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Photoshop

Lightroom

в фотошопе

в лайтруме

обработка

обработка фотографий

обработка свадеб

свадебная обработка

свадебный фотограф

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фото

фотография

как фотографировать

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обучение фотографии

Capture One

00:00:01

on processing studio photos, I’ll show you

00:00:03

what and how I do, what I do in the company, what

00:00:05

I do in Photoshop, again, if you

00:00:07

work in Lightroom, it doesn’t matter,

00:00:09

since the main work will

00:00:11

take place in Photoshop,

00:00:12

and the development of the photo in yesterday is not in in

00:00:15

Lightroom in this case there

00:00:16

will be no fundamental difference; this shooting

00:00:19

was processed for a magazine and in fact,

00:00:21

regardless of the fact that we have a

00:00:22

child here and the principles of operation,

00:00:24

tools and techniques are unacceptable for any

00:00:26

studio shooting, not only for

00:00:28

studio shooting, I hope it will be useful and so with

00:00:31

us Here is the source: how often in

00:00:32

studios are there light sources that get

00:00:35

into the frame? who starts filming in studios?

00:00:45

studio shooting and it is very

00:00:48

important to explain that the light sources

00:00:49

should be quite close to the

00:00:51

model because the closer the

00:00:53

light source, the more controllable the light it has

00:00:55

and the more characteristic it is for a

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particular type of light source and, in general,

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very often the light sources are slightly are they

00:01:02

not touching at very small

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distances from the models are there anyone who is

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interested in this whole topic, who knows, they don’t

00:01:08

know, I highly recommend

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Igor Sakharov’s video, I haven’t seen any better ones,

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if you know good video tutorials on the

00:01:14

studio, then write in the comments, it

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will be very useful for everyone and so add

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this source code and like last time I

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will not use my presets and in

00:01:22

the comments some asked why

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because it seems pointless to me

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to do kid processing lessons in which it

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boils down to the fact that a squat is used, I will

00:01:30

write everything out by hand what and how I usually

00:01:32

do the first thing when a new

00:01:34

photo will open if I don’t use it when complaining,

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but at my level I almost always

00:01:39

shift the black point a little,

00:01:42

shift the white point a little and compensate with the middle ones

00:01:45

as not necessary, that is, not as

00:01:47

contrast, I increase the photos, but

00:01:50

the following ones here are obvious that we

00:01:52

lack light, especially saturation

00:01:54

skin, therefore, around the house, the

00:01:56

saturation of the photograph on the back shelf

00:01:58

should be so juicy that

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everything will look beautiful in its red contrast;

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as often happens,

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some blue shades have appeared in black,

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so I will highlight the blue ones, remove

00:02:09

the saturation so that my black becomes

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black + in my

00:02:12

in the eyes, the glare on such

00:02:15

through such blue shades will also disappear very often

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in no matter what black it can

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be black hair, black clothes,

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but in our case the black paper

00:02:24

turned out a little blue,

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my next step is again the jeep, obviously there are

00:02:29

some losses in the colors, so I

00:02:31

compensate them a little so that

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everywhere where there are flowers, all the details are

00:02:36

worked out. It seems to me that the

00:02:37

shades need to be slightly shifted towards green.

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Again, this is not done

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in order to add

00:02:43

green photos in order to remove the purple

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shades 1 it’s barely noticeable on the skin Dad,

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it’s not noticeable that she has become a more pleasant

00:02:49

color, but everything else

00:02:50

has not been affected and the shade is a little

00:02:53

towards yellow, we will again shift a

00:02:56

lot of work, I won’t do it here

00:02:57

because studio photography, the main

00:02:59

work is done in Photoshop, we have

00:03:01

a little bit of light, I’ll still choose

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contrast, take the photo a little

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softer and a little brightness, I’ll add a little brightness to the

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whole photo, I press and flip on this

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button, it was like this, I’ll

