All language subtitles for 04 Dappled Shade.mp4

So if we pass the

technique of directional hard light.

And now we're here with a new,
beautiful model, tyra.

And we are going to start working in
the shade.

So a lot of photographers love working
in shade because it's easy, it's safe,

you're not having to deal with the
harsh shadows that the sun creates.

So one issue with shooting in the shade
though, is that you're in a constant

state of balancing both the highlights
from the harshness of the sun to

the shadows of the shade.

In many cases, when shooting in the
shade, you're going to deal with a

background that's going to be blown
out.

As you can see in the video of me right
now, the background is definitely

blown.

So we have tyre here, who's standing in
the shade, and the light on our face is

perfectly soft,

but the background is completely
highlighted by this harsh sun.

So let's take a shot.

So as you can see in this shot,

the light on tyrus' face is perfect,
it's beautiful, it's soft,

and it's something that you probably
would like, except for the fact the

background is completely gone and the
sky is completely white.

And because this sky is white and the
background's blown out.

This doesn't look good.

This doesn't look like a shot that

let's, say, my clients would want to
invest in.

So we're going to keep tiring the
shade, but we're going to find a

background that matches the exposure a
little better.

So all I've done here is actually just
move tyra slightly to the left and

changed my background completely.

From something that was really bright
and highlight highlighted, is something

that's a little bit more controllable
and is darker.

So let's take a quick test shot and
we'll see what that looks like.

That's perfect.

Look towards me, you go chin around
towards me a little bit.

So just by moving tyra a little bit to
the left and changing that background,

we're able to create a much more
professional photograph

by

really exposing and balancing those two
elements of the foreground and

background together.

Now I want to talk about something
that's pretty interesting, and the

technique that most photographers
absolutely hate,

and that is

dappled light that is dealing with both
shade and direct sunlight.

And so as you can see,

I'm in direct sunlight.

I'm in

this dappled light right now.

And it's not a photographer's paradise
it's not a soft light, but if you use

it right and you lock it in, you can
really create an amazing photograph.

So when working in dappled light,
there's a couple of important things to

remember.

First is the direction of the hard
light has to be flattering, and we

cover that in the lesson on hard light.

So yet to remember that dappled lights
also happens at noon and it's going to

cast shadows down.

But in this case, we're working with
shadows that are very directional

because we're at sunset right now.

So you just can't put a model in dapple
light and assume it's going to work and

be flattering.

It doesn't work like that.

We have to just remember all the lessons

that we have learned up to this point
with hard, harsh light.

So another problem we face with dappled
light

is keeping a balance between those
shadows and those highlights,

especially because you're working with
that superdirectional

light.

So you can see what this looks like.

Let me just go ahead and take a test
shot.

So I exposed for the face, but we lost
all detail in the shadow.

So working with dapple light is not a
perfect science.

It's constantly moving because these
leaves are moving, and the sun is

lowing at a constant rate.

And so you can see that I have a very
hard

highlight here, and it's very bright.

But if I move my hand only just a few
inches to the right, suddenly I start

finding that perfect balance of where
we need to have tyra.

And so now what I'm going to do is sort
of insure to that perfect spot and

really that perfect balance of light

to where it's not too bright but not
too dark.

My goal is to have tyra

in the sun, but also out of out of it.

So her face isn't entirely

lit by this dapple light, but at the
same time it's got enough highlight and

bright enough to really create a
dramatic shot.

So all right, we're about there.

This looks pretty great.

As you can see by this shot.

We have a really nice balance of shadow
and highlight.

Her face is well lit, and it's very
dramatic.

Because we toned down that highlight on
her face and we inch her to the left

and right.

We are able to maintain a nice balance
between highlight and shadow and still

retain a lot of this detail ending
shadows and on our clothing.

So I really love this shot.

So we're definitely going to take this
into post processing and get to work on.

I just received this image from clay,
where we're shooting with tyra and

dappled light.

