Going Pro with Street Photography: Shooting Brand Lookbooks | trashhand | Skillshare

Going Pro with Street Photography: Shooting Brand Lookbooks

trashhand, Cityscape Photographer

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8 Lessons (41m)
    • 1. Introduction

      1:46
    • 2. Planning the Shoot

      5:38
    • 3. Prepping the Clothing

      2:40
    • 4. Location 1: Parking Garage

      6:42
    • 5. Location 2: Garage Rooftop

      8:02
    • 6. Location 3: Under the Bridge

      4:36
    • 7. Editing for Products

      11:11
    • 8. Learn More with trashhand

      0:30
90 students are watching this class

About This Class

Travel with iconic street photographer trashhand as he shares his process for shooting a brand lookbook — the pro approach that built his street photography career.

Having shot for Jordan Brand, Raised By Wolves, Dope Boy Magic and more, trashhand has used fashion lookbooks to grow as a photographer and professional. This 40-minute, documentary-style class is fueled by his experiences and insights, sharing advice on

  • Pitching and working with brands
  • Preparing for a shoot with styling and scouting
  • Shooting wide, medium, and detail photos
  • Editing photos with product in mind

Whether you’re an aspiring freelancer or a street shooting hobbyist, this class mixes technical specs with true behind-the-scenes. See the inner workings of pro photographer life, and take your street photography to the next level.

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What You'll Learn

  • Introduction. Creating a lookbook for fashion brands can present unique challenges, even if you’re already quite skilled at outdoor portrait photography. Let veteran street photographer trashhand take you along on one of his outdoor fashion shoots as he gives you helpful insights and tips on how to make this type of challenge fun and rewarding. Digital photography for beginners can be fun but complex. The guidance of trashhand will give you the fundamentals you need to create stunning lookbooks and the tools to level up your photography skills.
  • Planning the Shoot. Lookbooks are a specific tool that fashion brands use to show off new designs. trashhand gives his firsthand account of how he reached out and engaged with certain brands he wanted to work with, and gives you advice on what you must consider after you’ve gotten the assignment. From how to choose the right model to creating mood boards, much goes into making a great lookbook. In this project, trashhand gives you insight into how he chooses his outdoor locations and the unique challenges he faces. What are the colors of the background? Will you be able to adjust the ISO sensitivity to get every detail you need? The more planning that goes into this stage, the easier your shoot will be.
  • Prepping the Clothing. The clothes are king in such projects, and you need to know how to prepare them for a day of shooting. Brands will often simply ship a few pieces that they want to showcase to the photographer’s studio, and it’s up to that photographer to understand how to care for, showcase, and even construct outfits that meet the criteria of the shoot. For this stage, the photographer must act as a kind of costume designer, and trashhand talks you through how to choose certain colors and styles to create an ensemble that will work with your chosen locations. He also gives you a few tips on details you might miss when shooting, and how a lint roller can save you hours of digital photography editing later.
  • Location 1 Parking Garage. Follow along as trashhand and his model venture out into a spiral parking garage ramp to capture some stunning photos with available light. As he works, he gives you a peek into his thought process when it comes to the best ways to feature details of the clothing that the brand would want showcased.
  • Location 2 Garage Roof. trashhand and his subject then go to the roof of a parking garage and snap a few photos as an elevated train rumbles by in the background. This touch of urban life takes a few adjustments to get right, but trashhand shows you what to look for and how to stay on top of your game to get the best possible results.
  • Location 3 Under the Bridge. Next up, they climb the structure beneath a bridge to capture a few gorgeous shots as the lines of the architecture flow to the center, creating a photo that draws the eye to the clothing. Here, trashhand gives you his thoughts on composing a set of photos, from wide, to medium, to macro close-up, that fit together stylistically and create a coherent series.
  • Editing for Products. Just as shooting for clothing requires a unique approach, so does editing for the product. trashhand looks to bring out every unique feature in the pieces he has photographed, from a zipper to the logo. Using Lightroom, he’ll show you how to save time by applying your edits to the entire shoot at once, instantly creating a cohesive set of photos. He also takes you through the steps to color correct your photos to best reflect the original colors in the garments. The wrong shade of pink might not matter in most pictures, but in a fashion lookbook, it can be the difference between getting more work and being shown the door.