00:03:17

get it out of the shadows a little bit, again, I don’t want

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to make the photo lighter,

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I want our shadows not to

00:03:24

be lost so much, but like most In cases of

00:03:27

clarity in children’s and women’s

00:03:28

portraits, I remove the fact that the picture was

00:03:30

softer but increase the structure so that our

00:03:33

eyelashes, hair, etc. retain their

00:03:36

detail so that everything remains as

00:03:38

beautiful, a little more brightness around the house and

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a little more in the light of information, I’ll

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finish the processing here and I’ll send a

00:03:48

photoshop photo

00:03:49

and for anyone interested we use

00:03:52

2 strips, as you can see they are

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sixty meters long so they are much taller than the

00:03:56

model

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and thanks to this we get them with

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grass and overhead lighting is created

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in front of the model it costs a large big

00:04:04

box 120-180 it costs as you

00:04:07

can see from the eyes it’s on the left to the right we still have a

00:04:10

reflector but it’s not particularly visible and it’s

00:04:14

not visible in the eyes but it compensates for the softness

00:04:16

on this side there are three light sources and a

00:04:18

reflector it’s obvious that we have

00:04:20

these things here that fit in, we

00:04:22

don’t need them I’ll select the edge of this wall control thousand

00:04:31

myths and here, there you could do the

00:04:36

same thing, paint over it if

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the background was more or less

00:04:40

uniform, monochromatic, let’s say it would be

00:04:42

red on someone without any

00:04:44

gradients, I would just paint over it with a

00:04:46

brush control the and there too, well,

00:04:54

just in case, so as not to

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stretch

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this part too much, here it’s already in

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uniformity, let’s say so and and I’ll paint over

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something similar, the next step turned out

00:05:14

and I don’t like how you

00:05:16

got uneven edges, again for

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shooting with children as a rule, you are not

00:05:20

limited when filming is so inconvenient

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when a child just wraps up a bag and

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cannot move his arms or legs,

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we had literally a few minutes

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seconds to take a shot and while they

00:05:32

started to freak out at the child and therefore

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we couldn’t straighten out some little things align the edges

00:05:39

in plastic, plastic filter, but in

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fact, that is, plastic, it is suitable not

00:05:45

only for the face of a figure and other things, very

00:05:48

often all sorts of details rotate to the right

00:05:50

plastic,

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well, for example, and if you go for example,

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if you want to order

00:05:57

some inexpensive hat further on Aliexpress for

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similar photographs with large margins

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there they cost three hundred to four hundred rubles,

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the choice is quite large, but when it

00:06:06

arrives there it is all perfectly even and

00:06:08

smooth, when it arrives it is all

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so wavy

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and very heavy, and no matter how much I

00:06:12

tried to level it out, it doesn’t matter in reality

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- the defects remained and there

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was nothing else, then in the end these fields were

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corrected and also with a

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plastic tool, as I will do now, in

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this case,

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again, this is more for people to see this

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photo, many have already seen it, it’s already

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on Instagram, I’ll post it on before it

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was processed, they just wrote It was for this reason that they asked

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to show the children’s room and the studio room and

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others, these are aspects of processing, so

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I won’t bother too much with accuracy, but the principle is clear to you, that is, it’s possible, but

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some unevenness in the clothes is in the details, but

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just in many of them, and for their beginners,

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something sits in their heads It’s purely plastic, you can

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edit the figure in reality,

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you can edit anything you want again,

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there’s also this extra puffiness and

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here the line is a little too straight, it’s not

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in the theme, we would like something

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rounded so that everything would be somehow harmonious,

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well, in general, here everything

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works out for your tastes, but you can give it a fairly

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smooth shape, not a Nissan, what

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was initially very bad, I pressed ok early,

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here we have I don’t really like

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this sloping back,

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as if for a child it’s normal, but I

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still wanted something more like this

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ward nothing Isn’t that why I

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forgot to do more plastic surgery right away,

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I’ll take it and

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give it a little more shape to

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return the cheeks

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that the panacea was a slightly smaller neck, a

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little more neck in any female

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children’s portrait, a thin little neck

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always gives a feeling of some kind of

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fragility to the lightness of femininity, therefore at

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least for children, even for adults, if possible,

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a little bit of the neck, well, the main thing here is not to

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overdo it, it was like this for us, so

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again, for amateurs, it’s not too much, it’s

