Deconstructing the Edit: Week 1

Deconstructing the Edit: Week 1


Hello and welcome to my creating room my
name is Brooke Shaden and I’m a fine art photographer and general artist because
it’s really hard to define what we do these days but one of the things that I
do is Photoshop and I thought it’d be really fun to create a new series all
about breaking down images in Photoshop talking about why I made them how I made
them and showing all the steps in between so join me we’re going to make
these quick informational inspirational videos and they’re coming out of the
week so let’s jump in I’m in Photoshop right now and I tend to work in
Photoshop exclusively so I create with a camera specifically a Sony camera and
from there I take my images directly into Photoshop from bridge so that’s
we’re working today is in Photoshop this is my workspace as I would normally have
it set up I really want to work to demystify this process because creating
does not have to be difficult coming up with amazing art that’s the challenge
but it doesn’t have to be difficult to make something and I want to break down
those barriers so I’m a self portrait artist and that means that I create by
myself so I take my camera my tripod and myself and whatever other props and
things like to lug with me out into the field meaning literal fields most of the
time I shoot on location a lot and I shoot wherever I can get to so fields
forests mountains creeks my bedroom outside of my house wherever I can I
don’t have a studio I don’t have an assistant I don’t have big budgets I
just have me and what I can carry and that’s what we’re gonna look at in
Photoshop so diving in here this is an image of mine actually from 2010 maybe
even 2009 I’m not sure but it’s pretty old but it’s one of my favorite images
that I’ve had made and the first thing that you’ll
notice if you look at the layers palette in Photoshop is that I only have three
layers here for this image it’s just some texture that I’ve put on top and if
you want any of my textures they’re totally free to download on my blog if
you go to promoting passion comm you’ll see a link there for free textures so
that’s what I’m using but the thing about this image is that I have edited
totally destructively in this image because when I first started in
Photoshop I had no idea what I was doing I still largely don’t know what I’m
doing but I’ve got a pretty good system now
but back then I didn’t know not to combine my layers because I would lose
all of the steps of my work so this image isn’t gonna be that much fun to
deconstruct because it’s just this just these textures popping on here so
instead I thought that we would open up some of the original images this is the
actual original image that I started editing and you can see from this to
this what changed maybe just a little bit of the skirt was added on from this
image so let’s dive in and edit this from the beginning and just see where I
would start and how this would end up so here we’ve got an image that is the
normal 2 to 3 ratio of a photographic frame and I like to get rid of that so
I’m immediately going to start cropping this image and for the sake of time
we’re just gonna crop so I’m gonna leave that oh there well I can use my arrow
keys to get it exactly where I want it and say ok now I know that I did use
some of this skirt so I’m gonna use my lasso tool to just grab some of that
skirt there and copy it and paste it over and I’m just gonna start to blend
the skirt in there to make a little bit more of a round shape it’s not quite
perfect for me it’s not totally the shape that I want but that’s ok cuz we
have so much room to play so if I want it I could go into edit
transform work and just start moving this image around wherever I think it’s
best to create whatever shape I want and we have that ability in Photoshop
because that’s the beautiful thing about creating is that we have this ability to
create something out of nothing to make something tangible it wasn’t there
before so why not manipulate an image to be exactly what your imagination can
dream of that’s what we’re doing I’ve got layer one here that’s my little
skirt layer that we just put on and I’m going to create my little layer mask
here and in order to erase some on my brush tool on black my opacity all the
way up and I’m just right clicking to make sure my hardness is down and I’m
just going to start to erase any hard edges that there might be just right
through there good it looks pretty good to me um but you’ll notice one glaring
mistake which is that we have a tripod in this picture so let’s get rid of the
tripod that’s on my background layer I’m just gonna duplicate that so that I can
go back if I mess something up here and with my clone stamp tool I’m just going
to get rid of those lights so really quickly just alt clicking to create a
set of pixels and then covering up the legs we don’t really want that there
because these shadows that we’re seeing are from the tripod so we’re just gonna
get rid of some things it doesn’t have to be perfect I’m not like going in for
every detail at the moment and that’s totally ok so we’re just getting rid of
some things and so now let’s take a look at this versus the original i’m gonna go
ahead and close this image because that’s all we really needed from it so
from this one to this one we’re looking pretty good I mean that looks really
so far with composition we’ve got a lot of work to do so if I’m gonna go in here
and start to play with the color the contrast things that I can see are
definite differences I’m going up to my layer one so I’m clicked on my top layer
and then I’m clicking on my adjustment layers and using curves and from here
I’m going to start to manipulate this image so that the blacks aren’t as black
the whites aren’t as white and then create some contrast right in the
mid-tones and you can see how that just immediately brightens things up and
gives it a lot more contrast I think that looks great so let’s look at this
again just that versus this we’ve got the contrast now that this image needs
so let’s go and make another curve you can autumn just do the same curve that
we had before but my brain doesn’t work like that
so I’m on a new curve on top of everything affecting all the layers
below it I’m clicking on blue and I’m just going to start to add a bunch of
yellow into this picture and I’m gonna do the same thing with the red just
starting to change the color profile of this picture so let’s click back so what
have we done here I think that what is missing is that there’s still too much
cyan but there’s also too much yellow in the face in the in the tone of the face
compared to this one so let’s see what we can do and I don’t know the answer
automatically to this question so let’s just explore so I’m going into color
balance because I know that back then I used to use color balance a lot and I’m
taking away the cyan adding red adding yellow we can always play with this
magenta slider but I tend not to so much and so we can see that’s getting a
little closer just a little right just a little but there’s more brown in this
image and so that makes me think that I either desaturated it or added a sepia
tones so let’s go into hue saturation and
see if desaturating helps and I think that that does help just a little bit I
still think that this image needs more contrast
so back in curves creating more contrast there and something that I think is
interesting about this image is that it has a lot of a lot of contrast and sort
of sparkle going through the dress so let’s go ahead and add that with this
lasso tool and I’m just going to select the areas that I want to be a little bit
poppier right click and feather do 150 pixels and I’m creating another curve
adjustment just in those areas just to make the dress really pop really stand
out awesome so now we go back and forth back and forth so it’s not perfect we
didn’t get it exactly where we needed it to be and a large part of that is the
texture application I love applying textures to my images so in this case I
would add a texture I don’t have the same textures that I used before for
this image so I have to find a new one I’m here in my textures folder and from
here I’m just gonna choose one that I think would be nice or maybe a couple I
think these two would be quite good so let’s bring those into Photoshop I’m
just opening both of them without making any adjustments they’re already in black
and white and I’ll talk more about that in future episodes so I’m taking the
texture over I’m gonna drop it on top and change the blending mode to soft
light that’s a little bit too subtle maybe to lighten and then we’ll lower
the opacity and you can see that it’s bringing the more earthiness to this
really lightening up the shadows so I’ll leave that as it is let’s grab this
texture as well just to get them both layered on there and see
thing with lighten and then lowering the opacity quite a bit now on those layers
I’m going to create curve adjustments and pin them down just to make the
textures a little bit darker and stand out a little bit more with contrast same
thing pinning it down adding darkness and contrast to the
textures but you know we can also add color back into the textures so I might
choose to add some red into that texture maybe on the other one I want to add
some yellow into the texture and this is going to allow us to bring some of that
earthiness into the image this one has a little bit more but like I said it’s
just a different image you can’t edit the same image the same way twice that’s
what I think and I really do believe that so I’m almost finished here and
we’re going to make the final comparisons between them I think it’s
looking pretty awesome though ready okay not bad for just a few minutes of
editing so in future episodes we’re gonna break down the images that I have
because I have learned how to save all of my layers and how not to delete them
so we’re going to go through so many of my prior images break them down talk
about the process but most importantly I hope that this inspires you to get out
there and create thanks for watching

