Transcripts
1. Skillshare welcome 25: Hi, welcome to the ultimate starter Guide
to Senior Photography. This course will give
you the tools to create and edit gorgeous
Senior Portrait galleries. My name is Robin Cheer, and I've been running
Robin Cheer photography in San Diego for ten years. My niche is photographing
high school seniors, and I have photographed
over 1,400 seniors to date. Currently, I am the senior
portrait photographer for an all girls school that usually has 200 plus seniors every year. I feel like it's important
to note here that I am a clique pro elite
and have earned my unraveled expert artist
certification as well as my master of photography
and senior portraiture. But you're wondering, what
does that mean to me? Well, it means my experts have deemed me an expert in my field, and I'm very excited to
share all of my experience, tips and tricks of
the trade with you. By the time you finish my class, you will have learned
the following. Posing cues to help create gorgeous portraits
and galleries, composition tips for positioning
your subject, lighting, cropping your images, editing tips to make your images pop, styling, and much more. The course is broken down into segments so that you can
go at your own pace. I have also included some
instructional videos to help explain some of
the topics more clearly. And finally, for
your class project, you'll be asked to
submit a gallery of 15 to 20 images that feature the use of
harsh and flat light, action posing like walking, capturing emotion, like
a natural gigoro laugh. Show the use of layering,
featuring a foreground, middle, and background, and
the use of leading lines. With that said, this
course is for you if you are a new photographer
or established photographer, looking to add seniors
to your portfolio. The beginning of this course, you will be able to put to use what you learn immediately. You will become a
better photographer through knowledge and practicing
what you have learned. All you need to get started is a willingness to learn and a passion to grow your business. I'd love you to join me
in the course so we can grow your business
together. See you in class.
2. Hey, Girl, Hey! Location Scouting: Good morning. Welcome to
Robin Scheer Photography. I am so happy to have you here. Good to see you. I'm excited that you've chosen my course. I'm excited to have you
along for the journey. Please let me know if
you have any questions. Feel free to e mail me. And if you chose
the Zoom option, I'm looking forward
to meeting you and chatting with you and
answering all the questions. Enjoy your time with me, and I hope you get a
lot of the materials. Take, talk to you soon. Hi. So I'm going to start
shooting with my client, Lily, and we are starting
it's kind of a cloudy day. So as soon as the
sun comes back out, we will talk about
back lighting. And I'm going to start
with flat light right now. So when you are at the beach and you're starting at sunset
and it's pretty sunny, you're going to start
in a flat light area somewhere where there's shade, so you can get your
traditional portraits, and then you can go and do some back lighting and get
some more artistic shots. But we'll start with
the flat lighting now. So right now, the sun is coming
from the ocean this way. So I'm going to tuck Lily over
here into the shaded area, and then I'll take some
shots starting here. Okay. So. Beautiful. Beautiful. Okay. Lean horsing
with a little giggle. G mettle hay, girl. Yes. Reach up with that right
hand and tuck your hair. Yes. Leave that other hand
on your leg. Yes, girl. Yes. Lean horsing with a giggle. G me hay. Yes. Check your hair and look
forward to water. Beautiful. Beautiful. Okay. So we're going to start
with some back lighting and some artistic shots once you get your t light Standard portraits. So I'm going to start
with the motion and back lighting Thatga Okay. Okay. So when you do a pose, having her against the rock, I did a wide angle pose and
then you're going to come up and get all the
angles that you can to maximize every
pose that you do. Okay. And then for me. Yeah. Okay. Take a couple of steps and then turn around. You ready to go.
Ready go. Come back. Okay. So now the sun has
gone into cloudy day. So now what I'm going to
do is put her in more of a scenic position
and try and capture the clouds and try to get some
sea spray and try to make use of the landscape there's no sun for
the play around here. Are outside outside. Yeah. Okay. Hi, I'm Robin with
Robin here photography. And so we are location
scouting and I will be sharing with you how we shoot and the sun with back
light flat light, and then just some kind of dramatic fun playing
with the sun lighting. So we're going to start
with some flatlight now and we're going
to use this pathway. And this is my model, Sydney. And you'll see the pathway here is there's some shade here. So I'm going to start here
while the sun is really high, and we're shooting at
the beach and it's about 70 minutes before sunset. So I'm going to start with this, and then you can kind of
get me shooting here. So go ahead and back up past
that little flat of light. You can stop it. Okay. So you'll see she's going to walk through a
slot of light towards me, and that's okay because
we're doing more movement. So it's okay if the light's not perfectly flat
at this moment. So we'll start with movement
and then I'll put her in some flat light and take
some formal portraits. Okay. All right. So I'm going to
have you walk? You can stop. Okay, go ahead and go.
Yes, girl, slower. Gorgeous. Yes. I love
it. Stay right there. And give me an angle. Yes.