So let's go ahead and bring that into
capture one.

I've already opened a new catalog and
captured one and made our user

collection.

So let's go ahead and bring in the
image that we have in our lesson folder.

Going to make sure the selected album
is still checked.

You're going to select the image and
import one image.

And as usual, we're going to go ahead
and make a new variant.

Go to the color tab.

The only thing I want to show you
differently from the previous lessons

is this curve option here.

Under the icc profile.

Under this curved tab, we have a bunch
of different camera profiles that will

each give a different look to your
image.

So for this one, I think that it would
look better with a bit more pop in

contrast.

So I'm going to choose film high
contrast.

And you can already see that this
dapple light is showing through really well.

I think that the color temperature is
good for this image.

So we're not going to bother touching
this slider.

We're going to go straight into the
exposure tab.

And basically do the exact same thing
we've been doing with the other images.

So I'm going to lower the exposure a
bit to get a

touch more detail out of the highlights.

I'm going to increase the shadows.

I'm going to increase the brightness
just a little bit to balance it out again,

and to even push it a little further
with the contrast.

I'm going to boost that a little bit
more.

I think that we can use a little bit
more detail in the shadows as well.

So we're going to move that up

and then go to export our file for
Photoshop.

Now that we have our image up in
Photoshop, we're going to do the exact

same healing and cloning techniques
that we've done in previous lessons.

So I'm going to speed through this
healing, and i'll show you a quick

before and after once I'm done.

So I finished all my work.

And if you zoom in onto her face,

and I toggle on and off the healing
layer,

you can see that I cleaned up all the
blemishes on our face, leaving a pretty

good skin texture.

And I cleaned up a few things on her
pants.

Next, I'm going to show you something
that I haven't taught you before and

that's one way you can do dodging and
burning.

The first step in this method of
dodging and burning is to make a new

layer.

Using command shift.

N,

we're going to name it dB, for dodge
and burn.

Set this

mode

to soft light,

and make sure that check filled with
soft light, neutral color, fifty gray,

is checked and finished with.

Ok.

The reason that you can't see anything
is because when a layer is on soft

light, everything set to fifty gray is
actually invisible.

The main goal when doing dodging and
burning is to even note the transitions

between highlights and shadows to
better shape the light on our subject.

To do this, I'm going to paint white or
black on this gray layer so that we can

lighten or darken the image in specific
areas.

The first thing that I want to do is
make sure that my color palette is set

to white and black.

So I'm going to hit d on the keyboard,
and that'll automatically do that for us.

The next thing that I want to go over
is our brush settings.

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

And we can go up to

this brush menu button

and click that.

In this panel, the two things that we
need to look at is that transfer is

checked with pen pressure on under
opacity jitter and pen pressure is on

under Flo jar.

The other thing is that buildup is
checked as well.

These settings only apply to me because
I'm using a wake up tablet.

But if you're using a mouse, don't
worry.

A mouse will work just fine.

But I'm going to explain why I prefer a
wake up tablet over a mouse.

The last two things that I want to
change is make sure that this airbrush

button is on.

And we're going to lower

our flow rate

to about ten percent.

So let me just show you guys a quick
example of why I prefer the tablet over

the mouse.

You can see that if I'm painting,

it slowly builds up as I'm painting
over her face.

This is because I'm using pressure
sensitivity

on my wake on tablet.

Now I'm going to switch over to the
mouse and show you what that would look like.

So I'm going to click

and just drag around.

And it has

a similar effect,

but it doesn't have the same pressure
sensitive buildup effect that you would

get with a wake on tablet.

So I'm going to undo those changes, and
we can start dodging and burning.

Just in case you guys were wondering
what flow actually does.

Think about a can of spray paint.

In real life, if you're depressed on
the top of the can, a little bit, just

a little bit of paint will come out,
but if you press really hard, a lot

would come out all at the same time.

