How to shoot cocktails – studio photography tutorial

How to shoot cocktails – studio photography tutorial


– In this five minutes
photography tutorial, I’m going to show you how
to shoot this composition. Sweetened milk, Elmer’s Glue, whipping cream, real cream and some fake ice, three strobes and
candlelight, and the image. This is a short version of
the full workshop that we had for Pro Club members at Photigy Pro Club. If you want to see
everything, all the details, go to Photigy and watch it there. What do we need? You need to mix Elmer’s Glue,
sweetened condensed milk, real milk into in the cocktail, okay. Then, you need to have some
ice, fake ice, and nice glass. Clean it, if needed, put some ice in it (bag rustling) Oh, this is not real ice of course. This is a rubber, it’s actually resin but it looks like real ice. If you want to find out what
it is, and how we made it, go to workshop number 66 or
you can watch another video, here is the link that
posted on Photigy channel and I explain how to make this ice. Cold brewed coffee, it’s
clear, it’s nice, it’s dark and I mix it with water
and make it coffee. Using Photigy effects,
50S medium format camera with 80mm lens, this lens is about 50mm if you use 45, 35mm camera. We’ll be shooting from top. Let’s talk about light, I have
three lights plus one candle. First light is here, you can
see that I create a gradient. Okay, this is why we
need to have a diffuser. This light with sharp angle,
touching with one side, okay it’s touching one side. It creates a gradient, check it out. The reflection on the
glass on the left side is what is made by this. If, let’s say, I have by this
light, if I have it here, check out what will happen. It will move actually,
yeah, and won’t be on the, well you can see the light view right. It won’t be on the edge. I want this light to be on
the edge and be a gradient. This way we showing the walling, the showing that it’s not flat, it’s a cylindrical subject. Okay, so now we have it on the edge. One more light, what light? Top light, let’s turn it on. This light shoots from top, okay, it highlights the composition, it highlights everything
that is on the table, okay. Then we need one more
light, what kind of light? Background light, background
light we shoot it, I have very soft background
light and it’s there. You can see the result, okay. The focus is on the glass. It has beautiful, beautiful focus, well actually can adjust it a little bit. Uh, let me do this right now. Double tap on the screen
and make it in focus. Of course we use manual
focus, it’s super important. I was telling this, we use manual focus. Okay, and now when we have all this, let’s turn on the candlelight. You see, it’s very, very, almost invisible one 500th of a second, it’s
not a good shutter speed to capture continuous light. What I’m doing, I’m
shutting down the light that I have in studio and
changing the shutter speed to be four seconds, okay. Now all the light in the
studio, except the laptop light and little bit of model light, is off. 4 seconds shutter speed, F 6.3, ISO 100. I didn’t touch anything except shutter. Use remote control of course. (camera beeping) So there is no shakiness in the camera and we have this image. Now it’s time to turn
back, turn everything back to one 500th of a second, why, because I’m going to do motion. I’m going to have our stuff
to go inside the glass, okay. And for this, I need to
have faster frame rate. So I’m shooting at continuous mode now. Let’s do this. (camera clicking) Okay, and the last piece is a creamer. (cream foaming) Creamer goes on top then
some chocolate goes on top and shooting, shooting fast. It was a fast version of
over one hour workshop, okay, plus over one hour post-production because this is actually a composite shot and there is a reason for this. If you want to watch it, go
to Pro Club and it’s there. Join us anytime, you’re
welcome to be part of Pro Club. We are the best place to
learn product photography. Okay, see you on the workshop,
subscribe to the channel, next time I’ll be posting short video from the next workshop as well. Okay, see you, goodbye. (high pitched clicking) (long calm note) Real cream, a professional
product photographer, sharp angle turn on, turn it on.

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.