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my task as a teacher, it

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seems to you that it’s too much, hold back the plastic

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less and there won’t be any problems

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showing what and how I’m doing this here for

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the video, it’s more important for me to show the

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principle of not wasting time on finding

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the best option, how

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to apply this or that effect more or less,

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but yes, I’ll probably go into plastic again,

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I want to make it as

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refined as possible, I want our paper to look

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more like it on exactly the package of

00:09:16

some kind that we have so you go

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originally for the magazine it was the idea that

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children are the flowers of life just in time for March in

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early March they did it in the photo

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project they did it that this is a bag

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of flowers only I’ll take a little more of these flowers

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Let's give the shape

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again, it's purely a matter of taste, how much is

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not necessary, but it seems to me that

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all of this is starting to look

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more miniature than my next

00:10:09

action was, I'll use frequency decomposition,

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now I won't describe all this step by step again,

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who doesn't know who hasn't watched

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my video for cleaning how I do it

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separately, there is a video link to it will be

00:10:19

in the description if necessary, so to

00:10:23

save money, I immediately press the frequency I

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press turn on, we got

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these four layers, the top layer

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answers so back, the so-called

00:10:32

texture, although this is not entirely correct,

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but and for all the detailing, let's say in the

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picture, the bottom layer is responsible for the

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color spots, the brush is 20 everywhere here, the

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last fifteen are the mix

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brush, and now we'll

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just straighten out the colors a little so that everything is

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on the plain Masha, we don't have

00:10:55

any here - then there are no defects in shooting,

00:10:57

although very large jambs can also be

00:11:01

corrected by frequency decomposition if the guide

00:11:04

has rough shadows, something else was not very

00:11:06

well illuminated, you can often

00:11:08

finish the drawing very well, redraw even let’s say

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the lighting, but here we just need to

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make the skin a little more even, even though it’s like

00:11:23

that quite evenly and I’ll repeat it again

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for special ones,

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but if it seems like it’s too much, make

00:11:34

the effect less, remove it with a stronger transparent layer,

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then we’re kind of a matter of taste,

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again the volume disappears, but we

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’ll complete the volume in another ball, steps

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here there, now it’s more important to find the boundary

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between the lost volume and the uniformity

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of color means that the area has become, it’s

00:11:52

okay, we’ll finish everything

00:11:54

almost always, after

00:11:57

I’ve done this step, the transparency of the layer

00:11:59

changes to 70 plus or minus because

00:12:03

while you’re drawing, it’s not entirely clear,

00:12:05

but

00:12:07

you can find it as you like, we don’t have it here

00:12:10

some defects, but who doesn’t know the

00:12:12

top layer in order to cover up

00:12:14

just such rough spots, small,

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high-contrast, without reference to color and

00:12:19

without problems, but here you can see a little

00:12:23

that here the redder

00:12:25

part is more yellow here, so you can

00:12:26

go here and even out the light a little more let

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's take mixers, I'll take a sample

00:12:38

that I like and it's like there are

00:12:41

walls on it,

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that is, we have light smoothly transitioning from one to another

00:12:57

shades and there are no special

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problems here, I

00:13:01

combine the layers and the next step is volume, and

00:13:06

here I have created three layers with different

00:13:11

methods attachments desert layers

00:13:13

are duplicated and empty layers new

00:13:15

methods of attachment screen this will be a highlight

00:13:18

method of overlay multiplication this will be for

00:13:20

darkening for shadows and highlights and we will

00:13:24

try to finish drawing for some reason it’s

00:13:26

easier for me to always start drawing on the wall of

00:13:28

Yannis Svitov here I’ll take the most

00:13:31

ordinary brush transparency at 5

00:13:33

percent I do it on a tablet.

