Film Noir Male Retouching
Lesson 27 from: The Portrait Lighting Challenge: Natural vs StudioSue Bryce, Felix Kunze
Film Noir Male Retouching
Lesson 27 from: The Portrait Lighting Challenge: Natural vs StudioSue Bryce, Felix Kunze
Lessons
Day 1
1Class Introduction
13:10 2Shoot: Natural Light Portraits - Maisie
21:29 3Shoot: Natural Light Portraits - Katie
25:45 4Shoot: Natural Light Portraits - LaQuan
15:36 5Shoot: Studio Light Portraits - Maisie
39:40 6Shoot: Studio Light Protraits - Katie
14:39 7Shoot: Studio Light Portraits - LaQuan
16:49Shoot: Natural Light Nude Maisie
37:27 9Shoot: Natural Light Nude Continued Maisie & LaQuan
28:47 10Shoot: Studio Light Nude Maisie
36:05 11Shoot: Studio Light Nude Maisie & LaQuan
18:43 12Studio Light Q&A
24:57 13Review
31:13 14Shoot: Natural Light - Backlight
17:50 15Shoot: Studio Light - Backlight
34:57 16Shoot: Hollywood Glamour Shoot
42:51 17Shoot: Low Budget Hollywood Glamour
14:47 18Post Processing: Sue's Style
17:44 19Post Processing: Felix's Style
27:34 20Post Process Q&A
33:07 21Shoot: Studio Backlight and Lens Flare
17:48 22Shoot: Studio Light - Strobe
25:28 23Nude Boudoir Retouching
15:29 24Contemporary Portrait 1
09:57 25Contemporary Portrait 2
05:12 26Contemporary Portrait 3
04:40 27Film Noir Male Retouching
06:35 28Film Noir Boudoir Retouching
11:07 29Nude Male Retouching
03:48Day 2
Lesson Info
Film Noir Male Retouching
natural light on the left straight on the right got a nice highlight something I did do with this drug again we took four images so I can't say we didn't measure up I did papa little highlight into here by using the dodge tour watch slowly coming down his test onto his side torso just to match the highlighters and the left image um I can add that by simply going to my dodge told ten percent and heading the highlights that are already there just to jump up um and what it's doing is it's just creating a little bit once and it's also good around the arabs etcetera and so it doesn't look like much until I take it off so if I take it off you can see the difference okay so I definitely used my dodge tall for a more pointedly look I might have gone too fast I'm just gonna back it up I'm not afraid to back up my finnish hope if I take too much if I do too much I do not reattach a lot on men's faces because once you smooth them out they definitely looked like they are wearing makeup or I've bee...
n retouched in men suit being a lot rougher I will remove that little way scar and this little sky things that I really not important but I will not smooth out his forehead because he suits although these lines on his face they make him look strong and masculine um also exactly the same for this side which is the natural life I'll simply take the shadow and his little scar there and then just innately had around here and then this little scar on the arm because you look at it and that's why I'm going to take that out um at the moment I love the shape of this I love the highlight your both beautiful images so let's have a look I'm going to save both them retouched I wouldn't do any more retouching in there he has a great body position um I feel like any sort of been eating or anything I'll do I'll do after any skin so after I choose the tone of the image then all cheers maybe if I'm going to bring in some more dip I'm going to go natural light first I am going to open exposure five my instinct is to go to a black white because I love photographing dark skin dark silhouettes on black backgrounds and they just look beautiful but look at what that gone timed us I mean that was my last filter which was yellowed six hundred with aging removed at one hundred percent now that to me is gloria ce until I see this and now I just see this bronze nous the d saturation I see you know body shapers see the muscles they see the power of his arms I love that and when I click through all of these polaroids and just oh how I love I love that um it starts to become hard to choose something because obviously they all start looking good let's have a look at what he looks like a black white secondly I sometimes feel that we put a lot into black white when it could just be decent rated uh there is a really favorite black and white I use and it sits in the vintage section of the black white and it is called and we have to nominate black model color and its cord dagger type look at this magnificent heavy grain and you can go to your brain and minimize the grain in this image to their butt to mei this is where I want this image I'm going to apply it I absolutely love this I don't think you need to doing things more I think in under three minutes we've created a sort of portrait you can put on your studio war that is powerful and beautiful and I can if I if I go to my bottom layer because my bottom layer is still sitting in color and just decent trade it then I can go to my own in skin layer and just dial it back enough to get the back highlight so I've taken my top layer down to sixty five percent my bottom layer is simply de saturated like a wise and just that's what anne in skin has done for it I'm going to flat in this image and at any time now I can pop a yellow or raid into this image because one stop of yellow or red into a black a white gives me a warm black white and it's the black white that I'm very attracted to not the blues off the great times now I'm going to repeat the same process I'm going to make the image black might by just simply control you d saturation I'm going to give it exactly the same um filter and alien skin which is the big girl type in the black of white with without grain knocked down to about fifteen twenty percent because it is a very grainy filter but it is the sexiest black might filter then I'm just going to take away uh what was it sixty five and then I'm going teo flatten and I'm gonna pop a yellow and a red because I just simply want a woman up um I like both I feel like now that I've done the glowy but here I may have done too much now that this is picking it up so let's just see if I can't I do the opposite and just pull back so I'm using the bed until and I'm really I'm doing what I did before I'm really just going to just work around his muscles with bannon this more light on this image on the right than there is on the left and also strangely it's colder so I'm just going to double red yellow and red now they more matched in color time um I loved them both so I'm going to save them exactly as they are
Class Materials
bonus material with purchase
Ratings and Reviews
Aliah Husain
I loved this course! I purchased it as a beginner photographer, unsure of whether to shoot natural or studio light and how to get the best results. After watching the course, I am fully confident in my ability to use both natural and studio lighting in my photography. And most importantly, I feel I have the knowledge base to be able to experiment with lighting in any situation. I am both grateful and inspired by these two amazing teachers sharing their technical knowledge and a personal piece of themselves. It is clear that they genuinely care about making their students better photographers. Thank you, Sue and Felix!!!
Geri
This is the best lighting class I've done, including several in-person ones. Covers so much, and the contrast between and dialogue about the two styles (natural vs studio) was so helpful. I didn't think there was anything at all negative about how Sue spoke with Felix, which a few reviewers said. Clearly she has great respect for him, which she sincerely says at one point, and explains why. Wonderful to see specifically how they both shape light. So many topics are covered. Loved Felix's clear and specific explanations about studio lighting. This class is worth every penny.
Wasabi Ben Kenobi
This was a fantastic introduction to studio lighting, and one of the best courses I've watched on Creative Live. I've only ever done natural light photos, but I want to learn more about studio lights because I'm creating a basement studio. I'm already a big fan of Sue's approach to portraiture. Now I'm a fan of Felix's soft lighting approach, too. In this course, he demonstrates how to replicate natural light portraits with a simple lighting setup. With a big scrim, a strobe or constant lamp, and v-flats, you can do so much! I'll be watching this course again.
Student Work
Related Classes
Portrait Photography