Okay so what we have
today is that I
am going to show you a neat
little trick which has saved
my life many a time
and this is to do with photography.
This is a photograph which
was shot on a not
very ideal situations, and
if I show this to
you, this is shot right
here, you have a,
it's 18-55 mm lens,
3.556,which is the
kit lens and this
was a very old lens.
So, it's not really sharp.
This is how it turned out to be.It
's got all kinds of hues
and colour and the
picture is not really sharp, it's
not what you 'd sent to a client.
Also the background and
the place where he's
standing leaves much to be desired.So
, what do we
do is, you have
here, you have this colour temperature setting.
You can of course turn it around,
you can warm it up,
and all of that.
But what I prefer
to do, especially if there
is a white or a
black object in
the frame, I just click on
this dropper here and I
click on the white object
which is this curtain, and oops
, it goes and
it's colour corrected now.
So we started by colour correcting the image .
I take the adjustment brush.
Now the thing is how to
make this look like a
professionally shot image.And
usually it's set at zero,
this is what the default reading is.
So, I apply this
here and I start painting.
You won't see anything because all
the settings right now at zero.
But the moment I go back
here, and I push
up the exposure of
this brush the magic starts happening.And
I'll take it all the way to 2.49.
Basically what I am doing
is I am blowing out the
information on the curtain, the
schema as we call it,
and I'm painting very broad
strokes around the things
including the ground which is
now turning slightly white.I
'm taking care not to overlap
brush, to see that
the brush does not overlap the
human image because that will be a problem.
How would we go about that?
I will tell you later.
So, here we are.
We've done this and now
we go for the edges.
We basically keep the brush
the same but we turn
on auto mask here, right here.
And then start working the
edges, make the brush smaller
so that is doesn't spill.
Automask does exactly what is says.
It automasks the edges
so that the white, the brightening
that you're doing is most likely
not to spill inside the
image, see how cleanly it's doing it.
See how neatly it's done, this part right here.
This because this was black.I
just took the brush in
once and it's managed
to get everything spot on,and
I'll zoom in a
bit here to get the inside of the hand.
You can see a lot of
spots there,but yeah largely they can go.
So I will zoom out again.and
seems to be working, so
I switch off automask and
I just get the remaining portions
to blend in nicely with what you've done.Get
the edges worked out, creases worked out nicely.
This is largely done
but we saw that there
were some bits of the brush that
's split over to the
hair and to the jeans
here so what we are going
to do is we are going to erase it.and
use the same technique, keep
automask on, and erase it.
So for the other pieces, we
do the same thing.
Go to the brush,
add another brush, add overexposure,
and change the size,clean
out the line, clean out
the creases, and we are
all set.
So this is the image.
Now let's make it a bit crisp.
So, what I am going to
do is I'm going to make
it even more, expose
it by half a stock more,
right here, so that the
skin tones and everything is
nice and bright, and that 's
the way I prefer it.
And put in
some more contrast to make the image more punchy.
Deepen the blacks of it.Use
the clarity little bit,
use the vibrance a little bit.Use
the saturation very little,
and finally, we go
to the sharpening tool and we
set the sharpening to
about, yeah that looks good.This
is way too much.
50 is good, and there we have it.the
final image ready to
be sent to the client, and
just for comparison here is
the original, and here
is the is the worked upon image.