2. Step 1:
Setting Up the Still Life
1.
Create a random moment in time –
arrange objects and forms which
make sense together. Then think
about how light and shadow will
play a role in the still life.
2.
Elements & Principles of Design –
think about color,
shape/form,
texture and the other elements. How
will you create Unity, Harmony,
Variety and Emphasis? Arrange
objects
with
elemental
characteristics which accomplish
the higher principles of design.
3.
Space – use space specifically.
Negative space is as important as
positive space. Have objects
overlap and show distance in space
by arranging objects in front of one
another. Avoid objects “kissing” one
another.
4.
Line and Pattern – create visual
interest
using
leading
lines,
perspective lines and patterns. If
your objects do not inherently show
this, then allude to it.

3. Step 2:
Still Life Composition
1.
Levels, Height & Space – use
vertical space and horizontal space.
Some of the strongest compositions
are based on the triangle. Have
your focal point rise towards the top
while your heavy, larger and more
cumbersome objects should sit at
the base.
2.
Open & Closed - Decide between an
open or closed composition. Closed
compositions have all elements
completely contained by your frame,
whereas open compositions have items
extending outside the visual panel.
Both have their strengths.
3.
Symmetry – A perfectly symmetrical
composition often looks forced.
Although asymmetrical still lifes can
look uncomfortable.
Think about
balance – is one side too heavy or have
too many objects? Find a middle
ground between symmetry and
asymmetry.
4.
Rhythm – lines and objects should lead
the eye. Create a rhythm in your still
life by repeating various elements
within the composition. The eye will
automatically locate and move to each
instance within the piece where
shapes, colors and patterns are
intentionally repeated.

4. Step 3:
Setting Up the Scene
1.
Simple Backdrop – Wrinkles and
ridges in a still life photograph – unless
a part of the setting – will be
distracting to your main subject. Be
vigilant about keeping your backdrops
smooth and simple.
2.
Vary your Lights – to create
contrast, it is important to use
different types of lights and different
directional lights. The main light
should be strongest, and the second
light should simply provide a nice fill.
Also, use side lighting, underlighting
and overlighting to enhance the mood.
3.
Use Angles – lighting from varying
angles is only half the battle. We see
life 3 dimensionally. For this reason,
the most dynamic photographs are the
ones in which the audience could walk
into the scene, or reach out and touch
the subject. Also think about
perspectives - a photo is most
interesting when you give a new
perspective to something that is
ordinary.

5. Step 4:
Positioning the Lights
1.
Light Setup: Key Light – The key light
is the most important light. In a twolight set up the key light is generally
placed above the camera and at about
45° angle to the subject. For flatter, less
directional lighting, you might want to
place it above and directly behind you
camera, with a diffusing filter in front
of the light.
2.
Light Setup: Fill Light(s) - The fill light is
placed opposite the key light to soften
the shadows. Either the positioning of
the light or the relative wattage of the
two lights can be used to make the
intensity of your fill light less than that
of your key light.
3.
Light Setup: Additional Lights - Your
third light can be uses in a number
of ways. It can be used to increase
highlights. It can also be used as a
background light, to separate
subject from the background. Try
this effect when shooting on a small
set, to add the illusion of more
space. Aimed directly on the
background, you can brighten your
shot, add separation between the
subject and the background, or use
color
effects
gels
on
your
background light to create any color
background you like.

6. Useful Hints & Tips
1.
The Flash – a camera’s flash is a
useful burst of light. The flash built in
most cameras today are fine for quick
snapshots from 3 to about 10 feet
away. This built in flash gives good (not
great) results. The problem with the
flash alone is that the image will
appear flat. Studio lighting helps
counteract this issue.
2.
Backgrounds - White, gray or blue
backgrounds work well with most
subjects. Remember, simple is key!
and Reflector
Glass - Clear glassware works best if
the main light is coming from behind
subject. This emphasizes the shape and
defines the object so that it does not
blend into the background.
4.
Fill light = box light
Textures - If your subject has a rough
texture you want to show, set the main
light off to the side more. This will
create shadows along the edges of the
texture and enhance the lines.
3.
Key light = flash
5.
Fill light = box light Umbrella (reflector)
Key light = flash
Fill light = box light Umbrella (reflector)
Back light = small light or slave
Details & Small Objects - A silver
reflector or mirror is helpful for
showing more detail on small objects.
6.
Key light = flash
Shadows – to soften shadows position
lights closer to the object. To increase
shadows place small directional lights
around the object. Or one or two very
strong lights from above and below.

