Dark Moody Portraits - Editing Techniques with Adobe Photoshop | Toma Bonciu | Skillshare

Dark Moody Portraits - Editing Techniques with Adobe Photoshop

Toma Bonciu, Landscape and Travel Photographer

Dark Moody Portraits - Editing Techniques with Adobe Photoshop

Toma Bonciu, Landscape and Travel Photographer

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7 Lessons (1h 29m)
    • 1. 00 Intro

    • 2. 01 The cold winter

    • 3. 02 The Frozen Lady

    • 4. 03 The girl in the tunnel

    • 5. 04 The sleeping beauty

    • 6. 05 The man in front of the cave

    • 7. 06 Conclusion

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About This Class

In this course I'll be editing 5 portraits with a dark moody look. This look doesn't meant that the images are really dark or sad. It's more about a feel, an emotion. So the edits are going to be with lots of cold colors like cyan, blue, green that will work great against the orange and reddish colors of the skin.

The editing will start in Camera RAW plugin and then I'll continue editing in Photoshop

Meet Your Teacher

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Toma Bonciu

Landscape and Travel Photographer


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1. 00 Intro: My name is so Mom and I'm full time landscaping travel photographer. I'm doing this for more than 10 years, and as a part of my traveling photography, I also have to do lots of portrait beside the regular port. It also liked into conceptual art photography, but this course stopped about that. Of course, it's about portrait photography in terms of dark, Moody added. There there's lots of ways in which you can photograph a person, and you can use artificial light where you can use natural light, and there's lots of ways in which you can add it. Those photos and this course I'm going to present to you a dark, moody, lewd look now dark and moody doesn't necessarily mean that the image is dark. It's about a feeling now. We're talking here, so we're gonna concentrate more on colors that are in the and the colder range of colors mawr, blues, science, purple greens, stuff like that, and we will try Teoh, put them in contrast with the colors of the skin with the orange and the reddish of the skin. So I hope you enjoy this edits on, and I hope that you will develop your own style, because when you need to understand from my ad, it is my way of thinking about everything that I'm talking about. It's not. My advice is not to try and memorize the steps that I'm doing because it has her own its own light. It's old composition and its own needs, so I need to you, in a way, feel the image and to feel what is needed. But try Teoh, try to. I understand exactly why am I doing what I'm doing in my head? It and then try to apply them to your photos because just by looking, it's not going to solve anything. It's not going to make you a better photographer or a better person at post crossing, but retouching, you need to practice this. You practice your I play with colors and see what the results we are going to be. So let's start with the first tutorial 2. 01 The cold winter: this first image that I want to add it and the forest. As you can see, it was a four day. The settings are F 2.2 4/100 of a second. I saw Hung 60 and a shot put 50 millimeter lens. It's a prime land now. The reason for which I photographed F 2.2 was to have the background in The Blur. I wanted to have that effect because I wanted to have a better separation between the subject and the four wrong element and the rest of the image. I wanted to create something like a mystery scene when the characters is kind of looking into the distance, but it's blurry and it's it's it's not clear what it's going on in the distance, but also this was a technical decision. I wanted to have a better separation between the character and the rest of the environment . So right now, a woman in the commune role and I'm using camera on Mount Lives room right now because the edits are going to split between camera roll and Photoshopped. The first thing that I'm gonna do is go here in Lens correction and remove the chromatic aberration and also enabled profile correction. And this will eliminate distortions and other fringes that may a cure. Now I don't think I have Teoh do something to adjust something manually. It seems that all apparatus cremations were removed. Not always. This is the case. Sometimes they don't, They're not removed. And I have to double check to see if if they are What? Um, with this fellow, everything looks okay. Let's go to fit into a few and let's move Teoh sharpening, holding down the old modern and bottom. And, uh, I'm driving the masking. If you don't hold on on the old, then you will see nothing. So you have to hold it down. When were India is that you see white? There's going to be shoveling in the hours that you see black. It's not gonna be shot. And what you want to do is take a look at the felt like this and remove the sharpness from areas like this where you almost have like on Lee Onley color and less detail, for example from the sky would like to remove this because if you had shocking to you a simple color, you will just add noughts to that color. So let's hold on all key. You don't also want to go to the extreme something like this. So, um probably somewhere around here, it's gonna be OK. The amount Let's live it. 50. And I don't see any noise. I'm looking at hunger percent holding down the space bar, and I had this little hand and I can move this around so I don't see noise that would require to be reduced. Okay. So lot right? No, it's moved Teoh to the general panel. What I want is to have a feeling off cold and we associate cold with blue tones. Also, I want a better separation between subject and the rest of the image. And also because this is a dark, moody editing. This