Magazine Cover Redesign: Student Feedback

Magazine Cover Redesign: Student Feedback


well hey good morning everybody how you
doing and it’s a beautiful really sunny Brighton one day no Sun didn’t know it so good
so this coffee mug actually I’ve been drinking out of almost every morning for
the last 12 years or so this was a gift actually from an exchange student from
the Czech Republic and I love this thing I was kind of short night to head to
wake up bright and early to run my rig to the mechanic to get some work done on
the brakes and early making some tutorials
it’s a beautiful crazy sunny day here in Montana and for today’s tutorial what I
want to do is actually more of a Q&A so I’ve got a bunch of students in a
membership group you can check it out at Doug Mitchell calm and she sent me a
message on slack with magazine cover she’s working on – want some feedback so
what we’re gonna do is take a look at this magazine cover and look at some
ways that it’s working well and look at how I would approach the design myself
as well as some things that we could do to improve this overall so we’re gonna
go ahead and dive in alright so let’s go and take a look at this so here is the
cover that she sent and it’s a great start there’s a lot of things that I
think are working well and there’s also some things that we’re gonna definitely
want to improve on so we’re just gonna start top-down and the first thing that
I notice is there’s three things that are competing for your visual attention
the first is the masthead across the top the fatherly logo or what we call the
masthead and we’ve got that in red letters bold at the top then one thing
you wouldn’t really think about but this architecture this building here is very
unique and because of its size it’s really commanding a lot of attention on
the page and then we have the father and son here down below now as you probably
know anytime you have a purse or you know a face on the cover of
anything as humans our eyes tend to get drawn towards their faces we’re trying
to read into their eyes and trying to decipher as much information as we can
from the photo so we’ve got this big red text this big building and then we’ve
got faces all competing for your first attention so what’s a little bit
confusing with this cover is when we zoom in close and look at this thing you
can tell that it’s obviously been kind of cut out and placed in this image so
what I would do is make it much bigger and so let’s go ahead and look at some
other magazine covers for inspiration or jump up here in the Safari we got some
magazine covers all right so if we look at these there’s really a couple
approaches one is you’ve got some covers where the masthead goes above the image
and is always above the image like Time magazine down here always has the time
logo over the forehead of the people on the cover and you’ve got some magazines
here like Forbes where you have this cutout where the head pops in front of
it actually here’s one more time did that as well so it just kind of depends
on the look you’re going for but by doing something like that you’ll notice
most of these images are substantially larger on the cover and not quite so
small down here in the bottom okay so that’s one thing I would do is I’d bring
up the the main image much larger now to do that this image looks kind of grainy
so you definitely want to start with a good image to begin with now this is the
cover so you should be able to find high quality photos for the cover of whatever
you’re doing if you don’t have one you need to make sure you get one because
it’s the first impression you’re dealing with so what I’m gonna do is go ahead
and let’s just make a new I’m just gonna build over the top of this one so this
is just an image I brought into Photoshop so we’re just gonna build over
the top and let’s just pretend like let’s start with a better image so I’m
gonna come back here and I already did a search for father and son here at pixels
comm this is a good one we’ll explore where I’m just gonna download this one
we’ll do that and let me scroll down a little bit here’s another good one this
one’s awesome that’s got some character he’s smiling they’re having fun that’s
another thing too like what is the facial what is the story telling you on
the face what’s the facial expression so that’s really important as well the nice
thing about this one were their backs are to us
it makes it a little more ambiguous to where it could be anybody it might be
more relational to somebody as far as your your target demographic is able to
relate to that person let’s go ahead and scroll through here just a little bit
more now what I’m looking for here’s a good one although his eyes are kind of
closed it’s a little blurry let’s find another one here what I’m looking for
now is so the one that we have here it’s it’s a little more they’re side-by-side
the one that I downloaded they’re stacked vertical so that actually could
be good for the layout of this magazine let’s just see here we’ve got these two
you know we’ll go ahead and work with these for now all right so first things
first let’s go ahead and drag these images in here just to get them started
it’ll scale it up all right all right so we got that one in here and I’m just
gonna bring the other one in while we’re at it all right so you got some some
really good photos to work with now this one already works really well it’s got
some nice negative space around the edges where I could drop it in some text
and the one below it actually same thing it’s nice and dark and I actually like
this one better because the trees behind it have some darker and the areas that
we can drop some text in over the top this one is nice but there’s some really
hot spots down here where it’s kind of blown out so I would either want to
maybe cut him out or select it and darken the background but if we’re
trying to work with just a photo this one might get us there better so we’ve
got that now the next thing I want to look at is just the amount of fonts we
have on here so we’ve got a sans serif font up here we’ve got the main masthead
which is another font so there’s two fonts this one looks like it’s different
than this one so we’re gonna call it three fonts so we’ve got all these and
then we’ve got this font here four so it’s pretty busy with fonts so we want
to try and narrow that down and make sure that we only have you know two
three fonts max to try and keep it from being too busy the next thing that I see
is we’ve got this lowercase turned out right tracked out and so for me I would
typically try and keep your your lowercase letters with regular kerning
or tracking because we don’t want it to don’t know it just for me it just feels
like everything’s really stretched-out so let’s go ahead and pay
it this a little bit more all right so for the sake of working fast what I’m
gonna do is actually select the fatherly text let’s go ahead and sample this
color I’m actually the magic wand tool and I want to sample I’m gonna turn off
contiguous what that means is it’s any color that it sees in this entire layer
it doesn’t have to be touching all right so I’m gonna click on that and now
pretty much just the fatherly text is selected with a little bit down here in
this Jersey so now I’m going to hit the letter M to get my rectangular marquee
and hold on the option key to click and array you to remove the selection from
here so now I have just the fatherly text I’ve got a new blank layer up here
and I’m gonna hit the letter I to get my eyedropper tool and we’re gonna sample
this color oh I got a Ben right layer here we go I went back to all layers
sample that layer now we’ve got that maroon burgundy color and I’m going to
turn off this layer behind it just to make sure I’ve got other selections
cleaned up here we’ve got some extra pixels here so we’re just gonna remove
that for my selection hit option delete to fill with my foreground color and now
I’ve got this fatherly text right on top I know it’s it’s we’re working fast and
loose here but so now we’ve got this that we can work with and let’s go ahead
and bring in that image that we were gonna play with here I’ll drop this in
scale it up and maybe even crop quite a bit here throw this behind the masthead
now you’re gonna have to decide on as far as the text here it’s difficult to
see so if your publication always has the same color you might have to change
