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The demystification of dave hill! let's all help!

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  #2081  
Old 02-20-2010, 05:36 PM
Aether Aether is offline
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Re: The demystification of dave hill! let's all he

Okay, figured it out. There's two ways to do this. The first and probably least preferable is to go ctrl-alt-2 to select luminosity, then add a curves layer adjustment using the luminosity as a mask. Do the same think on an inverted image for the Shadow Mask, using the difference blending mode you take the difference of these two masks to make the Difference Mask.

A better way would be to have white as your foreground color, and go to Select Color Range. Now move the fuzziness until your get the desired amount of highlights selected, and use this for your highlight mask (then do the same on an inverted image, and then take the difference for the difference mask). This way you have a lot more control. Although it could be a combination of the two, since he double the masks. Maybe one is more global, and the other more specific.

This is handy stuff, I especially like using the highlights mask after doing the highlight carve layer, at low opacity it really helps to bring your painted highlights back to being more realistic without losing the effect.

I'd still love to see Richard Wood's method!
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  #2082  
Old 02-20-2010, 05:41 PM
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gamedonechanged gamedonechanged is offline
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Re: The demystification of dave hill! let's all he

Yeah I emailed him earlier this week. No ETA on that tutorial yet mate.
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  #2083  
Old 02-20-2010, 06:44 PM
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TreesOfMyTime TreesOfMyTime is offline
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Re: The demystification of dave hill! let's all he

But finally perhaps, we are understanding this process!
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  #2084  
Old 02-20-2010, 06:48 PM
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gamedonechanged gamedonechanged is offline
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Re: The demystification of dave hill! let's all he

http://goodlight.us/writing/luminosi...tymasks-1.html

Just got passed onto this website which gives a good explanation of the type of masking required. Not going to look at it now as I am dead tired. But if your feeling brave....
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  #2085  
Old 02-20-2010, 07:47 PM
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TreesOfMyTime TreesOfMyTime is offline
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Re: The demystification of dave hill! let's all he

Looks VERY interesting. I am tired as well, but I hit the donate button and should have the PDFs and the actions by morning!
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  #2086  
Old 02-21-2010, 09:19 AM
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gamedonechanged gamedonechanged is offline
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Re: The demystification of dave hill! let's all he

Almost done reading that section. I didn't even know about how you can narrow the selections further to get the light lights and so forth.

Could it be that in Mr Randall's method above when he describes creating 2 consecutive light masks that the in one of them it is a light mask and then the second a more narrower one? Same goes for the darks.

Just a wild guess.

Anyway here is the picture he was doing. This is already obviously done but nothing stopping us doing it again to increase the effect.

http://www.ilovephotoblogs.com/wp-co...-nerd-geek.jpg

Last edited by gamedonechanged; 02-21-2010 at 10:02 AM.
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  #2087  
Old 02-21-2010, 10:19 AM
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jam1212 jam1212 is offline
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Re: The demystification of dave hill! let's all he

Yep, you're exactly right. I stumbled on that MM thread a while ago (I'm pretty sure someone posted it here pages and pages and pages ago) and learned a lot from it.

The consecutive light masks he refers to are, in fact, narrower and narrower versions of the original "lights" mask. You apply slight curves adjustments to each one as a new layer, and that way they build up in a smooth and coherent manner. You do the same with the "darks" masks, except with an opposite curves adjustment. The end result is quite interesting.
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  #2088  
Old 02-21-2010, 10:25 AM
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Re: The demystification of dave hill! let's all he

Thanks for confirming jam121. I am playing around with a pic now, very sloppy stuff but the result is interesting. Will post up shortly.
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  #2089  
Old 02-21-2010, 10:43 AM
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Re: The demystification of dave hill! let's all he

Ok so I tried out Mr Randalls technique. Firstly this is one of Calvins pics from his training so I hope he will be ok with me using this for practice.

http://img51.imageshack.us/i/changingskintone.jpg/

http://img442.imageshack.us/i/changingskintone2.jpg/

I don't think a beauty shot is really the best thing to be using for this especially, or any women for that matter. I see what he means by using the luminocity curves. That is something I need to definitely play with more. Does anyone have a decent pic I can use to have a play with?

edit: Looking back on this now it's a little too bright too.

Last edited by gamedonechanged; 02-21-2010 at 04:51 PM.
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  #2090  
Old 02-21-2010, 12:47 PM
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Re: The demystification of dave hill! let's all he

OK, so here's my contribution to this cause. I'm not gonna be able to explain every single little detail in my workflow, but this might make the layers in the PSD more understandable. Download the original PSD from the link at the end of this post and feel free to comment or ask questions.

First of all let me just say, before anyone thinks I'm a self-appointed expert: This is not the exact DH-look and maybe it's not the perfect and correct way to achieve it, but it might be useful and a step in the right direction. This is just my workflow for this particular image after reading quite a lot of the posts in this thread and other blogs/sites about the DH look. I recently discovered the luminosity masks technique and IMHO I think that we have the "secret" right there. That doesn't mean that your pictures will get that perfect illustrated look by a few mouse clicks. It takes time, practice, time and time to perfect the technique. I still have a long way to go myself before I'm satisfied. I haven't been able to try the Luminosity Masks very much but I can defenitely see the potential and power of this technique.