doesn't necessarily mean that always the image is going to be darker. Atmosphere has to imply a certain feeling and in this case, making it caught making it look cold. And also in fellowship, I'm gonna add a little bit of snow like snow would would fall from the sky. And I will try to create a feeling of loneliness and desperation and being outside in the cold. But Let's first just take exposure down somewhere around here. Now, I took these pills on the entire image, but right now I'm coming back with the radial filter. I'm, uh Let's reset it. And right now I'm creating a really huge radio filter. It's for this entire entire area. That is, just increase the exposure of this area and also the clarity. Okay, Now I will, um I will introduce some science and, uh, shadows again. I'm holding down old just to see the exact color that I'm going to introduce. Probably probably this 10 introducing in the shadows. Okay. And now that's used curve toe, and simply at a point and lift the curve up. And then, just as you can see him, I'm putting the darker areas with another point over here. Roughly in the exact spot where I started the federal I just raised the highlights and the brighter areas of Now let's move into I just l a just moved. I'm going to saturation. And I'm going into the blue and luminess off yellow, making it a little bit just a tiny bit darker. Just to see a little bit more details. I'm going like this. Now, Um, I could have taken the yellow and shifted more towards orange, but and why I would do that In color theory, it says that for bigger contract he should use comply. Momentary colors and blue is complete monetary with orange now because I used Scion. I think I can go with yellow, but not this yellow, because this yellow is shifted a little bit more towards green. And when When the colors are going up towards green, this means a combination off blue and yellow. In the complaint compliment, Terry moves towards magenta, not towards science. So I want to take this yellow and movie Genest Italian bit towards orange, just Teoh to make it more yellow. Okay, And info Shop would deal with the saturation of it some more if if we didn't need that. So right now I think we are O'Kane, camera roll. Let's hit open image and let's let's see, in first shop what we can do. I'm gonna hit f on my keyboard, controlled zero to frame the entire image and look at it. Okay, so right now, I think I could have a lot more darkness on trees and contrast. Owned on the dress. So what I'm gonna do is use the curves in just create a contrast curve. So I'm raising it up. Just let it. But I'm gonna also activate the hissed a gram if you don't see the history. Graham, just go to window, hissed a gram. Also, to see it like this, it's very important to see the color channels. You will go here and say all channel view and then show channels in color to have these click. It's very important to take a look at the history. Graham, you don't want to over expose some areas. So I did was add some more contrast the entire scene. Now I want to, uh let's go to layers again. And let's create a brightness and contrast. I'm taking down the brightness but I'm looking on on Lee at the dress So I'm taking down the brightness and I'm increasing that contrast Now click on the glass and click on the mask of the brightness and inverted Control I. And now with a brush which has hardness seal percent. I'm going. Go here. Okay. And I'm gonna paint with white and bring back the effect of that adjustment there. I'm using a pass ity of hunger percent flow of a hunger percent. Okay, now I'm will not paint on the on the lead sleeves because I wanted to have them white. Okay, now let's Teoh Something similar would hyun saturation. But before we start saturating, or let's just let's just saturate with using this hand and click here. You see, we have a certain range of colors selected, and we can make this pop some more. Now, if you don't like defied that, it also affects the brightness. You can switch the blending mode to just color as you can see something changed. Look at the dress. I'm going on normal, you see the brightest, and now I'm going to call her look address. You see how much it changed, and the effect is this one. No hue and saturation with huge saturation. So if you live it on normal, usually almost any adjustment layer will affect the luminosity, the contrast and saturation every every aspect. But you can control what exactly is affecting the hue and saturation should effect on lee color or saturation if you want. If you sit setting on color, you can also affect the hue, so I'm sending it on the collar. Let's go controlled zero and let's take a look at the image. So right now we have a better separation. Now let's take care of these trees over here. We could try and make a selection. And let's click here on the background layer because I want to select something from this one select color range. And I'm here on simple colors. Let's click here on the trees and they are pretty well selective. Let's go with plus sign. I want also these elements here. You see, You can also quick in this area to make selections and yeah, keep it somewhere like here. Click. Ok, now is against you. We have lots of other areas selected. We also have had, um we can select very easily the hand. We can use this to the lasso tool. I'm holding it and you have to hold on old. You see that minus sign that appears? Hold on, hold and remove the have. And then let's also remove these, uh, these areas, you don't have to be home percent exact, because we are dealing with nature you don't want try and, um and be so precise because it will look fake whenever you try to to do the exact exact modifications on trees and so on. It looks fake. Okay, Now, the way I'm gonna do it is let's just click on the last layer and creating adjustment layer off curves. Now, I