7. Case Study
Unlike a tutorial or step-by-step
walk through, a Case Study
presents a different sort of
challenge to the student-artist. You
are given the final outcome and
asked to develop steps in order to
recreate
that
outcome.
For
instance, you are given an image
and you will have to try and figure
out how you can make a copy or
mimic this image. This is a great
way to challenge your skills and
force you to think about steps and
procedures (instead of just winging
it!). Good luck!
1.
Create an
backlighting
image
showcasing
2.
Create an
overlighting
image
showcasing
3.
Create an image
directional lighting
directional lighting
showcasing
and multi-
4.
Create a silhouette
5.
Create an image showcasing the
rules and methods for creating a still
life
6.
Create an image showcasing form,
shape, vertical/horizontal space,
positive & negative space and the
interplay between lighting and
shadows
7.
Create
texture
an
image
showcasing

9. Step 1:
Lighting the Model
1.
Light the Background/Backdrop first
2.
Aim the light at the backdrop behind
the model
3.
Overlight the hair from above and
behind the model
4.
Use a softbox to diffuse some of the
light
5.
Use a “kicker light” (also known as the
accent light) to highlight the opposite
areas highlighted by the main light or
key light(s)
6.
Use the main light to add dramatic
shadows and highlights to the subject
7.
Aim this light to flatter the model’s
natural beauty
8.
Use a fill light to soften shadows,
soften hard edges and control negative
space
9.
Setup all five lights together so that the
model is completely lit

10. Step 2:
Posing the Model
1.
the ¾ turn
2.
45º angle head-tilt
3.
projecting the chin out toward the
camera
4.
using a slightly higher camera position
5.
avoid “football shoulders” by having
the subject turn to a 45 ⁰ angle
6.
have the subject sit tall – no slouching!
7.
never tip a man’s head to the high
(feminine) shoulder as he will look
feminine
8.
women's heads can be tipped toward
either shoulder, but the feminine
shoulder is more appealing
9.
make the pose look natural
10. the legs are almost parallel to the
camera plane
11. the shoulders are nearly perpendicular
to the camera plane and are turned at
a 45º angle
12. the head (and therefore the face) are at
an angle slightly off of the shoulder,
pointed to the camera left
what not to do
what to do

11. Step 3:
Cropping & Photoshop
1.
shooting portraits from a distance will
increase your depth-of-field and blur
out the background (also can be
achieved in Photoshop)
2.
when cropping an image, there are
several things to keep in mind: a) crop
above or below joints to avoid
“amputated limbs,” b) leave some
background to avoid “claustrophobic
pictures” and c) do not crop tops of
heads
3.
Photoshop Touchup Checklist:
•
•
•
•
•
•
•
•
•
•
•
Blemishes
Wrinkles
Stray hairs (fly-aways)
Odd shadows or hard shadows
Color tones
Hair color
Levels
Brightness/Contrast
Hue/Saturation
Softness
Lighting/Highlights

12. Photoshop Tutorials
“Compositing Exposures”
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Open a photograph in Photoshop
duplicate the layer twice and rename the layers in
from top to bottom: COLOR | BLACK AND WHITE |
ORIGINAL
turn off the COLOR layer and edit the BLACK AND
WHITE layer using: Black and White, Levels,
Curves, Bright/Cont
duplicate this layer and rename it EXPOSURE 1
IMAGE  ADJUSTMENTS  EXPOSURE, adjust the
sliders to create an underexposed, dark image
then use the ERASER on a SOFT ROUND brush and
erase all of the highlights (bringing them back)
repeat steps 4 – 6, but duplicate the BLACK AND
WHITE layer and instead of a dark exposure, make
a bright overexposed version
MERGE all three black and white layers (B&W, EXP
1, EXP 2)  rename this BLACK AND WHITE
IMAGE  ADJUSTMENTS  GRADIENT MAP, use a
BLACK to WHITE map
turn the COLOR layer back on  change the
BLENDING MODE to COLOR
IMAGE  ADJUSTMENTS  use the color
adjusters: COLOR BALANCE, HUE/SAT, PHOTO
FILTER etc.
Drag your ORIGINAL LAYER to the top
Experiment with BLENDING LAYERS and OPACITY
(this brings back any details you may have lost in
the editing process)
FLATTEN the IMAGE
SELECT ALL  EDIT  COPY (CTRL+A then CTRL +
C)
UNDO or use the HISTORY to go back to the step
right before flattening then EDIT  PASTE
(CTRL+V)
Rename LAYER 1  EDITS | Change LAYER
OPACITY to 65%
FILTER  BLUR  GAUSSIAN BLUR (to taste)
Use a SOFT ROUND ERASER and erase in details,
highlights or any areas of importance
Then CROP your image

