Editing In Photoshop® CC: Teenager Portrait
Lesson 36 from: Capturing Story in Portrait PhotographyKelly Brown
Editing In Photoshop® CC: Teenager Portrait
Lesson 36 from: Capturing Story in Portrait PhotographyKelly Brown
Lesson Info
36. Editing In Photoshop® CC: Teenager Portrait
Lessons
Class Introduction
14:28 2The Power of Portrait Photography
06:52 3Introduction to Newborn Portrait
08:30 4Find Inspiration for Newborn Portrait
11:09 5Create The Scene for Newborn Portrait
05:58 6Prepare & Pose Newborn for Portrait
18:03 7Shoot: Techniques for Photographing Newborn
08:58 8Newborn Image Review
08:57Introduction & Find Inspiration For Child Portrait
13:03 10Create The Scene for Child Portrait
05:17 11Prepare Set for Child Portrait
05:48 12Shoot: Capture Child Portrait
11:40 13Image Review for Child Portrait
11:45 14Introduction & Inspiration For Teenager Portrait
09:05 15Create The Scene for Teenager Portrait
06:15 16Building Set for Teenager Portrait
14:01 17Shoot: Portrait with Teenager
10:43 18Shoot: Pose Teenager for Multiple Looks
14:23 19Image Review for Teenage Portrait
08:11 20Introduction & Inspiration For Adult Portrait
11:31 21Creating The Scene for Adult Portrait
06:25 22Lighting for Adult Portrait
04:51 23Tell Your Subject's Story
04:38 24Shoot: Lighting for Double Exposure
16:22 25Introduction to Senior Portrait
08:39 26Create Storyboard & The Scene For Senior Portrait
10:26 27Connect With Client to Create Portrait
16:06 28Shoot: Lighting for Senior Portrait
08:10 29Shoot: Be Creative on Set
15:09 30Image Review for Senior Portrait
14:23 31Portrait Shoots Recap
04:08 32Global Adjustments in Camera Raw®
05:37 33Editing In Photoshop® CC: New Born Portrait
24:41 34Editing In Photoshop® CC: Child Portrait
15:35 35Editing In Photoshop® CC: Adult Portrait
11:32 36Editing In Photoshop® CC: Teenager Portrait
11:28 37Editing In Photoshop® CC: Senior Portrait
13:46 38Introduction to Entering Print Competitions
02:14 39Process of Print Competitions
06:17 40What to Consider For Print Competitions
17:00 41What Judges Look For Overview
07:14 42Image Impact
03:42 43Creativity, Style & Composition in Images
14:04 44Entering Photography Competitions Q&A
22:50 45Image Lighting
05:43 46Image Color Balance
03:56 47Technical Excellence in Images
07:56 48Photographic Technique
10:15 49Storytelling & Subject Matter
09:28Lesson Info
Editing In Photoshop® CC: Teenager Portrait
Oh, we'll go through this. Feather. Same as the previous image to fix this background. You just stretch it out there. Make it a large stretch, and then adding a layer mask, inverting that, and just painting on the information that we need. (pencil drawing) Okay. So with this, I love this little bit of dark sort of moodiness that's kinda coming through here. I can't see any major sort of highlight areas or areas that I need to really sort of darken down except for a little bit here on her shoulder where the skin is meeting the green, and then just up here on the hat. I loved that back, you know strip box coming in with that light to separate and add some tone through the shoulder here in the background, but I didn't necessarily want it to light up that crown as much. With the crown I also wanted it to be a more sort of coppery tone as well, so I can change the color of that. There are so many ways that you can change the color. I could desaturate it, but then it's going to look quite gr...