don't want to just take the luminosity or the brightness down. By the way, I would go on layers and the blending mold. It's gonna be luminosity. So I'm just I'm just gonna create a count, Rest, curve someone. I'm putting a point over here to conserve highlights, and I'm dragging the mid tones and shadows down. Let's see if I if I raised just a tiny bit, Okay, now it's going layers and yeah, it looks it looks a lot better. You see, Right now this is without and where the image becomes more striking. And I'm putting emphasis on this this four wrong element. Now what I want to do next is to add the snow. For this, I will just create an empty layer and with the brush I want to have hardened 0%. I will create basically several layers. So, um from civil, let's let's create the small snowflakes past the home percent. Whoops have to have white over here, so opacity is hung percent, and I'm just just clicking and creating dots for this first layer. Something on the dress, something in the head, as you can see way have some. It was knowing, but not that much. And I wanted to. I wanted to have it mawr visible. That's from where I had the idea off, adding, Ah, a little bit of snow. No, after you add some some place who will just duplicate them. First of all, let's drop the opacity just a bit. Okay, now let's duplicate it. We click and drag it over a new layer controlled tea and let's flip them on horizontal. We can duplicate it also with clicking on the lead and hitting control J on the keyboard controlled T flip it on vertical, and we can also move it just a little bit. No one's great. Another empty layer. We will create bigger snowflakes. Now these snowflakes. I'm not gonna be that many. These are snowflakes that theoretically are closer. Teoh the camera closer to us. That's why you see them, but I making them like this, you'll have a sensation of feeling of depth. A gallon. It's moved that the capacity slightly down controlled J to duplicate the first uncontrolled T to have free transform flipped them horizontal created not little air. And let's have some really big ones. Let's have one over here on another one over here. I think that these are enough. Let's use your capacity to take your passed down. These are just hands. Trades another one. And there's just where were Makesem Mawr? Small strikes. Something like this. You can use the mouse, but for this or a tablet, I have a table, a tablet. But for this task, I'm just using the mouse. It's not necessary to use a tablet. Let's controlled your passing of these. And because they are so well defined, I will also go to the filter blur and go where he goes and blur. Well, look here. But this one? Yeah, this is this is kind of like shape that I want you to get. Okay, So, um, let's take a look at the original image. The image that came from light room, this would this was it. Now, having this more contrast in image I think I think it's enough. I don't need to darken the rest of the four some more because it's winter, it's It has to have a cold feeling. Still, we need some light, but we have. We have a feeling off that process you that it sets up Haimoud. Now, if you want to further had blue into the shadows or other areas of the photo, you can use the adjustment. There are two adjustments. You can go with a photo filter. Let's to first this one and use a um calling filter. It's 82 value, and let's control the density and blue somewhere around here or, if you don't want to, let's make it not visible. You can add a color balance, and you can go, for example, in the shadows and add some blue and then in the highlights, and some saying, and you could make it looking look like this. This was with fellow filter. This is what color balance, and you have much more control with color balance, but also this. This has a very pleasant feeling. Now, if you are adding the color filter, the photo filter and you lied the entire atmosphere I would go on the mask. Uh, use the brush tool, make it a little bit big, and I will just paint the dress out. Just have much more contrast to the scene. So this is the final. This is the final version. That's this color bands and deleted. This is the final version of the image. 3. 02 The Frozen Lady: for this federal. I used a main light over here. It's for the made in the studio, but I wanted to create certain feeling something like an ice cold feeling. That's why her makeup I was in this in this direction. Now I will also want Teoh affect the hair, and I will correct these strains of hairs that are out of place. But first of all, let's go here and you move chromatic aberration and enable profile correction. I'm photographing with a 35 million lands on my F 2.2 to home and 50th of a second. And I saw 100. Um, and the thing that I wanted to hear in camera roll it, Zigun obey slightly, probably on the face just a little bit. But right now it's more than enough to have just just the chromatic aberration profile correction corrected. So I will just go and open the image. We're gonna hit half a keyboard to go full screen. And the first thing is, I'm gonna correct here this hair because, um, this is where the hair off the model ends and these are some extensions. I'm lucky that they have the same color so I don't have to correct that also. But the first thing that the first thing I'm gonna do is correct with these strain has. So let's just duplicate this click on it. Controlled J used the spot healing brush. Told that this is it. This is the one spot healing brush tool and simply just stroke on. I had it. You don't want to have it in your federal anymore. Now it's very it's the best thing is to be very careful and to have oldest okay, when you take the federal. But, um, sometimes you don't Sometimes this is not possible. Sometimes things happens. Oh, so you end up with these things that you need to correct. Okay, this