Photography Tutorial:How to Photography Tips Photography Lighting &Light Photography- Secret Tricks

Photography Tutorial:How to Photography Tips Photography Lighting &Light Photography- Secret Tricks


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14 PHOTOGRAPHY TIPS FOR BEGINNERS FROM PROs, Vol. 1

14 PHOTOGRAPHY TIPS FOR BEGINNERS FROM PROs, Vol. 1


(upbeat piano music) (upbeat music) – First, become comfortable
with the techniques and understand the techniques,
master the techniques. (upbeat music) And once you’ve done that
throw it all out the window and just start exploring.
(upbeat music) – Nobody gets there the same
way as the person before. Everybody struggles as an artist to survive and make money. Making money off of what you love to do is probably one of the hardest things. There’s gotta be some give
and take and sacrifice there. (upbeat music) – Constantly be learning. You will never be there. Just keep learning and keep growing. And ask people who are smarter than you, who have been in the industry
longer than you have. To just be humble and to
seek advice and knowledge, that’s my biggest advice. (upbeat music) – Don’t ever try to be someone else. Just be yourself. Try to find your own path. Don’t copy anyone. (upbeat music) – But, you know, no one
person knows it all. You kinda jump in and figure
it out, get your feet wet. – You should always have a
little bit of fear and panic with whatever project you’re trying to do. You wanna be outside your comfort zone. – Grind hard and work
hard every single day. Little by little, step by step, shoot by shoot. – And you want to learn from that. You want to fail as hard as possible, learn from it, and you’re gonna grow. If you’re not a little bit nervous then you’re not learning. – Every little detail is very important. And the devil is in the details. Just pay attention to everything. (upbeat music) – You gotta definitely love what you do, on a consistent basis. (upbeat music) – Focus on the lighting. It’s very important. You can use any girl, like anything but if you’re messing up with light. (tongue clicks) You’re done.

How To Change The Background On A Product Photo

How To Change The Background On A Product Photo


Hi Guys. Jeff Delacruz with products on white photography
here. Today I’m going to show you a quick tip on
how to change the background color of your product photos using some of the advanced
file types that we offer here at pow. If you order the Layered Tif With Clipping
Paths, then your going to see the image file come back with the product on top and the
shadow layer below it and they’re both going to be on separate layers. And you can see that I can turn then both
off separately and they’re independent of each other. What makes this trick work is that the shadow
layer is set to multiply, which allows some transparency on the layer below it. So you can see in this example, is an image
of marble that I pulled from a stock website and I was able to put it behind it and it
looks pretty realistic and maintains some of the characteristics of the shadow itself. Another thing I like to do is just add a quick
color layer behind it to get kinda creative. So If I take a sample of the color off the
product here for example. Fill in that layer with the color that I want
and you’ll see that it adds a little bit of character to it. And I can use this on my instagram or on my
website to just make things look a bit more creative. And it’s pretty easy. So if you want to order this, it’s pretty
easy. When placing your order simply choose Standard
Product Photography>Pick Your Options>under Advanced File Types choose The Layered High
Res Tif +Clipping Paths. Thanks for watching guys! I hope you can use these quick tips to get
a little bit more creative with POW! POW!

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.

