Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial

Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial


(upbeat music) – A model test is an
opportunity for a photographer and a model to build
their portfolios together. If you start in model testing, it’s gonna open doors in the
fashion photography field. The end result that needs to
happen in a great model test is that that model looks
their absolute best. When photographers fail at this, it’s not because they’re
bad photographers. It’s because they just don’t know what agencies and agency
represented models really need. In this tutorial, you’re gonna learn who to shoot and how to shoot them. I think we might do a hair and
makeup change at this point. Exactly. That arm can even like, yes. One foot bent that way, and
turn this foot this way. You’re gonna learn about
working with modeling agencies to shoot quality models. I love that ’cause that
lengthens your lengths, which your agents will love,
so bring that back out. Kick that foot. Good. You’re gonna see me shoot two
different types of models. We’re gonna take one model
that’s considered editorial. Go for it. Yes. And another model that’s
considered commercial. So let’s do that hand. Wrap it around your neck and then we’re gonna lean
in and gimme a little laugh. Perfect. Love that. We’re gonna use simple lighting, some natural light, some strobe. And then you’re gonna
open up your body to me as you come in here. Let’s try it. Perfect. Yes, perfect, good. And simple camera techniques. I love when I come lower with the model and they look like above me. It just exaggerates that. To get the quality that you want in as fast as possible time. Good. I think we’ve got that. With this tutorial, you’re gonna get my
Comprehensive Posing Guide. This is a great resource
to see what types of poses agencies are going to wanna see from a successful model test. Oh gosh, I love that! I’m gonna give you an
email template to send to modeling agencies. It’s gonna have the right
tone and the right language that’s gonna increase your success rate. My favorite thing that you’re gonna get from this tutorial is my
top secret packing list. It’s gonna make your
process so much easier, and it’s gonna give agencies
exactly what they want. Whether your goals are
to build a new portfolio, monetize model testing
or take that next step in your fashion photography career, these resources are foundational so that those things are easy,
seamless and quick for you.

Levitation Photography Tutorial: How to Hover with Multiple Exposures

Levitation Photography Tutorial: How to Hover with Multiple Exposures


Hi, I’m Chelsea. And for our book, Stunning Digital Photography we’re going over levitation photography.
Now there are two ways to take a levitation photograph: the first way you just set a high
shutter speed and have your subject jump and it creates the illusion that
their floating. The method were going to be using is that I’ll be propping myself up with these
books here, taking two pictures and then blending the two exposures
together in post to make it look like I’m floating. The
only hardware you really need is a camera and a tripod, but because
this is a self portrait for us we’re also using a remote shutter release
and a few other pieces of equipment I’ll get into later. The first thing you’ll want to do before you take your shot is make your story. So I had envisioned a couple sitting
together and reading by fire so I got these prop books and I got
Tony, my prop husband and found a nice nook of
the house that would look good on camera. So we set up our camera and a tripod and kind of played around with the crop
and the angle to make sure that we have our fireplace in the shot and the lamp and the chair, everything we
thought would be attractive. One interesting thing that we did was I
really wanted it to look warm I wanted it to look like the fire was
glowing and we were nestled up and comfortable in our home. so we got another light on a tripod,
another flash, put an orange gel over and put it
behind our fireplace which actually goes completely through to the
other side and had it flash through at us so that we had nice
warm lighting like the fire was glowing. To trigger the flash that we set up
behind the fireplace, we used a PocketWizard. We also used the flash on
top of our camera to kinda bounce the light off of the wall and
fill the room with light from the other directions so that the lighting wasn’t too
hard. Next, we set our camera timer to an 8
second delay and just kind of posed for a while. Once you get the pictures that you like,
move out of your frame, take a picture of your background and
then it’s time to bring your photos into post processing. Now that you finished taking your
pictures, load them onto your computer and use your editing software of choice to
start merging your photos. It doesn’t matter which editing
programming you use, I’m going to use Photoshop, but as long as they can blend two pictures, you’ll be all set. I’ve loaded my pictures into Lightroom,
so I’m going to click the levitation photo of my choice and then I’m going to choose a
background picture to blend it with. Using Ctrl click I selected both pictures at once. Once
you have your photo selected right click, then choose Edit In, then go to open as layers in Photoshop. Now that
you have both of your pictures imported into your editing program put your levitation photo on top. So you can see, the background is on the bottom. Select both
of your pictures go to Edit, and auto align your layers to make sure
that they match up. Using the Auto projection option works
just fine. Next select your top layer, your levitation
photo, and create a mask. Click on your mask, select your paintbrush tool and make sure that you’re painting in black, and you can start to erase the books out of
your picture. I like to make sure that my paint
brushe is soft and that my opacity is fairly low I have
it at 48 right now. So let me zoom in here, I’ll make my brush a little bit bigger, and you can
start blending away whatever it is you’re levitating on. So one problem we ran into when we
started editing the pictures is that I noticed that the background picture had cooler lighting than the picture with me levitating and I think
it’s because one of the flashes was bouncing off me and making a warmer
light. So what I did was I selected my
background photo and in the adjustment layers I put a photo filter on with the color orange and warmed up the background a little bit
until the color matched the foreground better. That’s pretty good. And since you’re opacity’s low, you can just
kind of blend the pictures together so that the color differences isn’t so obvious. Once
you have your color adjusted, you can continue taking those books out out. Another problem that I
ran into is that my skirt was falling behind the books at one
point so I can’t just use the layer mask and paint out the books. So what I did was I selected a section of my skirt,
making sure that I had the hemline in there, and create a new layer to paste
the piece of clothing into. Now that you have part of the skirt pasted in, you can move it. Go to Edit, Free Transform and line it up with the rest of the hem. Now that you have the skirt in there, it’s really rough,
you can use an eraser and I will just blend it in. This is kind of a
rough example so I’m gonna do a little bit more tweaking and play around with this to get it just
right and then I’ll cut to the finished product. Next I’m going to reimport it into
Lightroom by saving my photo and finish up the rest of my editing there. Now than I am in Lightroom I’ll click on
Develop to finish editing and crop it down a little
bit. Next I’m going to soften my photo up to
give it a warmer, cozier feeling. By just roducing my clarity just a little tiny bit. I usually like to
just play with my adjustments a little bit to get the get a nice feel going in the picture. So it’s
all just a matter taste. And there you have it! There is our
finished levitation photo. There are a few other pictures that I
played around with it as well If you’d like to see more videos from us,
click subscribe above and if you’d like to learn more about
photography, buy our book, Stunning Digital Photography. You can get it on
Amazon, you can get it for iBooks. All the links will
be down below and don’t forget to LIKE us too. Thank you.