how you work with things but what I’m gonna do is it actually changes to be
white so I’m going to lock the pixels on this layer what that does is now I can
fill this with a foreground color of white option delete and it’s gonna fill
just any pixel data so by locking this right here it’s gonna lock transparent
pixels so that way you can’t fill anything that’s transparent I hope that
makes sense it’s a really great shortcut you can use for just about anything all
right so we got that there now I’m gonna throw a mask on this layer and let’s see
how Photoshop does I’m gonna actually try
going to select and we’re gonna go to select subject and just see how
Photoshop does if it can see this photo it does a pretty stinking good job so
we’re gonna go ahead and run with that selection and maybe clean it up a tiny
bit I made the letter Q to get my quick mask tool going hit let her be to get my
brush and let’s make sure we’re painting with a nice soft brush here we are
alright and I’m just gonna clean this up quick we don’t want to get too crazy
with our selection just right now just trying to get through this tutorial
let’s see here and actually I don’t even need to make sure that I only need to
make sure that this selection up here is good so let’s turn the quick mask mode
back off real quick and selecting hair especially on this background can get
real tricky so let’s turn this off and just kind of take a look at this you
know let’s go ahead and I’m just gonna add to the selection with my lasso tool
just to kind of get it a little bit better here get it close at least
alright just cleaning things up and I’m not too worried in this in this case
here’s the deal we’re just trying to make it mask behind the letters here so
realistically all I need to make sure that’s good is right where he would pop
in front of these letters so I don’t need to worry too much about the
selection but what I’m gonna do is come up here with my selection like my lasso
tool selected and click select and mask and now what I can do is paint over with
my refine brush let’s see a selection tool the refine edge brush and we’re
just going to try and let Photoshop work its magic here and we’re just trying to make it look
realistic right where those letters are so I’m not gonna get too picky about the
rest of this but we’re kind of getting it close just trying to make Photoshop
do most of the little heavy lifting here we’ll click okay I’ll call it good for
now and now I’m gonna do is jump cut this selection to a new layer actually
and I can bring this text behind that of the layer I should have worked with a
mask but I’m just I’m just trying to go fast here guys so what we’re gonna do is
just take a look at that and that actually did a pretty stinkin good job
of knocking that behind the text and what I like about this is it just creeps
up just a little bit beyond the letters but you can still read most of the text
it’s cropped well he’s looking into the letters here and it really engages the
viewer all right so now I’m gonna do is let’s just go ahead and look at the
original real quick and you can see that we’ve got a lot of different stories and
we could easily feature all of them but what I’m gonna do is just grab a couple
of them so we are parenting 101 and maybe we’ll just kind of play with some
sizing here and we’re just gonna do a regular sans-serif just I don’t know
we’ll figure something out here now instead of leaving this I’m just
going to make this all caps I’m going to cut this command X to cut
it drag down a copy of this text the reason why I’m doing this is because I
want to be able to have be able to quickly grab and select these so let’s
drop this down here I want a little more space on the
right-hand side here so I’m gonna do is select we’ve got this layer sitting on
top I’m gonna select this one and the original image below it and we’re just
gonna drag it over a little bit which is nice that we’ve got the selection and
the two layers sitting on top because now we can just move it and it’s gonna
knock out those letters wherever we drop it so I’m thinking we’re gonna scoot it
over just a little bit so that way we’ve got the left edge just barely you know
touching over here we’ve got a little bit of margin a little bit of space but
that gave me more space down the right-hand side to kind of work with
this here so let’s go and again I like to break my text into a couple layers
because then I can really refine my edges or find my edges refine my type in
a way that feels a little more natural just to grab whichever one that I want
and scale it into place without having to try and mess the whole line at a time
all right hope that makes sense guys it’s not even 7:00 yet I am I’m needing
more coffee here all right there we go that’s looking good that’s better that’s
cool all right so I like how this works fits in this gap here parenting 101
let’s see what else could we grab let’s go back to the original cover kids
mental health signs to look out for alright let’s drop that in here sorry we’re using the same font but I’m
gonna change so within the font family we’ve got some different weight so I’m
gonna change this to regular just to kind of change this up a bit but still
keep it within the same font family and I’m playing with the guide down the
right-hand side here the alignment just to make this all look like it belongs
together and maybe let’s add one more story to this so bond over sports fun
activities to do through kids so bond over sports is nice in this magazine
cover because we’ve actually got some sports happening here in the background
but in the image that I threw on this cover obviously there’s no sports but it
looks like they’re having a fun activity so what we’re gonna do is grab fun
activities to do with your kids and I’m just going to clone this all right so let’s see how this lines up
here all right I’m going to align this to the right kind of getting that flush
right design layout here and I’m gonna call that good for the sake of this
tutorial so actually it’s cancel that there all right so that is what we ended
up with for the design now what I want to point out here on this compared to
the original let’s go ahead and pull up the original real quick so again with
the original we had a lot of stuff going on we got some you know the colors this
yellow stands out but it doesn’t really borrow any color from the photo we’ve
got this maroon color on the top we’ve got this you know kind of a lot going on
and I think that it’s important to remember that you can really simplify
things and break it down to the base you know the very basics in this case
all of my fonts are white all my text is white and I’m really letting the image
pop through on this now I could if I wanted to maybe sample some color so for
example I see we’ve got this kids shorts you know maybe we try and borrow that
color let’s just see if it works if I sample from the image that’s not bad
so by sampling a color directly from the image it helps it tie in it gives you a
little bit of something to work with but everything still feels like it belongs
together and and makes it feel cohesive and and on purpose with this other cover
I feel like there’s you know I don’t see anywhere else in the image where this
yellow color comes from and it kind of it just kind of feels like there’s a lot
going on so I hope that helps you know overall really great approach just just
tightening up some things like those fonts and keeping everything literally
we have two fonts we’ve got the masthead and then we’ve got this main font here
in open sans we’re just using bold and I think we’re using light here just to to
make it stand out a little bit and that’s everything like that’s all we did
kept it really really simple I hope that helps I know a little bit scattered
today I’ve got some flies flying around my office I’ve got the Sun in my eyes
barely had any coffee yet but it’s really important to me to try
and get back to you to the students who are asking me those questions in that QA
don’t forget to check out the website at Derek Mitchell comm where you can check
out that vault membership if you want to join in and want to be able to get
direct access to me and be able to ask questions like this where I can get back
to you and don’t forget if you liked the video hit the like button down below
subscribe tap the bell all the things and stay
tuned for the next tutorial so tired

