We’ve done a couple of tutorials on how to edit skin tones and make them look better in Adobe Lightroom, but today we’re sharing a video specifically walking you through how we edited a single image. You’ll see just how simple it really is to get perfect skin tones just by working manually with the color channels. The video is after the jump.
If you had asked me years ago if I would be reviewing film in the year 2015, I probably would have laughed in your face. There is no way that a couple of years ago that any editor would have thought that a company would be making new film products. But indeed, there have been. CineStill, founded by the Brothers Wright photography team, have repacked Kodak cinema film by taking off a layer that makes it safe for typical C-41 processing. For CineStill 800T, the company gave us ISO 800 film that is Tungsten balanced–which means that it’s best used with a flash or daylight.
In my personal experience, ISO 800 film has been very grainy except when it’s Kodak Portra and pushed a stop. But in this case, CineStill has given us the finest grain 800 film I’ve ever seen.
Editing portraits in Adobe Lightroom can be a daunting task sometimes, but the specific color channel tools can help you create a better image than simply just working with the basic adjustments. They can give you much more professional looking results and in reality, they’re very simple to work with. Before we begin to talk more about this though, we also recommend that you work with a calibrated monitor to get even better looking images and also have an easier time with editing.
One of the best kept secrets within the fashion and beauty photography is the way to obtain absolutely perfect and flawless skin colors, brightness and texture. That’s an art, absolutely, and often a quite technical challenge.
In this article I will explain how to obtain perfect skin colors, with the help of a ColorChecker. But not just a simple ColorChecker workflow with the standard, bundled software. No, there’s a neat trick which saves a lot of time and a lot of custom color editing (and desaturating) of skin tones.
It’s a quick, transparent automatic workflow, once set up and created. Your camera needs to shoot in RAW.
Editor’s Note: This post was originally published on Hans van Eijsden’s Blog and has been republished with permission.
The Sony A37 is the company’s latest offering to the entry level crowd. Both Peter and I had hands on time with the unit before it was even announced and in two totally different scenarios. The camera has stylistic differences from the likes of Canon and Nikon: the other two major players in this market segment. The A37 also continues Sony’s dedication to the SLT system; which removes the optical viewfinder for an electronic one and therefore also sticks with a translucent mirror.
Many Sony products are very favorably reviewed on this website. So is the A37 any different?
Do you see that lens up above? That is the Voigtlander 17.5mm f0.95 Nokton for Micro Four Thirds; and it is perhaps the lens that has locked me into the system and also renewed my faith in it. Using this lens I can do so much. Not only is it characterized by its fast aperture, but it is also a 35mm equivalent field of view: which is honestly my favorite focal length.
Before I even get into this review, know that it is an overwhelmingly positive one even though swallowing the cost of the lens was a bit much for me. After weeks of use though, that has all gone away.