Patrick Patton

POST PRODUCTION WORKFLOW

POST PRODUCTION WORKFLOW

PART III: RETOUCHING IN PHOTOSHOP
By Patrick Patton

NON-DESTRUCTIVE EDITING
We want to create a new layer for every single action that we do, always leaving an out for ourselves so that we are able to go back to the previous step and start again if we need to. This is called non-destructive editing, a method for preserving all previous edits safely as we go along.

RETOUCHING SKIN
The first step that I do is to smooth out the skin. I do this by using the HEALING BRUSH, the SPOT HEALING BRUSH, or the CLONE STAMP TOOL. They are similar instruments with subtle differences, and they are each useful for certain purposes. Play around with them and find out which one you like to use in each circumstance that you encounter. The goal here is to create a natural look, so we want to keep our changes very subtle.

DODGING AND BURNING
We want to create an adjustment layer for DODGING and another adjustment layer for BURNING. To do this, we create a new curves adjustment layer and use the curve to brighten/darken it up significantly. The we will click on the layer mask and hit COMMAND-I (on a MAC) to invert the mask. We then use the BRUSH TOOL at 10% opacity and 10% flow to mask in the dodge/burn effect where we want it, and to the extent that we want it. I forgot to mention in the video, but it sometimes helps to apply a GAUSSIAN BLUR effect at about 16% to each of these layers once you are finished. You can also mess with the layer opacity to fine tune it. Again, don’t go overboard with these effects or your photo will look “Photoshopped”

LIQUIFY

Next, I will use the LIQUIFY TOOL if needed. BE VERY CAUTIOUS not to overdo it here. Use this tool as little as possible and keep everything looking natural because it is easy to get tunnel vision and go crazy with this tool. It helps to zoom out and look at the “big picture” regularly.

COLOR

I always start with a HUE/SATURATION adjustment layer to get things perfect. If there is a sky or water, I will be messing with the blues to get the desired mood. If there are trees, forests, I will be If I am dealing with skin, I will mostly be using the red and yellow hues to dial it in to exactly the tone I want. This can really make your model look pretty wacky if you overdo it, so once again, subtlety is the name of the game.

After this, I use a COLOR BALANCE adjustment layer to adjust the highlights, shadows, and midtones. This is where one area where you can get pretty creative and really put a signature on your work. A little bit goes a long way in altering the mood of your image with this tool. One thing I like to do is group the HUE/SATURATION + COLOR BALANCE layers together, and then duplicate the layers into their own PSD file to keep for the other images in the story. This will make sure that every image has the same color treatment and will give you a consistency across your fashion story. Don’t be afraid to adjust from there, because chances are that some images will need it. For example, the color treatment that looks great on a wide shot might be a bit much when applied to a tight shot, etc. Use your instincts and your artistic eye to fine tune your images until they are perfect and ready to share with the world!

Patrick Patton

I am a California-based photographer of people.  I work out of California’s Central Coast, home to some of the most incredible beaches in the world.  I have always enjoyed the pursuit and the challenge of creating and capturing beauty, whether it be through music, drawings, storytelling, or my favorite medium of all: photography. 

Post-Production Workflow – In The Field (Part 2)

POST PRODUCTION WORKFLOW

PART II: CULLING + EDITING 
By Patrick Patton

IMPORTING IMAGES
When I import files into Capture One Pro, I leave the default settings on and I import
my files into the “CAPTURE” folder, whether I am utilizing the tethered capture feature
of Capture One Pro, or just importing from a card. This keeps my method consistent,
and when it comes to file management, consistency is your best friend. When you
develop a consistent method for file management, you will have a much easier time
locating older files years down the road.

CULLING IMAGES
Culling simply means to make selections from a large quantity.
I use the rating system
to cull my images. My first pass is very liberal, and I mark anything that is usable with
one star. My second pass is decidedly more selective, and I mark only the really
fantastic images with two stars. If I still haven’t narrowed it down enough, I will go
ahead and make a third pass by marking the best of the best with three stars. I can
continue this process all the way on up to five stars if necessary, and at some point, I
should be feeling good about my selections.

ADJUSTING EXPOSURE
I usually start with exposure. Sometimes it is helpful to temporarily change your
image to black and white for this step. Adjust your exposure, brightness, contrast,
highlight recovery, shadow fill, etc. and then in most cases, you will want to copy your
adjustments to the other images to keep everything consistent, and then make any
needed adjustments from there.


PLAYING WITH COLOR

It’s a lot of fun to play with color, but you can go overboard really quickly and make
your model look like an alien from across the galaxy… in most cases, this is not ideal. I
don’t usually make my color adjustments until I’m finished retouching the image in
Photoshop (we will talk about that in Part III), but I wanted to show you that Capture
One Pro gives you some really powerful tools to play around with, and I do utilize these
from time to time.

EXPORTING IMAGES
I usually export my files to the “OUTPUT” folder. I know that this is where my select
images are going once they are ready to be opened in Photoshop for retouching. Again,
you will probably find your own method that works, and that is fine as long as you
have a consistent method that you understand.

Patrick Patton

I am a California-based photographer of people.  I work out of California’s Central Coast, home to some of the most incredible beaches in the world.  I have always enjoyed the pursuit and the challenge of creating and capturing beauty, whether it be through music, drawings, storytelling, or my favorite medium of all: photography. 

Post-Production Workflow – In The Field (Part 1)

POST PRODUCTION WORKFLOW

PART I: IN THE FIELD
By Patrick Patton

POST PRODUCTION BEGINS IN THE FIELD

When you think of post-production, you think of sitting in front of a computer, listening to a podcast while you wait for your files to transfer, or how sore your shoulders get from hunching over your desktop after a long day of retouching.

The truth is that post-production starts in the field. 
You’ve got to begin with the end in mind, looking through your camera’s viewfinder with the same discerning eye you use while culling images on your monitor. 
You’ve got to see what the light is doing, how your model is moving, and work with these factors to create an amazing image IN CAMERA!

SHOOTING RAW V. SHOOTING JPEG
1. Always shoot RAW!!!
2. The end.

IMPORTING AND NAMING FILES
It doesn’t really matter how you name your image files as long as you remain consistent.
As long as you understand your system and can easily find a file that you shot 3 years ago, you’re golden!

BACK THAT THING UP!

Always backup your hard drive!
Every. Single. Time.
Ask me how I know…

Patrick Patton

I am a California-based photographer of people.  I work out of California’s Central Coast, home to some of the most incredible beaches in the world.  I have always enjoyed the pursuit and the challenge of creating and capturing beauty, whether it be through music, drawings, storytelling, or my favorite medium of all: photography. 

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