Create Background Sparkle from a Sequin Dress: Take and Make Great Photography with Gavin Hoey

Create Background Sparkle from a Sequin Dress: Take and Make Great Photography with Gavin Hoey


In this video I’ll show you how a simple sequined dress can become a super sparkly background. Hello I’m Gavin Hoey and you’re watching AdoramaTV brought to you by Adorama, the camera store that’s got everything for us photographers. So recently I was having a bit of a clear-out in the studio and I came across this rather nice piece of sequined fabric and then I remembered why I wanted to get rid of it because the last time I tried to use it, it was a real problem to light. The sequins just bounced like absolutely everywhere. There was hot spots and sparkles all over the place but then I thought don’t ignore the problem, embrace the problem. Embrace the sparkly effect by turning this into a dress somehow. I can bounce light off the sequins and create an amazing sparkly background but the first thing I need to do is to work out what sort of light will create the look I’m going for, so let’s get a model in, let’s get some light set, let’s get shooting. So it’s great to have Beth back in the studio Beth going to be the model for this shoot and as you can see she’s fully decked out in very sparkly attire. Now before we set up the main lights and take some pictures of Beth, what sort of light do I need and really basic do I need a big light source or a small light source? Well remember we’re going to embrace the sparkle. I want lots of sparkle to be seen not necessarily by the cameras but reflected onto the background. Now I could use small or big light sources and before we set them up I’ve got some easy ones to test with, so I’ve got my small torch and it’s slightly bigger Rota light LED. Let’s start with the small torch first. If I shine the small torch onto Beth hopefully you can see that on the background we have some lovely sparkles bouncing off the little tiny mirrors that are the sequins and giving us that fantastic sparkly background. That works really well, so that’s a small light source so surely a big light source will be even better? Well let’s find out, let’s get the Neo2 from Rotorlight, turn that on and we’ll pop it in the same place and it doesn’t really do the same job. Now it’s got nothing to do with the light manufacturer, it’s got everything to do with the spread of the light source so small light lots of sparkles, bigger lights, less sparkles and we’re going to use both of these as we embrace the sparkly aspect of this shoot, so let’s get some bigger lights set up. Let’s get shooting. So I’m going to try several different light setups to get a variety of effects. The first one I’m going to do is just your standard key light at 45 degrees, elevated in the air with a nice sized softbox. Now this should put some great light on Beth but I’ve got a grid on the softbox and that should help to direct the light this way and keep it off the background. Now to see the sparkles I need a dark background which is why we have this mid gray here, so with just this simple light set up I should get a nice dark background but no sparkles that’s the theory. Let’s try it and find out. Okay Beth here we go, and as you can see that looks great, light on Beth but it looks really dark in the background so theory works, so how am I going to get any sparkles on the background? Well for this to work you have to think about the direction of light so if I light Beth from the front with a small light source all the sparkles are going to go out the front. They just bounce off in the opposite direction to the light so if I want sparkles on my background I have to light Beth from behind so I’ve got a second eVolv 200 and I’ve got it in a snoot. Now the snoot should give us that small point of light which I can pop in behind Beth pointing at her back. Now the back of her dress is covered in the same sparkles as the front of the dress. That should work really well but what power do I need that on? Well there’s no good metering it because you’ve got a trial-and-error this to see what works, so I’ve started somewhere in the middle 1/16 power let’s take a picture like this see how it looks, okay Beth here we go. So looking at the pictures, they look basically the same so either one of two things happened. Either my theory doesn’t work or there’s just not enough light out of that backlight to see anything. That’s what I’m hoping because we’re only on 1/16 power let’s add two more stops to the light let’s go up to 1/8, then 1/4 that’s two more stops of light, let’s see if we see anything now? Here we go, and again, and last one, and yes we do. There is the hint of something happening back there, which means the brighter I make this background light, the brighter the sparkles are going to be, pretty simple when you think about it. So let’s pop it on to full power. Let’s go all about 1/1 full power and have a look at this. That looks incredible. Those sparkles really are there. They look fantastic and as Beth moves every shot is slightly different. That’s one of the joys of this technique. So that looks really good and it works but do you need a big soft box? Well I said the size of the light will have an impact on the shot so let’s see what happens if we change this softbox for something a little smaller? So I changed the softbox for a small reflector and inside of that is a honeycomb grid but not just any honeycomb grid, it’s a really tight 10 degree grid that should mean that the light that comes out is going to be very small and should just hit Beth in the face which means the rest of her dress whilst it won’t be black it will be darker. Let’s see how this looks? I’ve already metered this out it’s f/2.8 still nothing’s changed from the last time but the light is dramatically different with that lovely tight beam of light. So that looks really good and works really well and it’s a simple two light setup but what if you had a third light with another snoot? Well let’s set that up and see how that looks? So what I’ve got is a third light with a second snoot and I only have really a couple of snoots so it’s not a matching snoot. This is a magmod snoot but the effect is going to be exactly the same. It doesn’t matter on the light modifier the light modifiers work whatever brand you have, so the idea is I’m going to shine these at the same angle more or less onto the back of Beth but avoiding getting any spill onto the paper background because we’ll lose the effect, remember right at the beginning when we had the LED lights, if we got spill onto the background, we lost the glittery effect. So that’s the idea they are both on their maximum power, the light above Beth is on its minimum power. Let’s take a shot like this and see how it looks? Now when we do that we can see it works really well with the sparkles that looks fantastic but when Beth has her hands down she has a hand in the light and because those lights are on maximum power it kind of looks a little bit weird, so we have to be a little bit more careful with the posing and say to Beth, Beth you can pop your hands behind your back, you can have them up in the air but not by your sides. Okay, so that’s the idea and let’s take a few pictures like this and see how it looks So that looks absolutely fantastic but of course the pictures always need a bit of post-processing so let’s get one of these pictures into Photoshop, I’m going to do that right now. The few enhancements I need to make to the images are down to two things. It was the styling that I used and a light that was in the shot so let’s have a look at one of the pictures and see what I do. So this is the image I want to edit and if you have a really close look at Beth’s headdress here, you can see how it was made, it is bamboo skewers hot glued onto a child’s headband and the result well maybe I went a little bit over the top with the hot glue because there’s a few areas where it’s gone a little bit too much and I ran out of silver paint, I really did so there are some areas here which shouldn’t really be there and so on now I could spend longer fine-tuning that but there’s another area I want to do here which is Beth’s, well what you call a bracelet and necklace, well they’re held together by some double-sided tape. They were literally just things we had lying around the studio. They need to be removed because they look wrong so I’ll get the healing brush tool and I’ll sample by holding the Alt key or the option key on a Mac an undamaged area and then we’ll just paint that over the bit where we can see the tape. There we are and just doing it roughly for speed but the end result is pretty good. Now it comes down to speed and result, the more time you put into cloning anything, the better the results will be. That looks fine but there’s another problem, I need to deal with which is down to the lighting, so the lighting of this image caused an interesting side effect, when you have a very strong backlight you will see a lot more stray hairs than you would see normally and that’s perfectly normal. I was expecting it, I was ready for it but yes there are lots of really bright backlit stray hairs which all need to be cloned out if we want this clean look that I’m going for. Time again isn’t what we have here because you really don’t want to sit here and watch me clone and there’s another area to deal with which is down here. Now here you can see this weird pattern of dust and this is exactly what it is, it is speckles of dust in the atmosphere. Again because of the extreme strength of the backlight any kind of dust particles that are in the the same focal plane as Beth I got a really glow and show in the shot. Now I don’t mind a few of them I’m going to take away some of the brighter ones in fact if you want to get creative I’ve got a whole video on how you can use dust in the atmosphere to create some really dynamic portraits on the Adorama Learning Centre, so that’s fine but there’s another thing I wanted to do and that was the color in the picture. I need to enhance that and to do that I’m going to go into Camera Raw or Lightroom, so from here I’m going to go to filter and choose Camera Raw filter. Now if you started with RAW files or Lightroom you could do this first. There’s no set order to doing any of this but what I wanted to do is have a nice bluish feel to the image, so I’ll take the temperature and move it towards the blue end of the shot, like so and to really enhance the colors let’s come down to the vibrance and increase the vibrance as well. Now that gives me that sort of blue Coldfield that I was after but it’s had a bit of a nasty effect on Beth’s arms which have gone a little bit more well it’s called a magenta I guess. Now we could try and just work on the arms or I can take the tint which has magenta and green and move it away from magenta. As I move it into the green that helps to balance up the colors of the skin. They’re not correct but they just feel better and I prefer that cyan color in the background. Speaking of the background the very last thing I need to do here is just to get the local adjustment brush, make sure my clarity is all the way up to +100 and paint on the background because the entire purpose of this shoot was to see the sparkles on the background. So I’ll enhance those to their maximum by increasing the clarity which just adds a bit more contrast to the scene and with a bit more tidying up, there it is my final sparkly sequined shot is completed. So it turns out it wasn’t the fabric that was the problem, it was me! Having an idea of what I can actually do with this stuff. Now if you’ve enjoyed this video, don’t forget to leave me a comment below and if you want to see more videos from myself and the other amazing presenters right here on AdoramaTV, you know what you’ve got to do, you got to click on the subscribe button. I’m Gavin Hoey, thanks for watching.

