Okay, so we’re going a photo shoot of two little girls. These are clients whom I did their wedding ten years ago. Now, they have girls and they bought in this magazine Ad, can you see that.

Anyway, she wants that particularly thing. So it’s kind of neat I like this and look what she brought in, two dresses wanting to see that, two dresses and some of this, so many things and two of those dresses. And yeah, sometimes clients bring these dresses and end up buying it from me.

So anyways, this is really great, very thematic, big shots. So, here’s what I’m going to do, it looks like a curtain obviously. It’s ballerina’s curtain stage. So, we’re going to set up that this way. Set-up another one beside it with an opening between and the lights going to come from this side, same angle as it’s in the right. And I’m going to bounce a light through here back into the scene. The two panels, yeah.

It really embarrassing Megan here, so what they’re doing now is I’m just got me set-up. Looks very brighten that one side, the only light I’m exposing for is that light there, it’s my small soft box. And it’s coming through here, it’s coming through the curtains, the matte curtains. And I tested it and it looks great, dramatic.

So, let’s just have an overview. So, there is two back drops here, there’s one here, one here, one there because the light was coming through and it is showing up. Small soft box, I was going to use that, but I decided again because we’ve scattered the light too much. This gives you more control of the soft light. So, there we go, there is peek-a-boo curtains. It’s good.

All right, here is the image that the client I brought in from the magazine and here is a proof that I had shown her this really went over very well. She was really very happy with it, so yeah, I want to do a really good job for her and it wasn’t really that difficult to do. One thing I did do though when I show to her proofs of the images was I showed her an image that worked on and this is one of them, I worked on this one and this is right now it’s a half sepia. I just ran the action and you could tell by my history brush or history palette. I want to use saturation and I went to colorize and I typed in 25 and then edit fade to 50%. Now that was already done in the action, so there’s actually a little bit of color on this version, she really liked that and that’s a particularly nice effect. It’s also it called half sepia, it’s one of the options available for download and I also showed her a black and white which you can see right now. And I have all these setup in my studio as Photoshop actions, so I can quickly do the workflow, quickly do these effects and I save each particular image with each particular effect. I save a different version, I’ll just go Control Shift S and I’ll just call it whatever I want to call it, and I will have different variations.

So in her proofing when she is actually going to view the images for the first time, she sees different variations of it. So I’m going to show you quickly though how I work flowed that image, here it is right off the camera, all I did was I press on my computer F6. Now let’s look at what F6 for me is. It will increase the saturation, it does a defog, I actually do an auto contrast and I fade the auto contrast by half and then I sharpened it little bit and I added a little bit of noise.

So basically, it’s a quick and dirty workflow for proofing, I wouldn’t do this normally in grand scheme of things for final images. Then, I would go to the Burn 2.0 very quickly, burn all around starting with highlights at a low exposure. And just quickly burn all around. Let me see if I can size this down a bit, it’s already sized down. But I want to get those highlights and reduce a little bit. And then I switch it over to mid-tones and I believe for this particularly image here, I actually went in and I increased the skin tones by going the selective color and knocking out the cyan that I would add a little bit of counter soft again another action. And when I run the counter soft, I find that a little bit too sharp. So I go into layers and then I just minimized the effect on one of those layers. Then I flattened them all and that’s what I pretty much end up with.

One thing I might do too is add a little bit of noise and not to speckles, where I didn’t mean to do that. Go to filter, noise and you can see the artistic look, you can see that and especially if you go to a sepia tone, it gives it a whole new mode. I show all this effects to my clients when I’m proofing them. This client is a very good client. II photographed her wedding like I mentioned in the video. So, we have an established relationship. Any ways, she was very, very happy with the results and that’s exactly what she wanted. So very much close duplicate of what was in the magazine that that she cut out and showed me. And while I was at it I did a few of these here types of poses. As well as a few other variations with some of the other outfits, very straightforward, nice lighting and against my castle wall with the vines.

So again, she was very happy. That’s the basic workflow apart form working the images from the regular workflow, talking mostly and strictly just about workflow in the images while I’m proofing them. So, it’s what I want to point out right now. Any ways, very simple and its bread and butter stuff that I see on a regular basis and I hope you learned something from it, thank you.