And coup that knee near me and spring that hair
on this side. That side? Yes. And then just find it. Reach up and test your hair. Yes. Lean towards
me a little more. And then angle towards
me a little more? Yes. Lean towards me
and give me a giggle, give me a Yes. Forges. Forges. That was so pretty. Do it again. Can on that hand. Gorgeous.
Yes. Look away. Darling. I go to come closer. G. Yes. Yes. Tu Gorgeous. Gorgeous. Do it one more time. And you can go slower and
just kind of if you want, just take like two
or three steps. So you can Hand on hip? Yes. For just look towards me. Yes. Beautiful. And
then, give me a little. I don't know why that.
Oh, very pretty. One more Okay. I'm back and you have finished the location scouting video, which included the
two location scouts and featuring some of the
stills that I had edited. And I hope you get a lot
out of the editing videos. If you have not
watched those yet, go ahead and watch those and please e mail me if you
have any questions. Again, if you've
chosen a Zoom option, I'm looking forward to
meeting you and chatting with you and thanks so
much for joining me. I really really appreciate it, and I hope you've got a
lot out of materials. Take care and be well.
3. Posing Talk: Hey, there. Welcome to the
posing part of the course. I just wanted to
pop on and give you a little bit more detail as to what I actually
say to my seniors. Some of my seniors
are pretty shy, some are pretty extroverted. But either way, when
I start shooting, I will have them look at the
camera and do whatever pose, I'm having them do, and
I'll say, Hey, girl, hey, and I'll actually have
them say it back to me. This will always elicit a laugh. It always makes us both feel
a little goofy, which again, that just elicits a very
genuine laugh and smile, and that's what
you're looking for. At that point, you'll know
if someone's going to play along with you
or they're not. If they're not,
then you've got to have some tricks in your bag to get those genuine
faces and emotions. Now, I'll note in the
beginning of a shoot, I'll use my longer lens and I'll have them a little
bit farther away from me, and I might have them
do a walking pose and that allows them
to warm up to me, me to warm up to
them a little bit. Even though we might
have spoken beforehand, being in person with the
camera in their face, giving them some space
usually helps a little bit. If they're shy, I'll
start asking them, have they done their college apps or do they know
where they're going? Are they going to
take a gap year? Anything that helps them just keep talking and not really thinking
about me shooting. And while they're talking,
I'll continue to shoot. Now I'll also continue in
the middle of a sentence, I'll even say, where are
you going to school? Hold your jacket this way, and I'll keep shooting and trying to get them
to giggle or laugh. If they've committed to school, let's say they're
going to Ginzaga, I'll have them say in
the middle of a shoot, Gozags again, sometimes
they might feel goofy, but they'll go with it, even the shy ones and they'll laugh. Then you want to keep
shooting because that's when you're
going to get um, just a genuine
facial expression. So again, that's what
you're looking for. So the other thing is if you think you're going to get
nervous when you're out there, you can always make a bullet
point list on a index card. Take a picture of that, and then that'll be the first picture on your
camera role when you head out. So if you get nervous
for a minute, you can always just look
down at your camera, tell them you're going
through the pictures. And tell them,
everything looks great. You can scroll back
to that first image, look at the talking points, tell them you're
just making sure the lighting looks
good on the pictures, and basically you're giving each other a second to
take a breath to get just calm down or for
you to catch your thoughts. Then from there, you're going to have your talking
points again and you'll feel a little bit more ready
to rock and roll and finish that shot or that
segment of the shoot. So Okay. Trust me. The more you do this, the easier it gets and all of a sudden, it's just second nature, and you're just rolling
with it and you know your circuit and you know what questions
you're going to ask, the different type of kids. The other thing I always
recommend that you do is If you just need
a minute to say, the lighting just got funky
or the sun just went in, what do I really
want to do here? You can either tell
them that and be very transparent or you can say you're going to
change your lens, tell them to take a breath
or change their jacket. That gives you both
a minute to just regroup and you can go to your bag. You
can change your lens. A lot of times I change
my lens just to start getting more creative
and different look throughout the chute. Don't be afraid to do
that, you're allowed. So really, with that
in your toolbox, I think you're going
to be really well prepared to just get
out there and crush it. Yeah. Think about that and let me know if you
have any questions. I really appreciate
you being here, and I hope that that was
incredibly helpful. Okay. I'll see you in the next module.
4. Hair Swish Shoot: Girl yet. Yeah. That
was Gorgas was one.
