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Whitening the Skin
Summary:
Learn how to create the porcelain like skin you see in the magazines with some easy techniques from photographer Kate Breuer.
Kate Breuer will show you two possible ways to achieve the wanted look. At first, she will show you how to do it in Lightroom using only the possibilities a Raw conversion offers.
In addition, she will switch to Adobe Photoshop and show you how to get nice results in photoshop, where you can't use the same way as in Lightroom or another Raw-Converter.
She uses a little trick to acomplish the goal of a white skin.
Watch this video and learn the technique to create a skin like this yourself!
Ray Flash Light
Summary:
The frontpages of fashion and beauty magazines are full of pictures without any shadows at the face. To achieve this look, one needs a flash device that allows even lighting.
If one is not willing to pay a few hundret dollars for a ring flash, you will be delighted to hear, that there is another possibility:
Mike le Gray explaines how to use a ray flash, how it works and what the advantages and disadvantages are, when compared to a normal ring flash.
He photographs his model in front of a white background and explains the effect, the light creates. Later on, he changes the background to black and shoots a few more pictures with Navenna.
In this video, you will learn a lot about the technique and usage of a ray flash, allowing you to do great shots without spending a lot of money.
The Gaussian Blur
Summary:
The Gaussian Blur filter is probably the filter with the most prejudices about it. Nonetheless, it can be a useful tool.
In this video, Kate Breuer shows, what the Gaussian Blur filter does and what it can be used for.
The first step is skin retouching. She blures the image using the Gaussian Blur at a layer, she converted for smart filters. Afterwards, she adds some noise, to make the skin look like it still has pores.
In addition, Kate Breuer shows a way to use the Gaussian Blur as a tool to add contrast and glamour to an image, as you know it from magazines.
Glazy Spots
Summary:
Without a professional make-up artist, getting glazy spots is absolutely normal. When not usind matte powder or when the location is how, the model will get glazy spots when sweating a bit.
In this video, Kate Breuer shows, how to get rid of them with Photoshop. She shows different techniques, to eliminate those flaws in your pictures.
One of those techniques is the double RAW conversion, where Kate creates two RAW conversions, one for the glazy spots, one for the rest of the image.
Another technique is using the on-board possibilities of Adobe Photoshop, e.g. the stamp tool at decreased opacity.
Pencil Effect
Summary:
If you want to convert a photography into a drawing, but are unable to draw properly, this is the right video for you. In this video, Kate Breuer show the technique.
She starts from a normal photograph and shows, how to create a drawing from it, only by using the Photoshop on-board techniques and filters.
She creates a black & white edition and two different colored editions, using opacity and layer masks. In addition, she explains, what is important about the original photograph to achieve a result, that looks real.
Learn how to do this with only a few easy steps and make others look at your photo-based drawings with amazement.
Laura Pannack
Summary:
Laura Pannack, a young British photographer, sits down to discuss her work and several photographic projects focusing on the lives of modern youth today.
Resembling an imperfect social documentary, Pannack’s work is an intimate and captivating look at young people during different stages of their life and the situations and people they encounter. Discussing the details of one of her projects, Pannack talks about spending two weeks, “with friends” in the woods at a youth camp photographing the individual lives of the camp participants. The photos reveal a more subdued look than that of general public stereotypes of crazed teenagers who smoke and drink obsessively, have unlimited premarital sex, and with nothing but incessant thoughts of texting and Nintendo Wii swirling in their heads. Pannack does an excellent job and her photos are quite a striking exhibition of unlikeness and refreshingly honest.
“Young Love” is another compelling project Pannack worked on that brought her very close to her subjects, sometimes forming lasting friendships. Young love is synonymous with the beginning of real hopes of marriage, sex, and commitment, albeit commitment is limited as few high school relationships lead to marriage, but Pannack’s photos acknowledge the youths are just fine living in the moment. Her images succeed in taking the viewers to an extreme level of voyeuristic intimacy, the many intriguing compositions symbolizing adolescent thoughts, dreams, emotions and all the complex feelings that make us human.
Butterfly Lighting 2
Summary:
In this FotoTV film photographer Oliver Rausch, from the Cologne School of Photography in Germany gives FotoTV another helpful tutorial, this time taking a closer look at the very popular and forever timeless Butterfly Lighting" made popular in the 20's by legendary film icon Marlene Dietrich.