Football Player Photoshop Composite Part 3 Extraction Removing the Background

Football Player Photoshop Composite Part 3 Extraction Removing the Background


Hey guys! Now we are going to start part 3
of my 3 part series on Photoshop composites. In part 1 we added drama to the photo and
also did dodging and burning on his muscles and we also used topaz adjust and image nomex
noiseware plug in. In part 2 I showed you my three favorite techniques for enhancing
eyes. We used Photoshop for the first one, then I showed you an action and then I showed
you a plug in. This is part 3 where we are going to go over extracting a player from
the background. I’m going to do his head separate from his body because the hair is little bit
more of a challenge. Then we will add it to an EASYdigitals.com layered backdrop volume
4 background. Let’s get started. Click on the quick selection tool and I am selecting
the area that I want to extract. Press on the alt key when you want to take away an
area. So I’m going to save this selection. Press control d to deselect and now I’m selecting
the head. Save the selection as head. Now with this one we are going to press the radius
a little bit more than on the body so we will get these little fine hairs. You can see if
you push it too far it starts to turn gray on the edges and you don’t want that. So you
can push it until you see the whispy hairs on top and then click ok. Make sure your layer
is selected that you want to use for your head and click the mask. Turn off the background
layer and you can see your extraction. Then you can come over to your paint brush, change
it to overlay mode, make sure you have your white brush selected and you can make sure
you get all these areas. And you can change them into 100% white by selecting them then
you won’t have any see through areas. So then you change it to black and you go to the areas
that you don’t want to show on the mask. Then you can change it to normal mode and you can
get even more of those areas that aren’t allowing you to brush over them with the black. Then
you can switch to white and go on the inside. And I see here that there is a little bit
of hair that I want to get over here, so I’m going to look at the mask and I’m going to
use the white brush. So the masks that we saved are in the channels area. You can select
it and press control and then select the body and it will bring up the selection. Now we
are going to grab our quick selection tool and refine edge. We are going to smooth and
then feather, click smart radius, increase and check out the edges. You want clean edges.
This is too much. We lost the strap on the helmet. There are some areas in the middle
that I didn’t get. Click ok. Come up to your mask that has your head in it and click on
that. Press alt backspace to fill it with white. Now you can check your mask and you
can get a white brush and fill in the areas that I missed and up here around the neck
line. Now I’m going to click on the layer and I’m going to save it. Open my backdrop.
I’m going to select my player, pull it off to the side and drag that layer into my backdrop.
Select my transform tool and move it into place. I’m going to make sure I have my transform
auto select layer and show transform control check marked at the top. Now I can resize.
Shift, press down shift to keep the aspect ratio. Press enter. I’m going to look at it
with the magnifying glass. I need to move it down below the smoke, so I drag the layer
down. I’m going to add a hue saturation to this background. Colorize and just move the
slider until you like the background. I’m trying to match his helmet, but you can see
all the different options. Right here I have a little bit of an edge, fringe on this arm.
I’m going to correct that. I’m going to add a blur to the mask. Double click the smart
object and then you can get to the mask. Grab your lasso and just go around the body but
not the head because if we use this technique on the hair it’s going to take away from our
hair and we don’t want to do that. Filter, blur, Gaussian blur and I usually do about
3 %. You could probably do a little bit less. Control L to bring up levels and then we are
going to push the triangle to the left until we see it here. I’m exaggerating it here so
you can see. Push it to the left until the fringe is gone. Press ok. Close the smart
object. I’m going to fix this area around the neck where the lasso tool was. I’m just
going to add back in so it’s a clean conversion right here. Make sure you have your white,
your black on your mask to hide. And over here, this area was not effected but I’m going
to go ahead and add in a little bit more skin over here. You can see you can get really
fine details here. Click ok. Fit on screen. Hue saturation. Desaturate my player so that
he matches the background a little bit more. It’s a little too bright. To saturated. And
this is how you get it to match the back ground better. Now I’m going to add an outer glow
in white. It needs to be really large, so move the size up all the way. Opacity to 100%
so you can reduce it later when it’s on it’s own layer. Right click it, create layer. Now
go to the layer that it created, filter, blur, Gaussian blur, this is going to be large.
I want you to see it here. And you can back off the opacity until you like it. And that’s
basically all there is to it. I would love to see your composites. You can either post
them on our facebook wall or email me and ask me to post it and everybody wants to see
what you are doing. We love to get ideas from each other, so I hope this can be a community
where we can really help each other out. Let me know if you have any questions or comments
below. Thanks!

CAREERS IN GRAPHIC DESIGN – Certification Courses,Diploma,B.A,M.A in Visual Arts,Salary Package

CAREERS IN GRAPHIC DESIGN – Certification Courses,Diploma,B.A,M.A in Visual Arts,Salary Package