5. Walking Shoot: Yes, Carl, yes. Gorgeous. Give me a google. Stay there. Stay there,
and then give me a
6. Lenses: why and what to use: Hey, there. Let's talk lenses. When I start to shoot, I will normally start with my
70 to 200 millimeter lens. The reason for that
is number one, it allows me to get some
distance from my client, that gives everyone
some breathing space, some wiggle room to
get the jitters out. It lets my client do
some walking poses, take some deep breaths. Sometimes they're not all super extroverted and ready to
get in front of the camera, so this allows some
breathing space. The second reason I will
use that lens is because the longer lens offers beautiful compression and
that leads to great Boca. I love that look in a picture. I will start with that. Then
a lot of times I will change my lens and I will pop
on my 85 millimeter, and that is a great
go to lens for portraits, especially
head shots. You can use that lens for an
entire shoot if you want to, but just recognize that
with the 85 millimeter, you'll have to get some distance
to get full body shots, which is fine, but you just have to know
that going into it. I normally use my 50 millimeter
because it sees as close to the human eye as possible in terms of distortion
and how we see things. It's incredibly versatile
depending on your F stop and how much you're zooming or not zooming
with your feet. You can create a ton of different looks with it.
I just really love it. I'll usually use that for
the remainder of the shot. If everything's going great
and everyone's feeling good, sometimes I will use the 50, the whole shoot and pop on
the 85 for a head shot. If we have time, I don't mind doing that
and getting creative. It depends on how your time is going at the shoot and
how people are feeling. The other lens that's in my
bag is the 35 millimeter. This is a great landscape lens. If you want to get
the outfit and the landscape and the whole
Kitkle. That is a great lens. I don't love the
Boca for the 35. I don't tend to use it a
whole lot. I stick to the 50. Like I said, if I've
gotten a lot with the 50 and I want to get some
more creative shots with the 85, I'll do that. Again, it just depends on
how your shoot is going. So I'll wrap that up
with what's in my bag, the 70 to 200. I'll use that. Great Boca gives you some distance with your
client to warm up. Number two, the 50 millimeter, love it, super versatile. Depending on your F stop, great Boca The 85 millimeter a hands down winner
for head shots. But great all around lens, if you want to use it
for the whole shoot. But your 50 is going to
give you more wider, I should say, give you
more landscape feeling. Um, and then the 35 is
your landscape gal, but not great Boca,
so keep that in mind. Those are the lenses
I use the most at my chutes and use them,
how you want to use them. Get creative, think
out of the box, or get your circuit set up and use them like that so that
you know going into a chute, you know what your whole gallery is going to look like before you even done before
you're even done, and that's not a
bad thing either. So um, Yeah, test them out, go out and do some
shoots with your kids or your friends and see
what you like most. It's up to you because only
you can create what you feel, and that's the beauty of all of us being out there
in creating art. Get creative and have
a blast. Thanks.
7. CreateBrush SkSh: Good morning, and welcome back to Robin Sheer Photography. Today, we are going to talk
about creating brushes. So I will start with
this image here, and I will actually reset it. So now we are in SoC
straight out of camera. And as usual, I will
pop on my basic preset. And this is too pink too warm. Although I do like a warm image. I will take the eye
dropper and search for a white or mid tone gray to
check the white balance. You can check the white
of the eyes or teeth, but there's not a
lot showing here. So I'm going to grab this
kind of white gray area here, and you can see
sometimes I won't let you do it if it's too white. So I might just grab something here
that's a little bit gray. There we go. Zooming out helped. So this looks a little
bit more like so. So if I do a backslash,
you can check so. So it's not exactly the same. It is too pink for me. I will bring that down, and I will bring up the warmth. And also, I will bring
up the exposure. So you can see, we're getting to more creamy skin tones here. So I'm going to crop it and I want to draw the viewer's eye in
where I want them to be seen and focusing on. So that would be the eyes. So I actually can
move this over a bit. So we're getting more
of a focus on the face. You don't want to crop at joints or the waist or
an elbow or a wrist. So I'll probably
just go back and center him and bring
this about mid thigh. So we're just going
to center him and his face will be the focus. So when you're checking
the skin tones, you're going to grab
the eye dropper, go to a mid tone area, and you're looking
for 705-60-5505. So we're almost there.
We're going to bring up the exposure a bit.