Transcripts

1. Introduction: What's up everybody. Thanks for checking out my third class here on Skillshare. This is trashand and today we're going to be talking about how to shoot a lookbook. A lookbook is a set of cohesive images that are put together to not only highlight the product in the best way possible, but to highlight a lifestyle around the product. In this class we're going to be talking about how to reach out to a brand, how to prepare for the shoot, how to prepare the clothes for the shoot, the shoot itself, and editing with product in mind. One of the things about these lookbooks that I love is, it really becomes a collaborative process between you and the brand. The brand brings their stuff to the table which is their clothes, the product, and then I'm able to bring my imagery, my lifestyle, and my vision to the table. I love having the creative control when it comes to these lookbooks. I become way more passionate about my project. I become that much more engaged and involved with it. Which means I'm going to risk a lot more of my time, my energy, my well-being just to make sure that this project goes well. People are interested in wanting to learn how to shoot a lookbook, because it has everything from creating a storyboard in a stylesheet all the way to really creating a set of images that are our project. You're not shooting image-to-image, you're shooting it as a whole and that's a much harder task than anything. That's what we're trying to accomplish and trying to get this money. 2. Planning the Shoot: So, now, we're going to be talking about how to reach out to a brand, and how to build a relationship from there. One way I've done that is through direct message. I send them messages on Instagram and Twitter, letting them know that I'm interested in working with them. Another way I've done it is by creating my own content around their product. From stuff that I've already had and posting on my own social media and tagging them just so they see it. Another way I've done it is by going to their stores and by going to these trade shows, where a lot of these brands go and show their stuff, so you can meet their owners, meet their marketing team and really start to build that relationship there, so, the next time that their brainstorming and putting together their lookbook, you're the first person they think of. When I first started working with Raised by Wolves was almost four years ago. My social following wasn't even big then, but I spent the time engaging and interacting with Pete whose I knew was one of the owners of Raised by Wolves. I was interacting and engaging with him through social media, and then eventually, I met him in real life where we became good friends. I eventually kind of suddenly gave the notion to them that I would be really interested and extremely grateful for the opportunity to work on a lookbook for them. Luckily, I was granted the opportunity a couple months later. I was given full creative control. The only thing that they asked was that I stayed within the limits of the Canadian border, which was easy enough for me. So, at this point, you've gotten the project, where do we go from here? At this point, I'm going to be asking the brand for a couple of things. One, the most important thing for me is a line sheet. I want to be able to see what they're going to be coming out. I don't even actually need photos of the product, but I want to see what the designs are. I want to see what kind of pants they got coming out, the hoodies. I want to see the entire collection because from there, I'm able to get an overall sense of the collection, and I'm able to start putting together ideas in my head, locations that I'm thinking would go really well, color schemes, I'm able to start thinking about tones, I'm able to start thinking about kind of model I'd like to use. It's kind of enlists the type of inspiration that you can get from a line board. Sometimes brands already have a mood board and set and that can be really helpful. It can also be a little bit distracting to your own vision, but if you just use it as inspiration and kind of a base for your own work, you'll be in good shape. So after you've gotten the line sheet and the mood board, this is the time where you would create your own storyboard. Especially if you're a visual person, this helps a lot, and they will definitely keep you on track as you go throughout this project. Storyboard can be anything from like, literally how you see this person fitting in the frame of a shot, to just general ideas and words that you need to be thinking of as you're shooting their project. Things that you want to communicate to your audience that are looking at the lookbook, that this is what you want them to understand and and achieve from it. One thing that was important to me when I'm creating a storyboard was, I wanted each shot to be extremely full. I wanted the photo to go from corner to corner, just full of architecture. I didn't really want to see much sky, I wanted it to be just like lines on lines on