is enough controlled zero to frame the entire feather. And let's move to this, uh, to this part, let's duplicate this again control JL etc. With with the spot healing brush toe first. Now it's not gonna work. Let's just create an empty layer and I'm creating this. I'm using the clone tool, which is this one over here clone stamp tool. And I'm kidding the sample to be current and below, and because I'm making the clone on an empty layer, but I'm sampling from all the layers underneath. This means that I'm doing cloning in a nondestructive way. So if I don't like what it's happening, it just still it. This and it's not. It's not a problem. Okay, so let's see from what you from where we can sample, we will need to continue this crease in the hair. So let's start somewhere around here and see exactly what is happening. How I also have to continue with the shirt. Okay, so right now it looks a lot better. Let's move. Let's zoom beyond hunger percent. I'm gonna take a slide detail from here. Put it here and now. Some details from here, he says. The shutters in Blur. We can get away with lots of things that otherwise would have to be extra Careful. Now I'm going to switch your past 30%. And let's just try to you blend these two pieces together. Oops, I went over to far over there. I have to correct this now. I made them for a smaller past your 100% again on a sample. From here, it's easy because it's hair on. Hair is messes. Uh, there is no problem. I didn't know that. Simple some, uh, some have from that sample from here. No, I do working again with the lower past that the problem is over here where the hair would need to turn a little bit. And, um, let's see if we can. We can takes a hair from here. Maybe, just maybe it will. It will look a little different now. I will have to get rid of this even if I had to. Even if this crease it looks like it should continue, I will have to get rid of it because it doesn't look okay. So I'll grab somewhere from something from here. It said no. There's just had a brightness adjustment there. Increase the brightness. I just want to see it a little better click on this layer again. Yeah, there are some areas that I I don't like and it's this this area we're here, so I will just, uh That's simple from here. Let's move up from there. I can't allow that simple from just part. Let's simple form. I will take it from down here. I think some here. Let's see. No, it's too dark. No Controlled said. Now I fixed. I think if I fixed this area, but here it's it's a little bit problematic. I will go with some something are you and I will fix the crease. I wouldn't need remove it after that. So let's plant it somewhere on here. Que simple again. From this point, it's a controlled zero. Yeah, right now it's okay. And what we gonna do with this brightness? Their own lives control. I t involved it. And with a brush and the low pastie off 10% with the brush white, let's paint a little bit on Lee. The areas that I need a little bit off light O k. Let's I'm using 10% because I don't want to had too much from the start. I just I want to add it gradually. It's what I can control it. Yeah, it's It's okay. It's decent enough now what I want to do next. His, um, add a little off brightness in this area. So there's just, um at the brightness adjustment there. Increase the brightness going the layers. Invert the mask. Control I, and with a brush, it's just paint in this area. Remember to have a brush with Hartmann. 0% having a 10% capacity. Okay, that's enough. What I noticed has this piece of shirt so I will go with Hyun saturation. Click on this hand click here and the saturated. Now you will also de saturate the face because it has read. But I will just go with with layers involved it with a brush capacity hunger percent. I will just pain to this one over here. Now I will want to do something with the hair and your you'll see exactly what I wanted to . So let's first click here on this. That's this march all these layers into a new one control old shift and e to keep everything and Marge budget into a new lab. No, let's go with select color range and see if we can select the hair. I think the face gets selected also because it has slightly the same tones. But it's gonna be a good starting point Click. OK, let's see it. Probably I will. I will ditch the selection control de. I will just go with hue and saturation in layers, the blending more than it's gonna be set on color. And I'm just gonna de saturated image. Let's let's change it to normal. Get into the property's. Okay, now go on layers click on the mass control our team voided. So everything is color again. But now with a brush off white and hunger percent I'm gonna paint Onley the hair So we're getting this silvery look on the head right now, making the brush of a smaller Now switching back and be careful here. I just use a smaller brush. Okay, Sometimes these things take time, but there's no other way around it. If you want Teoh, create something. If you have something in mind, it just wants to make it and you will have to put on with the work to make it. And this is the main. The main effect of this of this image. This idea with withheld looking like a silver. It's over hair if you want, so I have to put on some effort. But you're going to see it's not. It's not a huge effort. It's not something that would take, uh, a lot of time. It's fairly decent amount of time that two so far. And right now I'm using a tablet. I'm not doing this with a mouse button. Let's go with the past. The 30% Because I reached this area. It has like this. Now I will not try to do this head. It would be better to try and clone it cloning out and to try and make it look Silver mask it. Okay, I'm having a really small brush right now. That's on down here. Talk control zero. Yes, we have the blue, the blue feeling. Now let's add a