00:13:36

When I started working on a tablet,

00:13:38

I set the transparency to five percent

00:13:40

because more movements are easier to do,

00:13:42

many repeated movements and the border is

00:13:44

less noticeable on the earlobe, I had

00:13:46

transparency around eight percent

00:13:48

because it’s hard to do

00:13:50

many of the same type of movements in

00:13:52

a row on a mouse. same place but pony lady

00:13:54

who is interested in a video for a plan for

00:13:56

tablets the link will also be in the description

00:13:58

but a photographer you need the smallest

00:14:00

cheapest tablet the whole price of tablets is

00:14:03

for illustrators and the

00:14:06

like not for photography

00:14:08

but a detailed video will be in the description that

00:14:15

is a month is needed Roughly speaking, practically,

00:14:17

well, repeat something or maybe even slightly

00:14:20

lie the light a little to

00:14:22

get a certain volume like that and

00:14:26

I always make sure to bring out the

00:14:30

nose and these

00:14:31

we don’t draw shadows under the eyebrows above the

00:14:34

eyes, we just softly darken so

00:14:37

that we have a certain the volume of the face so that the

00:14:39

face is not flat, even on the dark

00:14:44

side, we should still have

00:14:46

some volume drawn and this

00:14:50

part of the lip is also darkened,

00:14:54

now I’ll take the light here a little and I

00:14:58

always make sure to do the chin, that is,

00:15:02

we got the volume chick, the light part

00:15:05

and a little tixie it doesn’t diverge,

00:15:07

we’ll definitely draw the cheeks,

00:15:20

because if you’re an artist, you’ll immediately be able to

00:15:23

draw better more accurately if you’re not an artist,

00:15:25

this is technically a very simple part,

00:15:28

but in terms of drawing, it

00:15:30

can be quite difficult at first, and I’ll probably

00:15:33

also strengthen these things, take the shadows on

00:15:44

this side, and go through them not from the nose will

00:15:48

also appear, that is, it should be

00:15:51

darker,

00:15:52

volume will appear, that is, we will not have

00:15:58

the feeling that the photo is flat, and the

00:16:01

last thing is the glare is responsible for the glare for

00:16:04

all sorts of overexposures, let’s take someone’s brush with

00:16:08

just white color, let’s not take a sample with

00:16:12

exactly white color for whom I’m not at all

00:16:14

familiar with frequency decomposition, look at the

00:16:16

separate video on scabies, it’s all

00:16:18

clear what we’re doing and they’re here, but I’ll just

00:16:22

emphasize the eyes so that

00:16:24

they light up with some kind of life

00:16:26

here, it’s an obvious overkill, this

00:16:28

will almost always happen if you’re not a particularly good

00:16:30

artist, that

00:16:31

’s why We will change the transparency of the layer

00:16:35

a little to taste, I

00:16:37

usually have from 60 to 70 grandfathers run it was so it

00:16:42

became so it’s possible even now I went too far, it

00:16:55

turns out quite a volume no,

00:16:57

maybe there is a feeling that the glare in the eyes is

00:17:00

too much I’ll take an eraser 20 percent I’m

00:17:04

standing on the eye glare layer I’ll erase

00:17:06

More often than not, one eye still didn’t ring,

00:17:10

I didn’t like the way it was, after that

00:17:14

we combine here I’ll also do a couple of

00:17:16

actions, the first thing I don’t like is that

00:17:19

we have these flowers that have a certain shade in the

00:17:22

duplicating layer of the counter shade, we have a

00:17:24

yellowish shade, I’ll choose yellow but with I’ll

00:17:28

tell him with a pipette which one I’ll take a second pipette,

00:17:30

which is with a plus, and I’ll add more

00:17:32

shades of Romney there from different places, all the way to

00:17:34

green, highlight and reduce the transparency of the layer, I’ll

00:17:37

take it from us, it will also affect the

00:17:41

skin, but it’s okay, we’re now

00:17:43

what in the last video you made,

00:17:45

we saw

00:17:46

with viola press the mask and just

00:17:49

wipe the flowers, we need a white brush, go

00:17:57

100% transparency, the red

00:18:04

should remain, but the flowers

00:18:11

here are again a matter of your taste, but it is very

00:18:16

important that the white in the photo was white,

00:18:18

then the color will always look cleaner,

00:18:20

I can only leave this here inside the

00:18:24

flower a little although no,