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace


Hi everybody welcome to another episode of Exploring Photography right here on AdoramaTV, I’m Mark Wallace and in this episode we’re going to revisit some post-production I did in an episode a few weeks ago, because I sort of got into a little bit of trouble because I didn’t show what I did. So I made this, ah really interesting video about emotional portraiture but because we didn’t have enough time, I didn’t show all of the post-production and instead I just smashed it all together and showed this really quick video clip and a lot of people have written and said “hey what the heck? Can you slow that down and show us what you did step-by-step?” And so first let me just show you this clip that got me into all the trouble. These images look great, straight out of the camera but they look even better with a few Lightroom adjustments, I took them to the next level by jumping over to Photoshop and doing some skin retouching and then I took them over to the Nik software collection specifically Analog Efex Pro 2, to add some texture. Now while I was in Analog Efex Pro 2, I discovered that the images, because of the color contrast, well they just lend themselves to all kinds of fun and so once you shoot your images like this, try some post-production to see the different effects you can get by just using the presets in Analog Efex Pro 2, you can get some startling results and it’s free software so why not play. I created my own Custom Preset and here are my results. Alright well I sort of liked the clip because it was fast based and it had some groovy music but so many people have written to me and asked me to slow it down and show the steps. Now the steps involve Lightroom, Photoshop and Nik software, specifically Nik software’s where a lot of people wanted to know a little bit more because one of the issues with Nik software is its destructive. Once you make changes to an image it sticks and then you can’t go back and change it, except there is a way to make it non-destructive, where you can make changes to see if you like them or not and if not, to go back, reverse it and make small minor changes, but that requires a jump through Photoshop and so that’s what I’m going to show you. I’m going to go back and revisit all the retouching that I did on those images but I’m going to show you the step by step process, so you can apply this to your post-production. So let’s hop in, right now we’re going to be using a technique called round-tripping and this is going to allow us to repeat our process, so if we have future photo shoots who want to do this all over again. We can repeat everything we did in the past. It’s also going to allow us to do non-destructive editing, so if we change our mind about how we’ve done something, we can always go back and change things to the original file without doing any damage. This is a four step process. We will begin in Lightroom, we’ll do our color and tonality changes, then we’ll hop over into Photoshop. In Photoshop we’ll do some basic skin retouching and then take our image into Analog Efex Pro 2. In Analog Efex Pro we’ll use a preset that we can use over and over. We’ll do some custom tweaking, then we’ll go back into Photoshop to save our image, which will then take us back into Lightroom where we can do our final Tonal Corrections, Color Corrections, Cropping and adding advent yet. So let me show you how all of these steps work together, you’ll notice in our final edited images they start out as .DNG files, this is what comes out of my camera, but they end up as Photoshop files. That’s one of the by-products of the round-tripping that we’re going to go from Lightroom over to Photoshop, to Nik back to Photoshop and then back into Lightroom. So they start out as one file form, at the end as a different file format, but because of the way we’re doing this, that’s okay, it’s still non-destructive. We can go back in the future and fix everything up or change things if we want without damaging anything, so what I’m going to do here is; I’ve selected two images and these haven’t been retouched at all, so we’re going to take this first image, we’re going to do all of our processes, all of our four steps and we’re going to do that a little bit slowly, so you can see exactly what’s going on and then really, really rapidly, what we’re going to do is, we’re going to apply all that stuff to the second image, so you can see how we can repeat our process and once we have it set up once, we can do it over and over again very, very quickly. So let’s start with step one. We’re going to go into Lightroom’s develop module. Remember we need to do our Color and Tonality changes and so I’ve already spent a lot of time figuring out all the values that I’m going to be plugging in here, so I’m going to be going through this to save time pretty rapidly, but normally you would take some time to adjust things. The first thing we want to do is we want to change our Color Temperature and our Tonality. Remember we want this blue background to really play with the warm colors, the oranges and the yellows and the reds in Nikki’s hair and clothes. So what I’m going to do here is just to take this Color Temperature down to 3000 Kelvin and then I also know that there is a shift here in our tint and so I’m going to make that 24. Again this took me a little while to figure this out but there we have that blue, really starting to pop. Now what we need to do is, we need to fix our Tonality, so the exposure here, I’m going to take that down by a just over 1/3 stop so -0.35 then I’m going to adjust the blacks down to about 44. I usually start with the exposure and the blacks just to start getting contrast, to know where I need to fix things. Now that the blacks are down this far, we’re going to start to see our shadows becoming blocked up so I’m going to open up those shadows to about 34 which is just about opposite of what we did with the blacks, then our highlights need to be fixed just a little bit so we’re going to take those highlights up to about 31. Remember I’ve played with this over time, so normally I would take some time, to sort of, fiddle with this and see exactly what I want to do. The other thing I want to do is take the Clarity Slider, I’m going to bump that up to about 16, just a little bit more clarity something I wouldn’t normally do with the portrait, but these will you want them to be gritty and really sort of clear, so we’re going to do that here. My default Vibrance is set to plus 15 for this camera so normally you might have to increase that, but that’s nice and vibrant. The other thing we want to do, remember there’s a background here, this blue background, we really want to play with that. The nice thing is in our Saturation Slider here on the HSL we can take that and we can just take this blue slider, take it left or right and you can see, we’re just affecting that blue background, so I’m going to take that up to +38 to really make this blue background punchy. Okay we have done all we need to do in Lightroom. We have done our Color and Tonality fixes. Now we want to do some effects. We want to add some grain and some grit and even more clarity to this, so to do this, what we want to do is do it in a way that we can recreate it and make it non-destructive, so instead of going straight over into Analog Efex Pro 2, we’re going to go into Adobe Photoshop CC 2018, so I’m going to click on that and then this is going to open up in Photoshop. We’re going to give that a second to do that, okay now we’re in Photoshop here, what we can do here, so I’m going to fill this frame, I’m going to duplicate this background layer, so we can do our skin retouching, so I’m going to do command or control J. I’m going to rename this layer to Skin Retouch, okay, now I’m going to go in here, go into full size, normally I would take, you know, as much time as I needed to do all the skin retouching but we’re just going to do a few quick fixes here. I’m using my Healing Brush tool, maybe I’ll get rid of Nikki’s little nose ringy, thingy here just to show you some things. We’re not going to spend any time doing some real skin retouching but this is where you would do that. Okay let’s say that our skin retouching is finished. We’ve got that done, if we need to go back and change anything we’ve got a layer just for our skin retouching. What we need to do next is duplicate this Skin Retouch Layer, so I’m going to do again command or control J, rename this layer to Analog Efex. You can name this whatever you want but this is where Analog Efex Pro effects are going to be applied. So what we’re going to do now, make sure you have this layer selected, we’re going to go to step 3. We’re going to click on filter. We’re going to go to Nik collection Analog Efex Pro, so we’ll click on that. That is now going to open Analog Efex Pro and apply your last used effects or camera or whatever you have, so it’s not going to be exactly what we want, right off the bat. We’re going to have to do some changes and good for us because this doesn’t look great. I need to give you a warning really quickly. If you’re using Adobe Photoshop CC 2018 there is a glitch with Analog Efex Pro and the Nik collection and Adobe Photoshop CC 2018 where things don’t work the way they used to, so go down to your settings in Analog Efex Pro and you need to go here and change one thing and that is, after clicking okay, make sure you have this set to; “apply the flter effect to the current layer. That’s not the default but if you don’t do that, you might have a crash in your editing. You don’t want that, so make sure you go to settings after clicking okay, apply the filtered effect to the current layer, that’s why we duplicated the layer. That should fix that little glitch. Okay after you do that once, you’re all set, forever hopefully. Okay now, what we need to do now is we need to create a Preset that we can use over and over, and over again for all of the photos we want to look the same way, so what we’re going to do here is, we’re to go to cameras. We’re going to go click this little right arrow here and we’re going to go to camera kit. Now we’re going to get