lines. Another thing was just the contrast. I really wanted my subject to always pop out in the scene. So, even though there was a ton of architecture and lines happening, the subject, my model, and the product would still pop out and still be like the first thing that you saw. I wanted the lines in the environment that I was shooting in, that I wanted always to be drawing you to the model. I wanted those lines lead you to where I wanted you to look. That was one thing that was important in my storyboard. Another thing was just the type of shots that I was going to be taking. I wanted to make sure that I have this consistent looks throughout my lookbook, which I loved to shoot as a wide shot and always get my model full in there, but also get the environment that they're in completely in there. Sometimes I'm even cool having showing scale because, eventually, I'm going to get to my second shot which is more of a tight shot. Showcasing the product a little more, the model a little tighter. Usually, I'm focusing on just the lower body or just the upper body, from the torso up. My last shot is the macro shot, the detailed shot where I'm really focusing on the graphic, or a button, or some type of zipper that's on the pants, that's super tech, that the brand really wants you to highlight. That's your time to focus in on those materials and those details. Honestly, one of the most stressful parts about shooting a lookbook is finding a model. A model is everything to your lookbook. It's everything to the photographer. It's the interaction. Because if you find a good model, then you don't ever really need to direct. That's the goal because I'm already worrying about so many things. My mind is on the product and how it's always being highlighted. So, I'm focusing on how they're working, and how they fit into the environment, but also how the product stands out in that environment. I just need a model that is able to direct themselves and move around themselves, and I can just worry about what I need to, and they worry about what they need to. The model that I'm going to be using for this lookbook, I found through social media, on Instagram. I was looking through one of my favorite stores here in Chicago called Notre shop. They end up using this model quite a lot. He's super talented. I can tell he enjoys being in front of the camera. He doesn't need much direction. He's confident and can work with brands that are of a high standard. And that's what I wanted for this project. 3. Prepping the Clothing: So, now that the model's been confirmed, the locations had been scouted, and the clothes have arrived, it's time to prepare for tomorrow's shoot. For this lookbook, I'll be using my Canon 5D Mark three with a 24-millimetre lens. With its wide focal length, I'm able to capture more of the environment and add a lot more drama to the scene. The past three Raised by Wolves lookbooks, and this one in particular, I'm going to be using natural light throughout the project. But don't be afraid to use your flashes and any type of strobe kits that you have to create the most premium lookbook you can. Some other gear that's really important to me when shooting my lookbooks is a steamer and a lint roller, and these things are not to be taken lightly. These will save your ass when it comes to post-production. Steaming and getting rid of these wrinkles ahead of time before you even go out in the field is going to save you so much time editing and it's going to make your clothes look a lot better and a lot more premium. A lint roller is just the same. It's really important and make sure you get all that hair and all that tiny little debris because when you're shooting these sharp images and they're blown up on these computers, these people can see everything and you want to make sure that it's clean, smooth, and wrinkle-free. So now, let's take a look at what Raised by Wolves sent us. So, in the box that they sent me, they included some hats, this scarf. They also sent me three jackets. I'm definitely going to want to include one in the lookbook. Other pieces, this crew neck that's got a really small embroidery right in the middle, Raised by Wolves. I actually love this flannel. I think it's sick. One thing that I really like about it is this zipper. You don't really get that too much in flannels so I definitely want to shoot this and make sure that when I shoot my detail shot it's kind of open and you can still see that there's a zipper and not buttons. Definitely something really fresh. They have this long sleeve right here. Property of Raised by Wolves. It's kind of a nice thermo. It would go really well underneath this flannel or one of these hoodies. Or especially maybe under one of these jackets. It would pair really nice. Another long sleeve that I really like. Got the whole hit on the side. I haven't lint rolled this yet and there's just so many tiny pieces of lint and hair and tiny debris that show up that if I was really doing a macro shot of this right now, I would be spending hours and hours editing it out whereas if I just did it for two minutes right before the shoot, right before I took some photos, it'd be gone. So now that all the clothes are out of the box and on the rack, now it's time to steam all the clothes, do a quick round of just lint rolling them and start putting them together in just a rough idea of how I'd like to see them, and get them ready for tomorrow's shoot. 