00:18:28

I took it, I put it completely white that the

00:18:30

whites we had were white combined for

00:18:34

good, I still don’t like how this

00:18:36

yellow-green sticks out for us, ideally years so

00:18:38

that the green would be green, a small touch,

00:18:40

but if you don’t rush, if you want it to

00:18:43

be normal, that is the point is

00:18:45

to do it incorrectly I will duplicate it hears

00:18:48

it was on another layer

00:18:49

again you can use it in different

00:18:51

ways you can create adjustment

00:18:53

layers here there is

00:18:55

absolutely no fundamental difference, it’s more convenient for me

00:18:57

to duplicate the layer and the meaning is the same

00:19:00

here they created an adjustment layer it

00:19:01

will appear that the same mask no

00:19:04

fundamental difference in there is no this if

00:19:07

you use one at a time do not apply

00:19:09

several layers at once

00:19:14

control green

00:19:17

tek but what exactly is the green tone because the

00:19:20

more you show that it is practically in

00:19:22

yellow and I will shift the green towards

00:19:26

green and a little more from

00:19:31

it what happens to the colors with everything

00:19:32

else it doesn’t matter, just these leaves,

00:19:34

I’ll add some more green to it, that is,

00:19:37

yellow, so that it’s also there, and I

00:19:41

’ll make less bright green, okay, I’ll

00:19:43

hide the layer with viola and just the

00:19:47

green ones, I’ll return it back. I don’t like it

00:19:52

when green photos look like

00:19:54

yellow, it always gives off a little bit of a cheap feel,

00:19:57

and if It’s a small thing for me, it’s green,

00:20:00

and it’s not better to waste time it

00:20:02

was like that, it was like that, it’s like that, let’s

00:20:14

combine the layers, my next action is I

00:20:17

want to also separate the

00:20:19

background color, skin color, when you

00:20:21

photograph people, it’s easiest to take

00:20:24

cold shades and backgrounds, blue is easier on

00:20:27

them, not even very good skin, even

00:20:28

such pale skin against a cold background

00:20:30

will always look healthier

00:20:32

and warmer when you

00:20:34

photograph against a red background, it is very

00:20:36

important that the skin color diverges as much as possible,

00:20:39

goes towards yellow, the background color

00:20:42

goes towards red, because

00:20:44

very close colors are nearby I

00:20:47

duplicate the control layer Jay

00:20:49

control I take you press red and

00:20:53

make it + 3 I did this for the skin I

00:20:57

press alt everything has not disappeared I take

00:21:00

the brush and return the face

00:21:02

it might be hard to see these

00:21:04

little things now, but now at the end you can see everything

00:21:07

go for it on the son's monitors there,

00:21:10

a little loss of color occurs when

00:21:12

you see her, let's hope you see, I

00:21:15

turn off the back ones in the bottom layer, now I

00:21:18

see that I'm white so that all of

00:21:21

our skin can be highlighted, but at the same time I don't

00:21:27

highlight the lips, I'll erase them back, I'll take the black

00:21:31

lips, I'll remove them so that We didn’t have to

00:21:34

merge in the past the models were painted here

00:21:37

and the task was that they were made up with

00:21:41

painted lips, again,

00:21:44

the ethics of painting children is already the

00:21:47

tenth thing, we go through processing here, we

00:21:50

have a layer in which there is only skin,

00:21:53

there is a layer in which there is everything else I

00:21:56

I now want to select the bottom layer, take

00:21:59

control, select the same red nose,

00:22:01

now move it back to the other

00:22:03

side, away from the cold, move away,

00:22:06

apply with us and the lips are separated and the background

00:22:08

is separated a little now the skin of the st

00:22:14

may be a little yellower than necessary, but we

00:22:16

will still work with this black

00:22:18

thing and black very often in

00:22:21

photographs and add a little bit of

00:22:22

red and the skin will become a

00:22:24

normal level for us, let’s unite it was

00:22:29

originally like this for us it became so a little

00:22:34

yellow, this is normal and one more action

00:22:37

here let’s start the papers there are unnecessary colors

00:22:40

I want everything after all, the white in the photo

00:22:42

should be white and the black should be

00:22:45

black, as Safin said, if you want

00:22:48

