Portrait Professional Faces with full length Subjects

[Asher Kelman]

Asher Kelman: Jasmine & Tulips
Fuji GFX 32-64 mm lens
ISO 200 Godox lighting in a 45” Mola Mantti
Process in ACR Photoshop CC 2020​

This replaces spotting flaws, smoothing skin while keeping texture and adding the punch of an S-curve in one step.

I only use the face controls. It does alter the entire picture pleasantly to match and then as this is a layer in Photoshop CC 2020, I can bring back in different portions of tge unaltered original. Here generally I used about 50% of the original.


I find that if I have enough of the enhanced version to show the eyes well, then the rest of the image is very close too.

But in no case do I allow any AI alteration of the subjects physical form in the slightest.!

Asher Kelman: Jasmine & Tulips
Fuji GFX 32-64 mm lens
ISO 200 Godox lighting in a 45” Mola Mantti
Process in ACR Photoshop CC 2020
Portrait Pro Studio Max 15​

For printing I might go finally to Capture One and the sophisticated color controls there.

Asher

 

[nicolas claris]

Nice!
But I don't see what advantage is brung by having flowers, they are beautiful, but the model is perfect by herself, nothing to add!

 

[Doug Kerr]

I did not get a chance to mention this earlier, but I am a big fan of Portrait Professional.

If I am, for example, preparing a head shot for Carla to use as an avatar, or on business cards, I will often just use the defaults (facial sculpting and all). She likes the result. (She is, after all, the client.)

I, by the way, have the "stand alone only" version, which can't be used (directly) to modulate the results with layer work in Photoshop. (And as you know, I do not regularly use Photoshop anyway.)

It is easy to be seduced by the lure of "purity" (please excuse the bad pun). But we need to be careful, lest this keep us from, for example, using various lighting recipes to affect the look of a face, or choosing a certain point of perspective (we erroneously hear of "choosing a certain focal length") to get a certain "shape" appearance of a face.

Or perhaps we have used a tilt-shift lens to get non-converging verticals on a shot of a tall building, when in fact to the typical live viewer from ground level, the verticals of course converge gravely on the retina.

Just as bad in the other direction is to be arbitrarily governed by such dictums as "never crop the feet" or whatever.

Best regards,

Doug

 

[Asher Kelman]

I sometimes purposely place the subject in the center of the frame below a steel pole and cut of part of a hand!

Why not? Folk sometime are caught in an awkward position in real life

Asher