ay. But if I wanna give it a completely different tone, I'm going to first change my brush to color mode if it's not already on it. I'm gonna sample a color down here in this red which has kinda got some rusty colors in there, can you see those? So, using the alt key, sample those colors there. I'm gonna paint it on at 100 percent because I'm gonna have to lift my brush and put it down. If you're painting it on at 40 percent you're lifting up going down you're gonna get a really inconsistency, a real inconsistency in terms of how much you're painting on. So you can see this here, and this is just really quick. Now I... In painting it on at 100 percent I'm looking for consistency, but I am gonna bring the opacity of this layer down. So I'm trying to do this as fast as possible because this segment is nearly over. And I mean you can spend hours and hours sitting here going through each of these images and every little detail, but I'm basically showing you the main sort of structural changes of what I would do to a photograph to get it to where I want it to be. Going around the outside first making. (pencil drawing) Oh. (pencil drawing) Okay, real quick now make my brush really big. I'm going to go over this green, cuz I can mask that off. (pencil drawing) Okay. So, bringing the opacity of that down, I don't have to have much of it on there, but you can see, just changing those gold tones So instead of desaturating it and making it go gray, I've still got color in there. Just more of a kind of a reddy, reddy rusty tone, which is exactly what I want. So I make that about 30 percent with a layer mask and we can mask it off the little green gem if we wanted to. You can mask it off some of those little features as well it's entirely sort of up to you and how you bring out that detail. But with that, this is where those highlights and shadows come in and I would come around every highlight, highlight a bit more, every shadow darken it a bit more. Just to give it that more three-dimensional look. Okay, so I would go through the background there and I would adjust any of those sort of creases and folds there. I would add that light and dark, and then down the bottom here, where we've got this little area here. Where the lighter green was coming through, I can either change the color of that to the red to match that or, I can add a little bit more width in terms of the skirt area. So, what I'm gonna do is add a solid color, but before I do that, I'm gonna sample a similar color to what I want it to become. So I'm gonna come up here where it's a little bit brighter on the green dress. Sample that tone there, and you can see it's nice and green, and I'm gonna come down to solid color. And we can make it a little greener. Go up into these greens. What I love about this is at any point in time you can double click on that and change the color once you've painted it on. Okay so, I'm gonna change the layer mode here to multiply. Then I'm gonna bring back the opacity. So you can see to where it should be. Clicking on that mask, inverting that mask, and now I can brush that on at 100 percent to that, to make it the color that I want. To extend that green. And I'm doing this really rough, but you would zoom in and make sure you had all your lines right? (laugh) Don't be dodgy like this. Okay. And I would go around the edges here doing the exact same thing that I just did, but with the same color that's in that red, and I would cover up that white stitching. I don't mind if the stitching there, because it adds like a little bit of texture and detail, but I would sample the red, I would create a solid color, change the layer mode to multiply, and paint it on to that white stitching all the way around. But just by changing that color there, I've removed a distracting element that's drawing your eye away from the subject's face, which is what it is that we want. Okay. So, for this kind of image here, you can do a few things to kind of draw your eye in and out. The gradient map is a great one. I do like love the highlight here, but I wanna kinda darken that background behind her just a little bit more to make this lighting intense. So, new copy layer. I'm gonna come over here to my gradient tool. I've got the opacity here set to 47 percent, and I've got it on multiply. The background color is what I need to select, so if you hold the alt key in and select the background color this is where I've got the first option selected where it goes from a solid color to nothing. So, it's going to multiply the color that I choose right through to nothing. So what you do with the gradient tool is you draw a line. So I have my brush on my pen, but I'm gonna draw a line here, and wherever I stop the line it's gonna be the solid color wherever I finish the line it's going to be nothing. Does that make sense? So I'm multiplying that black, and you can see how it comes across like that. So before, and after, and I can darken down that background. So I'm gonna go all the way across and you can see how I'm starting to really darken that area down. What I can do is then adjust the opacity, I can use a black brush now to take it off face and other areas that I don't want it to be on. And this can just give you a little bit more control over your lighting. And come down this side of the body. (pencil drawing) It is such a great tool to do things like that on. So just drawing your eye in with that light is such a great way to really kind of create some impact here. And it's how I usually add vignettes now as well, because if you are using a one main light source and it's coming from over here, if you add a vignette to the entire image this shouldn't be a vignette where that light's coming in. So it's not consistent, so this is why I kinda tend to go this way. So, with this one I would come in and I would spend a bit of time on my skin and at this age you know they don't like blemishes. When my daughter gets them she likes to have them gone very quickly. So I would come in with the patch tool, with the spot healing brush. Look at that. And I use the spot healing brush here. So this is all depends on the age and the different things you do for the different ages, cuz what I'm gonna do for her I'm definitely not gonna do for say Janice. This has got the content aware, so I can just quickly go around here and remove some of the little blemishes that are on her face with that spot healing brush. And you can see just by removing those few little spots how quick that is to do it. So I would cover her whole area. I would probably darken down some of these highlights here that aren't necessary, and then I would add a little bit more light and shadow to her face to define those features. In terms of the fabric, it hangs beautifully. I don't really have to fix any creases or things like that. In terms of color you could really push this, but I'm kind of happy with exactly where this is and I would probably make this a really kind of contrasty striking image.
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Ratings and Reviews
user-2c88c4
Among a sea of wonderful teachers here at CL, Kelly is the cream of the crop. All of her classes are outstanding and this one is no exception. Amazing teacher. Amazing class. Amazing education. If you are hoping to stretch yourself to create deeper more meaningful stories in your images, or are feeling the pull of print competition but need some direction, this is definitely the class for you. Thank you Kelly!
Melissa Soto
Kelly Brown is a true inspiration. She has been my idol in this industry since I began. This class was amazing. I love how honest, authentic and genuine she was. But most importantly I loved her wise direction and teaching style. Kelly brown thank you for this gem. You helped light a fire in me. I’m so excited to start telling amazing stories with the skills I have learned from this class.
Marjorie Stevenson
Just loving this class! Kelly is one of my favorite instructors. She is very good at articulating her ideas and carrying them to an absolutely wonderful end product. Her images are always stunning. I love that she always puts safety first with her models. Thank you Kelly for sharing your creative visions with us.
Student Work
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