

Next we're going to work on the final
adjustments using camera raw.

Convert that to a smart object,

hitting right click, and then converts
to smart object.

And I go to

camerall filter under filter.

We're first going to mess with these
temperature sliders.

Try to get a nice little balance here,

right there.

It looks pretty good.

I'm not going to really mess with any
of these

hit.

Ok,

just like in the last lesson.

I think the only thing missing here is
maybe some selective color.

So we're going to create a selective
color adjustment layer.

And the only thing I want to mess with
is the blacks.

So I want to add a little bit of blue
to the blacks,

maybe a little bit of magenta.

All right.

I think this is a great shot.

We're going to be long.