The same is true for your brush.

If you have a low flow setting,

a little bit of change is going to
happen over a given time.

If you have a high flow setting, a lot
of change is going to happen in the

same amount of time.

A lot of people get opacity and flow
confused.

But if we use the same paint can
analogy, opacity is the paint and how

clear or transparent it is for our
brush settings, we're going to keep our

flow at ten percent and our opacity all
the way up.

So let me go ahead and show you how
we're going to lighten and darken

certain parts of this image.

Using dodge and burn,

we're going to make sure that we're on
a brush again.

We're going to make the brush smaller

and zoom in a touch.

And now, if we wanted to lighten parts
of the image, we would use white.

Or if we wanted to darken, parse the
image, we would use black we can switch

between our foreground and background
colors by hitting x on the keyboard.

Or you can select this little arrow key
right here.

Let me show you a painting with black
on this image.

Does we want to look for an area that I
think is too bright?

We want to reduce our brush size to
about the same size of that area.

I think

this area right here is a little bit
too bright.

And we're just going to paint

on that area until it matches the
surrounding

brightness.

We can do almost the same thing with
white.

So we'll switch to white.

With x on our keyboard, we'll find an
area that we think is too dark.

We will adjust our brush size to about
the size of that area.

We will paint in that area to lighten
it just a bit.

Now that you get the basic concept
behind dodge and burn, I'm going to go

around the image and even out the
transitions in the lighting.

One thing to keep in mind is not to
zoom in too far, because it's easy to

lose perspective on the image as a
whole.

If you do zoom in really close,

just remember to zoom out once in a
while and check your work and make sure

that it flows correctly with the rest
of the image.

So we want to back out a little bit.

And now I'm going to look for areas
that I want to work on.

So right here, I see that it's a bit
too bright.

I'm going to switch my brush.

So on that, I'm working with black,

and I'm going to make sure that my
brush is about the same size as that area.

I'm just going to start painting

black

to darken that bright spot.

You might think that that is actually
something

that you would fix with the healing or
cloned brush, but really is just a difference

between light and dark skin.

So that's why we're going to use dodge
and burn.

So that area is looking a lot better.

I'm going to switch

back to black again.

I'm going to fix this area here.

Just want to paint in that bright area,
and just keep switching between black

and white to lighten or darken.

Here's an area that I think is a little
bit too dark

to do a quick

brush on there.

And at this point I think that we could
benefit from zooming out just a little

bit.

So we're going to go about to there.

And I feel like we could darken here,

and we switch to black

and just paint a little bit

in those areas.

It's a little bit more on the other
side of her neck,

and a little bit just in the center.

Actually.

I think we could use some dodging,
right?

There's

a few little details left on their neck
that I think I'm going to have to zoom

in for.

So we're going to go ahead and do that

right here.

I'm noticing some black spots.

So we're going to make sure that we're
on white,

make my brush a little bit smaller,

and paint in

those dark spots on her neck.

For the sake of an example, I'm going
to show you what you can do if you go a

little bit too far.

So I'm going to make my brush a bit
bigger.

I'm going to paint quite a lot on there

so that we have a big light dot on her
neck.

An easy way to fix a mistake like this
is just to simply switch to the other color

and bring it back down.

Now you can't even tell that we did
anything.

You can actually see that her skin
needs a fair amount of work.

There's a bit up here, some on her
cheeks, her nose around on her chin.

I don't want to make you sit through
every adjustment that I do.

So I'm going to speed this up and
continue working using the exact same

techniques that I just showed you.

So that was about ten minutes of
editing.

As you can see, there's a pretty
drastic difference between the before

and after.

Let me zoom in a bit,

and i'll talk a little bit about why I
worked on certain areas the way I did

let'.

Let's start with the eyes.

As you can see, I lightened up the bags
under them a little bit, but not too much,

just because you don't want it looking
too unnatural and smooth.

