All language subtitles for 17 Fashion Shoot.mp4

For today's project.

We're going to go outside and want to
take this to a rooftop terrace at 21

seed museum hotel.

But we're going to be photographing
three different models at the same time.

So gunner, how do you think we're going
to style this?

We're excited.

I love editorial.

I'm an editorial stylist.

So this is kind of taking it back to my
roots.

I'm really willing to bring in the punk
aspect of things.

I think that if we're going to be on
location, then I should really give us

something that's interesting to look
at.

So I'm going to bring it some dynamics
with some velvets and some different

stripes, leathers.

I'm going to bring in some
embellishments, something to make, like

a mini collection for the girl, so that
it's easy and fun for you to look at

and to shoot.

So with that punk vibe in mind, what
are we going to do on hair makeup?

Well, we don't want to take away from
that too much.

The styling in the background there's
going to be a lot going on.

So we'll bring a color schematic into
it.

We'll do warm browns and reds.

And do

you know tonel colors with all three
girls, just so that we bring out those

shades within the clothing, but don't
take away from it too much.

We'll keep the lips muted, just so that
you really focus on the eyes and the

clothes and the setting.

What about the hair?

We don't want to take away from
anything, team match.

So just where we're going to keep it.

Sleek, high ponies.

See no slick back.

Whatever it takes.

It's cool.

So I've actually never been to this
location.

I've never been to this rooftop.

So I'm not exactly sure what this image
is going to look like.

But I do know that we need to have all
three models in the shot at the same

time.

And it's very important that we have a
really cohesive look to this whole

thing.

But I think we have a solid game plan.

I think gunner styling anesthesia's
hair makeup is all going to come

together to really make a great image.

We're in a really special location
today.

We are on the terrace of a penthouse, a
21 c.

Museum hotel, in Louisville.

We have a really beautiful view of the
city,

but we have some really harsh sunlight
to deal with.

Today.

As you know, I sometimes really like
the look of hard harsh sunlight, but

just not in this case, because it's not
working for my composition.

So throughout this tutorial, you've
seen me bring in some tools to reduce

the harsh shadows that this sunlight
creates, such as a diffusion panel or a

reflector disk.

Basically what I'm going to do is bring
in a modifier that's big enough to

completely cover her in shade.

We're going to bring in a pro photo d.

One that's modified by a white
umbrella, and see what that looks like.

Just remember that the position of this
light is superimportant here, because

you not only have to block the sun
completely, you also have to position

this strobe to produce a flattering
light.

As you can see, we've totally blocked
the sun from her face.

But before we turn the strobe on, we'll
just take a shot to see what it looks like.

Now, as you can see in this shot, she
is completely dark because she's being

covered in the shade by this modifier.

But if we were to use a diffusion
panel, it would still let some light

through.

But in this case she's totally dark
because we just created shade.

The advantage here is that we have
complete control of the light on our

model's face.

We don't have to consider ambient light
at all.

Now all I have to do is turn on the
strobe, tweak the position a little bit

to be a flattering light and get a
correct exposure.

So the shots look pretty good.

But I just had the power of the strobe
up to get a little bit more balance, a

little bit more power out of the stroke.

So I just brought it up a stop.

And we're going to see what that looks
like.

As you can see from this shot, we have
a really nice light on grace's face.

While this might work for a headshot or
a really close shot, I'm shooting

fashion, or I'm shooting clothing, so I
need to pull back and get somewhat of a

full body shot.

And unfortunately,

the problem is, as you can see, we have
soft light hit in your face, but we

have hard light hitting your hand in
the lower half of our body.

While this might work for you, it's not
going to work for my clientele in the

editorial space.

I did want to show you this technique,
because if you're stuck on a rooftop in

hard sunlight, this method is by far
the easiest.

So now that I've showed you this super
easy technique, I'm going to take grace

to the corner of this rooftop to really
show you what I've envisioned for today.

Now I've simply slid down this railing
into the corner of this terrace.

And I think that this is where the best
shot is.

As you can see, this bright sunlight
isn't helping anything.

And as you can imagine, one small
umbrella isn't going to keep three

models in shade.

So instead of completely covering our
models in shade, as we did in our last

shot, what I have to do in this
scenario is build a large diffusion set.

That's actually comprised of two
different diffusion panels.

