Portrait Photography: How to Shoot & Edit Environmental Portraits

1. Introduction: I have always believed a place in space that we inhabit has a lot of influence on who we are as people alone, involving the environment and my port is present brings a different piece to my subject as well as a different voice to my pictures. My name is outfield reason I am an editorial in portrait photographer base and grab its Michigan, originally from Liberia, West Africa. My images are warm and bold, have a voice as well as highlight and showcase black and brown people. My work has been published in places like Greece, grabbed his magazine and ProPublica, as well as being part of numerous exhibitions locally. In nationwide. Environmental portraits are a constant thing. Work that I'm making one of my favorite types of photography to create a loving took all the space and placing my work because it brings a different character and identity to my pieces. In this class, I'm usually wouldn't. Environmental portraits are examples of my work and how to create an editorial. In this class, we will cover the following. Brainstorming your vision by creating a shot list and mood board as a reference, scouting your location while considering the lane it's best for your shoot. Placement on your subject in the space and location that helps best tell the story. Doing the shoe while also building a rapport which are so good. I'm super excited to get to share some of my favorite environmental portraits while also getting an opportunity to help you create yours. Taking environmental portraits can teach you a few things how vital space in place are to creating portraits, how powerful storytelling tool relocation can be, as well as how we can give you a holistic view of the future making. So whether you're new or experienced photographer one doing a full time or just as a hobby, this course is for you looking forward to seeing what you create. 2. Class Project: Today we're going to learn how to shoot and environmental portraits. I'm going to take you through my process of Willis showing you how to create your own. So in this class we'll cover a few things. What does environmental portrait is? How to create your own moodboard and shot list, location and understanding the importance of that light and why that is important for your photoshoot, subject in space and the relationship between those two things. Building a rapport which are subject or model and editing as well. In this class, you need a few things, pen and pad to take notes, off-camera lighting if you so choose to use it and we'll talk about lighting later. You're on camera to create, and a computer in Lightroom software to edit. In the resource section, I have two documents, each shot list template where you can actually have an idea of what to consider when creating a shot list, as well as the class guy checklist. After each lesson there'll be an assignment then you only need to complete. But also to put in the project gallery. I'm looking forward to seeing what you create in our final tip is have fun. Creating can be a lot sometimes when I'm looking forward to is not only being shared, so my knowledge, but also seeing you guys created. So enjoy the process, Have fun. 3. What is Environmental Portrait?: In this first lesson, we will cover wearing a button mental portrait, environmental portrait as a portrait where the location and the subject or the main characters of the story being told. It is called an environmental portrait because of location surrounding the subject as important, they go hand in hand in helping bring out the vision. So here are a few things to consider. What is the vision or story that you're trying to tell from my photo essay. When Africans, me and I really just wanted to bring together two of my favorite African models and see what we create. How can the space also help community say something about the subject? So in that same example is when African something I really wanted to highlight the colorful wardrobe that they're going to wear. So I had to find a location and now only allowed it to shine, but it wasn't overbearing as well. So what does a bad environmental portrait look like? So I won't necessarily say they're bad environmental portraits, but I would say there are images that don't necessarily fully take in consideration the location and how to place the subject in that image. I have a friend of mine named Kiki. So for example, this image with Kiki where you can kind of see this blue storage like container behind her doesn't necessarily mesh well with the colors that she's wondering. So key tip and something that I'll probably talk about a lot throughout this class is the importance of how the subject in space and meshing well together creates a really great environmental portrait. Small first assignment for you for this lesson is to create them theme or story that you're trying to tell for your class project. So something else to start thinking about as well is subject who you want to use. Whether that'd be professional moderates in mind, that's your friend, or they can be both. As well as trying to think of male or female body type height, all those different types of things as well in terms of who you want to be your subject. So I also will be creating a project as well. In the project will be called taking space, where I'll be highlighting black and brown people in different spaces. So for our next lesson, we'll be talking about brainstorming for our shot list and mood board. So make sure you have your theme or story completed. And don't forget to put that in the project gallery. 