The concept and process of PS environment Portrait in later stage

Light can be said to be one of the most important elements in photography. The use of light can not only create a strong atmosphere, but can even change the character of facial features. Light is also the best tool for creating contrasts and attracting attention, and has a significant impact on color change.

However, in the actual shooting, many conditions are used to limit the light, such as the timing of the photo, weather conditions, shooting site environment, equipment configuration and so on. Then when the initial filming is difficult to achieve the desired effect, the late adjustment is particularly important. But remember, the latter does not mean that the early period can be lazy, a photographer's most basic quality is in the existing conditions will be filmed as far as possible to achieve the most perfect, so as to give the later more creative space.

This tutorial combines the case with a detailed explanation of the late color palette, the tone, and the techniques for making Dindal effects (also called Jesus Light).

　　One, how to make Dindalguan effect?

In fact, it is easy to find a variety of ways to make Dindal effect on the Internet, however, most of the current tutorials in the process of making light appear to be a bit simple and rough, so that sometimes viewers look at the finished products will be more or less found some flaws should not appear. So before making a case study, let's talk about the effect of Dindalguan.

First of all, it is necessary to find the obvious light source, which can be directly in the image of the light source, such as the sun, strong artificial light, etc., it can be the audience with some reference can imagine the light position, such as the object of the high light, shadow, or the ground spot and so on If the original artwork lacks the above factors, it is recommended not to force the production of Dindal effect.

Second, one of the reasons for the Dindal effect is that the particles in the air are illuminated by direct light, which can be dust or mist. The clear air is not able to produce Dindal effect. Then, if this is not the case in the shooting scene, it can be done in a later way.

Finally, in some time period is difficult to produce Dindal effect, for example, at midday, most of the fog will be dispersed (except by the effect of dust), the photos taken is not suitable for the production of Dindal effect, because the audience will be based on life experience to veto a too far from the common sense of the later

Then after the establishment of the above points, you can observe whether the original image has reached the production of Dindal effect of the basic needs.

By looking at the original image above, it is not difficult to find that the sun from the left side of the beam down, the environment can obviously see the sun through the tree seam cast the spot, in addition, the environment and there is no fog, which means that the late production of fog is essential. That is to say, the picture's filming environment can be used to make Dindal effects. But because the light is located outside the picture, we can't use the traditional radial filter to do the light. This is also the picture of a major difficulty in the later, the solution will be explained in the following links.

　　Second, the environmental portrait of the Post process

The author in the fine repair of the picture, especially the need to add material to the refinement above often follow the following post-processing, which will also be the workflow of this tutorial:

This process is sorted based on the importance of the revision process, prioritizing the most important content. This process is definitely not the most efficient process (people with larger figures are better suited to finish liquefaction and face repairs first, again, the process will be repetitive, but it actually reflects the thinking that needs to be done in the fix: precedence, multiple palette, and repetitive fine-tuning.

Third, the case of intensive repair

1. Basic Palette

First copy a layer of layers, and then start the basic tone rendering work. This step is a basic attempt to achieve your vision of the desired effect. The author of this picture of the setting is probably: to create a whole soft green, reduce contrast (soft atmosphere), improve the regional contrast, make Dindal effect, morning mist effect.

In the picture, the environment detail is too many, the level is not obvious, the personage is not prominent. At this time, first use the color level with the mask to enhance the contrast of the characters, improve the subjective sense of existence. (A yellow box is used in the figure to indicate what is mentioned in the text)

Then, you need to dye the environment in addition to the highlights of the location of the green (high light will catch the color of the sun, should not be the same green as the environment, so another color). Select Lut:sophia. Look, and then use the Snowman plug-in to select the bright 3 mask (at this time the mask display part of the highlight position).

Then flip the mask with ctrl+i so that the LUT only affects areas other than highlights. (In a mask, a white area indicates the area where the layer is displayed, whereas Black does not show)

But after the dye is finished, it seems that the green is slightly dazzling, so reduce the brightness, slightly reduce the saturation, weaken the screen green.

Then in the optional color, add a little yellow-green to the black part, and the white part with some blue and magenta, so that the color of the two parts of the light will be slightly contrast. (You can also adjust according to your preferences, of course).

As the next process of making morning mist and light will cause the whole picture to be illuminated a lot, so after the whole dyeing complete, with the curve will be the whole picture, but the black dot raised to a little bit, so as to ensure that the image of the darkest black, enhance the visual "image tolerance." (This is explained in more detail in the previous tutorial, no longer explains why). After adjusting the curve, erase the overly dark parts of the mask with a brush, and then adjust the opacity of the layer to achieve the desired effect.

Another way to highlight the character is to darken the unimportant area, so create a graph layer and use the mask to darken the perimeter. By the way, add further yellow around the dark part. (I think the curve is one of the best tools for making personalized dark corners.)

　　2. Morning Mist Production

After you complete the previous step, the basic palette is complete. Next you need to go into the special effects production. The first thing to make is the morning mist effect. Here I choose the Raya Pro plug-in Orton soft light effect. First add a layer of "Cold Orton" to the whole picture to increase the sense of fog.

Do not look at the plugin is discouraged, in fact, this step does not require plug-ins can also be completed. The basic methods are as follows: 1. Build a blue-purple (or any color of the demand) layer, overlay mode to soft light, and then copy the previous layer, the layer on the use of more than 160 of the Gaussian blur, superposition mode to filter color. It's done.

Then create a Orton soft layer, the lower mask and the location of the model with black erase, so that you can further add fog to the height of the picture.

In the same way, add a warm, Orton soft light layer, in the mask to control its scope in the center area (to erase the characters), so that the warm layer is the image of the "distance" area, so that the hue can be slightly contrast.

However, if you simply add soft light or mist to a picture, the ultimate feeling will be "like a layer of stuff". In fact, the fog will change with the depth of area, depth, distance from the lens, the fog is thick, small depth, close to the camera where the mist is light. So according to this picture, we need to make the middle position (far away from the lens) to produce thick fog, while the two sides (close to the camera) only need mist. Portrait, the character is in the background and foreground between the position, so the character of the fog should not be too strong, but to be concentrated in the closest to the lens of the tree in front of the fog.

Based on the above analysis, the next step is to add mist between the character and the background of the distance. The steps are very simple and rough. Create a new blank layer directly, with a straw pick up the background of the color of the high light, and then use a large 1500 pixel brush in the middle of the screen smear, and then in the mask to wipe out the characters slowly out. This fog effect only affects the space between the character and the background.

In the same way, add a layer of mist to the picture closer to the center. Wipe out the characters. In this way, the entire picture formed a mist from far to near gradually from the concentration of a gradual change in the process of light.

Classification:

• PS Image Processing
• PS Post-processing tutorial