4. Location 1: Parking Garage: Just pulling up to our first location and I got Aziz with me, my model for this lookbook. This fit came together from him and I styling it. I really wanted him to pick the outfit himself so he felt more comfortable in it. With this location, my main goal is just to fill the shot up with the lines and architecture from corner to corner and also make sure that he's really isolated, he stands out in the shot. That's one of the reasons we have him all black against this all gray cement, so he'll pop. This red is going to pop like crazy as well. Like I said before, the three shots that I'm going to be trying to get is a wide, a mid, and like a macro shot, a tight shot. One thing not to worry about so much is that, even when you're shooting the lookbooks, at the end of the day, these brands have product shots. These things are going to be shown to the fullest on their website. So, you don't really need to focus on shooting the whole graphic and worrying about getting the whole graphic. This is all about vibe. It's all about capturing a particular feeling cause that's what lookbooks are about and that's what you're really trying to sell. So, let's get started. Hop over right here. Maybe you can just sit like this just close to the edge as possible and then open your shoulders to me. Then, I know the light is coming and it's hitting me in the face, but do your best, feel it. I'm trying to shoot from this elevated position. I'm trying to shoot high as up just so I can capture as much of this architecture down here as possible. Can I actually have you move in a little bit towards me? I love the light right now especially cause the way it just. Actually, you can see it. The way it's hitting his face and even the top of the shirt right now, it's perfect. It's hitting the shadows on clothes that aren't even RBW, but everything that is RBW that the light right now is perfectly hitting. It's hitting his face really nice. So, even with my settings right now, my aperture Isn't even that high. I'm not going to even go fast and stop of f/8. So, I'm going to try to stick between f/4 and f/8 just because I want him to really pop out in the environment. The more my aperture is less, he becomes isolated and blends in. Everything comes in focus. But I really want to highlight the product in him, popping the environment so I'm keeping my F-stop pretty low. But also want my shutter high enough that he's able to move around and do his thing, feel comfortable, constantly stop because if you find a good model, all you have to do is just shoot and they direct themselves. So, I'm just trying to get close to the edge so I can still capture all this information on the left here on the bottom because I love these lines. Lines going down, the lines going around really add a lot. The cool part, too, is as it gets deeper here, too, the shadows become darker and darker. So, this will eventually just look like a black pit. Stand right here. Stand a little bit closer to me. Then, yeah. Exactly. Perfect. I might try to actually shoot you this way. Can I get you over here Aziz? Is there a way you can open your shoulders a little more towards me? Yeah. Perfect. Yeah. Right in the light. Exactly. One of the cool things about this macro shot, and macros like this, too, is that even though you're mainly shooting this graphic and most people think even we are shooting a wide shot, you're shooting this graphic. The importance of shooting detail shots like this is even in this flannel you can see, also in this have buttons that closes. This is a zipper. So, when you shoot the macro shot, this is getting into it and all of a sudden people get a feel of the flannel and get more intrigued, will actually go to the website to see more about that product. For this next one, I'm just going to have you slowly just make minor adjustments, just around the chests. I just want to see. You can use both hands, too. I just want to see. Yeah. So, I just really like this. His hands are just adding a little bit more emotion to the shot, a little more movement. So, it makes the shot a little more interesting. I like that the whole thing is frame to frame, corner to corner a full image. You have all these lines, architecture against the actual clothing on the model. So, it's just going to pop really hard. So, I'm going to go actually back and chase this light and to do that medium style shot. I want to know if there's a way where we can do it. We are even closer. Not even closer to me, but closer to the edge. I'm just being conscious of the wrinkles. That's the whole point of these lookbooks is that, make sure that these wrinkles aren't present and aren't disturbing, and making this shoot look amateur and cheap. Because the last wrinkles that you do beforehand, the better the products going to look because if you do a bunch of editing and you handle all these wrinkles after, you really have a chance of screwing up the actual product and making it look cheesy. So, even with this, I'm going to get on live view so I can get right above him. I think I've got everything that I needed. Location one is a wrap. I got my wide shot, my medium shot, and my tight shot. In this area, I was able to utilize the space and use the architecture and the lines to really fill up my frame from corner to corner, which is what I'm going for with this lookbook. So, this part is done. Let's head out to the next location. 