Check it again. We're getting closer. And I'm going to bring
it up a little bit more. And bring up the warmth
a little bit more. And I'm always going to make sure I have
creamy skin tones. So we are at 704-60-8509. That's pretty close, and I'm
going to leave it there. So before I create a brush, I'll also go in and
clean up any blemishes. So I'll use the
healing tool for that, and you can check out
my other video for using the healing tool
versus the clone stamp. So the healing tool is a more gentle approach
to cleaning up acne or any kind of sunspots. So I like using the
healing tool for that. I'll give you a quick
example of the clone tool. So if I click cloning and I want to replace the spot
and I move that here, you'll see it gives me
the exact replication, and that's not what we want when we're cleaning
up skin tones. Or skin blemishes. So I'll go back to the heel. So we are done with that. And so here we're going
to create a brush that will smooth out
the skin just a hair. So you'll go to
masking and brush. And here you'll see custom. So from here,
You'll see the red. That is where your brush
is going to take effect. Again, you don't
want the brush over any hair parts because
you're basically going to smooth out
the skin just a little bit and you want everything
to be very realistic, just a little bit better. So from here, I will go back, so it shows eyes
for some reason, but I'm going to go to we can keep it at eyes and I'll just
clear everything out. So you can do a
double click here, that'll bring it back to zero. But what I'll do is I'll Go
down to clarity and texture, and you're going to
want to bring it down to the negatives. And if you want to see extreme, focus here on the skin
while I do the extreme. It gets a little
barbie skin looking, and that is not what you want. A double click here
will zero you out. So you just want to
bring the texture and the clarity down
just to smidge. So we're going to zero out the highlights, zero
out the whites. And so we can see here my
lens profile for some reason, didn't take here,
and it was a Con 85. It should be. Maybe
that was a Tamron. Not quite sure why that's not
grabbing the Con 85 here. I'm just going to
leave it the 7,200. Yes, I did have my 7,200. So we're going to reset that. That's what
we're going to do. And now we're going to go
down to texture and clarity. Okay. Where did that go? Here we go. And we're going
to take it down a bit. And when we come back up, we are going to go down
to the very bottom. I'll say save current
settings as preset and we'll call it smooth. Skin. Create. So now you have a
brush called smooth skin. If we do then backslash, you can see before,
after, before, after. And zoom out before after. It just tidies him
up just a hair. I'm going to go back into that masking and
choose that point. I'm going to delete
it. And we're going to go through
that one more time. So you're going to click mask, choose brush, and here
it says, smooth skin. We're going to reset that and
everything is zeroed out. So everything that would create
the brush is zeroed out. So whatever it pulls up, you can just reset and go
right from the beginning. So we'll go down and we'll take texture down, clarity down. And you screw all the way
to the bottom and it says, save current settings
as preset, you name it. And then that is your brush. So here, we're just going
to go down and choose smooth skin because we
had already chosen it. We will go ahead
and brush it on. There we go. That is
how you create a brush. I'll show you one
other brush you can create and normally do
it for girl's hair, especially if it's Curly. If you go into masking, create new mask, create a brush. Now, for some reason, it chose smooth skin again, we're
going to reset that. And if we mask off his hair, and you wanted to bring
up the highlights in the contrast in the
highlights here, the exposure. And the shadows, and now you can go before,
after, before, after. And then it says custom here. That's when you
scroll to the bottom. It says, save current
settings as new preset, and you could call
it hair highlight. And then you would save it
or I've already used that, so we'll say a highlights. And then you would create it. So now that brush is there. So once you close out masks, if you wanted to go in and let's say you wanted to use
it on a different part, you could mask out the mustache, scroll down to your
hair highlights. And that brush is
already created, so you could brush it
on wherever you want. So that way, when you
go to your next image, let's say we go to the next one. If I wanted to grab
that hair brush, I would scroll down and
find hair highlights, and I could brush it on and you see it goes
right onto his hair. So once you create a brush, it is always in your arsenal. So I'll choose brush, and you can see, these
are brushes I've made. For different subjects. So once you make them,
they're there for you. So that's how you
create a brush. Check out the other
videos to learn other edits you can create within your
light room gallery. And with that, I will check
in with you later. Take care. Okay.
8. Skin Tone SkSh: Hey, there, and welcome back
to Robin Shear photography. Today, we're going to talk about skin tones and the numbers you need to create a
creamy skin tone. So let's get into it. This is an image I have. I'm going to reset it so that it's so straight out of camera. And as usual, I will
apply my preset. It is too warm and
too pink to magenta. So what I'll do in this scenario is zoom into
something white or gray. Teeth and eye whites
are a great place to use the eye dropper to
