So it goes without saying that there are a ton of different ways to match skin tones across your subject or between images in Photoshop so it's often just a matter of picking the option that is most convenient or intuitive. Despite the wide array of choices, I seldom see people use the selective color adjustment layer for this task. The beauty of selective color is that it allows us to go off the numbers rather than intuition and achieve an accurate result in little time.
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In beauty and portrait retouching, one of the most important goals is to retain skin texture and keep the image from looking soft. We often however face a situation where the existing texture is unflattering and harsh. While we could heal out each pore or patch manually, this often leads to sub-par results and takes a long time. In this video I'll show you a unique, precise and fast way to target a particular texture frequency and offset it in a largely automated way.
As the old adage goes, it’s not the gear, it’s the photographer that takes a good photo. While this is generally true, is there something to be said about $20,000 worth of Broncolor lighting gear? I mean a flash of light is a flash of light, right? Or is it?
Last week we compared Adobe's Lightroom to Phase One's Capture One Pro 7 and discussed the pros and cons of each raw processor. Following that article a lot of people downloaded Capture One (C1) to try it out and others told me that they tried the product before and gave up. Given my own experience of feeling overwhelmed by C1 at first, I decided to make a tutorial video to help guide you through everything you need to know to get started with it.
As you may already know, I spend a good deal of time polishing my photos in post production and have taught retouching in Photoshop for some time. A few months ago I made the move from Lightroom to Capture One and haven't looked back. To test out it's power, I decided to see just how close I could get to my portrait retouching style using only Capture One Pro 8 and forgoing Photoshop entirely.
Phase One has officially announced the release of Capture One Pro version 8 with a host of new features and a new purchasing model option. More than just minor enhancements, version 8 brings with it truly useful features that allow you to perform more of your work within it and not have to turn to Photoshop or additional plug-ins.
When it comes to the quantity of lights that one needs, opinions are often heavily polarized and a hotly contested debate often rages. There are those that are staunch supporters of one light while others claim that a handful of lights are needed before anything meaningful can be done. Ultimately neither group is right as there is no definable minimum or maximum number of lights that one should use.
From a retouching standpoint, there are few things more unpleasant or challenging than dealing with chunks of hair on the face, missing patches of skin texture and large folds of skin. Generally the existing tools in photoshop such as the healing brush or patch tool fail in these situations and we often end up with unnatural or unpolished results. When all else fails I often turn to a technique called texture grafting to deal with a multitude of issues.
If you’ve made the transition, or are planning on making the transition from photography as a hobby to photography as a job, you’ll invariably come to a point where you’ll just want to throw your hands in the air and give up. These bouts of self-doubt and frustration will likely occur many times and seem to appear not only during your lows but even at the highs. These feelings are normal, and it is those that rise above them time and again that end up successful.
Whether it's photography or videography, we're always of the belief that we need that extra piece of gear to produce high quality and professional looking content. Be it a high-resolution camera to showcase detail, a rig for steady frames, or filters to deal with challenging light conditions, we're convinced that our vision can't be conveyed without a bag full of gear. While that may sometimes be true, this touching slow motion video shows just how much can be achieved with only a phone and a strong vision.
A common issue that we're often faced with when using hard light modifiers such as a beauty dish or open reflector, is that of over-exposed highlights on our subject's forehead, nose and under eye areas, which also results in lost skin texture in those regions. While raw processors offer up the ability to recover highlight detail, this rarely leads to satisfactory results. In this tutorial I'll show you how to recover the texture while leaving the overall luminosity in-tact to produce a well-balanced result.
Martin Heck from Timestorm films kicked off a series of timelapse videos through New Zealand with the release of Awakening earlier this month. While Awakening took the viewer across New Zealand's grand landscapes, his latest film Amplitude explores its details. Taking you on a journey through its caves, waterfalls and lush greenery, the details and colors are sure to excite your senses and have you putting New Zealand on your bucket list.
The evolution of a photographer is rarely a linear one. We get better, we get worse, we think we’re improving but we’re not, and then with some luck and a lot of patience and practice, we actually start to produce great images. For some that last point is never reached and it’s usually due to a few common mistakes.
Retouching problems start well before we sit down in front of the computer and begin pushing pixels around. I know this because as I reflect on my past work, I realize that I’m as guilty of making countless mistakes as much as anyone else. Rather than talk about techniques like dodging and burning, frequency separation, etc. let’s focus on more high level problems that might be leading you in the wrong direction.