Bryan O'Neil Hughes, senior product manager for Photoshop, demonstrates a variety of techniques for car photography and shares how he guides his images through Lightroom and Photoshop.
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(energetic music) - Cars are a lot of fun to photograph. But it's also a very difficult thing to shoot. Unless you have the perfect day, it's almost impossible to get it right. You've got all these angles and reflections, and it's really challenging situation. (camera shutter) I think there's a tendency for people to shoot a lot, we call it spray and pray, and just hope they're gonna figure it out in post. But my attitude about post processing, is that it should augment me doing my very best in the field.
(energetic music) I think the other really interesting thing about this car, is the hood, its got this really long snout that just extends forever and ever and ever. So I'm already thinking, with the wide lens, that I'm gonna exaggerate that. I'm gonna get dirty, I'm gonna be laying on the ground. (camera shutter) And shoot right up at it. (energetic music) When we're shooting HDR, you wanna make sure that you shoot at least one stop under and one stop over. But I'll also go kinda crazy. (camera shutter) One over. (camera shutter) Two over.
(camera shutter) Three over. And we're gonna combine all those together and come up with a nice HDR. As you switch lenses, you start being a little more challenged. But you also start coming out with more unique perspective. (energetic music) This particular lens is pretty high contrast. And one of the things that it loves is all the detail, and the sharpness with the vents and what not. But also that color. (camera shutter) That red is really gonna pop. (energetic music) The key with any of this is you're trying to tell a story, you're either trying to make something dramatic or interesting.
In the case of car photography, you're to say what the car is about. So the reason that we're here today is to teach people about Photoshop and that's why Lynda and Adobe got together for this. We're doing a few things, we're taking out a little bit of distortion, we're taking out vignetting, which is the fall out in the corners, and we're taking out chromatic aberration, which is a really nerdy word for color fringing. The first thing you'll notice is that Photoshop CS6 has a dark interface. This isn't just a fresh coat of paint. Bridge is now 64-bit, like Photoshop, like Lightroom.
A 32-bit application can address just under four gigs of RAM, a 64-bit application can address as much as you can throw at it. It's just real time. (energetic music) Now, normally the way it would work is, if we crop our image, that's that, we come back later and we're out of luck. Well, one of the great things here with Crop tool, is it's all non-destructive now. I think a successful image here, at the end, it's gonna be something that not only surprises someone who looks at the photograph, (camera shutter) but hopefully the photographer too.
For me it's really a collision of all of my passions, Photoshop, photography, and cars. (energetic music)
In the first portion of the course, Bryan photographs a carefully lit Mercedes-Benz SLS AMG and shares tips for photographing cars. He shows how to evaluate the lines of the vehicle and compose shots for the greatest dramatic effect. Along the way, he employs a variety of lenses and shooting techniques, from macro to high dynamic range.
Next, Bryan guides the workshop's attendees through his Lightroom and Photoshop workflow. He shares insider tips on how to take advantage of the features in Photoshop CS6, such as the revamped Crop tool, the Iris Blur and Tilt-Shift filters, the Content-Aware Move tool, and video editing tools.