4. Moodboard & Shot List: Brainstorming to find inspiration for our shot list and move or can often be difficult. So in the next couple of steps we're going to talk about where to find inspiration and how to use that inspiration as well. So for example, one of the things I do when I'm moving to a new part in the cities, I usually take my bike or go on a walk just to kind of get an idea of not only where I live, but also possible shoe locations. So for my piece walls, I found this really nice church parking lot. They had these huge Greenwald and I knew preparing for that shoe. That's exactly where I was going to do the pictures and TVs and movies as of Italian, for watching movies and watching TV shows are just part of a creative nature. So oftentimes I will take a shot or screenshot or a picture on a TV show or movie that I really like to use for future references. Books, magazines, and newspapers. Oftentimes, the stories of others can be the catalyst for creating your own. Books, magazines, and newspaper. Not only provide visual inspiration, but also stories that can also be inspiring as well. Travel. I've been blessed over the last year or two to be able to travel a lot. And new scenery can also bring about new inspiration. So even if that means going into another country, going to stay, go into another town. Being able to get yourself out of the comfort of where you live in the environment that you're in specifically often can be a catalyst for finding new inspiration. Not too long ago, I got to go to New York and get to connect and not only connect and query different creators, but also gets a photograph them as well. And being able to be in a new city, being a new town, being a new state, found new inspiration there as well. So I was able to connect with a friend of mine named Kiki and we were able to make some magic and really just used the environment that we're in specifically in the Bronx to create new images. Pinterest on big thing with Pinterest is specifically do not copy. I think the goal of it is to be somewhere that you can kinda pull images from. Good example shots. But the ideas at the end of the day is superior to take those and use them as inspiration and use that as motivation to kinda create from your own voice, our own story. Here's a quick introduction to the shot list template. Kinda going to break down each section and then go from there. So obviously we have the session title, whatever your session name is or if your project title put that there. Photographer obviously going to be you put that there but your name there. So shot of course will be number one, number two, number three, et cetera. Then exterior interior would that'd be taking shot inside. Are you taking it outside? And then shot at me either close-up shot, wide shot. I think those are pretty much where I want to have you here put indicate. And then for a camera angle, that can be if you're doing it kinda little bit from the left or the subject we're a little bit down or above shot, whatever that is, kinda indicate that here. And then description in the shot. So pretty much put as much information or as much detail as you want here to kind of help yourself be able to understand what exactly you want to capture, how you want everything to look. So you pretty much describing the shot before actually taking it? Yeah. So for description now, of course, we haven't gotten to talking about location and those type of things yet, or location and lighting and subject in relation to space yet. But as an example, probably my first shot would be probably something like I said, fire away a little bit wider, will be outside in terms of location wise. In then. So when I'm probably thinking is subject in the right side or a sensor right. Subjugating center right frame. Either sitting on something or standing. Now of course, that's kinda vague. But I think the idea is for you to kind of have an idea of what you're thinking about. And once you kinda get to the space, see what the lighting is, you can kind of go from there in terms of determining what I do. I want her to be sitting there. I want him or her to be standing. I want them to be in the scenario, of course, for this this shot is what I'm thinking. I'm having them be in the center. Right. But because usually it's kinda easy to kind of put them in, but nothing that's a perfect place to start, but I think also just kinda switching it up sometimes in doing something different. Okay, let's have them in the center, right, and see what that looks like. So then, for example, you know, shot too, we could do again exterior, little closer. And then let's do since we're doing a little closer, we'll probably do like a like a low angle angle shots in terms of what the camera angle would be. And then maybe having the subject arms reaching up or to side as an example. And then maybe even they could be like standing on something to make them look, appear taller than they are. So just a couple of examples of what I'm kinda thinking in terms of my project taking space and being able to highlight subjects in different spaces, but allowing them to be the one that's shines and allow them to be the one that are highlighted. And, but also making sure that the environment in space and place that we're in steel is taken into, taken into consideration when shooting those things. So in summary for this lesson is to not only take your idea and story, but also some of the brainstorming lessons and things that we talked about in this lesson specifically. And utilize those to create your mood board and shadows. So as always, don't forget to post your mood board and shot list on the assignment for this lesson in the project gallery. And next time we will talk about the importance of understanding that location piece. 