rid of all the stuff that’s over here already, so I’m going to get rid of Dirt and Scratches in Lens Vignette and Film Type, whatever you have selected just get rid of it, so all you have are the Basic Adjustments. Now for the look that I want to use for Nikki and this stuff what we’re using is Basic Adjustments and we’re going to be using some light leaks, so I’ll add that and we’re going to be using a Photo Plate okay, that is, those are the three things that we’re going to be using to make the effect that I want. so what we’re going to do here is, I’m going to turn off light leaks and Photo Plate. I’m going to go into our Basic Adjustments and I’m just going to set these to what I’ve already figured out here so detail extraction we’re going to have that at 16. Again you’re going to spend some time doing this to make it look exactly like you want it, so this might take you in reality an hour or more. So I’ve already done that, I’m just going to type in the values that I already have and so our saturation is at 9, you can see exactly what I’ve done here so that’s the Basic Adjustments that we’re going to use on this. Now I’m going to go into my Light Leaks and I am going to use this really dynamic Light Leak, this guy right here and we don’t want it to be so powerful, so we’re going to take that strength down to about 15% and then the other thing I’m going to do with this Light Leak is, I’m going to move it up over here, so it’s just very very subtle that looks good and then the last thing I’ve done here is, I’ve added a Photo Plate and the Photo Plate that I’m going to be using is a corroded Photo Plate, this guy right here and we’re going to set that string to about 53, that’s what gives us that really grungy look. Alright so now we can go, zoom this in 200%, you can see we’ve started getting that really grunge cool effect that we like, now that the basics are set up, I need to save this as a Preset and so over here on the right hand side you’ll see this little button that says Save. I’m going to click that and then I need to name this something so I’m going to name this Nikki Grungy, Nikki Grungy. You can name it whatever you want, then I’m going to click okay. Now all of these settings are set you can use them over and over, and over in the future and they’ll show up in our Custom Area over here and so you see now we have all these different things that I’ve named in the past. The one that is selected is this guy right here; Nikki Grungy and that’s all good, okay. We’re going to use Nikki Grungy on our, all of our future edits of this but one of the things I don’t like about this, is if we go into 100% you can see that this Photo Plate is on her face and so we’ve got texture on her face, I don’t want that and so what I can do here is go into the Photo Plate or whatever different effect that you’ve added and you can click this, this little Disclosure Triangle here to open up the control points, now I can add a control point so I’m going to click on that and go over here right on her face, click and so what I can do is the top slider, I can set the size of this so about that size and then I can say the texture strength so I want that to be zero so I want this to have none of that Photo Plate so I don’t want that texture on her face. If we zoom in you can see that it’s removed it from here. We still have a lot of it over on the edges, so what I need to do is add a bunch of different control points. That’s very, very simple to do. Once you have your first control point set let me go back out here. You can click alt or option right on the control point, drag it over and it copies it so you can just do this really very quickly. Maybe you can make one down here, that’s a little bit larger so I’ll increase the size of that, however take some time to put these all over and we’re not going to save these as part of the preset because your subject is not going to be in the same place or size in the frame and so you want to do this later on. Okay. we’re going to call that good, if we zoom in you can see that now the texture is not on her face but it is blending in on the side. That is great now all we need to do is click on OK and we have just successfully finished step 3. So we’ve gone from Lightroom to Photoshop, into the Nik collection now we’re round-tripping back into Photoshop. Now you see we have this Analog Efex Pro layer right here that we created. All we need to do now is save this, so command S, ctrl S to save. What that’s going to do is save our new Photoshop file into Lightroom and now we can do our 4th step. We can do our final color, and color and cropping, and all of that stuf, so once this is saved we’ll get right on that. Okay this is saved, I’m going to close this out of Photoshop, hop back over here into Lightroom and now you can see here is that file, so here’s the edit PSD. It creates that automatically, we want to do some final tonality changes, you can see here we’ve got all of our grungy effects and everything, I’m going to go into the develop module hit D, to get into the develop module and we’re going to do just our final fixes here, so the things that I want to do here is I want to first fix our, our tonality here, so the blacks we lost a little bit of that juiciness that I like, so I’m going to take that down to about -37, I’m going to take the Exposure up by about a third stop, just to make this a little bit punchier so that’s starting to be exactly where we want to go. I’m going to go back down here to our Hue Saturation and Luminance panel, I’m going to take the orange down just a little bit because we got a little bit orangie, when we did that processing and we’re going to take the yellow, we’re going to take that up, way up, we want that atomic blond kind of look which I really like, so you can play with this. That’s the fun of this kind of imagery, you can make it anything you want. The other thing we need to do, this was a Photoshop file and so it needs to have a little bit of sharpening, so what I’m going to do here is, I’m going to zoom in to 100% just so we can see exactly what we’re doing and then I’m going to sharpen this up to about 39. Again this is stuff that, I’ve already played with, so when you’re doing yours, you might take you a little bit longer to do it, and that looks pretty good, I think when we zoom out that looks pretty good. The other thing that we’re going to do here is we want to add a vignette, so I’m just going to go down here to my Effects panel. I’m going to take this vignette down to about -23, something like that, just burn in the edges a little bit. I’m going to leave everything else, all the defaults set to normal and there you go, we just went from start to finish and now what we want to do, is we want to repeat this process. Well the good thing is we’ve set everything up to be repeatable, so how do we do that? So here is our first file that we started with, this is our DNG file, so I’ll make these a little bit larger so you can see this. What we wanted to do is we want to take the Lightroom step 1, Tonality and Color changes and if, and copy and paste those over to this other .DNG file, so I just click on this, then command click that, then go down to the right hand side, sync settings, I’m going to check everything click synchronize, boom now that’s done, now I can right click, go over here to say edit in Photoshop CC 2018, that’s going to take us to our second step and jump us over now that we’re in Photoshop here, we’ll go and make this really nice. We’ll duplicate this, we will rename the skin “retouch”. Then we would normally go in and do all of our skin retouching. I don’t want to take too much time here, so I’ll just do one little skin retouch right there, okay, let’s call that done. Then what we’ll do is we will copy this layer, we’re going to call it Analog Efex Pro, great now what we’re going to do here is we’re going to go filter Nik collection Analog Efex Pro 2, we don’t have to do all the stuff that we did before because remember, we saved this as a Custom Preset, it’s a little recipe that we can use over and over, so what we’ll do is as soon as this loads in on our custom cameras over here, we’re going to go find Niki, Niki Grungy, there we go, BAM there’s our Niki Grungy Preset, so all that stuff we did before, it’s already there, all we need to do is we need to go into this Photo Plate, now she’s not in the same place that she was before and add our control point, we’re going to add this control point, take this down, make this a little bit larger, there it is and then we can go through very quickly and spend the time to get this right, so we take all that stuff off. I’m not going to spend all the time to do that but you can see where we’re going with this. Once we have that done you can click OK. That’s going to take us back into Photoshop. Now that we’re in Photoshop, I’ll double click this so it fits, all I do is click Save. That’s going to take us back over into Lightroom, that’s all saved, so when it closed that out, zip over here to Lightroom, here’s our Photoshop file from this, so what we’re going to do is we’re going to take this Photoshop file click on that command or ctrl click, then second, sync our settings. We’re going to say check all synchronize blam! Everything we did with that is done, so you can see that this is very, very quick. The other thing that I would normally do here is add a crop, so in the video I think I crop these to 16X9 to make them cinematic, so I might do that as well. There you go I want to apply that to this guy over here, command click, sync settings, synchronize BAM. Now they are synced. There you go. Those are two final processed images. Well I hope you’ve learned a few things in this episode, I think you’ll agree that it’s beneficial to have Lightroom and Photoshop because you can do some things that you can’t do when you have Lightroom all by itself. Thanks so much for joining me, I want to remind you to subscribe to AdoramaTV it’s absolutely free, that way you won’t miss a single episode, also check out the Adorama Learning Center and follow me on Instagram. Here’s my Instagram for you right here. Thanks so much and I will see you again next time.

