Awesome Wedding Photo Edit - Photoshop Breakdown

 

What's going on creative family and welcomewith to the breakdown, where we deep dive into one of my Photoshop documents tocheck it out if you guys haven't seen this one it's the epic veil shot that Irecently posted a speed edit on and today you'll get a look and a little bitof a discussion on how I built this image in Photoshop huge thanks toChristin Melanie photography for letting me use this image for the channel I second shoot weddings with her often so if you haven't checked out her work I'llleave a link in the description and I'll see you guys in Photoshop alright guyshere we are in Photoshop taking a look at this veil image and before we getstarted let's go ahead and turn off all of these layers here so that we can getback down to the base image now before we start going layer by layer here Ithink it's important to quickly discuss the base of how this image was shot thiswas planned out to work with two different shots for the composite so wehave this one here which was the primary image that I knew I would use of thesubjects and then this shot here was another image.

I knew I liked theveil positioning from along with the depth of field that we had going onthere and so we based both of these shots to work together to create thefinal image which would be this here as far as the composite is concerned so toget everything started I knew that the first thing that I needed to do was grabthe veil from my second shot and kind of work that in you guys can see a littlebit more about

 how I did that and the speed edit process wise but the roughbasis of it was essentially just grabbing from the left side so I canjust show you quickly here how we do that so now you can just work awayaround the image with the lasso tool and then once I have the selection doneI just pressed ctrl or command C to copy this and then I would paste that intothis document here and so you can already see roughly how this works and Idid have two different exposures I know for this one here I believe it was theshutter speed might have been around 3200 and then on the second shot myshutter speed was I believe at 5000 so I just upped that a little bit so I didget a slight drop in exposure which is generally no problem because I can justadjust that here in post but once I got this layer copied in I pressedcontroller command T to bring up my free transform and then I right-click andhead into warp and now I use work quite often for things like this and if you'venever used it before you get a few really nice Bezier points that you canuse to warp and manipulate this specific layer and so I just use this and usethat to warp the availle exactly how I wanted it for the final image and thatgave me a pretty good result which is where we finally got to this one hereand then

 I used a layer mask just to cut off what I didn't need and then I endedup flipping the veil to the other side here and that was primarily just to givea little bit more I'm not sure if you know for those who don't know of theFibonacci ratio here or the spiral is just to basically bring a little bitmore of a spiral leading line that goes up here into the subjects faces and so Ireally like the way that the composition hit there all right now moving alonghere after I was done with my masking for the veil and getting everythingmanipulated there the way that I had wanted I just went ahead and created asmart dog object where I did just a little bit of liquefying to the subjectsand then I moved into frequency separationnow frequency separation is one of those things that I use quite oftenreally with almost any retouch that I'm doing unless my subjects far enough awaythat I won't really see too much blemish detail going on now for this if youdon't know what frequency separation is essentially you're just taking the lowor volume frequency which is just the color and you're separating that fromthe detail so in this specific one here I used a surface blur method and you cansee there that it's just taking the detail layer and the color layer andjust splitting those two apart so that I can retouch each of them individuallynow my process that I use most often on this volume layer here just to quicklygo through and even out skin tones or any discoloration and blemishes is justusing my lasso tool with about a 10 pixel feather and I'll go ahead and justcreate one and then do a Gaussian blur and then

 I can go ahead and lasso morearound my subjects and just press what is it ctrl alt F or command option F andthat will just repeat that same effect so it's really easy to see here thatthis frequency separation I just went in and removed some of theblemishes just to create a little bit more of a clean detail so that when thiswas printed much larger it just had much more of a smooth look to it and thenafter my frequency separation I always do some dodging and burning whether it'slocal or global I generally had some kind of a dodgingburnin there where a lot of times here I use this ultimate retouch retouchingpanel and it does a really good job because it gives me almost everythingthat I need just in actions base here and buttons throughout the panelso this dodging and burning I just I always use this curves method here whenI'm doing any type of contouring and then that just gives me a curves whichis one that's darkening here and then one that's bumping the exposure there sobasically just the dodging a burn layer with inverted layer mask so that I canjust go ahead and start painting on and so you can see here that this dodgingand burning is essentially just kind of adding a little bit more of an artisticfeel rather than any type of micro dodging burn where 