And what that's going to do is
completely cover this entire corner

in a nice soft light.

It's pretty windy up here, so this is
going to take a while to set up.

So we have to get to work.

As you can see, we've built this crazy
diffusion here it's made up of actually

two diffusion panels, a three by six
and also a six by six.

We've had to use almost every tool
we've got to build this and hold this

in this strong wind that we have here
on the rooftop.

A lot of photographers do see that I
travel with a lot of gear.

And this is the reason, because we have
a lot of big material here, and we have

to have the right tools to make sure
that it's safe.

So I've created this small space, this
corner, and I've completely shaded the

entire area with this translucent
diffusion material, so that I can then

bring in my own light to create a super
dramatic image.

As you know by now, I love balancing
both ambient and artificial lighting.

And so that's why I've created this
large source of diffusion.

Rather than completely blocking this
light, as you can see on me right now,

there is a nice exposure, and it's an
even light between myself and the

background.

I'm not standing in complete shade,
like our model grace was in the last

shot.

So now that we have this diffusion
built, we're going to get our models in

the frame and get them posed.

I don't want my models just standing
straight up, standing in the middle of

the corner here.

So I'm going to get em staggered, and
I'm going to use this chair as a sort

of a prop to do that.

I now have grace Claire and Alex in a
position where I think this is going to

work.

But let me just walk you through what
we've done here.

So I want them in the same space, but I
also want them to be each individually

doing their own thing.

I have grace sitting here, and I've
turned the chair around so that she can

now lean on the chair.

It also is a very masculasc imposed,
because she's wearing these leather

leggings.

It shows off the shoes.

It shows off the clothing very well.

Something to keep in mind when posing
is what the model is wearing.

So our clothing is really punky.

It's got a really tough sort of mood.

And so I've placed Claire off the
railing, and she's got her arms crossed

to really burning out that mood.

And finally, I've placed Alex on the
railing.

And what this does is give Alex extra
height, as well as shows off the

clothing really well.

We could have had her just sitting with
her legs hanging over the railing, but

we position it in a place that she can
have her legs now horizontally across

the frame.

Now with her legs up.

It provides a space for her to place
her elbow.

And it also creates very interesting
lines.

So now that I have them in somewhat of
a decent pose I'm going to step out of

the frame and work on this composition
and just see what this natural light

looks like.

Now as you can see, in this shot,

the light is perfectly exposed on our
model's faces, but the background is a

little hot.

The image we want is a really moody
image.

It's dark, and so we need to darken up
the background.

So now in this shot, you'll see I have
a correct exposure on the background,

but our model's faces are now dark.

So now this gives us the space to play.

We can bring in our own artificial
lighting and really light these models

faces.

How we want the lighting for this scene
is going to be very similar to what we

did with grace.

On the railing beforehand.

We're going to be using one single pro
photo d, one head and a pro photo

umbrella.

And we're going to place it in the same
direction.

So we've brought in our light, and I
position this very precisely,

because I need to make sure that this
light is very balanced.

In all three models grace's face is low
and alex's face is high.

And we need to position this to where
it Falls on their faces evenly.

And an important thing to remember here
is that I want all the light to be

flowing from one side, all the shadows
to be cast from the same side.

Because if I was to place this light on
the opposite side, it would create a

very flat light.

I've powered the strobe on, and I'm
going to take a test shot just to see

what this looks like.

So I really like the direction to shot,
but I need to get this background a lot

darker.

I'm already at the maximum sync speed
of a normal dslr, which is 1200th of a second.

But with a phase one system, it has a
leaf shutter.

So it allows me to go past that maximum
sync speed all the way up to sixteen

hundreds of a second, if I'd like to.

So I don't think i'll need that face of
a shutter, but I do need to go past

200th of a second.

And so I've set a camera to 320th

of a second,

and we're going to take a shot

now that we have our light in place in
the background, where I want it.

I want you to compare this shot to the
glass shot we captured with grace.

You'll see that there's a significant
amount of fill that's in this shot

compared to that shot.

And that's because we have our models
placed behind this diffusion.

It's the semi transparent diffusion
compared to being in complete shade.

There's no right or wrong answer here.

I actually like both of these shots,
but it's up to you to determine the

amount of fill that you want for your
image.

Now that I have our light in place and
the model's posed, I'm going to work

composition and make sure that I really
get a good shot.