set your white balance. So this obviously
isn't bright enough. It's a little too pink still. I do like my images a bit more warm and I will
increase the exposure. You can see it feels a
little too green still. And I'm going to go ahead
and crop it so that I can bring my viewer in where
I want them to be focusing, which is his eye. And if I backslash,
I can see Sk. So I'm not making
any crazy edits yet. If you use your eye dropper, you can bring it to
a mid tone area. And for a Caucasian, you want to look for the
RGB numbers to be red, green, blue, 75, 65, 55, so we're pretty
much on point. And this is a good area. This is usually a good area. You can see it's a
little dark there. So I'm going to bring up the exposure just
a little bit more. And just a pro tip, if you click on the
box of exposure, if you want to go in
very small increments, you can use your arrows. So up, down I kind of like that, so I'm going to
leave it there, and now I'm going to check the RGB. So it's a little bit high now, and in here it's perfect. So your numbers for Caucasians are 705-60-5505 or 805-70-8608. And I did include a skin tone
cheat sheet in the class, so take a look at it because you will have different RGBs for blacks Asians and
Even under Caucasian, you'll have a darker skin tone, a lighter skin tone, so you can look through that cheat sheet because
even on a Caucasian, if it is a very fair
skinned person, you could have the
numbers 908676. That's not usually that common. This 75, 65 55 is more common. I'm going to leave that there. So with that skin tone, I'll go ahead and do a
little bit of an edit. I'll use the healing
tool to clean up a couple of just little
marks on his face. He's a surfer, so he has
a couple of sunspots. And if it's an acne scar
if it's acne or sunspots, something you can get rid of, I'll usually remove
it from the image. If it's a scar, you
want to check with your client if that's a part of their story that they want
to keep in their image. So these are all the
brushes I've created, and I have another video
on creating brushes. I'm going to use this skin brush and just kind of
smooth out his skin. For guys, I don't normally
make their skin this smooth. So I will lessen that
right here on the amount. If you go to the extremes, you can see what you're
doing to the skin. So when you brush it on, it will normally be at 100. It's a hair too smooth
for me for a guy. So I'll bring it down just
a shade. I like that. And then I'm going to go in and grab my brush for sharp eyes. Every now and then, this
one's too hard, too harsh. I like that, though. It just
gave his eyes a little pop. And backslash for
before and then after. It just keeps you in check
as to what adjustments you are making on your subject because you don't
want a crazy edit. You really want it to be a
beautiful timeless edit. And so that's what I'm
normally going for. I'm just cleaning up some
linspots on his jacket. And if I say before or after, and then we check his
skin tone one more time, 708-60-8508, so that
looks really good. I'm very happy with that. So in terms of skin tones, go ahead and check
out the cheat sheet. I will say one more
item with skin tones. If you weren't getting
where you want to get to with your temperature and
your exposure and your tin, you can always come down to luminans And this orange
slider, watch the extremes. And if I double click it, it'll take it back to zero. So if I wanted him to be a
hair darker, I can come down. If I want to be a little bit
brighter, I can come up. And again, you're going
to use your dropper, double check your numbers, make sure you are still hitting your marks so that you
have a creamy skin tone. So that is how I normally go
about getting my skin tones. So again, I'll put on my preset, check my white balance. I will adjust from there, and then I will go about with my eye dropper,
checking skin tone, and I will adjust
tint, temperature, exposure, and illuminants and the illuminants if I need to. Always checking with
the eye dropper, your RGB numbers in the target. So with that, I'll leave
you and I will see you in the next video.
All right. Take care.
9. Crop Option SkSh: Hi there. Welcome back to
Robin Shear Photography. In this particular video, we'll talk about cropping
and your options. We'll go ahead and start
with this particular image, which is SoC straight
out of camera. And as always, I'll
pop on my preset. And fix the exposure, and it's a bit too warm for me. So grab the eye dropper head to a gray or white spot in the image to start to figure
out your white balance. This is a bit too cool and a
little bit too green for me. So I will go about adjusting. And my goal is to find
a creamy skin tone. So if I zoom in and grab my
eye dropper, For a caucasian, I'm looking for the numbers, and we are particularly on
a highlight right here. So on a highlight,
you'll want 908676, and that's almost
exactly where we are. If you wanted to go more
of a mid tone, say here, you're going to look
for 805-70-5605 in the RGB numbers
on that target. The other numbers you
could shoot for in a mid tone are 705-50-5605. These numbers I'm
very happy with. I think his skin tone
looks fantastic. I'm going to leave it there.
Let's talk about cropping. So if you click on
your Crop tool, and then you head up
to tools and crop, and we'll go to view and you'll go to tools
and cpridGide overlay, you will see all the
options for cropping. You'll have grid
And thirds fifths, diagonal, center triangle,
golden ratio, golden spiral. Let's put the tool back on here. So crop guide grid. Third Let's do the grid.