Welcome to our video channel on Jobs and Careers This is Elsa from Freshersworld.com Today I will be talking about career options one can have in Graphic Design Graphic design is a process which involves
process of visual communication and problem solving with the help of space, type and image.
It involves overlapping skills of visual communication and communication design and therefore, the
term ‘Graphic design’ is in use. Graphic designers use a variety of visual
media like shapes, fonts, colour on print design to convey messages. They are required
in many industries like Advertisements, Web designing, Print Industry or Film making.
It is an individual’s profession, rather than a team work. More than educational qualifications,
thrust is given on individual skills, creativity and genius. The skills used in graphic designing
are Adobe Illustrator, Photoshop, 2D, 3D designing, Art direction, Colour theory, typography,
print and editorial design etc. In general, Graphic designers work with images
as well as with text forms in order to create a design which is appealing to eyes and gives
some message. This could be included in any brochures, logos, advertisements and websites.
The images which are included in work are photographs, paintings and output of digital
media. Various Colleges, Academies and Institutes
in India provide various courses on Graphic Design in India. The courses include Certification
and Diploma courses in Graphic Design, Multimedia & Graphics, Graphics & Animation, Advertising
and Commercial Arts. There is Bachelor of Arts (BA) in Graphics design or Bachelor of
Science (B. Sc) in Multimedia, Animation and Graphics. Post graduation in arts (MA) is
available in Visual Arts and Animation. Graphic designers can get an opportunity to
work with any Graphic designer firm. Graphic designing is a growing industry and talented
people are hunted. A benefit of working in a designing firm is that one gets exposed
to variety of work and of several clients, at the same time. Some companies who have
an auxiliary branch of graphic designing hire Graphic designers on work basis. Even working
as a freelance Graphic Designer is also a lucrative and challenging job after gaining
good amount of experience in this field. Companies or institutions like newspaper, magazines,
publishers, restaurants, museums or organisations involved in any kind of public display surely
have requirements for Graphic designers. Alternative jobs like logo designing, advertisement designing,
photography editing, book & magazine layout arts, illustrators or art direction can be
taken up by a Graphic designer. A fresh Graphic designer may start with 1.5
to 2 lakhs per annum. However, a professionally experienced one can get a good remuneration,
depending upon his employer. Working with a renowned firm also includes bonus, profit
sharing and other perks along with the salary. The Indian Graphic design firms are Skyy,
Design parichay, Liquid designs, Zero designs, etc. The Internationally recognised graphic
design firms are many but to name a few top designer firms, they are Pentagram, Landor,
Meta Design, Saffron Band Consultants, Happy Cog, The Chase, Flux Design, Dessein, Labbrand,
Total Indentity Group, Litmus branding, Casa Rex, Brandient, ID&B and eat Creative.
Today, everything in the market has to be appealing to people. Therefore, with the help
of graphic designing, the message can be conveyed in more creative way than the actual thing
itself. Hope you got a glimpse of career in Graphic
Designing. We shall be back with more career options. Stay connected with freshersworld.com We will be back do not forget to hit the subscribe button