Professional Retouching – Benefits of using Wacom

Professional Retouching – Benefits of using Wacom


My name is Marie Bärsch, and I am a Fashion & Beauty photographer. My name is Alex Wätzel, and I am a professional Image Editor. Many of our images have already been published in renowned Fashion magazines, such as Vogue, Harpers Bazaar und Glamour. Our trips require us to be flexible. We need our equipment to be just as flexible. That’s why Wacom products are very important. They are therefore included in the process, from photoshoots on location to the finished image. The atmosphere on set can vary enormously. Sometimes it’s very relaxed in our small team, and other times it’s much more hectic with work for magazines or advertisers. We usually begin with one of Marie’s ideas, for example using a certain location. That’s the starting point for us. We like being in a small team, so that we can stay flexible and make our ideas come to life. We already discuss on set in which direction we want to go with the images. We talk about colour composition, crop images, and select the strongest pictures almost immediately. The advantage of the MobileStudio Pro is that you can select your images, and then retouch them on the same computer. I will have already made the first corrections before the shooting day finishes. Beauty retouching is a real skill that involves creating a stylized version of the image. For me, it’s important to take the image as a basis and build on it, not change it into something completely new. For this reason, it’s essential to have both a natural skin appearance and an overall aesthetic impression. This approach leads to a unique aesthetic that is appreciated by our customers. Retouching takes a lot of effort, but the right tools make my life easier.