Beautiful.

Grace, chin up a little bit.

Alex, tilt your head a little bit that
way.

The other way.

There you go.

Crace chin down a little bit.

Yeah.

Open that mouth.

Give me some nice stares here in the
camera.

So, like, really, just like,

be like,

because, like, I'm getting like, sort
of just an emotionist emotional.

I need just something out of you.

That's, like, pulls out, almost get
angry or something else.

You know,

good,

Claire.

Look off this way.

Alex, look at me.

Good.

I believe that a strong editorial image
would just be impossible without these

tools on this rooftop, in this light.

And we've really worked this
composition, and I've gotten all sorts

of different angles here, and I think
I've come up with a pretty good shot

that I really, really like.

So now we're going to take this into
post processing and pick it up.

Anon,

since we're pretty far on this
tutorial, you should have a basic

understanding of my workflow.

And what I do on a day to day basis for
this next image, I'm going to summarize

what you should already know.

And then we can get to a quick few
extra edits.

This is what we started up with as a
raw file,

and then I brought it in to capture one.

We just brought out some colors.

In some contrast,

I did some healing.

I'll zoom in so you could see that

it did some healing,

some dodge and burn.

As you can see, everything's pretty
basic, but the subtle improvements do

improve the image quite a bit.

The first thing I need to address is a
few big items that we need to clone out

of our image.

I'm going to make a new layer.

I'll call it

cloning.

Go to our clone stamp tool,

zoom in.

And the first thing we're going to
remove is this giant red

blob thing,

going to make our brush bigger.

And we're actually going to sample

this part of the window

so that we can line it up over here,

right about there.

And then we'll start cloning that out.

I should fit pretty perfectly.

And we need to sample one more time

for this edge here.

We'll sample this part of the window,

just so we have something to line up,

put it right

there,

just and just clone that out

of a little bit.

And that's looking pretty good.

We also have to move this from the edge
of the frame.

So it will zoom in there quick,

make our brush

a bit smaller

sample,

and clone

let's back out.

So we can take a look again.

And there's a sandbag from our
lightstand poking into the frame.

So we'll zoom in down there.

And I want to sample piece of the
railing right here.

But first I think we should take out
this extra shadow line here.

We'll sample just to the right of the
shadow,

clone it over.

We kind of caught the edge of it.

So let us sample it again.

We'll do the same thing for this one

again.

Just get rid of any repeating textures.

So for this looking good,

there's another shadow in here.

So we can't really use that area.

We're just going to go ahead and sample
the one above it.

Bring it down,

line it up,

start painting it in.

Now we can use this part of it.

There we go.

Now, keep taking care of the rest of
the shadow

now that we've taken care of those
extra shadows.

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

Take my market and select a bunch of
this railing.

Command j, to make a duplicate, we can
go ahead and delete our clonstad

visible layer.

Reselect

a railing layer, a command t for a
transform tool

that will shift this down

and try to line it up with the rest of
the railing.

It's a layer mass tool.

And hit command I to invert it,

we make our brush a bit bigger,

and i'll need to hit x on the keyboard
to switch to white,

else we're painting that in.

We've gone a little bit too far.

So we'll hit excellent keyboard again.

To switch the black.

We'll get a little bit more of a harder
edge on the brush,

and i'll paint

away the effect on her knee.

We also need to blend this area here.

Let's see where that bag starts,

right about there.

So make our brush a bit bigger.

We'll go a

bit softer,

switch to white,

slowly painting that effect.

So it feathers in.

We need to fix our lines a little bit
right here.

So it'll go in there really slow

with a very small brush.

Just paint

precisely

around her knee

finish our line right here,

clean up that.

Right?

There's

back out.

And I think that looks really good.

As one or two more shadows I want to
take care of.

So i'll go back to my cloning layer.

Zoom in right

here,

switch back to my clone snap tools.

We'll go with a softer brush,

a larger size,

an even larger size,

we'll sample,

paint that shut away really quickly.

In a last shadow,

is this one right here.

So

I'm going to pick a harder brush

and a smaller brush.

We'll sample

along this line,

just paint that away,

and there we go.

We'll remove any repeating texture that
we made

back out and see what looks.

And all that's looking great.