Quick and Easy Backgrounds with Textures: PHOTOSHOP #92

Quick and Easy Backgrounds with Textures: PHOTOSHOP #92


Hi, Glyn here, back with another video for
you. This is episode ninety-two and this time we’re
going to be talking about textures and how we can use them very quickly and easily to
create bespoke backgrounds. I’m sure there are some of you out there watching
this video that already know that kind of stuff that I’m going to go through. If you do, just treat it as a bit of a reminder. For those of you who don’t, if you just watch
for the next few minutes you’re going to see how very easily you can use textures to create
completely bespoke backgrounds when you’ve originally photographed your subjects on a
grey paper background, like you can see the guys are here. Before we do that I just want to show you
one thing first before we actually talk about textures, and that’s this picture over here. Again, you can see this model here, she’s
been photographed on grey paper. Just so you know about the lighting, we had
two lights, we had a strip light on either side of the model and to the front I think
it was about a one meter square soft-box with the grid in front of it but with the outer
diffusion taken off. As the light comes through it it hits the
grid and that’s when you get all these nice shapes and patters on the floor with all the
shadows. What I wanted to talk about now is just literally
how to use the grey paper, because that’s really important when it comes to textures
later on. Here’s our model Jessie. Here is a picture of a door which I photographed
over at Heidelberg Castle in Germany. When we do compositing ordinarily we think
we have to do lots of intricate cutting out using things like refine edge, and it can
get quite tricky when we’re picking up hair. However, when we photograph somebody on a
grey background … Let’s just take this background now, drag it over into our picture containing
Jessie. When we photograph people on the grey background
we can do things a heck of a lot quicker, but the background does have to be solid like
it is here with this door. Over in the layers panel you can see the first
layer is Jessie, uppermost layer is the actual door here. Now, if I wanted to make it look as if Jessie
had that door behind her, rather than doing cutting out, because I’ve used grey when I
photographed her I can just use a blend mode. On the layer here containing the door I’m
going to change the blend mode from normal to something like overlay, and you can see
straight away we’re not actually that far from having her already composited into the
scene. All I need to do here is just add something
like a layer mask. Get a brush with a black foreground colour
and just quickly very very paint away areas where we can see that the actual texture of
the door is showing through on Jessie’s skin in particular and on her hair and a little
bit on the wings. You can see how quickly I’m doing this here,
not paying much attention while I’m chatting away to you folks, but you can see it’s pretty
much she’s in there. Zoom back in. Pretty much she’s now composited in the scene,
and it’s taken literally about a minute. Now we can spend time doing the interesting
stuff, adding the effects, the lighting, the color and so on, but if I zoom in, take a
look at the wings here. I’ll just take the paint off a little bit
there. Can you see how we’ve not even used refine
edge, but all these intricate bits of the feather all of that has come through fine,
all her hair is fine, but the great thing is if we just zoom down to the bottom here,
look at the shadows on the floor that have hit Jessie, the shadows going across here. If I turn the background layer off now you
can see they’re exactly the same. One of the hardest things we do when we composite
is actually paint in the shadows once we’ve actually done the cutting out and put the
person into the scene. With this effect when we use grey to photograph
them on, put the background above them, then use an overlay blend mode, or maybe even soft
light but the effect isn’t quite so contrasty then, the original shadows stay in there so
we don’t even have to think about doing them. That’s a little bit of a sidetrack. Let’s go back over now and talk about textures,
because it’s pretty much a similar kind of thing that we’re going to do. Here’s the picture of our two guys, we’ve
got Mack on the left and Sam on the right. These guys belong to an organization called
The Bearded Villains. Here’s the final picture. You can see, if I just get rid of all these
layers here you can see that originally we’ve just got the two guys who’ve been photographed
on the grey background. I just want to add some texture to it, and
texture you can get from all manner of places. If I just go to File and Open I can show you
that I’ve got loads and loads of textures saved already onto my computer. ‘Photoshop Bits And Bobs’ is the folder I
keep them in, let’s just double click on that and then we’ve got textures here. You can see as I scroll through loads and
loads of textures, and these are photographs of floors, of walls, of doors, of brick, of
dust, you name it, all manner of different textures that we can use in our pictures. If I just click on this one, just bring it
forward, you can see this one here is just a bit of marble that’s been photographed which
is great for adding onto a picture later on. Another place that you can get them from is
from the Adobe Add-ons. If I just go over to the website, just go
over to Chrome and Adobe Add-ons. Now, I’ve put the actual URL, the web address
in the description part of this video, so make sure you check it out. In here we’ve got loads of different things
that we can actually either get for free or add in to our Photoshop to allow us to do
many many different things. One of the things that’s available to us is
this one where loads of textures. If I go to the search area, type in ‘Texture’,
this is going to bring up lots of the Add-ons that have some kind of texture in with them. The one I’m talking about today is this one
just here. This is one that’s available to those of you
who subscribe to the Creative Cloud, it’s a free one to download. Don’t worry if you don’t subscribe to the