There's a lot of blotchiness up on our
forehead.

So we worked on that area to make the
skin look smooth,

pretty much.

We've just even doubted the transitions
in all of your skin.

One thing that you could do is
accentuate her features by lightning

where there was already light and
darkening where there are already

shadows.

We might do that in a future lesson.

But I don't think this image needs it,
because there's already great

transitions between the shadows and
highlights of our skin.

So that's one of the ways that you can
do dodge and burn.

It takes a long time and it's very
detail oriented.

But as you can see, once you do all
that work, the image looks a lot better.

I'm all done with my section for this
image.

So let's send it over to clay for his
color work.

I just received this image back from
Jordan.

We have a really nice retouch here.

He's given me a foundation that I can
work with and start playing with this

color process.

With this lighting style.

You really want to analyze this shot
first, really determine which direction

do you want to go.

We have both cool and warm tones in
this image.

So it's important that you make a
creative decision.

That's going to be a balance between
the two.

After analyzing this image, because we
have so many interesting shadows here.

It's going to look a lot more natural
and look a lot more interesting if we

lean towards the cool side of the color
process here.

So the first step, as you've seen in
all the rest of the images, is that we

want to stamp these three layers down
into one single image that I can work

off of, and build a foundation of
layers from that single layer.

So in order to do that, I need to hit
command option shift e or control ult

shift e.

Once we have this base layer,

what we need to do at this point is
create a curves adjustment layer, just

as we've done in all the other images.

I'm going to create a curves adjustment
layer, which is going to adjust our

contrast in this image and add color to
that contrast.

I'm going to rename that

color contrast

unlike the warm side of things.

Now we're going to go cool.

So we need to make a few minor
adjustments to these channels in order

to bring this image into the cool side,
rather than warm side, like we've done

in the last imagery.

So first we're going to select the red
channel.

We're going to select a point right in
the middle, and we're going to drag

that to the bottom right hand corner,
which is going to add a lot more blue

and a lot more synd to the entire frame.

The next step is we're going to add
those little subtle s, curves that are

very similar to what we did in the last
image.

And again, this is a creative decision,
so you can go as drastic and as subtle

as you want.

But in my case, I'm going to go subtle
here, because that's just going to look

a lot more natural.

We pull the greens down,

put more green in the highlights a
little bit,

add magenta in those shadows.

Next we're going to go to the blue
channel.

We're going to do the same thing,

except all we're going to do here is
going to put a little bit more blue in

the highlights.

And they're going to pull down

this, just a hair.

You can see now that this bark is
really turned really blue, and then the

light on our face has really bounced
out to be an even color.

It's still overall cool, overall moody,

but

there's a few things that we need to do
now to make sure that these tones are

all even across the board.

So our next step

is changing the midtones.

And we do that by adjusting the color
balance.

So as you can see in this image, the
bark is very blue.

So you want to alter that to bring in a
little bit more natural color,

to get this bark looking a little bit
more natural, but still maintaining

that cool skin tone.

We're going to play with these sliders
a little bit.

I'm going to add a little bit of yellow
to this bottom slider here, bring it to

about negative ten.

Then we're going to try

really altering this magenta green
slider.

Like that are about right around there.

And then we're going to go up to the
Sion in red.

And I think in order to

really reduce this blue.

We're going to add a little bit of red
into the shot.

Right about there,

I think alumint a little bit overboard
in this green.

So I'm going to back that out.

I'm going to zero that out.

So as of right now, we have

added a little bit of yellow and added
a little bit of red.

We've just added a touch of warmth back
into the shot to reduce that blue

caused by that color contrast.

From this point, we could get into
sharpening, we could start adding our noise.

But as you remember, we started this
whole process in the last two images by

using camera raw.

And so I'm actually going to end this
image by using camera, instead of

starting with the image, it's going to
be a final touch to the entire process.