Photoshop cc Tutorials Easily Photo Color Correction | Bokeh overlay | Photography Tips & Trick

Photoshop cc Tutorials Easily Photo Color Correction | Bokeh overlay | Photography Tips & Trick


Welcome to inspiringBee.com welcome back to another very exciting tutorial here at the inspiringBee.com In this tutorial I’m going to show you how to easily color correction and the boken overlay in Photoshop ok let’s get started we are going to use this stock image First, Duplicate the Layer Just Drag and Drop it in New Layer Icon or Press (Ctrl + J) Create New Adjustment Layer “Curves” Make it to more contrast Next, We want to bring some lightness to her face Again Create New Adjustment Layer “Curves” And just close it Change the Blending Mode to “Screen” Reduce the Opacity , set it to 25% Click on Mask Press Ctrl + I for Inverse Let’s Make sure our Foreground color is white Use Brush Tool (B) just paint it on her face so you got the more glow Next, Create New Adjustment Layer “Hue/Saturation ” Choose Green and set Saturation to “+29” Next, Choose Yellow and set to “+23” select all layer and make it to group see the difference choose the foreground color light Yellow ( R:255 G:197 B:0) Create New Adjustment Layer “Gradient Fill” Change this Style Linear to Radial Just Click and drag for arrange this to right place Change Scale 111% Then hit OK Change the Blending Mode to “Soft Light” Reduce the Opacity , if needed I’ll Keep mine set to about 25% Press Ctrl + Alt+ Shift + E This will merge all visible Layers as a One Then Head up to Filter>Sharpen>Unsharp Mask>Set the Amount to 37%, Radius to 41.9%, Threshold to 5% Then Hit OK Create New Adjustment Layer “Color Lookup” Choose Fall Colors Look Reduce the Opacity , if needed Select all layer and make it to group (Ctrl + G) See the difference Drag and Drop this Boken Layer to Our Main Project Press Ctrl + T and Resize it by the way you can download this image from my website inspiringBee.com if you are on YouTube you can look at that description for the link on this tutorial for my website Change the Blending Mode to “Screen” Reduce the Opacity , if needed. Checkout Our Channel there have lot of free tutorials and don’t forget to share and SUBSCRIBE! ok bye see you in next tutorial

Off-Camera Flash Tutorial (Wireless Flash/Remote Flash/PocketWizard)

Off-Camera Flash Tutorial (Wireless Flash/Remote Flash/PocketWizard)