13. Photoshop Tutorials
“Blemish & Wrinkle Fixer”
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Open an image that needs “touch-ups”
Enter QUICK MASK MODE
Using a DROPSHADOW BRUSH (I prefer
the seventh brush down) paint over
each of the blemishes you would like to
fix – this will also work for wrinkles,
moles and other imperfections
Be sure to use DIFFERENT sized
BRUSHES for those LARGER areas that
need correction
FILTER BLUR  GAUSSIAN BLUR, use
anywhere between 3 and 5
EXIT QUICK MASK MODE
On the TOOLBAR find the “band-aid
icon” which represents the HEALING
BRUSH
HOVER over an area of skin that is not a
highlight or a shadow and has no
blemishes – ALT-CLICK with the mouse
Then “paint” over any area the
GAUSSIAN BLUR tool didn’t fix
Use a combination of the two methods
to select areas that can use color
correction – IMAGE  ADJUSTMENTS
 COLOR BALANCE or while on the
LAYER click the “half circle icon” at the
bottom of the menu, this creates a FILL
ADJUSTMENT LAYER over your current
selected LAYER

14. Photoshop Tutorials
“Magazine Edits – Part 1”
1.
2.
3.
4.
5.
Open an image that needs “touch-ups”
SELECT ALL  EDIT CUT, EDIT PASTE
Then: LAYER  LAYER STYLE  COLOR OVERLAY 
SOFT LIGHT  Color 7f5747
CLEAR LAYER STYLE
Turn the DUPLICATE layer back on. Using a DROP
SHADOW ERASER, erase all of the flesh tones on this
DUPLICATE LAYER. The person should get an instant
“tan.”
•
Using Magazine Airbrushing: Magazine Photo Editors
often use a technique called airbrushing to alter and
improve a “model’s look.” There are many ethical
dilemmas when it comes to such edits. However,
learning how to do it will help you edit your images.
•
For the most part, airbrushing is similar to
Photochrome. Here are the steps:
1.
2.
3.
4.
5.
Create a NEW BLANK LAYER
Use a SOFT/BLURRY PAINTBRUSH at a LOW
OPACITY (30% or so)
PAINT over areas you would like to alter
Use a SOFT/BLURRY ERASER at a LOW OPACITY
to clean up areas that were not precise
Areas most often airbrushed:
•
Cheekbones and forehead
•
Hair color (tinting)
•
Eye color (enhancing)
•
Lips or other areas that might need
makeup touchups

15. Photoshop Tutorials
“Magazine Edits – Part 2”
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
Here’s a trick that comes in handy: LAYER  FLATTEN
IMAGE, SELECT  SELECT ALL, EDIT  COPY.
•
This trick will allow you to have a flatten image
which is easier to edit, yet keep your layers in
case you want to go back or you make a mistake.
Then go to your HISTORY and undo the last few steps
so that all your layers return. Create a NEW FOLDER
and place all of your LAYERS in the FOLDER. And turn
the FOLDER off. Then EDIT  PASTE.
QUICK MASK the hair
EXIT QUICK MASK and SELECT  INVERSE
COPY & PASTE
FILTER  SHARPEN UNSHARP MASK  160 30 10
MERGE the HAIR LAYER with the FLATTENED LAYER
IMAGE  ADJUSTMENTS  CURVES. Drag the top
corner down and the left corner to the right (clipping
the edges). Then bend the middle to create slopes.
This should create some dramatic lighting effects.
DUPLICATE LAYER: FILTER  GAUSSIAN BLUR 5.
LAYER MODE  MULTIPLY, LAYER OPACITY 45%
DUPLICATE your FLATTENED LAYER: IMAGE 
ADJUSTMENTS  DESATURATE: LAYER MODE 
OVERLAY. LAYER OPACITY 25%.
Use a DROP SHADOW eraser to remove some of the
blurriness on these two new duplicated layers.
LAYER  FLATTEN IMAGE
Adjust colors, levels, brightness and contrast to taste