brightness and contrast. Go here. Ault called on old and click on this mask and drag it on top of the mast from the brightness. Now it has the same mask, and I will try to make it a little bit more brighter. And with a high contrast now I will. I will slightly de saturate the entire image, the rest of the image, but not completely so. Let's create a hue and saturation gonna lairs copy this same layer but then inverted. I don't want Teoh affect the hair anymore. It's the way I like it. So let's not affected. Let's likely de saturate. We can go old way, but it's this most on the point, so I will go somewhere around here for the shirt, but in the mask I will paint with black a pastie hunger percent. So I'll paint the face and hand back. Take now we create another brightness and contrast and take that. Take it all the way down somewhere around here and I will paint with black a past the 100% . I will paint the face on the hair to somewhere on here and then switched to 10% capacity. And just do something like this. And I'm painting basically on the edges and I'm reintroducing everything I'm creating basically my custom vig netting if you want. Okay, now let's add a curves. Had some contrast that it's opened hyun saturation que and then another curves to control on Lee the shadows Just move them up a little bit. Okay. Now, let's at a, uh, color balance look at the shadows and had a little bit of Sion in them. Whoops. I had some saying in the shadows. Yeah, things are okay over here. You can go in this brightness and, um, paints more for the rest of the image to just integrate things a bit better. I think I'm going. Got here when zero. I'm gonna alter the mid tones and to heal into hue and saturation into a scion and go into the layers and paint in the mask with the brush past 300% painting the health in the face. So let's take a look at the original image and the final one. 4. 03 The girl in the tunnel: in editing this portrait when I want to do is have a more dark A look and made subject Pop a lot better. You can see the light direction. The light is coming from here. In fact, you see up here These are there are some holes and there is some light shining down over here. Well, we are under one of these holes and we have light coming on the face off subject. Now let's start with the beginning. And here in the camera plugging, we will remove chromatic aberration and enabled profound correction. We will also take a look at the hunger percent on the federal. I'm always doing this to check out sharpness and make sure that this removed chromatic aberration work completely. Sometimes there are areas that need to be fixed manually sit in view. And now the next thing is to address the sharpening. I'm holding on old and altering the masking. I'm gonna go with something that looks like this sharpening of 15. And now, although the attention will be on the subject since since it's the only interesting thing in the entire photo, would you have an area that's one over here? That has a lot more light and can draw the attention. Now, um, we can't crop the photo. I mean, we could crop the photo tighter, but I don't think it's, um let's let's check a constraint image. Let's see exactly how much we can crop from the image. Probably something like this. Anyway, it's a lot better. So I got rid of the off the area over here dead was creating in a point of attention was fighting for attention. Also, in fellowship, I will clone these three small streaks off light. The rest is gonna be like this. Now, let's change the images. Um, slightly orange, tilted towards orange and yellow. You can come here in temperature and shifting entire color balance to blue. Now the reason for that because the entire the image becomes blue. Also my subject. So what I'm gonna do is to good. I'm gonna do this in photo shop after I'm finishing here in camera. So let's drop the exposure a little bit down, drop the contrast down and push the shadows up a tiny bit. Now I will create a radial filter recited first, and it's gonna be a really huge one. And The reason for that is to kind of emphasize the direction of the light. I'm gonna increase the exposure, but yes, light comes from and I don't want to put it here because I wanted direction to be over my subject. And I will want something like this Now, besides having that, um, hole up and entering the the light from that, I also have a flash, as you can see from the heart shadows from here, it's a flashpoint placed somewhere in this in this area. Now let's hit open image and F, and it's just, uh, evaluated the image a little bit. So with the spot healing brush to, I will just remove these elements. As I said, I think it's important to have background that is as clear as possible. And, um, to make sure that the entire attention folds on your subject. Now I will add a brightness and contrast and increase the brightest. I'm looking on Lee here in this area, off nose and the top of the hand. And I think this is this is enough on and the contrast somewhere out here and I'm gonna create another brightness and contrast. I'm gonna take down the brightness away to hear and increase the Contras a little bit. Okay, now I'm gonna hit be on my keyboard. Teoh, activate the brush toe again. I'm gonna use a brush with hotness is 0% when bigger and a pass ity of 10%. Now what I'm gonna do and I will make a click here and then I'm gonna hold on shift and I will not let go off the shift. I will hold it and click over here. Okay, So click here and then hold on, shift and click, and then click, Click. Because it's a 10% capacity, everything will happen gradually. And this is the way I think you should, um, try to add it. Because if things happen too fast, then you lose control over them. You have the ability to create much more interesting image. If you have the patience to do it slowly, now is going