Sketching Out Your Vision
Lesson 13 from: Mastering Lightroom Classic & Photoshop FundamentalsAndrew Kearns
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Sketching Out Your Vision
Lesson 13 from: Mastering Lightroom Classic & Photoshop FundamentalsAndrew Kearns
Lesson Info
13. Sketching Out Your Vision
Lessons
Mastering Lightroom & Photoshop Fundamentals
1Intro
04:05 2Everything About Composition
14:48 3Color Theory In A New Light
09:24 4Getting To Know Lightroom
19:29 5Controlling Luminance Across A Photo
28:43 6Photoshop Controls
19:52 7Sonora Edit
21:35Mountains Edit
34:50 9Final Notes & Editing Philosophy
06:36The Add On
10Welcome Back
02:30 11Planning A Shoot & Tips for Working with Talent
05:17 12Creating Mood Boards
07:42 13Sketching Out Your Vision
05:58 14Andrew Shoots the Truck Bed Scene
12:26 15Andrew Shoots Door and Interior Details
21:46 16Andrew Shoots the Blue Hour Snowstorm
12:57 17File Organization and Archiving
05:05 18Lightroom Panel Overview
38:46 19Edit 01
20:35 20Edit 02
16:09 21Edit 03
18:45 22Exporting
05:43 23Recap
00:58Lesson Info
Sketching Out Your Vision
(soft music) So we spent time planning to shoot. We've created a Pinterest board. The last thing I want to do is draw out a few frames, or I guess, sketch out a few frames of what I want to capture. It just is nice to go in with a few ideas to get the ball rolling. And then from there you can act on what's happening and just play on different ideas mess around with posing, all that. It's just something that I use to get the ball rolling. And once again, to get us on the same page when we show up to the shoot. So this first image, it's really simple. Obviously, my drawing skills are much more lackluster than my photography skills, but it gets the point across. When I showed Eli, he knew exactly what was up yesterday which I was surprised, but there he is sitting on the corner of the truck. I tried to draw a little bit of perspective in there. I wanted to get a low angle with my camera and you could see it right here, I just said leading lines to use those leading lines in the truck be...
d to point toward him. And I wanted him up against the cab of the truck on the corner, just more of a portrait shot than anything. I just drew him smiling with sunglasses on, I didn't want him to wear sunglasses. I just had to fill to face in. So, yeah, and you see the notes right here. I said, get a detail shot as well as a wider shot. I wasn't really fond of the detail shots I got yesterday, but regardless it's worth writing those notes in to try out different ideas. The second frame I drew out is him in the cab. And so you see, I have the seat using the seat a little bit for leading lines, as well as everything else is pointing toward him. So the dash is gonna be the leading lines and he is gonna be framed within that door, as well. And then with the window right here on the front of his face. So your eye will be going right to left in the image, and all the leading lines will point him being framed into the window of the door. That's my idea for that. When you see it drawn out it's a lot simpler than what I just explained, but yeah it's important to get the idea across, you know, just to where his hands are. I have him like hanging off the steering wheel like that. That's a pose idea I had. And at the bottom here, I wrote out portrait shot get a detail, shot, pay attention to the hands. And I also wrote down, try to do something with the mirror, which I didn't end up doing. There really wasn't a great frame for the mirror shot I was thinking of. So didn't end up doing that but it's worth writing those ideas down. like I said. This next shot is more of a landscape shot and I wanted to make sure I included some landscape stuff. 'cause I knew I would be shooting a lot more lifestyle shots focused on Eli himself and the truck. So I wanted to make sure I had wider shots like bigger shots that captured the landscape around us. I drew the truck center frame. I drew a little stick figure of him there just to get the idea across of, I want this big expansive image. And on the left side here I wanted to make sure I got a wide and a zoom shot. So on my Sony, I have a 28 to 70 millimeter lens and on my Canon 5v I have an old 80 to 200 film lens that works great for getting a good compression, like layered shot. I wanted to make sure I got both of those. I put blue hour with a question mark 'cause I didn't know if I wanted to get it during blue hour or during not blue hour. And we ended up getting the ones I wanted during blue hour and it turned out perfect. I was really hyped on 'em and I also wrote Eli in and out of frame, and I also wrote loading bike. We were talking about loading up a dirt bike or not but we ended up doing that. So again, just writing out ideas taking everything that's in your mind, racing around throw it into that note section. So this is the final piece. I was amazed that right off the bat Eli knew exactly what I was trying to get. 'cause I barely knew what I was trying to get after relooking at this. This is a pretty pitiful drawing, but it gets the point across and he was on the same page. So I guess mission accomplished. I wanted to use the truck in the door frame right here for like the leading lines that would go into him in the center of the frame. I wanted to make sure I got a portrait and a detail shot and just pose him certain ways like maybe hand hanging out the door or like maybe hand on the top of the door frame, maybe hand on the steering wheel, just having different ideas in mind with that detail shot. As well as having different ideas with the portrait shot. And then yeah, I wrote down there also lean in and out of window. I always thought about doing that shot, but I think it was kind of cheesy for the storyline. Like him just sitting on the window sill with it rolled down. Maybe that'd be a good thing if you're doing a product shoot for a catalog but we're not really focusing on a product necessarily. It's more of like a lifestyle creating a storyline throughout a series of images type shoot. So I didn't really see it necessary for this shoot. Again, it probably worked great for a catalog but not for this. And yeah, you could draw out more frames if you wanted. But I think going in with four ideas that honestly took probably like 30 minutes to draw those out. And then when we were shooting, we probably spent 20, 25 minutes on these ideas total, all four of them. And that's a good amount of time to spend on ideas to try out things and it just gets the ball rolling. Having those images drawn out is just another thing to do exactly what we're trying to do with pre-production which is get us and the talent on the same page. That's literally the simplest definition of pre-production that I can give. And that's exactly what I'm trying to do with it. So we've researched our subject. We've made the Pinterest board, we've drawn out the frames. Let's take all this pre-production and put it to the test and actually go out and shoot with Eli.
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Ratings and Reviews
Ratul Dutta
This class is really like a good investment. It's gonna help you step by step and you can come back to it multiple times when you need to. Been watching Andrew Kearns on YouTube since 2018. Massive fan of his editing style. I wanted this class as soon as I saw the discount rate. Being a student from a different country, I probably wouldn't have been able to afford it at it's original price. This workshop goes in real depth towards the "approach" of editing a photo. I learnt a tonne of cool stuff. So many new things. Subtle yet so powerful.
Mack Woodruff
Incredibly Eye Opening This workshop truly opened up a whole new world of editing techniques that I didn't fully realize existed. I'd recommend this workshop for anyone who has a basic understanding of LR and PS already and are hoping to take it to new levels. I will keep coming back to it for a long time!
Veronica Ettedgui
Very very nice!!
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