to tint, first take a normal

00:22:50

photo and then ruin it with your

00:22:52

toning in normal photos there should

00:22:54

be a color should be its own

00:22:56

color control and saturation, I’ll just

00:22:59

remove all the saturation, the thing is that

00:23:03

I have here in the paper it was red,

00:23:05

so all the same, problems will remain with

00:23:08

the return, that is, the boundaries will be

00:23:10

difficult, now you will understand what I’m hiding and

00:23:14

first I’ll roughly erase everything here first,

00:23:26

let it be a little rough for

00:23:29

someone as it’s more convenient for someone it’s more convenient to

00:23:31

do everything at once I need it roughly for so

00:23:34

that I can turn off the background as quickly as possible,

00:23:36

and this is exactly that bottom layer and

00:23:39

see where nothing has been drawn in, yes,

00:23:41

now I see it, and then the

00:23:45

painstaking work

00:23:49

of creating neat borders begins, everything and

00:23:56

now I take the white light black

00:24:01

neatly with a tablet and start

00:24:05

hiding it, I’m thinking of saying in the video about I’ll

00:24:08

squander all this little things that I should

00:24:10

n’t waste your time, but it turns out that we

00:24:12

took all the shades black, we took black white,

00:24:14

we have white, so the color will always

00:24:16

seem larger if in black there’s white and

00:24:18

some impurities It

00:24:19

will always seem that the color in this

00:24:22

dirty ugly hour is the fashion for

00:24:25

this tinting when we have all the frames

00:24:26

yellow of the same type, everything is flooded with some kind of uniform

00:24:30

light and it’s already gone and no matter how

00:24:32

often it’s not relevant

00:24:33

now they strive to do everything as

00:24:35

clean as possible this

00:24:37

turns out to be merging the layers, there is one more

00:24:42

thing that was not dreamed of here, I really

00:24:44

like the hair color, when we realized the

00:24:46

saturation of starkid hair, it is alive,

00:24:48

like some kind of cartoon, so I want to

00:24:52

make it less saturated and darker, there is

00:24:54

such a strange method, but I often use

00:24:56

it for different things and also for the

00:24:58

hair, I didn’t tone control Jay duplicated the

00:25:02

control layer,

00:25:03

removing the saturation completely, and the method of

00:25:06

applying multiplication for now let it be a little

00:25:10

dirty, just in case, at 80 in

00:25:12

the middle, put 40 percent with

00:25:15

grease, I’ll hide it and wipe the hair clean with a white brush,

00:25:21

it gives such an interesting effect that is,

00:25:24

it darkens and changes the saturation and

00:25:27

very often the hair after that is

00:25:29

practically zero; any many there except

00:25:32

blondes are somehow

00:25:35

more lively or something interesting; plus

00:25:39

we can try to somehow enhance

00:25:40

this in the hair now, pay attention

00:25:43

to the lightest parts of the hair

00:25:44

only you just disappeared, I mean,

00:25:47

and now our hair began

00:25:49

to appear, it was the lightest parts that began to lighten

00:25:52

because I led the light path, the

00:25:55

highlight slider is responsible not for the shadows, flip

00:25:57

the crack, I distribute it a little, inflate it, and my

00:26:00

own so that the border is softer,

00:26:05

I press ok like

00:26:09

this we just had s when we

00:26:12

applied this effect, here we black

00:26:14

a little bit about strength, and again it’s a matter of

00:26:17

taste, it seems to me that now it’s somehow very

00:26:19

glarey, so double-click on

00:26:23

softer, this will make the

00:26:29

hair a little bit darker, and here

00:26:35

they were in terms of darkness they became

00:26:37

like this, but we still have the flare effect, I’ll

00:26:43

select it, press control e, and one more thing,

00:26:47

if I said a little bit to

00:26:49

black, I’ll add red, it’s important that the

00:26:51

children should be minimal and black

00:26:53

should remain black, but when

00:26:56

you add red to black, you don’t get to the point

00:26:58

where you already feel like black with red

00:27:00

and just a little bit, it somehow

00:27:02

becomes a little more noble or something, and we have

00:27:09

added redness to the whole photo, the

00:27:12

skin is already evened out, if suddenly

00:27:14

it seems to you that after all, they have gone a little too far from the skin, I’ll

