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So I mentioned before that it kind of calls out to be shot in black and white. It's such a beautiful car. It's so dramatic. And it's kind of monochromatic as it is. So it's really fun to shoot black and white. The other one that I thought of right away that I wanted to do is I wanted to shoot a black and white with just that red coming through. So I want through, and I desaturated everything except for the red, and I bumped the red just, because it's a neat color in there. One of the great things about shooting in that warehouse there wasn't a lot of color.
There is just the yellow stripes on the ground there, and there is a little bit of red on in the interior. Pretty similar to the other one. This is that thing I was talking about when I was in there is you can't shoot from down low and try to forget that you're looking at a soft box above you right. That was a big challenge when you get low on the car. I saw that everyone was getting low, which is great, but one of the challenges is it's like, okay, this a great perspective, but I've got this very artificial ceiling about me. But if you shoot it shallow, your eye is still going to figure out that you're looking at gull wing and the ceiling becomes kind of irrelevant.
It doesn't really look like a soft box. It just looks a big white curtain or something. It's not the focus of the image. I had the opportunity to get on ladder yesterday. I wish I could have gotten all of you guys on a ladder today, because that's when you really can tell the perspective of the doors and whatnot, and you can get up there and see it. It's pretty cool. The other thing that's neat about up there is the yellow on the floor really jumps out, and you really get a sense of that. These shots from dead-on remind me of the original, they remind me of the old one, and you see a lot of those images in there.
Eventually, I played around with the macro lens and came in. I put this one in here so that we can retouch when we go over to Photoshop and try to pullout this guy here. One of the challenges of shooting cars is what to retouch and whatnot to. I think that stickers are fair game. Anything you can pull off with your fingers are fair game in software. So I'm not to feel bad about pulling that out of the image. I think a car magazine would do the same thing. That's probably some government mandated sticker that I'm not allowed to remove like the tag on a mattress or something, but we'll talk about it anyway in a second.
This is just one perspective you guys didn't see. Today this was us setting up and going upstairs yesterday and playing around with it and what I did with those is I desaturated everything except for the yellow. And that's easily done in Lightroom. So to talk about some other things we do in Photoshop with some of these. Some of the first things that come to mind. So this image right here. This is a fantastic candidate for going over there and pulling that line out that comes right in front of the screen here. I can leave this one here, but this one's really distracting, and I'll show you guys a trick for pulling that out in Photoshop with the Spot Healing Brush and a path.
Really, really handy way to do that. Cleaning up artifacts in a car--let's just a pull one of these over into Photoshop like this. So let me make sure this is as it was, and it is. I'm going to double-click on my Zoom tool to come in here. We are in CS6 now. I've got a bunch of stuff to show you guys here, but I think that the handiest stuff in here with the car is things like the Spot Healing Brush. A cool trick if I hit Ctrl+Option or Ctrl+Alt on Windows, I can resize my brush on screen.
I'll pull it left to right, and I'm doing the size of the brush. I'll pull it up and down. I'm doing the density of it, right? So just giving myself a normal sized brush, and I can come in here and just start cleaning up the car, or I can start come in here and taken out all the little marks. But you can come in, and you can pick this stuff up. With something like that sticker I haven't really played around with this yet, but the way I would do it is I'd select it. I'd use the Quick Select tool.
I believe that if you name something quick or smart or auto people will assume that they are quicker, smarter, more manual, and they won't use it. It's true. I found this out the hard way. But the Quick Select tool is a very powerful way to make a selection in Photoshop. Once I've done that, I could expand that just a few pixels, and let's see what happens there if we ask content or fill to remove that. Yeah, it does a pretty good job. It just looks around at all the neighboring pixels, and it says fill this area with everything that's outside and blend it in with that.
Now in a minute I'll talk about some of other changes to that in CS6, but we've actually improved that algorithm in CS6. Content-Aware Fill is great for removing lens flare. I know yesterday I was trying to shoot with a hood on as much I could, but at one point I had the macro, and I didn't have the hood on, and later I came in and there were some lens flare, Content-Aware Fill is great for taking lens flare out. It's almost impossible to get out of a shot otherwise.
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.