5. Location 2: Garage Rooftop: Here we are at location number two, on top of a parking garage right off from the Wall Street. This is one of my favorite spot because we're on a level plain field with CTA trains that are passing by. It's going to be really cool shot once they start coming. So, it's kind of difficult. So, in between shots, I'm going to try to get my shot as best as possible and then just wait for these trains to come, going to be a bit of a waiting game but it's definitely going to be worth it once I get my shot. The ledge here is super thin so I'm not going to have them doing any standing so we're just going to play around with as many sitting positions. Soon as I get my wide shot, I'm going to do some tighter shots to my mid shot, crop in a little more but once again, still waiting for the train. I want my train in all three shots. This might take awhile but I'm here to play, so let's get it. So, right here, I want to make sure I'm just catching my symmetry. So I'm going to have and line up perfectly in the middle. One of the reasons Aziz and I chose this outfit, well, we loved the all blue fit and one of the other reasons is because of this red background, this red brick, this blue is going to just sit really nice in the photo and it's going to really pop against that read, especially when I come to edit, I'm going to really emphasize that red and really emphasize that blue just for that really tight harsh contrasts. This location fits my brief and storyboard perfectly because my shot is full from corner to corner because even when I'm shooting outside this building, I'm still getting the lines from these two exterior buildings which is actually great to the photo because they're bringing once again to the center and these lines shown in the building are bringing it right to Aziz. Can you move your butt like three inches this way? Perfectly, and can you put your foot up, I want to see what that looks like. I'm cool with that. All right dude we got to just wait for a train now. I love that. So, one thing even with this shot, just because there's a look book and you're still showing the product that doesn't mean you have to be super tight on it, you have other shots to show it, you're still trying to showcase a lifestyle. Still trying to showcase the brand. You're still trying to evoke a mood and that's like the most important thing because you're selling a lifestyle. A product is really the second because a product is part of that lifestyle. So, one thing that I also like about this spot is because the garage is slanted, this adds an extra line to it and you can see in the photo. Because he's opening the chest like that to me too as he's looking back, I'm really getting that center hit across his chest, really showcasing that raised by wolves. So, one thing that was great that he did is that he moved. So, I was able to get two or three shots out of that even though train lasted 3,4 seconds as it was passing because he moved and my shutter speed was quick enough I was able to get a couple of still sharp shots just out of that one train. One thing that I'm making sure that I'm doing at this location is keeping a shutter speed that is fast enough but also slow enough, where it keeps him still and my hand shake still enough where I'm still capturing sharp shots of him, but I'm also getting a bit of a motion blur from the train as it passes by. So, my shutter speed is around 100 just because that's enough for me to keep it sharp and still get that motion as the train. Sometimes I need to fluctuate and sometimes it doesn't work because sometimes the train is actually going past really slow and sometimes it's going fast. So, the blur is definitely fluctuating but as long as I'm catching a little bit of it, I'm happy. Another thing that we liked specific about this outfit is just the white shoes, his white Adidas pop really well against the dark blues in the outfit contrasts from the first look, which we used the black Vans. So, don't be afraid to mix it up, mess around with different sneakers. They're definitely still an accessory to the whole look. So, every piece of an outfit when you're shooting a look book needs to be well thought and looked after. So, now I'm going to worry about getting my medium shot, where I'm just kind of shooting his