5. Understanding Your Location: In this lesson, we will cover the importance of understanding your location. For environmental portraits, understanding your location is really important. And also a major key today as having a specific theme store is you're trying to tell, and this is where your moodboard and shot list also comes in. Once you understand the theme that you're going for, the story, you're trying to, to finding a space and place to bring that to light is really important for my image takes space. I knew specifically that I wanted to capture my subject in a very vast in big area. And just happens that there's a pardon, not far from where I live. And I also have shot there before, so I knew that was a perfect location for that setting. So for my project taking, suppose I plan on highlighted in black and brown people taking up space. Considering the theme and the vision, here are a few tips to consider. One, allow your vision and your store to dictate your location selection. So for me, my story is pretty clear. Division is pretty clear. So I just really have to find locations and spaces that are not overbearing and now allow the subject to shine regardless. Number to go out and check out different spaces and places. I think what's really important is to check out different locations. Because not only are you able to have this variety of options, but you also have the chance to take a picture of the place and space. And that way you can have referenced look back on three and final tip is taking your moodboard shot list with Uighurs location scouting. I think what's really important is being able to have that reference in there so you can essentially envisioned your shoe while you're out there. Alright, so you can see as today, it is pretty sunny and one of the beautiful things about it being sunny, especially having trees specifically in this setting, is being able to have shadow. So you can essentially play with the light on it. We're not necessarily play with light. We have options in terms of how you choose. You want to use the light or utilize a light, as well as the shadow so you can be in the light and it kinda shoot from the shadows with my create an interesting shot or shoot from the light into the shadows, which honestly you would kinda be utilizing the sunlight and utilizing that light source. On your subject. Plenty of different options in terms of how you want to choose to utilize. Having a sunny day like today and being able to have sunlight and shadow work. So there's options in terms of being able to kind of play around with things, experiment and see what happens, see what you're able to create. So as you can see today is much more cloudy. There's no sunlight. There is no necessarily huge shadows that are being created from the, from the trees above C. And let's say we kinda talked about light and how having those different types shadows as well as different. Having the bright sunlight kinda enables you to do something different. I think to date, with it being very much cloudy, which I actually really enjoy sometimes and having a really a balance of light. And so you don't have to worry about any sunlight or too much sunlight. You kinda have this balance which sometimes can be a little dark. So maybe you need to bring your own light to kind of spice things up or add a little life. That's what you wanted, that's what you need. But also it can be really good to have a balance of light. So if you can kinda see here on an appointment to that hill up there thinking of utilizing that hill. So either getting her at the top of the hill and kinda shooting from down or vice versa and kinda having her at the bottom of the hill or towards the bottom of the hill and kinda shooting from the top or even just going up. They're both and seeing what we can do and create. I think one of the things I'm really looking forward to is being able to highlight her. Be able to highlight my subject. Especially in terms of what she's an awareness is probably gonna be like a white dress or something very, very vibrant and colorful where there's no, no doubt that she will stand out. That's part of my project is taking space and being able to highlight black and brown people in space and be able to have them be the focus. What's in the frame. So my summary for this lesson, two things. One, go and scale different locations so you get an idea of what you're looking for and make sure those locational aligned with your vision and your story you're trying to tell. And then to take pictures of those spots and put them in the project gallery. So for next time we're going to talk about the importance of considering your light and y are lighting choices is vital to your photo session. And as always, don't forget to post your progress in the project gallery. Specifically for this lesson, don't forget to post them locations that you've started. 6. Consider Your Light: So in our next lesson, we will cover the importance of considering the lights. For environmental portraits. That type of light you choose a shooting. Likely choose assurance up to you, but also should be influenced by your moon was shot list and theme of your vision. Something else to consider when choosing your light is, how does the light choice also aid in telling the story you're trying to tell. Your mood board and shot lists are good references here because sometimes some shots need different lighting than others. So for my folder project taking space, I will be using a lot of natural light. In doing so, I have to make sure to not only check other locations beforehand, but also checking them at different times of day to see how the lighting is. For things to consider when choosing your light, consulting your mood board and shot list. Consulting your theme, envision experimenting with different types of light, whether it'd be natural light or off-camera lighting. Then lastly, if you choose to use natural light to making sure you're checking out the different times of day. So next time I would talk to my process of considering light in each location as well as gather reference pictures to refer to later. Here's me getting some example shots or just getting some reference shots. For me to look back, look back at all. Because more than likely what I wanna do is have my subject be either the middle of the hill or at the bottom of the hill. You're really getting some really wide shots where the subject is. Really, you can't miss them. You can't miss her. So you won't be or miss her in terms of the seal stand out in terms of what should be wearing. The