to see. We have created, like, an area off light which looks very natural. It's blend and then it's fitted in and it's It also offers, like a reason for this harsh light over here. Now let's come here and, um, create a color balance and in the shadows. Let's see if this works like this. You know what? Let's go on laughs. Let's delete this one click on the background later because I want to make a selection on of it. Let's just first of all, check this election color range. Simple colors. Uh, so simple colors. Click on the eyedropper tool and click here. Okay, lets see if we can grab the rest of the hand. Well, yeah. The problem is, when I'm trying to grab the rest of the hand, the rest of the image comes into place. And when I'm going with minus here, I want to de select all these. Let's see if we can increase the fuzzing is a little bit okay, Must Right. Okay, let's involve the selection. Control. I no couldn't involved a selection control shift. I Sorry about that. Clean the top layer. And, um, let's create now a color balance. And now I will leave it on mid tones and let's drag it all the way to the left just to see the effect. What is going? Yeah, I think it's a lot a lot better living on zero. And when we go in the shadows again. Yeah, it's a lot. It's a lot better now. What? We are totally preserving these areas. We still have in this era some some science, but we're not going to go bad extreme. So we're going up here somewhere on here. Okay, Now let's switch it on color. You see, there's a big difference in the blending mode of the left because if if you live it on normal, it will also affect the luminosity. So take it on color. And now we have a much more normal shift in color. Is your You would normally see it. Okay, now let's add a hyun saturation. Click on the little hand over here and let's come here and see the D saturation off this. So we are basically decentralize. You see over here that we have selected the science and a little bit towards the blues, and we are de saturating those areas. Let's saturate, but don't go overboard. So let's head right up to here. Okay? The skin of our model. Now I'm gonna add a curves and a little create. I will also open the hissed a gram whenever I'm dealing with curves and brightness and contrast. I like to have my history. I'm open now for the purpose of this tutorial. Have it here. But when I'm not recording tutorials, all these are on a separate monitor on my secondary monitor on my main monitor, there is only the but and every every time history. Graham is always open. So let's take the highlight. Just a tiny bit up. You don't want to go any higher. You see a really beautiful life here, and that's add some contrast. Also raising the, uh, black points just a tiny bit. Okay, now I will created brightness and contrast. Set the blending mode to luminosity because I don't want to change the colors. That's why I'm doing this, having increased the brightness and increase the contrast and then just click on the masking voted properties. Okay, quick on the mess again. We need wide here. Um, select the brush and capacity, let's say 20%. Let's go at hunger percent with the view suggesting introduce a little bit more life and a little less contrast to these areas. It will make the image column, or it will make the face pops more okay. And sometimes, um, you would need Teoh. Redo this. But for the for this tutorial, I will just add another brightness and contrast. Affect the brightness and more. I don't care if this is happening over here. Change the blending mode to luminosity involved The mask and with on a pass ity off 10% this time. I just want Teoh make another area off light in the middle of this one over here. But I don't want to affect the face. Okay, Now, sometimes, after doing all this, I'm thinking to re introduce, um, a tent of color in the background just to check if if that will look better because you, your eyes are getting used to Ah, look, I really like how this images is looking right now. Let's check the original image holding down old and quit clicking on this visibility. I can. So this was the origin image. And this is the edited one. I really like how it looks, but it's never a bad thing to double check. Sometimes you're you're getting used to a view, and when you change it, it looks better. So let's just do some things at a photo filter and make it blue and very quickly. Click on the mask brush tool paid with black capacity 100%. Quickly remove the subject from the mask from B effect of that layer by painting the mask. Okay, that waas It was really fast. That's old. Include the master. Check it now. We have a few spots left. Now let's see how it looks without and with. I think we have a lot. A lot bigger contrast. Now what I did he and why I introduced the blue. No, um let me just create a new layer and I will paint something on this there with the brush. Uh, this is a little bit color theory. So you have your yellow and your blue, and then you have your bread. These are the primary colors, and then you have If you combine these three, you get magenta. Okay, green and orange. And this is a circle over here. This is this is the color wheel basically okay? And, um, there's a rule that comes from paintings, and it's used in editing to use complainant eric collars. Complementary colors are the Besides, Okay, things like this and this means that the skin tones are shifted towards orange, so you need the rest of the image shifted towards blue. On. From this concept comes the teal and orange look. It's a ah, natural look, and it's, ah, looking on anything decision that comes from this, that the skin it has orange tones, so you need to shift the rest of the image in a complainant. Eric Color. Now, if you have other numbers that want to popular if you have a red lipstick, then you would need green Polish names, for example, or green a green background with red something. If you have a yellow car, yellow will look very good on black or on purple. So there, now these thes things that you you have to know this how this is simple color theory. I don't want to get too much into detail, but that's why I made the rest of the image, um, with a blue tint. Let's has just delete this. Let's take a look again. So this is the original image shifted towards orange, orange in yellow, and this is more much more cool. Image shifted towards blue, and now the subject pops and more, and we also have a really beautiful light coming from here. 5. 