This Photoshop was submitted by member Ashwin Gurru.
Key points to take away from this critique:
- Give your car breathing room, and not so tight in the frame.
- When lightpainting it’s better to have the light line reflections go only along the body lines of the car, not have squiggly all over the body, this can be achieved by proper light movements, as shown in the first Digital Assistant, Lightpainting.
As mentioned in the video, no color work was done to this photo, which is a crucial step! For an in-depth walk through of color grading workflows and techniques check out LiveClass Commune class “Advanced Color Grading”
This Photoshop was submitted by member Ty Fischer.
Key take away points for this photo with a background swap:
- As seen in the video the base layer, the first single image of the car, is slightly blurry. I think this is potentially because the photo was taken without a timer or a remote. Shoot at least with a 2 second timer or remote to avoid getting slightly blurry photos to start with.
- Again, the car is too tight in the frame, it needs some space to breathe as I adjusted slightly.
- When choosing a background swap, carefully examine the direction of light, I did a horizontal flip on the background so the light direction matches that of the car, also I had to bring it down vertically to match more the perspective of the car. Always consider where the horizon line was in the original photo when placing your new background.
- The “blotchiness” of lighting on the back of the car came from too many layers for one small spot, and soft brushes. It’s better to have one single solid lighting frame for each side of the car, as it’s easier to work with and achieve a clean end result.
This Photoshop was submitted by member David Glessner.
A great photo, and epic result with editing! I’m sure hours and hours was spent on this, because there was over 50 layers. In saying that, sometimes epic results don’t require so many layers or time spent. As shown in the video I removed dozens of layers and basically had the same result, just avoiding unnecessary big brushes and atmospheric layers can have a cleaner end result. Less is more.
The key point to take away from this also when working with a red car you have to make sure you’re not blowing out the color when lighting it, as recovering the proper color of the car is very difficult as seen in the video.