colors. More than likely I'll be doing white. Because I really liked that idea. Specifically. I just like, I like that color in reference with the green. And we're asked specifically, again now you can see we have some sunlight. And one of the big things we're having sunlight it pretty much automatically or I don't know if it's going away now, but it automatically creates this creates a shadow. Kinda regardless, I think depending on the day, if it's a really, really cloudy day and really dark day, you won't, even if you do have shaded areas like you can see down there, you might not have any difference in light at all. But now with the Sun beaming here, as you can see, you can see down there with the shadows caused by the trees and also the difference between those two things and how. That also just creates an option of, do I want to shoot the subject and the light TO and assume the subject in the dark was still using the natural or natural sunlight as kinda like this lighting source. I think that's an option as well too. But yeah, having sunlight definitely, definitely creates a different, different vibe for sure. So like before, I think one of the big things is obviously getting pictures of your location in different son settings or different light settings. Because that way you're able to have these visuals to kinda go back on and look back at and be able to see, okay, what it looks like in the Sun is what it looks like when it's super shadowy. And then you can kind of decide from there how you want to move forward. For your summary for this lesson, there'll be three things. One, decide on the type of light that you want to choose to go out and check out different locations, different times of day, especially if you're using natural light. And then three makes, you took pictures of those locations in those different times of day. Be sure to share that in the project gallery. So now that you've considered the light, in our next lesson, we'll talk about the relationship between the subject in the space. And as always, don't forget the post your progress in the project gallery, specifically the pictures you took over your locations. 7. Subject in Relation to Space: For this lesson, we're talking about the importance of the subject in relation to space. For environmental portion of the placement of your subject in relation to the space is very important. Here a few tips to determine that. Do you want the subject to be surrounded by the location? Do you want the subject to be in it to one side or the other of the location? Or do you want the subject to be blended in with the location? How do you also want your subject to be posed in this location? Wanted to be sitting, standing, laying on something, probably going to Wall propped up on something. All those things are things to consider as well. So like before, don't forget to consult your shot list, your mood board, as well as your theme division. I think all those are very key to determining how you want your subject to be in relation to the space. And also as always, experiment, try different things, try different poses, try different positions and see what happens. So for example, in my piece takes space to the positioning of the models, really important. And it was pretty much determined by two things. The light in the surrounding plants. One, the light, the way the light was shining down right in that spot, which is a perfect place to place her, but also really shining specifically on her head and her face. And then secondly, surrounding the surrounding green plants, which is perfect with her majestic green dress and just made it a beautiful shot. So another example is the shot that I hadn't a wedding last year. And this was the positioning of this was also influenced by light and surroundings. And so the light was coming in with a sun was beaming and which is perfect. You know, it's a little bit bright, but also the weirdness surrounding we were at specifically in positioning of her hands and her face or head as well, was really key. So I really wanted to not only highlight her in her dress, but allow the surroundings to be part of that as well. So for my project taking space, I will also be considering some of the following that I mentioned earlier. Light as well as surrounding. Also referring back to my shot list moodboard and the theme that I'm creating will really help. Now the position, my model and subject in a space that really helps bring out the vision, but also be able to create great images. So we're going to talk about one thing to consider when sketching your shoe, but also people that are involved, which is part of that as well. So you know, who is involved? Timeframe, location. So I think most of those, those are probably the main thing to consider. I'm talking about who is involved with talking about whether it'd be, of course the model or subjects, you know, the photographer. Hair stylists make a, you know, I have a wardrobe stylist and, you know, maybe an assistant, but all depends on who he wants to be involved. So those people determine somewhere in the timeframe because they each need time to do what they do, as well as the location in terms of where you're shooting at. Once. Those things are determining who isn't being involved, then we can determine schedule wise. And usually we're looking at, you know, set up here and makeup, which often times can be done the same time. Get dressed, shoot the change. If you're doing more than one, break, if you feel like you need one, and then done, you clean up. So generally, these will be the main things I want to include in scheduling wise. And then there's just me in the model usually we're just doing this portion. So usually I showed her hair and makeup already. Get dressed. Shoot, alpha change, break. If we need one done, clean up the day you that kind of determined based on all the covariant be involved in time frame that you have, as well as the location that you're shooting in, where or how your schedule will be look. I would just go look and how you plan on creating that based on these factors. So my son for this lesson is two things. One, make a list or make some example shots of how you want to place your subject in the space based on your shot list and mood board. And to also don't forget to create your schedule from make-up to brakes to clean up. It is almost shoot day. So first of all, congrats on your Protestant disappoint. Next time now we will have opportunity to actually take some pictures, but also the chance to build a rapport with our subjects. And as always, don't forget to post your progress in the project gallery. 