There's your grid. Thirds This is a long
way around of doing it, but you see all your options, you're going up to tools, crop guide overlay, then
you'll have your diagonal. Now, in the diagonal, you would want these cross hairs are where you want
your viewer to look. So if I was using this for my guide for
this particular image, I would probably bring it down so that the viewer's
eye goes right here. Now, if we go to tools and guide overlay and
we go to center, then you would move it Wherever you want
your viewer to look, that is where you
put this cross hair. So if we go to tools, crop guide overlay and
we go to triangle, again, here, You probably
wouldn't put it here. You could use both of
those so that he's on the diagonal and it's on the
cross hairs are on his face. Tools, crop guide
overlay, golden ratio. So again, you would put
them on the cross hairs. I would probably put them on this side as that's how I
tend to crop professionally, and if I hit Enter, that is where you're looking. That is where I put
my cross hairs. Tools, crop guide overlay, and then we will go
to golden spiral. Again, This spiral is where
you want your viewer to look. I don't love this
particular one. It does serve its
purpose for some images. It doesn't for this one,
in my opinion, Tools, crop guide overlay, Now, here are your aspect ratios. One to one is your
Instagram, four b five, is your eight by ten, two by three is your four to
six and a five by seven. So it kind of shows you where in the frame he would be for these. If I go to tools and crop
guide aspect ratios, you can choose which ones you
want to see on the screen. So I could click 8.5 by 11, 16 by nine, and now
they'll all show up. Again, if you go to tools,
crop guide overlay, choose aspect ratios,
you can take them off. And then when you come over
here to the cropping tool, these are what you're going
to see in the drop down. I tend to do a rule
of thirds crop. So if I reset this whole thing, and I want an eight by ten. And now, on a Mac, if you hit the letter O, you can cycle through
all of your options. So here's the rule of thirds. Normally, I would just
place him right about here so that he's
on all the lines. So my viewer is
drawn in right here. So that's how you're going
to use your cropping. I will say, because I purposely took this
image with layering, so I have a foreground, a middle, and a background. My particular crop would
most likely be a bit larger on this particular image because I want the layering. I want the interest. Even though my viewers
eyes being drawn here, they spend a few minutes in the frame because of the
depth and the layering. So that's something to think
about when you are shooting. So those are your crop options, and you will want
to keep how you shot in mind when
you're cropping so that you're maximizing your image and the effect
it has on the viewer. So with that, I leave you and I will see you
in the next video. And definitely message
me if you'd like to see a video on something
I haven't touched on. Thanks so much.
10. Linear Radial SkSh: Hi there. Welcome back to
Robin Shear photography. Today, I'm going to focus on the linear and radial gradient. And we are going to
use this image because the linear gradient is best described when you're using a sky off the horizon like this, just so you get the
full feel for it. So, right, let's get into it. So I'm going to use this image. It is SoC straight
out of camera. And as usual, I'll pop on my
preset and go about doing the white balance and
getting my color situated. I like a warm image. This seems a little too cool, a little too green, and
I'll up the exposure. And you can see, I under exposed to keep the details
of the clouds, I'm going to expose
a little bit more for her skin tone here. I'm going to go ahead
and crop it using the rule of thirds and this lifeguard tower I use to make sure the horizons level
in the buildings upright. So if I zoom in to her skin, And use my eye dropper to check. This would be maybe a mid
tone, almost a highlight. So I'm looking for 705-60-5505. I've talked about that
in my skin tone video. So we're a little bit
off on the blues here. So I might raise the
temperature a bit in the exposure of hair and see where I can get
with the readings. So if I head up here, this is more of a
highlight right there. And if you're going to
highlight, it would be 90, 86 76 would be your RGB
reading on this target. So we're still off. If I go back slash to
see my original image, It's her, but with an umph. So I feel like the skin tone
is still looking creamy. The sun was coming from this
side at this time of day. So I might go ahead and read a couple other areas to
see what's happening. So we're still off. So with the exposure up, I'll go ahead and do another
white balance reading on the white here of her dress. So It was more of a cloudy day, I'll go ahead and I
want it to be a hair warmer and I will check
the skin tone again. So we might be at these numbers because of
how cloudy the day was. Here we're getting a more
normal reading, 805-70-8603. Another reading of RGB you
would want is 805-70-8608. So this is a lot closer. So if I pull in here
and check Again, we're a lot closer here, 706-60-8503, if we were
looking for 705-60-5505. So this is a very much
more normal reading of skin tone here. So I'm feeling good about it. I think it looks creamy. I like it. So I'll stick
with the skin tone here. That is a main focus when
you have your subject in the image versus
just a landscape photo. So now we'll go
ahead and bring back the sky using the
linear gradient. So we'll grab it here, and you'll pull down Okay. So anything from here to here is what's
going to be affected, and you'll see that the mask is on there showing you what's
going to be affected. And it eks a little bit
down into her skin. We'll have to keep a
close eye on that. So if I want to bring this back, I'll lower the exposure. You can already see
the clouds coming in, you can see the blue
coming back in. You can bring the
highlights down a bit, the shadows, and bring
the whites down. And now if we go so, you're getting more clouds. Now, it is more blue in the so so you could come
down here to the tent. Bring the tint down
from warm to more cool. You'll get more blue,
bring down the pink, so you get a little
bit more blue. Let's go back to the original. Okay. So the other option here is to go down
to the de hazing. So you can grab some
more texture by increasing the texture,
increasing the clarity. And when you move the dehaze, if you want to see how it
works, go to the extremes. So it takes away the clarity of the clouds and then
it brings it back in. So obviously, that's a crazy
edit. You don't want that. If you double click,
it'll zero it out here. You can see it
goes back to zero. So if I bring the
dehaze up a hair, if you watch down here, You can see a little bit more of that coming into
the image more. So if we go back slash, you can see that there
are mountains back there, and her face is a
little bit affected, so I would raise that
up just to shade. And bring that down. And just keep a close
eye on her skin tone. So I still feel like it
looks beautiful here. So if we go, now we just have an image
with a little bit of a pop because with the preset and the
effects that we did, you're getting a
little bit more of this ice plant and
little magenta. So before after
and before after. And so now we have some
more clouds retained there. So, that's your linear gradient. To use a radial gradient, let's go to this image. And if I If we want to, we can go here and select the other image
and sync these settings. So whatever we did on
this first image will now be applied to this image. I did not choose
for the masking, which was the linear
gradient to be applied. So I can just do one quite quickly and just kind
of bring some of that. Those clouds back in. And I'll show you
one other thing with the linear gradient
and the radial gradient. Whatever you create,
just like the brushes, and I did a video on that. Now that we created
this linear mask, you can go in here
and scroll down to the very bottom because of the way this green
recording is set up. You have to go all the
way down to the bottom, you'll see save current
settings as new preset. I can call this Susie's sky. If that was my client's name. And then for the rest
of this gallery, if I needed that
linear gradient, I can go in here and
grab Susie's sky. So I'll show you how that works. So let's say I delete that. And let's say I just
came into this image, and I'm like, Oh, I want to
use Susie's linear gradient. I'll go into the linear.