Hi, I’m Tony Northrup and for chapters 3 and 6 of my book I want to tell you about using a remote flash. By taking your
external flash off camera you can get studio lighting effects on the cheap. So you’ll need a little bit of extra
equipment, the cheapest way to get into it is to use what they call an off-
camera shoe cord. These shoe cords aren’t expensive at all,
but they have a limited reach and if you get a longer cord there’s a good chance
somebody is going to trip over it. For that reason this type of cord is
primarily used by wedding photographers who happen to use a bracket to allow
them to move the flash from horizontal to vertical positions. A better solution
is to get a wireless shutter trigger. These triggers from cowboystudio will
only cost you about thirty dollars. You connect one to the flash and one to your
camera and any time you push the shutter the flash
will fire. These cheap versions are a little bit limited though. First, they’re not completely reliable,
they’ll flake out sometimes and they might even break on you. So they’re not good
for professional use but that might be okay for amateur use. Second, they
don’t communicate all the, what they call the ETTL information, from the flash to
the camera. So your camera might not be able to auto
expose your flash correctly. That means you’ll need to manually adjust the flash
up and down. If you’re comfortable doing that it’s actually a great way to learn
and it’s something I prefer anyway. If you have a little bit more in your
budget you can upgrade to a PocketWizard system. PocketWizard is the system that I use
and the system will cost you about 450 maybe 500 bucks for both the transmitter
and the receiver. However, they’re completely reliable and
they work just great. So, to demonstrate how you can use off camera flash, I’m going to start by
taking a picture of Chelsea there without any flash. Note that i’m using a
remote shutter trigger which allows me to trigger my camera without actually
standing next to it. This will allow me to move around with
the flash. This system only costs about thirty dollars, you can get an off-brand
for that and I’ve had great luck with it. So I’ll fire that first picture. That’s
without any flash at all, not a bad effect. Now we’ll try it with an
on-camera flash. The on-camera flash look isn’t bad but it’s really common and it’s very flat. It adds a catch light to the eyes but it
also hides a lot of the detail in the face and doesn’t bring out, say, the
cheekbones in a portrait. You can make that much better by taking
your flash off camera. The first thing I’ll do is I’ll take a
picture with Chelsea and I’ll hold the flash just a little bit higher than it
would normally be so you can see the difference. I think that’s already a much more
pleasing effect. But as long as you’ve got the flash off camera you can walk
anywhere with it and check out the difference between side lighting, back
lighting, or any other type of lighting that you want. I’ll walk around now and
take a few different pictures so you can see the variety of different effects
that are available. You can see the wide variety of effects just by
moving the light to different places around the model. I want to show you one more trick. We’ll move to a wider angle shot of Chelsea and I’ll show you that you can
remove yourself from the photo. So this allows you to stand closer to the model
making the light brighter and a little bit softer by adding those two layers in
photoshop later we’ll be able to remove you or your light stand from the picture. So, first a shot without me in the picture.
Now I will move into the frame so I can light Chelsea directly with the flash. By using multiple exposures we can add those two pictures as layers into
Photoshop. Then, using the eraser tool I can simply erase myself from the picture. It’s an old photographers trick, it actually happened in the film days using multiple
exposures. This was for chapters three and six in
my book Stunning Digital Photography. If you liked it please click Subscribe
above so you can see new videos that I make and click like down below. Check out my facebook page Tony Northrup Photography and remember when you want to take portraits don’t just take it, make it.

Photography Tips For Beginners | Vivek Maheshwari

Photography Tips For Beginners | Vivek Maheshwari


Now at last i will give you 1 bonus tip. So welcome back everyone, so just buying a
camera and start clicking images doesn’t make you a professional photographer. So today i am going to give you the 3 tips
before you start your photography career. so without wasting anytime tip no 1 learn
the post processing software, learn any post processing software. it can be photoshop it can be lightroom, but
learn the post processing software, it will give the better understanding of exposure,
contrast, brightness, saturation which will help you to operate a camera in a better way. Now the reason no 2 why you should use the
post processing software. Quality client wants quality service, so if
you are providing them a raw image, some of will accept and some of will don’t, so learn
the post processing software so that you can provide them a quality images. tip no 2 compare camera before buying, don’t
go on the hype going on in the market, that you should buy that camera, or that camera.or
don’t hear someone that suggest you which camera you should buy. you know your requirement, no one else know,
if someone say hey hey buy that nikon, hey hey buy that canon, i think you should buy
sony. Don’t go for that, find your purpose, do you
want it for still photography? do you want it for motion photography? or
do you want it for video? find what’s your purpose is, then you should
buy a camera which is more suitable to your purpose not to their purpose. Now the tip no 3 don’t buy an expensive camera. If you are starting your career in a photography
field, and if you are buying an expensive camera at the starting stage, it will going
to keep a burden on you. I will be frank, just buying a camera or an
expensive camera doesn’t going to get you the work. The thing which will give you the work, will
be your work. the portfolio you create, the work you do
will provide you the clients. Not the expensive camera you have bought. So start with the basic camera, so just buying
the camera doesn’t give you the work. So first buy the basic camera, the learn about
ISO, Aperture, Shutter Speed, the frame composition, take the proper knowledge, the more knowledge
you will get, the more better service you can provide. And first of all start earning with that camera,
then go on buying all the expensive accessories or cameras you want to buy. Now at last i will give you 1 bonus tip, now
what is that one bonus tip? is don’t ever provide your camera on rent to someone, you
are starting your career as a photographer, but the camera you are providing on rent to
someone, that someone is not necessary is a professional photographer. So giving him a camera and trying to earn
few dollars, can cost you much higher dollars expense. So i will be sure to make a separate video,
on why you should not provide your camera on rent next time. So till then stay tuned, subscribe us, hit
the bell icon, hit the like button and don’t forget to comment. If it is helpful to you, share it with other
people’s so that they can learn the things or too from this video. So see you soon. Bye