8. Taking the Portrait & Building Rapport: Today is finally the day you had opportunity to create your theme. Establish relocation. Understanding the relationship between the subject and your space and place. Consider your lighting as well, and create a mood board and shot list. And it's finally shoot day. So let's do it. So here are a few ways to build rapport with your subject. So first, make sure you have game plan. Makes sure the subject as well knows a game plan. Because if you're uncertain, they will feel that uncertainty as well. If you're also prepared and you know what you're doing, you have everything on your ducks in a row. They will feel that as well. And that gives them more confidence in the shoe as well as all as well too. To make sure you introduce everybody. If you would already know each other, make sure there's introductions and done. In terms of what people's roles are and what they're going to play. And I think that only breeze this comfortability with each other because we wouldn't always put the names and know what their role is and they know what they're gonna do. Third mix, you get to know your subject if you don't already know this other before. If you don't already have that comfortability with them, make sure you get to know them. You do more listening to you talking, as well as ask them about themselves, what their interests are, how they get into modeling of that. So they're professional model or even aspiring to be one. All those things are really important in being able to build a rapport and build comfortability with your subject. The reason why I think building rapport with your subject and I think for any session or any client work that I do is because it allows the person to not only be comfortable with you, but hopefully beer to bring their authentic self on the camera. So if I have to say, I think it'd be really essential to making your photos should go really well. One, bring a speaker. Nobody really likes satellite photo shoots for being able to have music. Not only aids and the vibe, but also allowing your subject and your team to select the music as well, brings that comfortability because they're listening to music that they enjoy as well to schedule, but also be flexible. I think it's really important to have a schedule and stick to it, but also be flexible knowing that things are now all we're going to go the way you want them to go. And then three, encouragement gave your team encouragement, give you a subject encouragement. I think is really important to have that type of energy and that type of vibe on your photo shoot. Because I think it really just makes everything really better for directs and pose. I think also as a photographer, sometimes you have to be a model. So sometimes you need to show your models so your subject, the exact pose or exactly what she was looking for. So they understand and they can carry it out the best of their ability in there five take breaks. I think sometimes it can be long and exhausting. I think really having time to not only take breaks for water, snacks is really essential to re-energize people to be excellent in everything they're doing. Alright, So it is finally shoot day. We are here at the park. You guys have probably already seen some of these videos. Specifically this hill that I was talking about shooting at, will probably use other spaces around the park specifically. And today I have my model, Rebecca with me today. He's going to waive her. So she'll be modeling for me today. As we talked about in terms of outfits. I'm very colorful with the green that we had, which really allows her to stand out, which goes with the project that I'm doing, which just takes space and allowing black and brown people to be in spaces and stand out in those different spaces. So, alright, so we're going to shoot from the back to this angle. And we are going to have her laid down as a different pose in this process as well. Okay. So I'm thinking probably in this general area. So another thing is going back to some of the reference shots, the mood board shots you kinda created. Those will help you. If you're needing to know specific poses for things that you want to refer back to when it comes to posing. So something like that I think will be perfect the way she has her. Like this. Yeah. Perfect. Looks let me look at maybe have one or one arm or one leg this way. A little bit. Yep. Perfect. So kinda fold kinda like make like a so your right leg could kinda be something kind of like that? Yeah. Yeah. Up a little bit. Yeah. Yeah. Bring it down. Yep. Perfect. Then may move your left leg a little bit that way. That will spread that out a little bit. Perfect. Right? You look right at the camera. Go ahead and just kind of stare up. Perfect. So a lot of these shots are gonna be a little bit closer. And then I want to kinda get another wide shot of her with the dresses. Well, go ahead and switch arms. Yep. Yep. And then maybe kinda move your head this way a little bit. Yep. Yep. Perfect. Yeah. Look right here, me. This arm down. Let's try it up and see. Yep. Okay, good. Alright. And then look directly at me. I go ahead and label the legs down. And then kinda try to make kinda like how she's doing kinda make a little curve in your body? A little bit if you can. Yeah. So like it looks like she kinda kinda like a shorter see I mean, it's