I'll pull it down. I'll go into here, and then
I'll search for Susie's sky. Here we go. And that'll automatically
apply what we did. So before, after. So that's so, This is as we're editing. So that's your linear, and we can say this setting. So now we're going
to do a gradient. Let's say this image, I wanted to pull
the exposure down, but let's say I want her to be a little bit
more of a pop. We can do a couple of things. We can use the radial gradient. And as you pull it out, It is applying Susie's sky
right here for some reason, but we can just go in here and I can scroll all
the way up to exposure. It'll put it at 100 and you
can just bring it down. So that would be negative. If I zero it out, and
then just pop it up. You can see this
highlight on her leg. Now, that would be let's say
that's all I wanted to do. And let's say that's the mask. So you'll want to
watch this highlight. The other thing you can do
with this radial filter. This effect is applying what's inside this very center circle. So this amount of feathering, this distance here,
you can lower it. So see how that goes smaller
so that more of the circle. More of what's in the
circle will be affected. So now, a bigger area of
that circle is now affected. And again, we can go in
all the way to the bottom, save current settings
as new preset, and we can call
it Susie's radio. And that would be
your radial filter. That way if you
wanted to pop that filter on anything else, you would just draw the circle, go into your save settings, your save list of brushes, in this case, radial files, and choose the Susie's radial. So that is how you would use the linear linear and
radial gradients. And again, you can save
them just like you can brushes so that you're not
constantly recreating them. And that also speeds
up your workflow. So have fun with that, try it on all kinds of
things and see the effects, move your sliders
to the extreme, so you can see the effect it's
having inside that filter, and then you can save the
settings, like I said, speed up your workflow, and that's another
way to get creative in your editing and
speed it up as well. So have fun with
that and message me if you'd like
to see a video on anything else, I'd
be happy to do one. And I hope you're enjoying the class and getting
a lot out of it. All right. Thanks
a lot. Bye bye.
11. Heal Clone SkSh: Hey, there. Welcome back
to Robin Seer photography. Today I want to talk about
the healing and cloning tool, and this will be a
pretty quick video, but I wanted to focus on
it very specifically. The healing tool, I feel like
I use more for blemishes, whereas the cloning is probably more for removing items
in the background. So with that, let's take a
look at this particular image, and I will show you
the difference. So let's go ahead and get
my white balance set here. I'm going to choose
something kind of gray. It's a little bit
too warm, too dark. Again, when you're
correcting white balance, you can use the whites
of the eyes or teeth. I'm going to use
this little area. And so you can see
what I adjusted. It kind of was on the spot. So if you do the backslash, so you can see before and
after before and after, it just gives it a little pop. So let's get into
the healing tool. If I zoom in, I'm at 100%, you can see that here, and
I use the healing tool. This is the healing,
this is the cloning. So if I use the healing
tool, this is the feather. So let me do it on the
green here so you can see. When I watch that inner circle. When I feather it to 100%, What is going to be
affected when you use the healing is right inside that little
circle with the plus. So that's what's
going to be affected. And I'll give you an example. And again, use the
sliders to go to the extreme so you can really see the difference
of what's happening. So if I go to the
extremes here and let's say I want to get rid of
this little piece of hair. So I'm going to put the
healing tool there. It will naturally choose
a different area. And if you don't like that
area, let me zoom out. You can grab it here and move it around and see what
looks most natural. So if I zoom back in
and I close it out, you can do before or
after, before, after. It looks very natural. Now let's use the healing tool and I'll put the
feather around 50. Just to get rid of a
couple of blemishes. And again, I didn't
like where it picks, so I'm going to move it because I want it to pick an area.