I REALLY RECOMMEND those of you who want to get the DH look to read ALL of the info and tips at http://goodlight.us/writing/luminosi...tymasks-1.html. It really explains every single little detail on how Luminosity Masks work and why they are so powerful. Thanks gamedonechanged for the link! That being said, here's my workflow:

----- LIGHTING SETUP -----

Let's start from scratch. As you have probably read before, a good lighting setup is crucial. It really helps when it comes to post production. I used 5 flashes for this image. I had my doubts if everyone of these flashes were really necessary. We tried to shut one of them off at the time and it actually made a world of differnce with each one. It's probably easier to let the attached images speak for themselves. I have no photo of the finished lighting setup. The attached photo is from in the middle of setting it up but the lighting diagram shows kind of what the final result looked like (Donwload PSD from kevinkertz.com to try it yourself!).

Basically we just experimented with the power of each flash and moved them back/forth and up/down to get the desired result. It took about 2 hours to get the final result as this was the very first time for me.

I used a Canon EOS 1Ds mk II with a Canon 50 mm f1.8 lens. Camera settings: ISO 100, 1/125, f16.

No light metering, just took several test pictures and made adjustments to get the desired result. The flashes were trigged by radio transmitter. One attached to my camera and another attached to one of the Speedlite 580's. This 580 was set to MASTER, so that it could trigger the other 580 set to SLAVE. This was a requirement in this setup because the Canon Speedlite flashes do not slave on any other flashes than a MASTER unit in the Speedlite series. Don't ask me why, I think it's stupid! Here we also discovered a problem. The ringflash, for some reason, disturbed the signal sent from the MASTER 580 to the SLAVE 580 if we had the ringflash to close to the model (me). This is why we had to use flags to shield the light from the ringflsh so it didn't hit the 580's. Not sure, but I also think that flags are used to prevent lens flare from the flashes behind the model.

Anyways, the 580's triggered the Ringflash, the Octa and the Beautydish by slave. Watch the lighting diagram and hopefully you'll understand what I mean.


----- POST PRODUCTION -----

I have named all the layers in my PSD according to what they do. I hope it's clear enough. Just hide/show the layers and you'll probably figure out what they do. Alt-click the layer masks and you will see what area they effect.

I always start with the skin retouch. First I clean the whole image from sensor dust, large skin spots and unwanted wrinkles on an empty layer named "Healing brush and Clone stamp". Basically I remove everything I don't want in the image. Then it's time for Dodge & Burn. I use two Curve layers, one for highlights and one for shadows, and work in about 300-500% zoom of the original size to get good control. For even better control I make a Curve layer on top of the two D&B layers with an S-curve just to get a better look at the areas that need dodge or burn. Always use a small soft brush on 2-5% Flow. This is the most time consuming part of my workflow, but it's worth it if you do it thorough. A more detailed description of the Dodge & Burn technique, and the place I learned it from, can be found here: http://retouchpro.com/tutorials/?m=show&id=272

IMPORTANT! Use a wacom tablet for D&B retouch (and Photoshop retouch in general). A mouse is totally worthless for doing this. For those of you who don't use a Wacom tablet, consider this: What do you think gives the best control and result if you should write your autograph on a piece of paper - a mouse or a pen?

When this picture was taken I had recently gotten back from a sunny vacation. This is why my skin was pealing on a few different areas in my face. There was also a red tone on the skin in these areas where I had been scrubbing it. I corrected this with the Saturation layer "Face skin color change". This was just an extra thing I had to correct in this particular picture and normally not a part of the retouch workflow. As you can see I also have very dark circles under my eyes that are quite uncharming in this photo. This was corrected in the D&B Curve layers. If you have a model with better skin this of course facilitates the skin retouch.

I sharpen the image on a few different layers with High pass and different Blend modes. Try different values, Blend modes and Opacity values on the High pass layers to suit your needs. There are no magic values here, it's all depending on your image.

Basically it's a lot of small effects at the time, and mixed together they give the images the final result. Like I mentioned before, I think you should take a good look at the Luminosity Mask technique at http://goodlight.us/writing/luminosi...tymasks-1.html. I will not explain the Luminosity Masks in my PSD since they're kind of experimental not very organized. Read the tutorial instead, it's much better. By mastering this technique you can add local contrast/highlight/shadows to give the image that illustrated look. At least that's what I think, and that's the technique I'm gonna work on improving myself since I'm haven't really gotten the hang of it yet.

Well, that's it I think! Comments and tips are welcome of course. I've probably left out some important detail that some of you wonder about. Just ask and I'll try to answer. Please respect my copyright and don't distribute this PSD or use it for anything else than inspiration/education. As all of you, I like useful information and free stuff, so please all, show some of the same generosity I just did I think the Internet will be a better place for all of us! You are more than welcome to use this image to work on and post your results here if you manage to get a good look. Download the original PSD from this link (about 300 MB):

http://www.markusp.se/5-PointLightin...onTutorial.zip


PS. Please check out and comment on another ongoing just-4-fun-project of mine, 2 out of 3 images done:
www.markusp.se/foe/foe24.htm
www.markusp.se/foe/foe25.htm

//Markus, Sweden
www.markusp.se
Attached Images
File Type: jpg BeforeAfter.jpg (89.2 KB, 372 views)
File Type: jpg LightingSetupDiagram.jpg (82.2 KB, 235 views)
File Type: jpg LightingSetupPhoto.jpg (89.5 KB, 230 views)
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