9 Powerful Photo Editing Techniques For Creating Stunning Photos

9 Powerful Photo Editing Techniques For Creating Stunning Photos


– Have you ever looked
at photos in magazines, and they just didn’t look the same as those coming from your own camera. Sure, those magazine photos
are taken by the pros with superior camera skills, but the pros have a secret that make their photo so much better. And today, I’ll reveal that secret to you. My name is Mark Hemmings, and I’m an internationally
recognized photographer and photography instructor. In this short video, I’m gonna share nine powerful photo editing techniques for turning average photos into stunning magazine-quality images. And all of these edits will take you three minutes or less. I know these nine techniques
work really, really well, because they are the same techniques I use for editing all of my professional
photography assignments across the world, and this is the secret of all
professional photographers. They never publish their photos without post processing. Actually, that’s one of the main reasons why their photos are so stunning and why they’re so popular
on Facebook and Instagram. But if you look at the
photos before editing, they often look very different. Let me show you exactly what I mean. Here’s just one example. On a recent photo trip to Kyoto, I came across these women dressed in such lovely kimono. I quickly grabbed the shot not having enough time to
change any camera settings. While the photo was okay, with careful cropping,
white balance, contrast, vibrance, and tonal adjustments, I was able to make this photo so much more dramatic and mysterious. It too me less than three
minutes to edit this photo, but what a difference it made. So if you want to achieve the same magazine quality
results that pros get with editing their photos, all you have to do is watch this video on nine most powerful editing techniques. Okay? Let’s get started. Okay, the first technique
I wanna share with you is how to crop and straighten your photos to dramatically improve their composition. Before you think, “Well,
this is overly simplistic.” let met tell you two things. First, we will get into more
advanced editing techniques further in the video. And second, cropping and straightening are so crucial to all editing that they absolutely
have to be covered first. Okay, take a look at this
sample photo that I have here that I took in Mexico. It’s okay, but there are some
serious problems with it. First of all, at the top left, we have sort of a splash of light that really doesn’t add to the story. I’d like to crop that out. Also, the people at the bottom. While I really like this
well-dressed gentleman, the two other women really
don’t add to the story because all of the attention should be on this man who is in the ray of light. Not only that. At the far right, I included by mistake sort of a half of a person,
their right shoulder, and I want to crop that
out because that person doesn’t really add to the story at all. The power of cropping
is really, really great. By cropping, you can actually get rid
of extraneous elements, which is a technical term meaning parts of a picture that
doesn’t tell the story. Okay, take a look at my after picture. As you can see, we now
have stripped the image down to its bare essentials. We have the man in the light, and we have the gentleman
that’s well-dressed. Now he is much darker, that’s okay because he isn’t the primary subject. However, I feel I have
a much stronger picture now that I cropped and only retained the most important elements. Now, I did all of this in Lightroom in less than three minutes. And actually, I use Lightroom
for all of my editing because I believe it’s the only software that helps save you time
and give you amazing results all at the same time. Now, you’ll notice that
I reduced the light a little bit in this picture to really help bring out this person, but we’ll get into that
later in this video. Here’s another example for
cropping and straightening. A nice shot of this
sailboat out in the ocean, but there is a big problem. The problem is the
horizon is not straight. This is really critical and
is actually a common problem that even pros face, because it’s really hard to
actually get a straight horizon when you have water photos, architectural photos, or any other photo. However, with this corrected photo, plus a little bit of
enhancement of the setting sun, we get a really strong end result. I really like this photo. Okay, in this technique, I want to explain how altering shadow areas and highlights can radically add drama to your pictures. To demonstrate this technique, I’ve opened this photos
that I took in Kyoto, Japan in Lightroom. While it looks okay,
there’s a big problem. As you can see, the shadow
areas are really pixelated. There’s so much what
we call digital noise. It really doesn’t look good. And with two adjustments of
two sliders in Lightroom, we can really fix those shadow problems by creating a silhouette. Now there’s no more ugly grain, and the picture is drama-filled. Okay, we got a really cool
shot of a bridge here. I really like it, but the problem is along
the top part of the bridge, it’s way too bright. Now the rest of the picture looks fine, but we have to correct the highlights. Now, highlight simply
means really bright areas. And we can easily do this
with this corrected photo. All I did was move one slider, the rest of the picture remained the same, but the highlighted areas,
the overly bright areas are now down to a proper exposure, and the entire picture looks excellent. Now the next technique
I wanna share with you is removing all unwanted
objects in your photo in order to really push all
attention to the main subject. So for example, each year, I do photography
workshops in Japan, and my clients absolutely love
to visit the snow monkeys, and they take amazing photographs of these incredible creatures. The only problem is, often, what’s behind the snow monkeys causes a lot of problems. Take a look at this picture here. While the shot is okay, there are twigs and branches coming out of the monkey’s head. To have a really strong image, we wanna get rid of all of the extra parts of the picture behind the monkey that have no relevance. In fact, twigs coming
out of the monkey’s head just doesn’t look good, so we erase them. Take a look at this final picture. This is far more cleaner. Plus, with the addition of a bit of color balance and brightness, this photo is stunning. Now many people feel really overwhelmed when they open up Lightroom. They have so many photos
that they need to correct, but I wanna give you a quick demo just to show you how powerful and how simple using this program is, when you know what you’re doing. Okay, so I have this cupola, this great ceiling shot. But in the middle is an electrical outlet that I want to get rid off just to make this a bit cleaner. Very simply, I’m going to do a little bit of healing brush work, and we’ll see what happens. Now the center is completely clean exactly the way I wanted it to be, and it only took me a minute to do. It’s nice and clean, very dramatic, and it’s great for
sharing in social media. Now the next technique
I wanna share with you is how to bring out the blue in the sky to significantly liven up your photos. Now take a look at this
sample shot that I have here. While it’s okay as it is, I really feel that adding blue to the sky and making it really punchy is gonna make this shot even better. And by selectively only
adjusting blue in this picture, all of the rest of the
picture remains the same. The clouds still stay white, and of course the flowers in the field stayed the same color. Overall, we now have really
great blues in the sky, and by additional adjustments, this picture becomes super punchy and I’m really proud of it. Have you ever taken a photo of a building, and while the building
was exposed really nicely, the sky is just a bland blah white? Well, it can easily be corrected by adding blue sky to almost any photo. Take a look at this after shot. I was able to add a
realistic-looking blue sky all within two minutes. And now the photos is ready to roll. It’s good enough to be framed, and I’m proud to send