I'm actually usingthat dodge and burn method for the blemishes I usually don't do that toomuch unless it's for quite a high-profile client that I really needto spend that time on and so just working a little bit more ofan artistic burn in there just to contour everything a little bit and thenthis dodge layer here is just brightening up the areas that I wantbrighter so overall it does give it a little bit more of an artistic polish toit and then I have a skin layer here which is essentially just adding alittle bit of redness to the skin tones and I really I like the way that thatlooks again just gives it a little bit more of shine to it and a little bitmore of a break up of color without going overboard now the next thing thatI did here was a quick sky replacement and I know that there's not a whole lotof sky currently but it just adds just a faint bit of details there and soessentially what I did is I took you can see the sky layer here and Itook the sky layer and I worked with the opacity just to bring that down a littlebit and then I usually do my sky replacements at least starting off witha blend F method and see how that works first and then sometimes 

I'll play withblend modes on top of this but for the most part here you can seehow the sky overlays there and I knew that I just wanted to remove it fromeverything that was a bit darker in the image and so was saying that I'm able tojust drag this underlying layer up here to remove it from the the blacks in theimage and then I can bring this up into the whites as well and then then I'llgive me a really nice base to start with and then when I go on top of that and Ipaint on the layer mask that just helps remove it from anywhere else and thislayer mask here is really more of a garbage mask just to block off all ofthe main areas as you typically won't see that sky anywhere else say in theseupper highlights you won't really even be able to notice that it's thereso with this quick Scott replacement in place here I went ahead and used some ofmy stock packs which were the pro flares stock pack here and this was

 I'll justgo ahead and turn all these off and we can set this bottom one to normal sothat we can see what's going on here and so with it back lit I really wanted toget a little bit more of kind of a lunge flourish look here and I used my stockpack lens effects if you guys are interested in these I'll leave a link inthe description so I used lens effects and just through a couple differenteffects there so this one here up top is a little bit more to effect the sky andyou know give the hint of a Sun there and then I complimented that with one ofthe overlays from the pro flares pack and then use a layer mask to just maskoff where it was hitting pretty harshly in my subjects face and then on top ofthat one I just did a little lens effects down here in the bottom and soaltogether if I go back down to screen it just gives it a really nice warm youknow bit of a light week there and pops of light around the imageyou so that's pretty much it guys after thisI just took it into Lightroom and did a little bit of local sharpening and avery slight color grade to it and that was the final image so I'll go overtutorials here for this a little bit more in depth at a later time as far asthe Lightroom process and my color grading and sharpening that I do therebut that wraps up this one here for the breakdown alright guys that is the epicveil shot composite breakdown talking's art today is is

 I'd like take five we'rejust gonna go ahead and we're gonna do it so hopefully you guys learnedsomething in this video and you know it's hopefully you got to see that itwas a little bit easier than it may seem during a speed edit you know or justmaybe posting a final image and how a shot like this might be put together sothis one here was really only a two shot composite just with the retouch and youknow a couple cool lighting effects and sometimes that's really all you need youknow wedding days can often get you know kind of jumbled up timewise and you knowtimelines can be really tight and crunched and you may not always have thetime to sit there and nitpick and you know do 50 takes to get the perfect shotand so in this specific one you know I was very confident in the skill setwhich confidence if you guys don't know is a huge part of being an artist youjust need to know what you can do and be able to execute on that and so you know I I just I thought to myself hey let's just take two shots and it's that simpleguys like you can you guys can do this stuff and it's really easy once you getto it learn each you know piece we'll get to the stuff here on the channel butonce you learn each piece of the retouching workflow whether it's blemishremoval whether it's dodging and burning whether contouring whether you knowadding light effects and painting REM lights and all this crazy stuff it's alljust little pieces to a puzzle that you put together to create a really coolimage so hopefully you guys got to see a little bit of that today just goingthrough this breakdown of the of the photo shot document photo shock documentthe Photoshop document so make sure to LIKE comment subscribe I'm currentlyworking on a couple videos from subscriber requests I've seen that youguys have asked for a couple cool effects regarding some of the cosplaystuff that I've done and so I've got some of that coming up here waiting fora little bit more free time to get into doing some photo shoots so that I canreally give you guys some cool value there and yeah guys so I'm lookingforward to getting into the next little bit of videos here so until then createmore say less and stay creative I'll see you guys in the next video you