And remember, all I'm doing in camera
roll is just basically making some

minor adjustments with clarity and
vibrance.

And I'm not making any sort of
significant change.

So you can do that on the front end, or
the back end if you'd like.

In this case, I'm going to do it in the
back end is because I feel like I need

to get the color where it needs to be
and then make that final adjustment of

clarity and vibrance

once I have this color around where I
want it.

My biggest problem with this entire
image is that our hands are totally a

different color than her face.

Her face is really brown in this shot,
and our hands are really blue.

So we need to

basically paint over her hands, or
paint over her face, really match the

colors as much as possible.

But we still don't want to lose that
color consistency across the board.

Now one glaring issue with this image
is that the highlight on her face is a

completely different color than her
hands, which is in shade.

So I want to alter the color of her
hands to match a little closer to the

color on her face.

What we're going to do now is create in
a curved adjustment layer.

And this curves adjustment layer is
only going to apply to her hands.

So the adjustment layers that we have
used so far

have a mask on it, which gives us the
ability to apply effects to only

specific parts of the image.

Now what we're going to do is dive in.

I'm going to show you how you can use
that mask.

So the first step to changing and
altering the color of her hands to

match her face is that we need to
create a curves adjustment layer

we're going to call this

color

on hands.

And you'll notice that the color on our
face is a lot warmer compared to the

color on our hands.

So we need to go up to the red channel
first.

And we're going to select that
centerpoint and just boost those reds significantly.

And you're going to notice that this is
changing the entire image itself.

But we're going to invert this mask so
that we can paint this color on only

her hands.

Next up, we're going to go to the blue
channel, and we're going to pull this

line to the bottom right corner just
slightly enough to get that nice warm

tinge on our hands.

If you've never worked with a mask, I'm
going to show you how this works right now,

notice that this thumbnail next to the
tidal color on hands is completely white.

Any mask that is completely white means

that the adjustment layer, and a color
on this adjustment layer is applied to

the entire image.

If I were to change or invert this mask
to black, then the effect of the

adjustment layer would be completely
hidden.

And let me show you how I change this
to black.

First, I'm going to select the
thumbnail next to color on hands.

I'm going to hit command I or control I
on a pc.

And what that's going to do is invert
this mask.

And you see that our adjustments have
now gone away.

Another approach is to select the paint
bucket tool, make sure that you have

black on the dropper,

and then simply click the image.

And that's going to invert our mask to
black.

I've shown you how you can reveal or
hide the entire adjustment layer

completely.

But now I'm going to show you how you
can use your brush to reveal or hide

specific parts of that layer on the
image.

Now that our mask is completely black,
it's going to give me the ability to

select our brush and simply paint in
those color changes we made on this

layer.

So I'm going to hit b.

I'm going to select a nice soft brush.

I'm going to use my brackets here to
downsize the size of the brush.

I'm going to make sure that I have a
very low flow.

Ten percent looks about right.

Because our mask is black and it's
hiding this adjustment layer, I can now

use the brush to paint in these color
changes.

So the first step I'm going to do is
select a brush by hitting b on the keypad.

I want a really soft brush for this.

So I'm going to go up here to the top
left corner, when I drop this menu

down, and make sure that my hardness is
set to zero percent.

I want to set my hardness to zero
percent because I want a nice soft

brush to keep these transitions smooth.

Once I have my harness set to zero
percent, I'm going to decrease the size

of the brush by hitting the left square
bracket on my keypad, which is going to

decrease the size.

And one thing to remember is that you
want a low flow.

You don't want a significant amount of
color change

immediately applied to

this mask.

So you want a low flow and the opacity
at 100 percent.

So make sure that you have your layer
mask thumbnail selected on your

adjustment layer.

And then keep in mind that you're going
to need white

to paint in

and reveal this mask.

So now we're just going to take our
paintbrush

and subtly apply this to her hands.

I think that looks a whole lot better.