it out to social media. Okay, the next technique
I like to share with you is fixing unnatural looking lights for magazine quality nigh photos. Now take a look at the sample
shot that I took in Mexico. Do you see how the entire picture is covered with an ugly green color. This is very common because a lot of city lights are created with either
mercury or sodium vapor. And that’s just a technical
name for the light, but what that does is it
produces a really strange picture on anything that’s under the light. So, take a look at this after picture. I corrected the color really quickly. In fact, it only took less than a minute, and now I have a more
realistic looking picture. The people look good. The facades of the old classic
buildings look much better, really happy with this shot now. Now, I absolutely love night photography. But the problem is whenever I want to illuminate
objects on the ground, like trees, well, we usually
use our car headlights or other forms of illumination, but these types of lights
usually create a strange color to whatever we’re illuminating. So by changing the white balance slider, I’m able to get a more accurate look to whatever I’m photographing and the stars in the
background still remained excellently exposed and color balanced. Okay, in this next technique, I like to show you how adjusting only one color of your picture can create dramatic
black and white photos. Let me give you an example. I have this really great
European street scene up here. It’s very colorful, has a deep blue sky. And if I change this to black and white, just the normal default black and white, the picture is okay, but
it doesn’t really have the drama I’m looking for. Now, can you see how rich the blue sky is. If I manipulate only the
blue are of the picture, I can adjust the brightness
or darkness of the sky to make this very drama-filled. For example, I’m gonna only
adjust in this black and white the blue areas, so the
sky almost becomes black. Now I really love the drama
of this black and white photo. Now this next example is pretty
similar to the one before, where we have sort of a decent color shot. But in black and white, we can adjust only one area to make it very dramatic. For example, I really want
a nice shiny bright water, but I want the cloudy sky and
the shed to remain untouched. Well, we can do this by
only adjusting the water, and we end up with a high-contrast really dramatic black and white. And often for black and whites, what we’re going for is
a contrasty punchy image where we have high highlights. That means very bright areas, and we have dark shadow areas. This looks absolutely great. This next technique is all about using selective color adjustments for vibrant landscape photos. Take a look at the
sample shot that I have. It’s a really beautiful
European city scape. Now a lot of the times
you’ll be doing landscape similar to this, city scapes with green trees, and blue water, blue sky. However, you don’t always
want to just increase saturation, which is color
brightness all together. That can actually look terrible. However, if we want to
only make the trees greener and only want the blue sky and
the blue clouds to be bluer, we can easily do this. Take a look at the results. The blues are great and the greens are great just by selectively choosing only to adjust one
certain color at a time. Okay, now let’s go to this picture, this winter scene. Now I really like the
center of this picture this old classic building. However, because the rest
of the picture is blue, I would like to make
this building pop out. Now by selecting only the
color of this building, I can actually get results like this. The remainder of the
picture, the bluish area, still remains the same. However, the building comes alive and it becomes far more
vibrant and reddish. It’s exactly what I wanted. I have a really cool
technique for you now. You can take average looking portraits and give them sort of a movie poster look. Take a look at these examples. Don’t you think they look really striking? This effect always stuns people when the image is shared on social media, and they want to know how I did it. Actually, my secret is quite simple, and I’ll share it with you now. Okay, so we have this really
nice normal portrait here. It’s kind of what would
come out of your camera. But what we’re gonna do
is give it sort of that DVD cover movie poster
look that’s quite popular. So, I’m gonna make some adjustments. And with these simple and
very quick slider adjustments, I can actually transform this picture from a standard and good-looking shot to a graphic shot that really looks good. You’ll notice there’s less color and there’s more of contrasty look. It is really great for social media. In this next technique, I want to show you how to get really stunning landscapes by removing what we call haze. Now haze is a result of ultraviolet light. It’s called UV haze, and it can really reduce the impact of your landscape photos. Okay, let’s take a look at this test shot. It’s really cool. It’s got dramatic clouds. It’s on the water, has
an old classic building with a beautiful rainbow, but it still doesn’t have the
drama that I’m looking for. In order to get the drama I want, I’m going to reduce the
ultraviolet haze or UV haze. So, by one quick movement of the slider that actually only takes
about five seconds, the photo gores from
this, all the way to this. Now this is drama. I absolutely love the
results of removing UV haze. Okay, let’s take a look at another one. Now, this is a standard landscape, there’s nothing special about it, but can you see there’s
a slight bluishness? Now UV haze often results
in a slight bluish softness that really doesn’t look good. But when we remove the bluish haze, we can return the colors
back to the normal levels. For example, now with
this corrected image, the greens are greens,
the yellows are yellows, and we were able to remove
the blue altogether. Now an example with my favorite subjects, the Japanese snow monkeys. Because they were in hot
springs where they bathe, there is so much hazy mist in the air, and that’s the result of
cold air up in the mountains, and of course really hot water. Often, it’s really hard to get a shot of the Japanese snow monkeys because of all of the haze. But with a simple movement of a slider, I’m able to absolutely correct this image, bring out the colors of
the snow monkey’s faces, and we have a good crisp,
clear, award-winning shot. Don’t forget that colors really pop out when you remove the UV haze. As you see, the techniques
I shared with you are extremely powerful, and once you start using them, they’ll dramatically improve your photos, like it does for the pros who use them. And while I showed you
all of the techniques, and you know it’s best to
use Lightroom for them, you probably wouldn’t know
how to get the same results of your photos in Lightroom by yourself, and that’s totally okay. It actually took me about six months of research and hard
work to master Lightroom, and I’m a technical guy, and I had help from my
professional photography friends. So if you have a lot of time, and you’re really good with technology, you can probably figure
out Lightroom by yourself. But I wanted to create an easier solution for people who wanted to
improve their photos right now, and that’s why I created Lightroom Editing Mastery, which is the only online course that shows you how to turn average photos into stunning magazine-quality images in three minutes or less. This course covers all
the editing techniques we talked about today. So, when you sign up today, you’ll know how to create all of the edits you saw in this video. Now I have to warn you that
Lightroom Editing Mastery always sells out quickly, and registration will only stay open for a few more days. So if you want to find
out more about the course, you should do it right now while the registration is still open. So click on that big
yellow funny-looking button below this video, and it will take you to the next page where you can learn more about
Lightroom Editing Mastery, and see if the course
is a good fit for you before the registration
closes in just a few days. So click on that yellow button below, and I’ll see you on the next page.