upper body so actually my frame is going to cutoff like right about here. So I'm not going to even to shoot his bottom leg. I'm very happy with that and even as I'm going along, something that I like to do, especially on this Mark III is once I find a frame that I like, this one specifically, I go ahead and rate it, so that when I bring it back into Lightroom, I'm able to actually just pick my select super-quick which we'll talk about later. But on pieces like this, especially when you have like multiple things to showcase, when I'm doing my detailed shots, I'm going to actually do a detail shot of just the hit, then I'm going to do a detail shot of this pocket as well because this is a unique thing to this piece and I'm sure the brand wants to highlight it. If I can, I'd love to get a shot at both of them at the same time together in one photo and then from there I'll probably let the brand decide which one they'd like to go with for the look book. I'm not happy with the shots, I'm happy with my medium shot, I'm going to focus on my details next. So, even as I'm shooting, about to shoot my detail, and I know I'm about to show you my detail and I'm going to get super tight on the product, I'm going to do another round of lint rolling. Make sure I really got everything. See actually, I'm actually kind of a fan of like big smooth wrinkles like this. Is just the cheap, packaged, I balled this up wrinkles that look amateur and weak that you're trying to steam out and get rid of. Sometimes this feels really natural especially to the product where you kind of have to play around it. Because that train was so long, even as I was shooting my detailed shot, I started somewhat kind of far away and then I got my shot, I moved it a little closer, I got my shot, moved in a little bit closer and got my shot. All with one train, you want to utilize it as much as possible but I'm pretty happy with my shots. Next location. 6. Location 3: Under the Bridge: So, this is my third location from my lookbook. We're underneath one of Chicago's bridges. You are really going to be highlighting the architecture here, there's so many lines. Another playground perfect for me. I'm going to be able to fill my frame from corner to corner using the lines in architecture from the bridge. We're going to have to be doing some free climbing and some experimenting, but this should come out to be a really cool shot, and be careful because this is a bridge, there's a lot of slime. Even when you get to those poles, it might be a little slippery. So, make sure if you face me, your left shoulder is facing me. Because I need to capture that hit. One thing that's great about this spot and this location for me, especially with symmetry and architecture is that this pole that I'm standing on, is my center, and it's going straight through all the way to the background. So as long as I use this as my guide, and using it with the grid through my viewfinder, I'm going to be able to get symmetrical shots the whole way through, the whole time. It's easy because he's a perfectly symmetrical, he can see the lines, and he's just following it. But I have all these lines. All these lines diverging straight to him. Talk about leading lines, it doesn't get any better than this. All right, stand back up. Put your hood up. So even when he's putting his hood up, as he's doing it, you ask him to do it slow and then you just shoot the whole way through so you're able to capture the whole moment. So, when you go back and you're picking your selects, you are able just to grab one frame that work the best in our whole take. What if you almost kind of walk from this way or that way? You can walk super slow as long as you just keep your head up. Actually, you can keep your head down. That's fine. Then, go back. So, I got my wide shot. Now, I'm worrying about my medium shot. I had him move a little bit closer, my perspective is going to stay the same. I really like my frame, but heavy and composer is the safest option but also the cleanest option. So, I'm just going to take my photos and I'm just going to let him do his thing. This is really where the collaboration happens between the model and the photographer, where he gets to do his thing and really show what he's all about. That's perfect, I like that. Yeah. Super tight. Very fresh. I need this side. So now I'm worrying about my detail shot. I'm really focusing on this hit. I like that the same hit on the hoodie is in the background a little bit blurred, but I'm really focusing on the jacket. The jacket's like the Holy Grail of this look, and I'm really trying to focus on the material. It really kind of pop out in the edit but as long as I'm doing my detail shot, and getting this close, you'll really get a feel of that material. Yeah. Do it again. Lift your head up as you do that. Yeah. Right there. We in business. [inaudible] I just kind of want to see if I can showcase just this, yeah. Perfect. Hold up. I'm just trying to make sure there's not as many wrinkles around the hit. I got my detail shot. So now, that