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover


Hi. This is Marty from Blue Lightning TV. I’m going to show you how to recreate a
pulp fiction magazine cover from the 1950s. I provided a
Photoshop template that you can download, so you can follow along. Its link is located in the video description or project files. In addition, I provided
links to all the fonts that we’ll be using in this tutorial. If you’re not sure how to install fonts,
watch my tutorial on how to do this. I provided that link, as well.
Click on the down arrow to open the elements of the template.
It includes the outside shape of the cover, the worn creases texture, the logo of the publisher
and the price of the magazine. I’ll temporarily hide the template folder and close it. Make the Base visible and active. Let’s zoom out of the document. If you’re using Windows, press Ctrl and the minus sign.
If you’re using a Mac, press Cmd and the minus sign. Open your Pen Tool and choose Path. If you’re on CS5 or earlier, the Path Tool is here.
Go near the top corner and left-click. Continue to click around
the outside creating a wider shape at the bottom-right and narrower shape at top-left.
Go back to the first point and when you see a small circle, left-click to close the path. Place your cursor on the path and right-click. Choose “Make Selection”. The Feather Radius is zero. Then, click OK. Press “Q” to make the selection into a quickmask.
Go to Filter, Blur and Gaussian Blur. Blur it 50 pixels and click OK. Press “Q” again to revert it back into a selection.
Click on your foreground color and type in 0 C 1 F 5 3. Then, click OK or press Enter or Return. Fill the
selection with the foreground color by pressing Alt or Option + Delete. Then, delete the selection by pressing Ctrl or Cmd + D. To view your document at 100%, press Ctrl or Cmd + 1. Click on the New Layer icon to make a new layer. We’ll fill it with black. To do this, go to Edit and Fill. Click on the arrow and choose Black. Then, click OK. Go to Filter, Render and Clouds. Change the Blend Mode to “Color Dodge”. If your image has a bright area like this, the end result will look better if it’s
replaced with other areas. To do this, we’ll use the “Clone Stamp Tool”. Choose a medium-size and a Hardness of 0%. Make the Opacity 50%. Go to another area and press Alt on Windows
or Option on a Mac and left-click
to pick up that area of your image. Then, brush over the bright area.
Merge these two layers by pressing Ctrl or Cmd + E.
We’re ready to add text. Open your Horizontal Type Tool and click “True Crimes”,
which is one of the fonts I provided. Choose a font size of 50 points, Sharp and Center Alignment. Click on the color box and pick White. Then, click OK. Type out the title of your story. To adjust the space between your lines
of text, highlight the lines and go to Window and Character. The Character panel will open. Click over the “Leading” icon
and drag your cursor to the left or right to bring the lines of text closer or
further apart. To make a word larger or smaller,
highlight the word and increase or decrease its point size. I’ll do the same for the bottom word. To adjust the space or “kerning” between
two characters, click between the characters
and press and hold Alt or Option,
as you press the right or left arrows. Continue to adjust the kerning
and leading of your title until you’re happy. Next, we’ll add a stroke and a drop shadow. Click the thumbnail of the text layer
and click the “fx” icon. Choose “Stroke”. Make the Size: 6 pixels and the Position: Outside. Click Drop Shadow. Make the Opacity: 50%…the Distance: 36 pixels and the Size: 2 pixels. Then, click OK. Next, we’ll re-position and angle it
using the Transform Tool. Press Ctrl or Cmd + T. To reposition it, click inside and move it. Go to the middle on the right side
of the Transform. Press and hold Ctrl + Shift + Alt on Windows or Cmd + Shift + Option on a Mac and
when you see a vertical, double-arrow, drag it up until you’re happy with the angle. Then, press Enter or Return. If you want
to change the color of your text, click on the color box and pick a color. I’ll type in F F D 800. Then, click OK or press Enter or Return. Let’s make the template folder visible
to make sure our title is positioned where we want it. I’ll move it up to make room for the rest of
the elements. To move your text,
press “v” on your keyboard. Next, we’ll add a name for the author. Press “T” to open your Type Tool
and click on your document. Choose a font. I’m using “Brush Script Standard”, which I provided its link to. I’ll make the Size: 16 points, Left Alignment and the Color is White. Type out a name for the author. To re-position it, open your Move Tool and move it. To angle it, open your Transform Tool, go to a corner and when you see a curved, double-arrow,
rotate it counterclockwise. To make sure it’s the same angle as the
title, move it to the bottom edge and rotate it
until the angles are the same. Move it into position
and press Enter or Return. Next, we’ll add the tagline. Press “T” open your Type Tool
and click on your document. I’m using “Bebas Neue”,
which I provided a link to. I’ll make the Size:18 points and the Leading: 20 points. Click the color box and pick a color. I’m typing 4 F A 9 B 3. Click the Center Text icon and type out your tagline. Open your Move Tool to re-position it. I’d like to italicize the text,
so a click on the Faux Italic icon. Click on the “fx” icon and choose Stroke. Make the Size: 2 pixels and click OK.
We’re ready to add retro clip-art, but first, let’s place all the text into a folder. Shift-click on the large “T” on the bottom
text layer to highlight all the text. Then, press Ctrl or Cmd + G. Let’s name it, “Text”. Click on the New Layer icon to make a new layer. We’ll fill it with white by pressing Shift plus the F5 key and choosing White. Click off the eyeballs of all the other
layers to hide them. Press “T” open your Type Tool
and click on your document. Open “Horror Dingbats II The Victims”, which I provided the link to. Make the Size 300 points and make the color Black. Click the “Caps Lock” key on your keyboard. Each letter is a
different clip art illustration. I like this one for my cover,
which is the letter “E”. Ctrl-click or Cmd-click on the “T”
to make a selection of the shape of the clip art. Click the New Layer icon
to make a new layer and hide the clip art text. Press “d” on your keyboard to make your
foreground and background colors black and white, respectively. To fill the
selection with the foreground color, press Alt or Option + Delete. Invert the selection by pressing Ctrl+ Shift + I on Windows or Cmd + Shift + I on a Mac. Then, hide the selection
by pressing Ctrl or Cmd + H. Click the foreground color and pick a color for the skin. I’m picking F F B 0 B 0. Then, click OK. Open the Paint Bucket Tool and click on the face to fill it in with
the color. To fill in the areas of the skin that the paint bucket tool didn’t fill in, Open your Pencil Tool and choose a
relatively small, point size with a Hardness of 100%. Paint over those areas. Click on the foreground color and pick another color for a different
area of the clip art. Continue until you’ve painted in all the
colors you want. Press Ctrl or Cmd + D to delete
the selection of the clip art that we hid. earlier. Drag both of the layers to the trash, since we don’t need them anymore.
Make all the layers visible and drag the clip art below the text. Open your Transform Tool and drag down. Go to the top, left corner and when you
see a diagonal, double- arrow, press and hold Shift as you drag it in. Then, press Enter or Return. The next steps will be to pixelate the
background and clip art into color halftones. Hide the top, two layers. Go to Image and Image Size. Change the Pixels to Percent and make
sure the chain link is highlighted, which links the Width
and the Height together. Type in 300 in either the Width or the Height. I’ll show you the reason later why
we’re enlarging it this amount. Click OK. To move it on your screen, press the Space bar as you drag the image. Go to Filter, Pixelate and Color Halftone. The Radius amount
determines the size of the pixels of the color halftone. “4” is the smallest radius size we’re allowed. The Channels
are already set at their default amounts. Click OK. Make the Base layer active and press Ctrl or Cmd + F
to repeat the color halftone Press Ctrl + Alt + I on Windows or Cmd + Option + I on a Mac to open its Image Size. Type in 33% and click OK. If we applied the color halftone filter
without enlarging our image 300%, the result would look like this.
The color halftone pixel radius is still “4”, but when we applied it to
the original size of the image, the color halftone pixels are way too large. To see the final image,
make all the layers visible. This is Marty from Blue Lightning TV.
Thanks for watching!