not really a falsy but yeah, that works. So maybe stick the right leg straight. And then the left leg crosses? Yeah. Yeah. Yeah. I know she's a because it looks like she's so she's left arm. Right arm. Is that her left? Her right leg up. And it looks kinda looks like that, which kinda looks confusing, but but whatever is comfortable, even if you just want to move, you see you actually know it. Lift your left leg. Kinda like like up like that yet. So let's do that. Like this one, like yep, yep, yep. That's perfect. And you kinda like leaning? Yep. So kinda like you're like this but not fully. Like Yep. Yep. So actually, this pose is perfect. Let me just have you shift this way. So you're kinda like right here. That wouldn't get this shot right here. Legs will be that way. It will be this way. Get a couple of days. Perfect. Yep. Oh, yeah. Yeah. That's it. Right. There you go. You guys. We got plenty of sunlight. Oh, Yeah. I love that. Good. That's perfect. More right here. Eyes on me. Perfect. And then same thing keeping, by the way, is just move your head towards me right here. And then up here. Perfect. So move your head back down. Actually, you know, just like how you're about to do it like that. Yeah. They're just eyes right up here. Let me move my hand. You actually do that? Yeah. Like that. Yeah. That's perfect. Then look right at the camera. Yeah, That's good. Perfect. All right. We're headed that way. 9. Further Exploring the Space: All right, so we have switched locations within the part. We're going to utilize pretty much this whole set. I think the yellow dress with the green as well as the darkness is kinda coming from. The trees were really highlight her as well as the dress that she's wearing specifically. I think this will be really have some really good shots when this yeah, So I'll probably have you probably a little bit closer to this central area, so probably like right here. Perfect. Oh, yeah. Yep. Alright. So sounded the same thing that we're doing when we're standing at the shooting up the hill. Same thing. Arms and I'll probably I might get something like a view laying down as well, but we'll start with this verse. Maybe like a leg kick or something like that. Going this way. Yeah. Yeah. So maybe like something like that. So maybe kinda like a dance ish. Because I actually know, I know a few Ethiopians and I know like the shoulder dance is a thing. But whenever you're ready, let's do. Actually, I like, I don't think it really mattered what lay I think let's do right arm with the dress. Yeah. So if that works, I would have made more sense to flow the dress with the leg. Take it. Yeah. Try to left leg and see if that works better. A little bit. Alright. A little bit. Yeah. I like that. But the foot is a little bit awkward, so I need to turn like this one here. Yeah. Okay. Yeah. I think maybe it wouldn't make sense to kick the leg with depression. So even if he went like this, you can have your other arm kind of free. So it was like because then that way you're kinda your leg has space to move? No. It's not. Yeah. Yep. Yep. Take one step this way. Perfect. Alright. Yep. I owe my time. Turn this way a little bit. Yep. There we go. My God. You would think that oh man. Yeah, it can be anything up in these. Okay. So let me have you kinda kinda like this. Kinda like that. Okay. But how do I get the dress to flow? Who all year? So I'm thinking if we do, it doesn't necessarily have to flow out of time too. So even if we did maybe a little bit of a look, a wider stance, kinda, kinda maybe like this or something like that. So just kind of our movements and get back in the middle a little bit of you can you mute? You can come up if you want. That works. Yeah. I got a wildland so I can get everything so you got to worry about it. Perfect. Go institution my wildlife that yet. So not like this isn't really kinda like yeah, I like that. Yeah. Hold that. So I'm gonna shoot them up. Same thing. I liked that right there. Do that. Look right the camera. Perfect. Yet. More time. Yes. That's perfect. The way the light that I like, the dark, the dark with the yellow. Let's do this one more time. I like it. I like to ask about what you look like right at the camera if you can. Yeah. So okay. So same same thing over time. And then kinda make it look like you're kinda leaning on it. So even get to bend your hand a little bit to make it like you're kinda like you're laying down and then eyes right on the camera. All day. Same thing. Perfect. Hold that one more time. And then one more time. Exact same thing. So same thing. Same same way. Yeah. I was wondering shooting from this way. So I want to get your eyes like right here. Yep. Perfect. Perfect. And then kinda lay on a little bit more. Yep. Okay. Maybe I'm happy to go in a little bit closer to them because I think that'll allow you to kinda stand out a little bit more like, right, yeah. So even here, It's assignments on, you have figured out how to build rapport. You've learned the keys to making a shoe happen and really making it excel, be excellent. So now you're someone who's, Hey, do the shoot, and then afterwards collect your top five images for editing. Post those in the project gallery. 