I've got my three shot. My wide, my medium, my detail, my lookbook's complete. So, I got to get out of here safely and quickly, and start editing. Get it. 7. Editing for Products: Now that all three alphabets had been shot and I'm really happy with them, I'm back in my house, I've imported my photos, and I'm ready to go through my selects. As I was shooting, I was starring the photos as I went. So, I should be able to just to go to the bottom here, under filter click my one-star, and should pull up all the photos here. So, as I go through and look at all these shots, I'm really looking for a bunch of things. I really want obviously the product to be clear and sharp. The more true it is in the photo, the less editing I have to do and the less I have to really worry about it. Another thing that I'm looking for as I'm going through all these selects is, I'm really paying attention to the wrinkles once again. I want to get shots where I know I'm going to have to do as least editing as possible. Another thing that I'm looking for is, I just want to make sure that the lighting is right. I'm constantly changing my settings, the lighting outside is constantly changing, stuff like this and I'm going in and out. So, I just want to make sure that my shots have a consistent lighting, super clean, and it also consistent throughout the three selects that I'm picking, especially for that location. So, I've chosen these three specifically to go ahead and edit for this class. I've grabbed a wide shot from underneath the bridge, I grabbed a medium shot on top of the parking lot with the train, and then I grabbed a tight shot detailed macro. The first thing that I always do when I'm editing is, I'm just going make sure that I strain this photo. So, I'm going to press R, and then this line it up. I'm really worrying about this top line right here, I want this to be straight, but then I'm also paying attention to all these lines, and making sure they all line up really nicely. I'm going to go ahead and put one of my favorite presets that I created for myself in here. As you can tell, it really accentuate a lot of the blue's, and turn the shadows into this turquoise blue, something that's one of my favorite, but it also really made the maroon and the red pop out. One thing that I really want to worry about, is when I'm editing the maroon and the red here, specifically, I want to still pay attention to his skin tone. Because as I move the colors around, and I go to my hue here on the right, and I'm moving, see, it changed the color of the jacket but also, you can see the change in his skin tone. So, that's just something to always be conscious of. Because even that one click way to fix it, if you wanted to move your red all the way over here, you can just zoom in, click on his face, and then one thing I like to do, is just add some green and maybe a little bit of desaturation. Then just go over the reddest parts in this face to help calm all that redness down. One thing that I like doing, is if you press this bracket tool right here, it's actually a before and after. So, I'm always actually clicking this, going back and forth, and just checking the color of the actual product. I want to make sure that even though I've added this filter of color and I'm beginning to essentially other colors and mess around, I still want the product to stay true. I still want the color to stay true. So, I'll constantly go back and forth, and make sure it's right. So, obviously mine's a little more pinkish, a little more red. So, I'm just going to go back. So, I'll go back to the orange a little bit and see it coming back to where it's supposed to be. So, even with this magenta bar here on the bottom left, I actually have a strict control of the hoodie, that you can see. As I go all the way to the right hundred, it's got that maroon feel, then I go all the way left, it's got a purple feel. So, just like the red where I'm able to change the red of the jacket, with the magenta hue tool, I'm able to change the color of this hoodie. So, once again, I just want to make sure I'm staying very true to the product itself. Another thing I always like to do, is I like to mess around with the tone curves, at the red, green, and blue. I usually mess around the RGB, I mess around my shadows and my blacks usually. I like to get pretty deep, and just so it gets that contrast against the really bright white especially here, and then I always mess around with the very bottom last one here. In this, when I mess around with the tone curve here, especially in the bottom left, you can really see in the blacks, it gets super dark, super contrast, but as soon as I bring it up just a little bit, all of a sudden the blacks become really faded and flat. So, I just want to find a good balance where it's dark enough but also flat enough that it's still bright, and you can still see what's happening and showing the detail, but it's dark enough where it's creating that shadow, it's trading that depth and giving that feel. So, I'm actually pretty happy with my