FOLLOW THE TRACKS Photography Masterclass – by Max Muench (OFFICIAL TRAILER)

FOLLOW THE TRACKS Photography Masterclass – by Max Muench (OFFICIAL TRAILER)


Welcome to Mongolia – an otherworldly, untouched land in the heart of Asia and the incredible stage that my Masterclass will take place on. For the first time ever I’m going to share all my secrets with you … “This looks pretty insane. So we have the leading line right into the sunrise.” … covering every imaginable aspect of how you can seriously and step-by-step improve your skills as a photographer. Master the camera you have on you – this drives your creativity and freedom Together we’ll examine the ideal camera gear for every scenario, the art of setting up the perfect shot and I’ll guide you through my complete creative workflow and editing process. “I’m gonna explain everything about how I edit my photos, how I create this moody look.” I’m also super excited to reveal to you how I turned my passion for photography into a business that’s provided me with freedom and a life of endless travel. I’ll teach you everything you need to know about how to get your work in front of future clients, how to pitch an idea to your favourite brand and how to grow your own creative empire. “Everything that you do is self-marketing.” You have to stand out by having a proper media kit ready and a proper mood board as well. Let’s do this together! Don’t be shy to stand out or to do things differently. But here’s the game changer. This is much more than just a comprehensive online workshop: My FollowTheTracks Masterclass also doubles as a detailed field guide to Mongolia. You can book a once-in-a-lifetime epic adventure in Mongolia that exactly mirrors the route I take in my Masterclass and follow along in my footsteps while mastering your photography skills first hand in one of the world’s most spectacular countries. From meeting the majestic eagle hunters of the steppes to camping under the canopy of a billion stars in the Gobi Desert Trust me when I say there’s nothing else like it on earth. And yet you’ll see with your own eyes that nothing in Mongolia is what you would expect. Welcome to a photography journey like no other. Welcome to my masterclass.

Lightroom Tip and Tricks – Create Professional White Background on any Photograph

Lightroom Tip and Tricks – Create Professional White Background on any Photograph


Okay so what we have today is that I am going to show you a neat little trick which has saved my life many a time and this is to do with photography. This is a photograph which was shot on a not very ideal situations, and if I show this to you, this is shot right here, you have a, it’s 18-55 mm lens, 3.556,which is the kit lens and this was a very old lens. So, it’s not really sharp. This is how it turned out to be.It ‘s got all kinds of hues and colour and the picture is not really sharp, it’s not what you ‘d sent to a client. Also the background and the place where he’s standing leaves much to be desired.So , what do we do is, you have here, you have this colour temperature setting. You can of course turn it around, you can warm it up, and all of that. But what I prefer to do, especially if there is a white or a black object in the frame, I just click on this dropper here and I click on the white object which is this curtain, and oops , it goes and it’s colour corrected now. So we started by colour correcting the image . I take the adjustment brush. Now the thing is how to make this look like a professionally shot image.And usually it’s set at zero, this is what the default reading is. So, I apply this here and I start painting. You won’t see anything because all the settings right now at zero. But the moment I go back here, and I push up the exposure of this brush the magic starts happening.And I’ll take it all the way to 2.49. Basically what I am doing is I am blowing out the information on the curtain, the schema as we call it, and I’m painting very broad strokes around the things including the ground which is now turning slightly white.I ‘m taking care not to overlap brush, to see that the brush does not overlap the human image because that will be a problem. How would we go about that? I will tell you later. So, here we are. We’ve done this and now we go for the edges. We basically keep the brush the same but we turn on auto mask here, right here. And then start working the edges, make the brush smaller so that is doesn’t spill. Automask does exactly what is says. It automasks the edges so that the white, the brightening that you’re doing is most likely not to spill inside the image, see how cleanly it’s doing it. See how neatly it’s done, this part right here. This because this was black.I just took the brush in once and it’s managed to get everything spot on,and I’ll zoom in a bit here to get the inside of the hand. You can see a lot of spots there,but yeah largely they can go. So I will zoom out again.and seems to be working, so I switch off automask and I just get the remaining portions to blend in nicely with what you’ve done.Get the edges worked out, creases worked out nicely. This is largely done but we saw that there were some bits of the brush that ‘s split over to the hair and to the jeans here so what we are going to do is we are going to erase it.and use the same technique, keep automask on, and erase it. So for the other pieces, we do the same thing. Go to the brush, add another brush, add overexposure, and change the size,clean out the line, clean out the creases, and we are all set. So this is the image. Now let’s make it a bit crisp. So, what I am going to do is I’m going to make it even more, expose it by half a stock more, right here, so that the skin tones and everything is nice and bright, and that ‘s the way I prefer it. And put in some more contrast to make the image more punchy. Deepen the blacks of it.Use the clarity little bit, use the vibrance a little bit.Use the saturation very little, and finally, we go to the sharpening tool and we set the sharpening to about, yeah that looks good.This is way too much. 50 is good, and there we have it.the final image ready to be sent to the client, and just for comparison here is the original, and here is the is the worked upon image.