04 The sleeping beauty: I created this portrait using Drome and, um, we build in the forest a small nast and replace the model in there. The idea was to have something like Sleeping beauty or some kind of ah, similar concept if you want. Now, I couldn't get the drone closer to the car because, believe it or not, the wings of the drone was creating were creating such a big draft that everything was blowing away and her skirt or her her clothings were blown on her face. And that's why I need to keep it that hot. Although I want to have a tighter shot. So holding down downshift, I will bring it up to somewhere around here. This is, uh this was what I wanted t have at 100%. This is it. So this element probably should be cloned. This was one of the elements that kept blown away. But old this we can't have control over it. Oh, right. So let's just go with sit in view removed from on Tabarre shinin neighbor. Profound correction. You can see here the drone that I shot with and, um, let's do the masking and I will also do some luminant of just 10. So the maverick produces some noise again with fit and view. And let's drop the contrast. Basically, I want a new image that I can work easier with in for a shock and drop down the fibers here it's in minus 20. Yeah, I want I want a more de saturated look. Um I don't I don't know exactly what I'm gonna do. Will try even shifting the leaves Told red Well, experiment and see exactly what What is the best? Okay, click on F What is the best solution for this? Opened hissed a gram and and the brightness and contrast and put it on luminosity. Now I'm going to increase brightness up to somewhere around here. And then I won't have another brightness contrast and put it again on luminosity and drop Drop the brightness all the way. So, Teoh, let's say here and also create contrast a little bit and I will come in the mask with a brush painted black and start with 10% capacity and many times I'm starting with you with 5% capacity. I like taking things slow with this process. It allows a lot more control as it told you. And the more control you have, the better the image will look because everything it's gonna build up slowly and you'll realize when is the moment for you to stop. So let's just read, integrate everything, okay? And now I'm gonna go with the curves and create some contrast. Now I like the highlights. Let's drop the shadows some more. And just by looking right now, I will add a hue and saturation very quickly and place it on color, just the check things out. So let's click with hand here on the on the leads, and let's change the hue of the leaves. Now. I don't think this image would benefit from Brown darkest riddle Red tent like this so I won't click the hit saturation in Just dilated what I will had it. It's gonna be a color balance and go in the shadows and add some blues, and I will live it on normal just to dark and the rest of the image also. Now I really like how how it looks over here, but I will click on the mask capacity of hunger percent with black, and I will paint my subject out of it because I want my subject to have the warmer tone field. Let's go in and, um, click on the on the layer over here, controlled J two duplicated and let's go with 300% time down here with the sport healing brush tool and see if we can take this out. Yes, we can. It looked strange. So now we have a much better separation. What I think it was still need to do is working on these branches. So click on the last layer. I had another brightness and contrast and increased the brightness more. Don't worry, we will go here. Click on the mass control I t involved. It's no, we have no effect. We need to paint with White. So he acts toe change between the suit, uh, paint with a brush and a pass ity off. Let's say 6% and what I'm gonna do first, it's paint on her face this aerial here and then slowly, I will work the nest and add some, uh, brighter areas. Now I have here a lot more brightness, and in this lower part okay, so I think now it looks a lot better. Now let's add a curves and has just raised the dark. And the black hair is basically but not too much just a tiny bit and then tracked the shadows down and the highlights up. And that's no see if if we can change this to a much better color, all living like that. So let's go with a photo filter and use a blue tent and very quickly with a brush on hunger percent lists. Remove some things from this one can. It's just, uh, clip on the filter properties, make it a lot more blue and then add hue and saturation and place it on color. And when this little hand choose the blues and D saturate them. No, I don't think it looks. It looks better than this, so there's no need for this one over here. No, let's. Let's add the hue saturation and see if clicking on hand and clicking here. Yes, I think this is the This is the final off. I would still add a brightness, in contrast, make things a little more bright. So let's take a look at your original image, and now what we have. I think I think it looks a lot better 6. 