10. Editing: Lighting Adjustments: For our final lesson, we will cover lighting adjustments with editing for environmental portraits. And honestly, every portrait lighting is very important. My name consent the moon, the tone and the field to an image. My image black. I wanted to create more of a darker type field, so I decrease the shadows. In doing so, not only did I created a silhouette type of look, but also allow me to focus and highlight the structure of the subject's face. So for my image gesture, I really wanted to showcase her smile and its place. But the light coming in from the big windows, it was really easy to really position or in a point where not only her smile will be showcased, but it also just kinda cover the rest of her face. Allow that specific part of her body, specific part of that. The subject too shy. So sometimes lighting adjustments and post-production and requires a few things. The shooters theme or idea, trying to highlight specific aspect of the buyer, specific part of the subject, like with my piece, just joy. Or if you are also trying to set a certain mood or feel. So I'll probably pick my top five from the seven permanent. Go ahead and edit all seven of them. Process won't be super long for a couple of things well, which I'll explain. One of the first thing I'd like to do is make sure I click on this lens correction. So you can see in the corner right here, when I hover over it, the difference of a kind of moves a little bit of darkness and it kind of allows it to be more looks much better to me in terms of stretching it out and making it much more. Correct in my opinion. So that's the first time you like to do is Lens Correction. And then I usually already have presets. And for me, presets are a starting point that not the end-all be-all. I usually like to start with one and then kinda make some adjustments on how I want it to look wise otherwise, and then pretty much go from there. So what I'll probably do is don't really like that one. It looks a little discolored. Let's see. We got 31. I really like for I here. So we'll start with four. And what I'll do is I really want to make sure the yellow gets emphasized and make sure that the green kind of gets a little bit back to its natural ish tone. So the saturation portion will pretty much make everything 0 except for the yellow. Pretty much. Then I kinda add a little emphasis on the yellow so you can kinda see it does affect a little bit the grass as well too. We don't want a little bit more saturation. Of course, you can see the saturation here a little bit back so you remove it there it gets, we don't want too much. So kinda go back to where it is. A little bit of saturation there. And then what I'll do is increase the exposure a little bit so we can kind of see her face. Of course less than this or increase the shadows. Not too much one barely see some her eyes, you know, I like to do is come to decrease the white. Because it kind of gives us a little muted look a little bit. But I really like that may be increased a little bit more. Of course you're going to mess with the exposure. But also tapped, I want to bring the Tim down so I want to make sure I get as much as purely a color for her skin tone because I can versus another thing is green too. So of course this specific preset, it has a green. I don't really want any grain at all, so I'll decrease the grain. You don't really see her face. And the details when we kind of zoom in. And I really liked this edit being saturated and maybe in a little bit. But the dress is still a little more color to that. Let's see. C, we want to do anything with that? No, I said really That's what it was. So I actually really like the way that is. And then what I'll do is select all were mainly are mainly i'd I'd have to select the first the ones that are in the same, that we're shining the same lighter side in the same section. And this is feature called singular, basically able to sync all the settings that you made in that one image. And it's connected to the other two. So basically you have to do the work. So now it's basically just copy and pasting. And now I can make the adjustments I want to for this specific image. So probably these exposure a little bit. Bring the highlights down on my still bring the way down. Really love that shot. There's not really much I would do to this one. So what I'll probably do is still do the same thing with the next one just to kinda see what it looks like, even though it's a different backdrop. Were different part of the part that we're shooting in just as a starter. And then I can kinda go ahead and of course makes exposure was going to be or to see her face. Yeah. So we're just kinda make some adjustments here and see how it goes. Probably bring up the whites a little bit, not too much. Bring the shadows bag and kind of see her hair, bring it back a little bit. So I actually really like that. Look. Largely wouldn't might want to make her dress a little bit more colorful. So I'll probably do is let's see me go back to four and see what that looks. Maybe instead for this one we'll do. Yeah, I mean, I do like that. I kinda want them share her dress gets a little bit more color in it. I don't want too much color, so we're going to look like nothing that actually really works. So the saturation up a little bit to a little bit more. So where did the same thing with the luminance? Make everything? Oops, we did that. Accidentally. Make everything except yellow 0. Kinda see what happens with the color and move it down like things that look a little too. So we'll move these are the 0 and we'll just stick with the saturation here. But also you can do specific colors, so it's pretty much the same thing, but this is all in one section for it. Medco is specifically I think we're going to keep that because I really like these images. We'll do that with that one and we'll start this one. We're crisp, crisp, clean and color and kinda see what it looks like. For this one is particularly. So don't forget the same thing. Lens correction on that. Then we'll make some adjustments. Clarity, maybe a little saturation to the color of the dress. Some shadows. We can kind of see the backdrop a little bit oils her face. I do kinda like a little bit muted look with the with the wiping down and highlights a little too much. So probably bring it up a little bit. So you can still see her dress color as well as skin tone. Then made me the dark a little bit brighter or darker, or bring the blacks a little bit down. Contrast maybe couldn't make it a little bit brighter. But I do like a darker tone with the backdrop. And I really liked this. So we can kind of look at that one. Compared to that one thing that I think color wise, it's much more pure. So we'll go ahead and copy