00:27:16

highlight all the red

00:27:19

and at -1 then my skin was on plus 3

00:27:23

forward

00:27:24

and red for an hour, we will still shift everything to -1 so

00:27:26

that the skin still does not live on the body

00:27:29

because it seems to me that -3 was a lot

00:27:32

plus 3 if served did + 2 not plus 3

00:27:35

everything was fine for me, well and such

00:27:41

a photo from a picture, such a photo for a

00:27:44

magazine, now it seems to me that I

00:27:46

can make it a little even darker control-l

00:27:49

and a little I’ll move the midtones here and

00:27:54

make them darker, and from the darkest ones a little

00:27:57

detail is added

00:27:58

so that there are no special failures with the colors,

00:28:05

in my opinion everything is good, but we can

00:28:06

raise it a little more sacredly, as if we

00:28:09

enhanced the soft contrast but at the same time did

00:28:11

not allow any failures in the shadows, that is,

00:28:17

she was the one who

00:28:19

caught our photo a little, but still,

00:28:22

now it seems to me that there is a little

00:28:24

lack of light the shadows on the face would like

00:28:27

to enhance it more, so I’ll probably

00:28:29

include it in this volume again, I’ll

00:28:34

choose what is responsible for the shadows, that is,

00:28:36

I already did this action, just

00:28:38

then and apparently I changed the transparency a lot, I did

00:28:40

n’t need it so much I want to be by the

00:28:45

fireplace before the children's room is left to settle in,

00:28:47

so I took a pipette sample in the area of the

00:28:53

nose and I want to further strengthen this particular part

00:28:55

and

00:28:57

in children, near the leaf under the eyes,

00:29:02

it doesn’t look like some kind of bags with

00:29:05

bruises, it’s precisely that we have a certain

00:29:07

depth,

00:29:29

and I’ll change the transparency a little and

00:29:36

probably combine

00:29:48

I’ll combine the layers, it turns out we had it like

00:29:51

this and it became like this, probably still

00:30:01

a little more shadows of red,

00:30:04

I want black again, astronomer, my husband

00:30:10

added red to black twice, but it doesn’t

00:30:13

paint, doesn’t merge with the black background,

00:30:15

here it looks like black everywhere

00:30:17

I want to remove if this slider

00:30:21

is responsible for enhancing everything white,

00:30:24

then this slider is responsible for

00:30:28

muting everything white a little, I want it to be a little more

00:30:30

noble for us to have all

00:30:34

this a little more here and a little

00:30:40

truth and I will choose it was so it became so

00:30:45

everything - well, I like it better for now, but that’s it,

00:30:47

I’ll probably

00:30:49

leave it like this, plus or minus a similar picture

00:30:51

I have on Instagram, the principle here is

00:30:54

exactly the same everywhere, but you can, here’s

00:30:56

nothing flare left from the

00:31:00

light source, I’ll take the closest color that suits me

00:31:03

I like it and paint over the transparency

00:31:06

one hundred percent and now I’m happy with

00:31:13

what we have here, there’s a little bit of a daw itself, I do

00:31:15

n’t need a little bit, I’ll take the

00:31:16

right color next to it, I’ll make a smaller brush,

00:31:19

I’ll cover up

00:31:20

this action, what’s the moment that I don’t

00:31:22

like very much, we have

00:31:24

some heterogeneity here with this one sides

00:31:26

and there is a certain uniformity of the background,

00:31:30

here on this side there is a too dark

00:31:33

corner that height we can do the first thing

00:31:35

I will do is I will be in and deal with this

00:31:37

dark corner I will duplicate the layer select the

00:31:40

light a color sample I will take very close to the

00:31:43

black paper right here you will now

00:31:45

understand why is this happening now I

00:31:49

’ll take a large brush,

00:31:54

I’ll set the transparency not to the maximum

00:31:56

so as not to paint evenly

00:31:58

just weaken this gradient and do something like

00:32:02

this climbed onto the background in the picture,

00:32:05

no big deal we have one

00:32:07

picture like this one picture like

00:32:08

this I need to wipe this one part of