On hand from two fashion magazines he shows first the right and then the wrong examples of this style of Beauty photography. Then he constructs a lighting setup using various small lamps showing step by step which combination produce which results.
How do shadows created with large lamps develop, How can I with only one lamp illuminate both the model and the background are among the questions Oliver Rausch addresses here. He also gives some tips on how to best use umbrella reflectors.
Rausch concludes that plasticity is the most important element when using butterfly lighting. Rausch shows that a three-dimensional photograph of the face is clearly more pleasing than a shot produced by incorrectly placed lighting reflectors.
Nude Photography III
Summary:
For the third and final installment of this special three part series, iconic photographer, Greg Gorman, leads a workshop in Zingst, Germany, while discussing and demonstrating natural light portrait and nude photography with FotoTV and workshop participants.
The focal point of Gorman's discussion and demonstration today is natural light settings in low light circumstances for portrait and nude photography. Gorman specifically focuses on camera exposure settings and the analyzing of the model's face. As opposed to the second installment where Gorman uses a strong key light set-up and an edge light to separate the model's face and body from the black background, this time he uses a light somewhat overexposed background, a mixture of light tones and hues to create a soft, ethereal image with clean lines that are always straight and parallel.
Gorman emphasizes his rapport and working relationship with his models while on set and he finds it extremely important to routinely show the model either test Polaroids or images on the camera display so that they have an idea what he is shooting and how they look after the shot is taken. Gorman sculpts with light to render elegant and dramatic portraits and nudes. With the aid of a silver reflector he adds a kick to the overall image, making the photo more dynamic, therefore giving viewers an excellent demonstration of what can be done in fairly simple light.
Most noted for his work in black and white, Gorman shoots color for his workshop series and it is clear why he has been in the business for over four decades photographing for the world's most notable magazine and advertising clients.
Hard - Direct = Soft
Summary:
In this film, photographer Martin Krolop covers the exciting topic of shooting in the style of the glossy women's magazines for FotoTV viewers.
Step-by-step Krolop points out the key elements to recreate a shooting as those seen on the covers of renowned magazines. He carefully points out the significance of having soft even light and clear sharp eyes. These techniques are being used by professional magazines and Krolop shows viewers how to use shade as a highly effect photographic instrument. By blocking out the direct sunlight over the model, he uses the natural illumination from all the objects in his surrounding scene. Everything casts a reflection due to the direct overhead sunlight and it is these reflections that Krolop cleverly uses as his main light.
Krolop's technique to achieving the soft light like that on a magazine cover is subtracting light, not adding it. Even though Krolop uses a sun swatter during this film, he will make use of anything he has nearby to use as shade, even a tree if necessary.
In conclusion, Krolop's information and demonstrations will help photographers get magazine cover quality pictures while shooting outside in direct sunlight-- simply by blocking it out.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Nude Photography II
Summary:
For the second installment of this special three part series, iconic photographer, Greg Gorman, leads a workshop in Zingst, Germany, while discussing portrait and nude photography for the male form with FotoTV.
This time Gorman focuses on the light set-up and his approach to photographing portraits for the male form with the aid of his model-photographer, Mike Lane from Louisville, Kentucky, USA. Using a strong key light set-up and an edge light to separate Mike's body from the background, Gorman aims to create a more dramatic photograph and he does exactly that.
By far, the most important aspect of his work is his working relationship with his models while on set. Gorman finds it extremely important to communicate with his models and to not feel shy when working with them. He directs his male model through the segment with ease, even as he tells his model to suck in his belly, something Gorman finds no problem saying because does it respectfully. It is not necessarily the light that makes Gorman's photographs so intense; rather it is his how he uses the light that makes the picture more interesting.
Throughout the shooting, Gorman makes several exposure adjustments and lighting changes to capture the essence and personality of the model optimally. He also suggests shooting from a slightly lower angle when photographing someone that is not so tall, so to elongate the body.
Most noted for his work in black and white, Gorman shoots color for his workshop series and it is clear why he has been in the business for over four decades photographing for the world's most notable magazine and advertising clients.