and paste this to the rest of these same thing kinda go through each one of them. Was a little bit darker, so I'll probably bring it up a little bit more. Bring the highlights down a little bit. And you live in more shadow down. Maybe bring the white up a little bit so you can kinda see the color and just brighten up a little bit with the white spring up. Then yes. So move would take that. Do the same thing to the last three. They may want to bring a horse is a little bit brighter, so probably bring it, bring the highlights down a little bit. The white down. Remove the exposure down a little bit. What I probably would do is crop this a little bit. So she's a little bit more centered. We think, kind of out taking up space. Yeah, I don't think there's much else I would do with this one. I think that's the part of the thing is as you can to experiment you're going through and you kinda wanna see what you'd like. So we'll do that same thing with this last one. Now think we need to do much with that to kind of bring it back. Same kind of see it from a farther view. Yeah. I mean, I like that. Like that like that like that as well. And I do like this one, but I think what we'll do is we'll keep the color. How we did the other ones. So do that. We click on this one that's kinda seen. Maybe a movie exposure, not too much. Don't want to be too dark. Yeah, I mean, I really love these images. I want to give it a bit more periodic color and her skin tone, but I think it's her skin looks perfect. Temperature down a little bit. The same thing with this one. Remember being exported out teeny bit. But I love, love that. Little bit more shadow. So you can kinda see a little bit like down here where I write down this area. So I'm going to show up a little bit. I love it. I love that image, loved this image. And honestly love pretty much every one of these. So I had to pick my top five. I would probably say it'd be that one for sure. This one. This one. This one. You'd have to be a hard time between these two because from the wider shot, I just loved them and check. So I would probably pick this one as my fifth one. So yeah, these are my probably my top five. And what I'll do is export them and then we'll be all ready to go. So same thing, kinda go through your snapshots. Edit them how you want it to light, how you, how you want to be, find the purity of color of his skin tone. However, it is making sure that things just kinda look to what you desired and we'll look to. So it's not necessarily about trying to copy anybody else, but back to your vision, your mood board, and all those kind of things that you kinda went through in this process of figuring out, okay, I want my image to look like this. And now that I have the images, I can kind of go through the editing process. Hey, can select how you want those images to look like. And yeah, go ahead and export them. So I think one of the other things and you just kinda think about in terms of editing process is always, for me John have different types of shots. Now of course, some of these shots are similar in terms of the standing up ones in the way her posing is. But the sitting down ones as well. I really liked this her pose. And these two from this image, that image are totally different poses, totally different points of view. And it looks different than this, these two, these other images as well too. And I think that's the thing that's okay. It's, it's kinda like being okay with having images that can look different, whether that'd be otherwise. Now if you have a specific aesthetic of courses, that's one thing. But being able to really just find the images that really stick out to you and edit them in the way that may be different than you normally edit. Editing technique. Which is kinda figuring out what works for you in which you really, really enjoy for that specific project in those specific images. So for your final assignment, Let's go. You have to basically edit the five images that you chose to be edited. And don't forget to post them in the project gallery. Congrats You've done and go ahead and give yourself a pat on the back, you have made it to the end pretty much. Make sure one, don't forget to post those final images in the project gallery. I'm looking forward to seeing what you create. And next time we will do a recap on everything that we've learned so far. 11. Conclusion: Congrats, You have made it to the end of the class. Go ahead and give yourself a pat on the back round of applause. Whenever you feel it necessary at this point in putting a lot of work, I'm not learning all this, all this information, but also being able to apply it as well. Learn what is environmental portrait. How to create a moodboard and shot list. You've also learned how to build a rapport where somebody, because well as understanding the subject in space, as well as how to choose a location and writing and why those are important. Then we'll ask them, edited me some minor lighting adjustments to create on this image. I hope you're not only inspired to try different types of photography, like environmental portraits, but I also hope that all information, learning and knowledge gained as well, you can apply to your future work. And as always, don't forget to post the final images in the project gallery. I'm looking forward to seeing what you create and European my encouragement and comments as well. So you do decide to post some of these on social media. I would love you guys use the hashtag environmental portraits. So I came here to see them and see how you react to that as well. Thank you so much for taking this class because it's such a pleasure to now and will be able to share some of my knowledge and share some of my favorite very much a focus, but also being able to help you create your own as well. A few things before we go, just make sure you follow me for next classes. Be sure to leave me a review and tell me how I did. I can approve what good I did what I didn't do. See you next time.