shot. I might brighten it up a little bit. As I brighten it up, you can see everything that's getting brightened, and I could actually bring the shadows down a bit just to help him stand out a little more. Because he's so dark, and he's basically the main shadow in the image, if I just bring this shadow down, you can see he just is standing out so much. So, I'll just find a good balance, and just do that all the way through. Mess with your exposure, your contrast, highlights, shadows, whites, blacks. So, once I'm done really doing my first round of edits, I always like to check it out on full-screen, have no distractions on the side, except some just pure black, and I'm able just to look at the image, let it soak in and see if there's anything else I need to change. So, now that I'm done editing this photo, I'm going to work on my medium shot. Before I do that, I'm going to go ahead and press Apple C, Command C. That's going to pull out my copy settings. I'm going to go through and check everything to make sure that everything that I'm copying, I want to be able to bring to my next one. So, I'm just going to go ahead and press Command V, and boom, walla. My edit is here. To tackle some of the debris, I'm just going to go ahead and click Q. This brings up the spot removal tool, this is one of my favorite tools in the game. I use this nonstop. I easily get rid of tiny little debris, hair that's on t-shirts, sometimes I've used to get rid of people, zoom into what I want to grab. You just see this tiny little piece of white, so when I click Q, and then I'm just going to go in as tight as I can around it. Then sometimes the tool is smart enough, will grab something really similar where you don't really need to move it around and zoom back out, and it was never there. So, once again, I have my preset copied. So, I'm just going to go to my third photo, click apple V, and paste my edit. One of the first things that I noticed that I really need to take care of, is the pink on the phone. The pink on my edit is way brighter, so I'm just going to run to my purple or magenta on the hue saturation and luminous, and definitely, because it's such a lighter tone and not really a different color at the beginning, I'm going to go straight to my luminance. I'm going to mess around with the magenta. Instantly knew that that was going to be what I needed to change. So, as I move right and left, you can really see this graphic just completely changing, and it's also just focused solely on the phone just because that's the color I'm changing. So, right now, I'm just going to get it to a point that it's supposed to be at. We need to just go back and forth. It took a little bit of tweaking actually on the luminance side, the saturating side and the hue sides to get the cell phone back to actually where it needed to be. One thing that I like to do, especially with black shirts, it really can help prevent some imperfections and some wrinkles, is just really boosting down the shadow, or boosting down the blacks. You definitely want to play with it. You don't want it to seem too dark, but just dark enough where it adds some contrasts, and also adds some protection for you. At this point, I could click Q and started doing my spot removal for some of the smaller easier stuff. It's really the tiny small debris just like this one pieces of lint that I really like to do on Lightroom. Really easy, really simple, really quick and effective. I mean, just look at that. Look at all this little stuff all right here, and then gone. It's so much cleaner, so much more professional. The viewer doesn't even think about it, they don't even notice it. The only thing that they're focusing on is the logo, the graphic, the clothing, the shot itself, and not worrying about the imperfections, the pieces of hair length, anything that could distract them from really focusing on the T-shirt, being curious, and driving traffic to the company's website. Now, I have my three shots that I'm really hyped with, my detail shot, it's been edited, my medium sot, and my white shot. So, one thing to do in addition to really speed up your editing process as you're really working on one location with one outfit, is once again doing that Apple copy, Apple C to grab the settings from that particular one. So, when you click the G again to go back to the grid, you select that entire location in all those photos, if you right-click, and go to paste settings with the copied already on there, it'll actually paste that settings on all those particular photos. So, you're able to just quickly pick up where you left off on the previous photo so, you can start making those tiny adjustments. See, the photos are now being placed on all of these. Now, that I have my edit for all three locations and three outfits, I'm going to go ahead and finish my nine selects that I'm going to use for my look book. Shout out to Aziz for modeling in my lookbook, and a big shot out to Raised by Wolves and SkillShare for the opportunity. Till next time, I'm out. 8. Learn More with trashhand :