05 The man in front of the cave: last image is a self portrait off mine in front of this cave entrance. Have a war shop in this area and oftentimes trying to photograph this entrance in the cave . But even though we have countries over here, so this suggested that this was really being huge. I didn't felt that I was creating a compelling and interesting enough image. So on my last trip from last September, I decided that I'm gonna be here. And I was I would be the figure that what creates Kale to all this. Now let's try and see what we can do with this image. First of all, remove chromatic aberration. Enable profound correction, but it quickly. And dude, I'm asking for the sharpening. You already know this by now? No, with a value of 15. And because everything is concedes shifted towards orange that see if altering temperature , I mean to any kid and also test going here in calibration test. If going with the blue tour I'm I'm creating a blue until orange by shifting the huge in the blues and taking the blue channel to the left. It creates this, um, color. But I don't like that. My jacket has changed. So probably I'm gonna do this. After I'm going, I'm taking the image to photo shop and I can mask. I have much more control on what I'm doing. So for the moment, I'm living Collins like this. And, um, let's just drop the exposure on the overall image and add radio filter at one over here from where the light, the light comes from above. And then I will add, Lied to myself and photo shop. So right now, let's go open image click F What's on my click F. And the first thing that I'm gonna do is duplicate this layer control one to look 100% control. Plus to go 200% on the image. And with the spot healing brush tool, I will remove, um, the touristic markings. Okay, Now let's add some more like on myself. So add the brightness and contrast and increase the brightness. I'm looking on, Lee on my sill. It I don't care what has happened to the rest of the image. Invert the mask controlled. I click on it control I invited. And then with the brush with Dwight and, um on a pastie off. Let's say 30%. Let's start by painting myself. So right now I'm having, um I'm having a lot off light on myself. So what I'm gonna do now is quickly on this, and I'm going to fill it with white because I just wanted to see is a little bit the contrast. Fill it with white because white is here. Click on the mask, old and backspace. We're gonna fill it with white, and then I'm gonna add the the actual brightness and contrast that will control everything . So I'm taking it down to here, and I'm also increasing the contrast. So now let's go into this mask. The mask is wide, so we're gonna paint with black. And yes, first of all, I'm painting myself and then go control minus And within the past, you have 10%. We're gonna paint the light coming from here from the top, and then when the past 6% I'm going to reintroduce light to the other elements off fed. It's a lot of it here up in the pine trees. I don't hear a little bit more. I wanna have a much more dramatic, um, appearance. So the rocks don't Here will remain. Dr. Let's take Look at any something like this. Okay, so now I think we can shift the entire color of the image. So what I'm gonna do now is Marge, old, older, The layers control old shift and e and now have old letters. Plus this one. And I'm gonna open the filter camera roll on this one. And now I'm going to of this change, and I'm gonna make the forest. I looked in this teal and orange look and hit, OK, now, because I have not having now on a separate layer, this is a hunger percent. I can create a mask for this layer and in the mask with the brush with black and capacity of 100%. I can paint myself out because I didn't want myself to be affected. I wanted my green jacket back it if you want, I want my colors back. But the pans look better. Okay, so now we're having a much more interesting look. Now, let's add a color balance and let's put the blending mode on color. And now let's go into the property's and going to the shadows and shift the shadows towards this dark blue, even though the image will look strange and it is a bit of science. But more than two, when I want to do is add another layer off hue and saturation and quick on the blues, and he saturate them. Okay, so now let's go here in the counterbalance and click on the brush painted black. A past the 30%. There are some areas that I don't want to be affected by blue, so I'm just basically, I'm going in the color balance. And I'm saying in these areas you should not take effect. I like I like the way the rock looks, what I really liked the color in the pine tree. It's like painting back some of these elements. Okay, so now let's go again and add another brightness and contrast and increase the contrast of the image and decrease entire brightness here and go in the mask within the past. Eat off again. 30% And let's paint again. Whatever. I'm doing these kind of adverts. I like them. I like. I like to do them a lot. It feels like I'm sculpting with light. It gives me a gives me an interesting and beautiful feeling. Now I have another hyun Saturation. Go with this little hand, Increase the saturation here, but go in the last click on the mask within a pastie off 100%. You move the effect and I had on this. Now let's had acres bring the highlights up, just kind of it. And then basically, I'm taking the shadows back to their places. And then I'm increasing, uh, the black point. And now I think we we have powerful image. If we are looking at the original image and how the image looks right now, it's much more vibrant. It's stark, it's moody, and it looks a lot lot better. 7. 06 Conclusion: congratulations that you finished my dark and moody portrait editing. I hope that you liked the the looks that I got on my images. I hope that this inspired you to search for other ways of expressing yourself in your own photography. And if you like the scores, consider checking out one of my other courses. And thanks again for for taking it. Bye bye.