This is very important. You want it to pick
an area that's on the same plane so that you don't have difference in
textures. Here's an example. If I want to cover up
this particular blemish, and I use this, let's say, down here, the clone will actually show you
the real difference here. You can see the difference. So even if I was
using the clone, the closer I am to that spot, the more natural the
replacement is going to be. So if I close out, you can see. Now, that's the difference with healing and
cloning with cloning. You can see the circle. If I want to switch
that to healing, so it's a more natural coverage, I click the band aid
and I'll close out. Now you can't see it
all where I healed. That is the main difference
with healing and cloning. Cloning is going to give you a very specific look
of what you captured. And you don't always want
that. Sometimes you do. So we'll do a couple more
here with just the healing, want to reduce the size. And a couple here. And here. And now,
just for touches, I don't love what's
happening here, so I might make this
a little bigger. And again, you can
pull the edges. That's another pro tip. You can just pull the edges
to make it bigger or smaller. So that is one way. You can do it here. If you have a mac and
you're on the mouse, you can push you can rub
the mouse up or down, and it will make the
circle bigger or smaller. So that's just something
you should know. So I will go ahead and grab my face brush and do
a quick smoothing. And this is a very
gentle smoothing. And again, I've mentioned
it in other videos. I'm going to grab
that little spot. I don't love that. It's too big, and I didn't love
where it shows. So I'm going to grab the edge. For some reason, it's not
letting me grab the edge, so I'll make it smaller here. Okay. And for some reason,
that's not responding. I'm not exactly sure why
I made it smaller here. Again, I will do the backslash and just check my
before is after. So you can see we need a
little bit of work here. I'm still going to use the
healing because it's skin, and I just want it to look
very gentle and natural. And let's see. And here and let's
zoom out, take a look. Can see a couple of things here. But in this regard, I'll
go ahead and take out what I think needs to be
taken out with the healing, and then I'll definitely
use my skin brush on her arm and just give her
a more gentle smooth look. She has had a bathing
sudan. You can see there. If I wanted to, I
could take this into photoshop and fix that. But for this, I'm not going to just for the
healing and coning. I will tell you now, a lot of times I'll
use the cloning for the hair It does a better
job of getting close to, let's say, her head
and the rest of her hair and not grabbing
the color of her hair. And I will show you what I mean. So here's the coning. And again, like I said,
you want to bring it as close to the healing spot as possible so that the
colors are the same, because cloning is just
plain old duplicating. So and I have the feather. If you go to the extreme, you can see it getting
close to her head there. And that's too much. You want a softer, gentle move into that removal of the hair. So what will happen
when I use the cloning? Now that if I do backslash, there is the hair, it's gone. But you can see the cloning. Now, if I were to have done that as a healing,
let me show you. It will take on the
color of our hair. Do you see that?
Zoom. But cling, lets you get close to the hair
and not take on the color. So I'm going to leave that. I'm going to zoom out so
I can see what I'm doing. I'm going to take the
healing tool now, and I'm going to blend these edges in with
the background. Now, the healing tool is not close enough to the
hair to grab the color, which is why this is
working, and it's blending. So you'll blend that edge in. And again, I want
something near what I'm covering so that
it's in the same plane. So the boca is the same. And That particular I think because the feathering
is not gentle enough. So before after, you can kind of see this dark spot in the after, but it matches up to these. So I think that's fine. If you wanted to move it because it bothered
you, grab here, move into the lighter green, you'll get a smooer
transition before or after. This will go away
once you download it. I'm not quite sure why it's
doing that right this second. But if you want,
I can remove it. There we go. And
I'll bring that over here before or after, and if we zoom in, these
little marks here, again, you can grab the healing tool now
that you're closer. Now, the reason why you
won't see this circle here is because this is
already a coning mark. If I take this spot
here and I just gently move over these edges
with the healing tool, you can cover them, but I want to cover them
with the softer green. Now, let's zoom out. Now
it looks very natural. It looks like the tree. We've removed some
of the flyaways, and you can continue on
and as much as you want. I do like to keep
it a bit natural, and I will get rid of this
one with the healing tool. Again, I'll bring it back to
the area, so it blends in. That's what the healing tool. Now let's see it
before, after. Okay. So that is how I use
the healing and cling. You can also use the cloning
and background images. Let's say here. And it will completely
duplicate exactly. And you can see the circle. You can see that circle. I don't normally love that unless you need to do
what we did up here, but then I would always soften
it with the healing tool. So I just click Delete
after I chose it. So that's how we can use the healing and coning
tool when you are editing. So I hope that helps and message me if you want to see something else that
I haven't covered. Check out the other videos. And that's it. Take care.
Robyn Scherer, ROBYN SCHERER Photography