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer


– Pinterest is a place that people go to discover, to be inspired. And if you’re the type of photographer that creates inspiring images, well, then it’s kind of where you need to be. A lot of people think that Pinterest is only for mommy bloggers
and DIY craft experts. However, it’s incredibly misunderstood. 250 million people use the
platform every single month to create mood boards and to curate ideas for their next photoshoot. For a lot of photographers,
what’s blocking them is that they don’t understand
how marketing on this channel could help them grow their business. The secret of Pinterest is
that you’re using images you’ve already created. It’s only gonna take you
a couple of hours a month, once you set up your strategy. And that’s what we’re gonna teach you, how to market your
business with the platform. First, we’ll sit down with
a commercial photographer. We’ll show you how to take
your existing content, and show you how to connect
it to your target market to what they’re looking for
when they go on Pinterest. We will also sit down
with an event photographer and talk to them about the
successes that they’ve had on Pinterest over the last year. We’ll define all the confusing terms. We’ll talk abut how to
use a scheduling tool so that you don’t have to
be pinning every single day. Pinterest was made for photographers. It rewards imagery at its core. For you to gain more
visibility for your brand, more traffic to your website, to continue to grow and
expand your presence. I encourage you to take advantage of the step-by-step process
we put together for you.

High vs Low. How CAMERA elevation can influence a WILDLIFE PHOTOGRAPHY image. The Chobe River.

High vs Low. How CAMERA elevation can influence a WILDLIFE PHOTOGRAPHY image. The Chobe River.


Hi! I am Janine from Pangolin Photo Safaris. I am on the Chobe River with you today. I want to see, together with you,
how low can we go? Have a look at what difference it makes to just change your angle a few feet. We are going to start off from our swivelling chair shooting this hippo lying low in the water. He has a gorgeous grey heron sitting on his back. I am going to increase my f-stop to f/8.0,
just to make sure that when I focus, either on the bird, or the hippo, that
both are going to be in focus. I am also going to underexpose just a little bit to make sure I don’t get any get any highlight alerts on the grey heron. If the hippo turns out a little bit dark, I can easily pull the shadows back in
post-production editing. So, let’s have a look from the chair. Nice! The hippo looks a little bit dark, but at least I didn’t blow out my bird. I am going to tighten my gimbal, take my camera, and get all the way down to the ground…. …and do some camera yoga!! And see what difference this makes? You will see my horizon often slides
even further into the background, and my foreground gives me a really beautiful shallow depth of field. This is as upfront and personal as I can get with this hippo. Let’s have a look how it looks from standing all the way up high. I can even stand on the nose of the boat and see how high I can go. This is more of a spectator angle. I don’t change any of my settings. I only change my location. You guys tell me which one of the three
angles you like the best? Leave me a comment down below. I would like to hear from you. Have a look, when you shoot wildlife, what works best for you. Don’t forget to subscribe. If you enjoyed this video, press the bell
button to get notifications. Thanks for joining me. Bye bye!

Photo Restoration: The Multigraph Man (1911)

Photo Restoration: The Multigraph Man (1911)


Hello
I’m James and I like to colourise old Photographs. And today I’m going to be both restoring
and colouring this photograph of a gentleman sitting with his 4 identical clones, which
was created using the astounding ‘Multigraph’ technique. Multigraphs were created using
a series of mirrors, creatively placed around the subject to show them from multiple angles
all within the same photograph. In terms of the restoration for this photograph
it was somewhat more complicated than it at first seemed.
As a postcard sized image the damage appeared to be relatively minor, with the exception
of the large ink stain on the left hand side and the date written in the bottom right corner.
In terms of the date in the corner, it could very easily be argued that this is actually
not damage at all, but part of the photograph’s history. Since I was otherwise removing the
associated ink stain and I knew I would be adding the date to the final image title,
I decided to remove it at the same time as the stain in this particular case.
Although I initially believed the ink to be the only element which required serious attention,
upon scanning the image I discovered small spots of mould covering large areas of the
image. While the mould seemed to have grown on the surface and thankfully not yet damaged
the image itself, it did require very patient manual spot by spot removal.
With the restoration complete, I could begin work on the colourisation. There’s always
a temptation when colouring a photograph to simply use one colour for multiple elements,
for example when working on a group of men wearing similar suits, such as at a wedding.
I always try to use different colours for each person in such scenarios, even if the
colours are only very fractionally different. I had the rather unusual but very time saving
luck with this picture that using the same colour for all five jackets, for example,
would obviously be completely fine as it would be the same jacket each time.
Despite saving some time by colouring multiple elements at once, I did for some reason have
more trouble than usual trying to get skin tones I was happy with. I’m really not sure
why this was; I think it might partially be due to me having problems finding contrast
levels I was happy with. Without a correctly exposed monochromatic image, colourisation
is a real uphill struggle. One interesting and unusual element to this
colourisation was the need to correct for mirror reflection ghosting. On several areas
of the image faint duplicates of the man can be seen as a by-product of the multiple mirrors
which were placed to create this illusion. Once the picture was 99% percent complete
I went over these areas, faintly added colour reflections to them.
It seemed a bit strange to purposefully bring extra attention to what was clearly an unwanted
element of the original photograph. That being said I always aim to make the coloured photograph
capture as many elements from the day the photograph was taken as possible, including
those that the photographer may have wished to avoid. I find the days of early trick photography
fascinating. The options to edit a photograph were somewhat limited in a pre-Photoshop era,
so many ways were found to create interesting Photographic effects in lens, as with the
Multigraph mirror process. I think it’s a shame in a way that so many
people, myself included, now rely on Photoshop for everything when people over 100 years
ago were creating Photography that still looks incredible today.
Thank you very much for watching! I’ll put some links in the description to
more information on, and examples of, Multigraphs as I think they’re really neat!
If you’re a new viewer to my videos, I have other colourisations up on this channel and
more planned for the future if you’d like to subscribe.
Please let me know in the comments what you think of this restoration and also if there’s
a person or topic you’d like to see me add some colour to. Thanks again!

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019


(upbeat music) – Baba Kabokeh! Genie here, I’ve been getting all
these requests for AMA and I thought it would be kind of fun. (upbeat music) First question, from Jess. Why aren’t you in a lamp? Well Jess, there’s bottle genies, there’s lamp genies, there’s a box genie and they’re Diaper Genies. Clearly, I’m a box genie, which I think is a pretty cool thing. (upbeat music) Why are you blue? It’s a quality control issue. I would never trust a genie, who isn’t classic genie blue. Are you blue everywhere? – [Lady] What? Okay, next question! (upbeat music) Daenerys, when can I win
my 15 K shopping spree? Well Daenerys, we are
so close on this one. I can feel my powers growing. (whooshing) (upbeat music)