Creative Cloud, if you’re something like Photoshop CS6 or maybe an earlier version, you’ve got
a version over here which you can also download as well. You’re not being excluded, it’s for everybody
to make use of. I’ve got this one over here, the one that’s
called the Fly taster for the subscriber. When you actually get that and install it
you’ll notice that you can actually get hold of it when you go to the Window menu, Extensions,
and it will show here. You can see Adobe Paper Texture Pro. When you first use it you’ll notice it comes
up over on the right hand side here. Can you see this little fly icon with the
blue background? This is where all those textures are actually
embedded now into Photoshop, you see all them different ones here. If I wanted to add these on to the background
all I simply need to do is just click on one of them, and what you’ll find is it creates
a brand new layer, it adds a layer mask onto it as well and it also applies the blend mode. If I just change that back to normal you can
see here’s the solid texture, but they’ve just simply now by changing it to overlay
you can see that it starts to attach itself to the actual grey paper background. Obviously it’s over the subjects as well,
but all you can simply do there, like we did with Jessie the girl there where we put the
door behind, is just get a black brush and paint it off the guys so that you’re only
going to leave it on the actual background. On this example here what I actually did do
was you can see just here, I actually made a selection of the guys so it’s very quick
and easy for me now as I add textures to remove them off. You’ll notice some of these textures do in
fact have some color in them as well. One word of warning, if you’re going to add
a texture that has color onto a grey wall it’s going to look a little bit funky, so
what I tend to do is just desaturate it. When you’re clicked on the actual layer container
texture, just go to Image, Adjustments, and then desaturate, take the color out of it
and then you’re going to be left with a nice simple texture on that back wall. Already we can start to see that it’s building
up there, but you don’t have to stop with one texture. In the final image of these guys here I went
back in, chose another texture … Let’s just go for maybe this one here, and again we can
see there’s color in there, that’s now almost like a material effect there but it might
work. Let’s just click on the thumbnail, Image,
Adjustments, Desaturate, obviously there’s a keyboard shortcut there as well, click on
that to remove the color out of it and you can see straight away that makes it better,
and then we can actually start playing around with opacity to bring down the texture effect
just there as well. You can start to build them up, put as many
as you want in there to create a completely bespoke background. If I want to take it off the guys here, I
could build up many many different textures in here, then I’ll just simply highlight so
that all those textures are selected and then go to the fly-out menu on the right hand side
and go New Group from Layers and we’ll just call that Texture, and I’ll simply add a layer
mask to it. The layer mask is white which means we can
still see the effects, we can still see it on the guys there, but if I then go to where
my selection was saved, hold down my command key and click on that little channel there
you can see my selection is now active. Again, this is just purely a reminder here. All I need to do now is just go to Edit, Fill,
and fill that selected area with black to remove or to hide that effect off the guys,
and then we’ll just de-select. You can see you can start to very very quickly
build up those texture layers just there like so. Keep going until you get the kind of look
you want. That’s one thing you can do with it, and just
as a little bonus before we finish off, here’s one little thing that I remember seeing years
ago, blimey, it must have been about ten years ago when I first went to Photoshop World in
Las Vegas and I saw photographer Eddie Tapp show this and he called it Cookie Lighting. All he does is he goes through add a curves
layer, go to the upper right hand corner and drag it down just a bit so that your picture
starts to darken something like this. Okay, we’ll close that down, then we get a
brush, we’ve got a black foreground color. Let’s just make sure there’s no settings in there
that are going to make the brush behave a bit odd. All we simply do is just quickly dab down
in various parts of the picture with this brush. We can click down that size, let’s make it
a little bit smaller, little dabs like this all over the place, and all that’s doing is
just making it so that the lighting isn’t even. Obviously later on we can add a vignette,
but by adding all these little dabs of black here to bring back the original picture it
just adds a little bit more interest. If I turn that on and off you can see the
light’s not even, it’s the shadows that make the picture interesting, and that’s just a
very quick simple way that you can something that Eddie called Cookie Lighting. If we just look at the actual layer mask that’s
all we’re doing, we’re just hiding the dark parts by putting those little black dots all
over it. There you go, real simple quick way of using
textures. It’s definitely something that’s worth doing,
it’s actually cheaper than buying textured backgrounds because then you can just do whatever
you want to your background now and make a brand new different looking one every single
time. You’ve also got the compositing trick in there,
definitely give it a go. For those of you who want to know what kind
of grey you should get, just get a grey, don’t worry too much about how light or how dark
it is, because you as the photographer can control how much light is on it anyway, so
you can make it as dark or as light as you want to. Don’t forget I’ll put the actual address where
you can get those Adobe Add-ons in the description part of the video. If you haven’t subscribed already to this
channel please make sure you do so, just click on that subscribe button, it’s just a real
quick way of giving us a bit of support. That’s it pretty much, I shall finish now
and I’ll see you next time.

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