This Photoshop was submitted by member Stian Fossen. @stianhfossen
As covered in the video, the key take away point from reviewing this PSD’s workflow is to not separate your color adjustment layers with multiple masks, as it can lead to a very sporadic end result. You want cohesiveness, so making curves/exposure adjustments first, and then ending with color grading at the very top and affecting the whole image will lead to a more cohesive end result.
As mentioned and shown in the video, a great starting place for a gradient map can be used through my Gradient Map Pack – I’ve built these 176 gradient maps throughout my entire 10 year automotive photography career through thousands of car shoots and trial and error.
This Photoshop was submitted by member Ulrich Hoelzel. @ulrichhoelzel
The key take away point from the critique of this Photoshop file applies to full composites only, and that’s to make sure the lighting on the car matches the key light source you have in your background. The problem here was the back of the car was darker then the front, and needed to be flip flopped. Although the best way to achieve this would be to actual light the car that way when you shoot it, but if that’s not possible, the dodge and burning technique I show is a good coverup.
This Photoshop was submitted by member Dominykas Liberis. @liberiumphotography
2 key points to take away from this critique.
- When you’re going to be making several lighting adjustments to background and the car, it’s very important to have a perfect mask of the vehicle. Although time consuming, it’s worth it every time, my weapon of choice for the task is the Pen Tool. If you’re not familiar with the pen tool I do cover it in-depth in Advanced Automotive Photoshop.
- Every photoshoot has a unique look and feel and desired outcome. This shoot is clearly a lifestyle/natural environment. Sometimes less is more, I reduced the sun flare and color modifications to help work more into the natural lifestyle vibe.