But the beauty of using a mask is that
I can go back and hide the changes that

I've made.

So I just hit x to switch to black.

And then I'm going to undo some of the
changes that I just made.

There is light that's hitting her hand
right here.

And I'm just going to undo a little bit
of change that I made.

It's a lot better.

I'm going to show you quick before and
after

as.

Before

and after,

you can see that we've even out her
hands to match the color of her face a

lot more.

Now that I have the hands altered and
the color matched a little bit evenly

across the board, I'm going to now
stamp all these layers and go through

my sharpening process, which you've
seen in previous images.

Again, we're

duplicating two layers.

We're grouping those layers together.

I'm changing this

group to overlay.

And then I want to invert the first
layer in this group.

Set that to vivid light.

And then we're going to pop on surface.

Blur

onto that first layer.

Keep the radius at ten, the threshold
at eight

hit.

Ok,

you can see that this image has been
significantly sharpened,

but I'm going to reduce that by fifty
percent.

Next, as you've seen in previous images,

I'm going to stamp all this back down.

I'm going to add some noise.

And then I want to finish this image
off with camera, raw filter, as we did

in previous images,

beforehand

with previous images, we've applied
camera raw and the adjustments in

camera beforehand.

But with this image, because the color
is so inconsistent, I want to make sure

I have a nice balance of color before I
went into camera and applied those adjustments.

So now that I have my final layer, I'm
going to go up to camero,

and I'm going to make these final
adjustments.

First up, clarity slider.

I'm going to bring this up to where
it's looking pretty good,

around 20.

And I'm going to go to my vibrant
slider, just as we did in the previous

images.

I'm going to bring this down,

and you can bring this to taste.

In this case, I'm really liking
something that's moody, a really nice,

dissaturated image.

So I really like the dissaturated look
in this image.

We've removed a lot of the blue and the
bark just by desaturating this image on

the vibrant slider.

The one last thing that I want to do
here is I want to check out this

temperature and just maybe pump up the
warm a little bit, just to see what

that looks like.

Again, this is a creative choice.

So you can kind of play with these
sliders and get the adjustment you

want?

I think that we're pretty good with
keeping it flattened at zero.

So I'm going to hit ok and move on.

I think we have a final image here.

This looks really solid.

I like the color.

I like how it's desaturated.

It's moody, it's really dramatic.

But there's one final piece of the
puzzle.

I think we need to solve here.

As you notice in the top left corner,
the bark is revealing the background a

little bit.

It's

kind of noisy, it's distracting.

So all I'm going to do is simply crop
the image to crop all that background

noise out.

So the background looks completely
filled with bark.

So I'm going to select my crop tool.

And one thing to keep in mind that I
actually learned just recently, is that

you want to uncheck delete crop pixels.

Because if you were to crop this and
bring this down, it would actually

delete those pixels, and you wouldn't
have the ability to come back later and

uncrop it in Photoshop.

So you want to make sure that delete
crop pixels is unchecked.

So we're going to click the top hold
down shift to maintain the aspect

ratio.

And we're going to drag this down

just to where it's within

that bark.

Now, obviously, we don't want to crop
the top of your forehead.

So we're going to click and drag the
mouse down so that the crop line moves up.

I'm going to bring this just above our
head,

and we're going to hit, ok,

we've got a nice crop on this.

That background has been removed.

I think this image is a final edit.

One important part of my process that I
haven't touched on yet is resting your

eyes.

When you start color grading, you start
the color process.

It's easy to go overboard because you
get so focused on the image, you start

seeing color differently.

But if you rest your eyes, give
yourself 1224

hours on this image, you're going to
come back to it and see it in a whole

new light.

So with every image I grade, I like to
take a break and come back at a later

time and make sure the adjustments I've
made look natural and they look really

pleasant to the eye.

We've got a really nice shot here.

We've got a really nice color grade and
retouch.

So we're going to move onto the next
shot.

With tyramid