00:32:10

this can be done with an eraser, but so that you

00:32:13

have the opportunity to correct everything later

00:32:15

if you didn’t notice something, it’s better to do it

00:32:17

with masks

00:32:18

and now I take a black brush, just a

00:32:22

mask white transparency one hundred percent

00:32:24

opacity and sloppy absolutely

00:32:27

without wasting time on accuracy, I’m

00:32:30

doing it all here like this

00:32:31

since they are soon the fact that we go beyond the

00:32:33

border of the paper since we took a sample of

00:32:35

the color right at the edge of the paper it is not visible, that

00:32:39

is, we have exactly this shade where the

00:32:41

edge of the paper passes therefore the fact that we

00:32:43

climb out a little is not problematic,

00:32:44

it becomes I don’t think you get the idea if

00:32:48

I took a sample of a different color,

00:32:51

darker, otherwise all my possessions would be visible for the paper,

00:32:53

here it’s

00:32:57

a little visible who has good monitors,

00:33:01

Pasha took the sample here, so I’ll

00:33:04

finish it a little with white, neatly, everything

00:33:09

we had was like this, it’s become like this, I guess I want

00:33:13

to strengthen the gradient a little, so

00:33:17

now I’ll take another black one,

00:33:21

and so that the corner itself is a

00:33:23

little darker, I’ll take a little

00:33:26

black color, 100% transparency, a

00:33:29

larger brush even more,

00:33:31

and descending a little bit along the corner,

00:33:34

I’ll do this so that we have a corner so

00:33:36

that it shimmers the colors on the background were fine with me,

00:33:41

we combine in control

00:33:44

what other moments you should have here,

00:33:46

if you can see and there is some

00:33:48

heterogeneity, you can put it, you can

00:33:50

not, but now we’ll figure out how you can and

00:33:52

should fight it, this happens especially if

00:33:54

you shoot on light backgrounds and

00:33:56

Let’s not allow the dirty part to be blamed on the

00:33:58

part that lies on the floor, but we can

00:34:01

do it this way: duplicated the

00:34:03

counter-jay layer, filter-blur-Gaussian blur,

00:34:06

and they blurred everything pretty well,

00:34:12

this whole heterogeneity, it

00:34:14

blurs out like this

00:34:16

if this small Gregory is some kind there

00:34:18

are specks and something else in the background, often

00:34:20

this happens on the floor, they are all

00:34:22

blurred under the most important thing is that next to

00:34:24

the background we have nothing with the subject of shooting,

00:34:26

we didn’t have anything like that, but here we will

00:34:28

calmly erase it, I’ll take a brush and

00:34:32

erase it one hundred percent, and here we are we got an almost

00:34:36

uniform background, if you need anything, you can

00:34:38

blur this part even more if necessary, but

00:34:40

this kind of thing very often helps, well,

00:34:44

perhaps I’ll leave it aside, in general, we

00:34:46

got this option and, in

00:34:47

principle, I really like it, I’m

00:34:49

happy with it, let’s say it

00:34:51

was here useful in the description under the video there will be

00:34:53

various links to videos about tablets and

00:34:55

frequency decomposition, etc. by 10, it will be

00:34:58

useful for someone, subscribe to

00:35:00

me on Instagram, I post a lot of

00:35:01

photos with light diagrams, but in general there are a

00:35:03

lot of things useful for photographers, and

00:35:05

if you are a beginner photographer, don’t

00:35:07

forget about my photography textbook,

00:35:09

everything you need, the necessary base that is

00:35:12

needed for a complete understanding, much

00:35:14

more than in any photo school, much

00:35:16

more than in my own photo school,

00:35:17

because within the framework of a photo school you cannot

00:35:20

give everything at once, it

00:35:21

will just be a mess in your head and the

00:35:24

photo school program and much more everything that is

00:35:26

necessary know everything there are textbooks and

00:35:28

the link will also be in the description I hope it was

00:35:30

useful write ask questions

00:35:32

thank you all

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