Sometimes a client will come back after
the chute and they'll have decided that

they don't like something about the
photo in this photo, we're going to

pretend that our client has decided
that the makeup on our sitting down

model is a bit too strong, so we're
going to have to dial that back.

Here's one way that I could fix that.

We'll zoom in to take a closer look.

As you can see, this imac up is applied
quite heavily.

So now i'll show you how I might mute
those colors.

After the fact, I'd start by using a
hue and saturation adjustment.

I drop down the master tab

and choose reds.

I'm going to go ahead and shift this
color so I can easily see what I'm doing.

We'll invert our layer mask,

good, or a brush,

and we'll start painting the effect in
with white.

So we'd want to be careful and just go
over that one area where the makeup was applied.

Using this adjustment with a layer
mask, we can easily change the color

completely.

But now I just want to bring the tones
back a bit.

So we'll go back to our original color.

I'm going to desaturate it.

Let's see if we could find another good
tone

that looks a bit more natural.

I think if we shift it around here and
make it more of a nude color, that'll

work really well for this look.

Let's back out and see what we've done.

That's looking really good.

As I toggled this layer on and off, you
can easily see that we took a very

strong, vibrant colored eye

and made it muted and blend into the
rest of the photo,

just like it was supposed to be.

That way.

Let's zoom out and see how it looks as
a whole image.

We might have gone a little bit too
far.

So we'll bring the saturation back up a
little bit.

Zoom in to see our color.

We'll go back a little bit more towards
our original color,

toggle it on and off.

And I think that's looking very good.

I think this is great.

With just a few small adjustments,
we've really improved our image.

So let's save this out and

send it to clay for color grade.

Now that this image has been processed
by Jordan, I'm going to get into the

color process.

I really don't think that I need to do
much here, because the color has

already built a good foundation out of
camera.

But there's some subtle changes I need
to make.

It.

First starts with creating a base layer
and going into camera.

I'm going to convert this to a smart
object

so that we can reference this clarity
later.

If we wanted to

filter

camera, raw filter,

and bring up the clarity

to about twenty

hit, ok.

Next we're going to work on the
vibrants.

So we need to saturate the image.

So we select the vibrance

adjustment layer

and bring down the vibrance

just subtly.

Awesome.

Next we're going to work on the color
contrast.

So we're going to create a curved
adjustment layer.

We're going to move into the red
channel.

We select a marker point in the line

in the middle,

and just subtly bring out the reds.

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

with greens.

I just want to introduce a little bit
of green into the highlights.

I think it's already looking pretty
good.

Just a slight touch of magenta

into the shadows.

Next up is the blue.

We're going to do the same thing, and
just a touch of a warmth back in

and some blue into the highlights.

Now that we have some nice color
contrast in this shot

for, we're going to work on the
midtones using color balance.

So I always first start with a yellow
and blue slider.

I'm going to bring this pretty
significantly blue.

Obviously that's way too blue and way
too magenta.

So I want to take out some of this
magenta.

And next I'm going to mess with the
Sion in red.

It's looking a little too cool for me,
so I want to bring back some red into this.

Looks great.

So once we have our color applied here,

we're going to move into my sharpening.

We're going to duplicate this layer,

group these layers together

and rename this group

sharpening.

We're going to change this group to
overlay.

Then we're going to change this

first layer to vivid light and invert
the layer.

Move up to filter, blur, surface blur.

Keep that radius.

Attend the threshold at eight.

It's a good balance, hit, ok.

And because this can look way over
sharpened, we're going to back these

changes down

by fifty percent using opacity.

Once our sharpening's been applied,

we're going to stamp these layers back
into a noise layer

and apply that effect.

Now to add final touches,

we're going to create a new stamp layer,

call this camera.

Convert it to a smart object

so that we can reference it.

A filter.

Camera, all filter.

So I'm thinking, like the temperature,

maybe make it a little bit more warm.

The tint's real nice.

Maybe add a little bit more green.

My biggest concern is these shadows.

So we want to bring up these shadows,
just a hair.

I think we have a strong shot.

Now,

the last and final step I want to do

is elongate these faces

and stretch this frame

to make our models appear taller.

And we do that using the transform
tool.

As we discussed in earlier lessons,

create a new layer hit command,

and we're going to stretch these pixels.

Looks pretty good.

I think the color is right.

So we're going to save this out, and
we're going to move on in the next shot,