My most CHALLENGING photo to date! // London Photography

My most CHALLENGING photo to date! // London Photography


Welcome to the Tower of London everyone
I’m here waiting for the Sun to set I’ve set up my camera I found my composition
what I’m doing today is I’m shooting a panorama of the Tower Bridge as well
with more London and the shard and what I want to do is take pictures as the Sun
sets and as the lights turn on as well at during night and then what I’m going
to do is I’m going to composite them in Photoshop to have the Sun set and the
lights on which should make a pretty critical image excuse the headphones but
it’s a bit chilly and I forgot to bring my beanie today so I’m gonna be wearing
them so the goal right now is to wait for the Sun to set behind the buildings
here and capture an image when the Sun is right behind the Town Hall of London
and in a sunburst mode and then wait for the sky to turn red and then wait for
the lights to turn on as well and I’m going to be capturing about five or six
images side to side to stitch a panorama and I’m also going to be bracketing to
do an HDR image so I can have maximum dynamic range and to be able to stitch
the panorama perfectly I’ve leveled my tripod perfectly and have manually
focused on the Town Hall of London and now we’re just waiting for the Sun
to set we have about 10 minutes before the Sun actually sets where I wanted to
set so until then I want to talk to you about how I actually found the location
and know exactly where the Sun is going to set and I use an app called Sun
surveyor and it has a great feature which is basically a street view but it
shows you the position of the Sun on the map on the time of the location where
you want to shoot so you can pinpoint very accurately where you want to be how
you want to shoot so as you can see on the app I can see that the Sun is going
to be roughly behind the city hall where it’s going to be touching to for me to
be able to get that Sun burst so the final show that I actually want to get
is one of the most challenging shots I’ve ever tried to make because I have
to basically do one panorama with the Sun touching the buildings one panel
with the actual Sun set and the colors of the sunset and then one panel during
blue hour with all the lights lit up and make sure that they all match perfectly
so that I can overlay them in Photoshop and then use every layer that I can to
basically get the image that I have in my head line up in the final image I’m
not sure if it’s actually in a workout but I’m going to try my best if not the
final image that I want in my head maybe I’ll get a cool sunset image see the Sun
is slowly approaching the buildings and what I’m going to do is I’m going to
shoot three Panos one with f-16 one with f-18
one with f-22 so I can take my pick of the starbursts that I like I’m gonna
have to move fast because it’s going to be setting quite fast got my camera set
to aperture priority I’m shooting with a manual white balance so I don’t get any
flickering on the colors like I said the tripod is perfectly level so I can
rotate the camera without having any issues with perspective I’ve got my
bracketing on 2 minus 1 0 and plus 1 for the exposures obviously the time will be
automatic because I’ve got an aperture priority mode my ISO is set to 100 so I
could have many more and a noise and I’m using a remote trigger to avoid any
shake while taking the pictures I also have the camera set to a timer with the
remote trigger so you can take the three exposures from the bracketing
automatically which is always nice I don’t have to press the button three
times it’s almost time so I’m going to start
taking pictures now just because there’s light on the bridge and I don’t want to
miss that and remember when you’re shooting panels
always shoot wider because you’re probably going to have to crop in a bit
in post I think I got the shot I wanted with the
starburst well the Sun burst and now I’m gonna keep on shooting throughout the
evening so I can capture the best light possible basically there is some nice
light going on on the bridge right now so I’m going to take another panel and
then I’m just going to wait until the lights turn on in about an hour an hour
and a half hopefully it all fits together I have no idea if it will but
I’m hopeful okay the Sun has gone down now and the light is pretty nice we have
orange colors everywhere so I’ve taken the next panel with the light that I
want to be the base color and where I’m going to overlay the Sun flare and then
overlay the city lights as well my prayers have been answered
we have some clouds that caught the light of the Sun I was really worried
that it would just be completely clear skies which I’m not complaining it
doesn’t really happen in London some I cut yeah is like I can’t complain but
now we have clouds which is quite amazing so all right the lights are
started coming on so it shouldn’t be too long now and it’s a good thing because
it’s actually freezing now and I’m kind of shaking from the cold so probably
another half an hour until we finish the shoes now remove the bracketing from the
camera I have got f11 so I can have a wide depth of field and so everything is
in focus and maybe I can get some slow shutter and get the river to be nice and
smooth and I’m gonna shoot the panel again and I’m gonna overlay the lights
on the previous unarmed huge undress jumping in real quick to
tell you what I learned from this shoot and what I would do different in the
future the image that I got is pretty much what I had in mind however it’s not
quite perfect not everything aligned as I would hope and there’s a few reasons
for that so first lesson that I learned is that
Lightroom and Photoshop actually don’t stitch panoramas the same way every time
that you do them so I show up many panoramas over that evening and I
decided to use five of them for my final image and even though my tripod didn’t
move at all during the time that I was shooting the images didn’t stitch up the
same way and that’s because Lightroom and Photoshop use an algorithm that
changes every time that you stitch even if it’s the same images even if it’s the
same Panora it’s going to stitch it the different way every time so what that
meant for me was that I couldn’t just stitch all the panels and then overlay
them in Photoshop I tried that and it didn’t work they were totally out of
place and they didn’t match up so what I could have done to make this process a
lot easier is actually use a panorama head which is basically a prop that you
put on your tripod that offsets the camera so that the centre of rotation is
actually the center of your lens and these heads also have set degrees that
you can rotate your camera and it kind of clips into place rather than going
free-flowing like I did so that would have meant that all my images were
exactly lined up and the same and then I could have just stitched every image
independently make them the way I wanted and then put the final panorama together
at the end which is actually what I did this time around anyway but because my
actual photos didn’t match up perfectly I had to auto align them in Photoshop
and there were still edges that just didn’t match up I try to work with masks
and transforming things around to make it as perfect as I could but yeah if you
zoom in real close you’ll see that some some lines don’t actually match if I
were to do this again I would definitely buy this tripod head because it would
have saved me a lot of hassle also I would have liked to have shot the
individual images on in vertical so that I would have a lot more
pixels the reason I didn’t do that is because my computer is 8 years old and I
don’t think I could have handled it it actually really suffered you took me
about a week to stitch all the HDR images and then stitch them into Panos
that I later found out that wouldn’t line up in Photoshop and then redo the
process in Photoshop from the beginning so yeah it turns out I did bite off a
lot more than I could chew but with perseverance hard work and Photoshop and
lower expectations I got an image that I’m actually quite happy with and I know
that if I want to do a similar thing in the future I will have to go and buy
this panorama tripod head because trust me would make my life a lot easier so if
you would like me to make a tutorial of how I actually made this shot from
beginning to end click on the little eye icon up there and vote on the pole yes
or no and I’ll be happy to make an extra video on that and if you guys liked this
video give me a like and let me know in the comments and consider subscribing
for weekly videos and hey go out and make some pictures and I’ll see you next
week