16. Photoshop Tutorials
“Lomo Effect”
1.
2.
3.
4.
5.
6.
7.
8.
Use the FLATTEN/COPY trick from STEP
29 & STEP 30.
Click
on
the
CREATE
NEW
ADJUSTMENT
LAYER
(the
half
black/white circle at the bottom of the
LAYER MENU)
Click on LEVELS  PULL DOWN MENU
 RED 39 1.00 223
PULL DOWN MENU  GREEN 26 1.00
232
NEW LAYER
FILL BUCKET WHITE. FILTER  RENDER
 LIGHTING EFFECTS  have the
directional light come from the top
and the shadows on the edge
FILTER  BLUR  GAUSSIAN BLUR 20
LAYER MODE  MULTIPLY

17. Photoshop Tutorials
“Retouching – Part 1”
1.
2.
3.
4.
5.
6.
7.
8.
9.
Open the Image Provided for you
labeled
Follow the BLEMSIH & WRINKLE
REMOVAL TUTORIAL
•
Use this to trim the eyebrows at
the end and in between, remove
blemishes and moles, remove
the bags under his eyes, and the
wrinkles from his nose to his lips
DUPLICATE layer
CTRL-T or EDIT  TRANSFORM 
SCALE and shrink the image about 80%
- 75% (so that it is in the center)
On the bottom of the LAYERS
WINDOW find the VECTOR MASK (this
looks like QUICK MASK and is a circle
inside a rectangle)
•
This tool works sort of like a
mask and an eraser and uses the
PAINTBRUSH
•
When the BRUSH is set to BLACK
it erases
•
When it is set to WHITE it brings
back what was erased
Use the VECTOR MASK to isolate the
hair so everything else is erased
Move the hair so that it covers up the
model’s receding hairline
Use our FLATTEN IMAGE trick by
FLATTENING the IMAGE, COPYING,
UNDOING the FLATTEN, and PASTING
To remove the fly-aways and trim up
the hair, use the POLYGONAL LASSO
TOOL to select a portion of the
background

18. Photoshop Tutorials
“Retouching – Part 2”
10.
11.
12.
13.
14.
15.
16.
COPY & PASTE this “chunk” of the
blurry background
Use the MOVE TOOL to slide it over
the top curl/cowlick and use EDIT 
TRANSFORM to ROTATE if you need to
Then use a SOFT/BLURRY ERASER with
a LOW OPACITY and begin blending the
“chunk of background”
Repeat STEPS 10 – 12 until you have
covered all of the fly-aways
MERGE all of your COPY LAYERS to the
FLATTENED LAYER
FILTER  LIQUIFY
•
Use LIQUIFY to “push and pull”
portions of the image
•
This is an easy way to enlarge,
shrink, taper and smooth areas
of the face and form
•
The trick is to use a LARGE
BRUSH and click SLOWLY
•
You can use this to bring in the
model’s jaw, smooth out his hair,
and thin his face
•
You can also use it to widen his
smile, and open his eyes more
Once you are satisfied with the
retouching of the model’s face edit this
photo for quality. Use:
•
Brightness/Contrast
•
Levels & Curves
•
Hue/Saturation
•
Color Balance
•
Photo Filter
•
Channel Mixer
BEFORE
AFTER

19. Photoshop Tutorials
“The Super-Enhanced Portrait”
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Annie Leibovitz is known for her supersaturated, enhanced imagery. To
create this effect, start by opening a
portrait image.
Use the ADJUSTMENTS LAYERS to edit
this
image.
Remember
the
ADJUSTMENTS LAYER can be found in
the bottom of the LAYER MENU and
look like
Edit this image with the standard
adjustments:
•
Brightness/Contrast
•
Levels & Curves
•
Hue/Saturation
•
Color Balance
•
Photo Filter
•
Channel Mixer
REMEMBER, you can use the
BLACK/WHITE BRUSH to alter the
adjustments just like in VECTOR MASK
Create a NEW GROUP and place all of
your ADJUSTMENT LAYERS in the
GROUP  make sure to place them in
the same order
Use our FLATTEN IMAGE trick, by
FLATTENING the IMAGE, COPY, UNDO
FLATTEN, and PASTE
DUPLICATE LAYER
FILTER  BLUR  GAUSSIAN BLUR and
blur so you barely see the facial
features or hair detail
LAYER BLENDING MODE  MULTIPLY
Use a SOFT ERASER and erase parts
that are too blurry (eyes, hair etc.)
BEFORE
AFTER

20. Case Study
Unlike a tutorial or step-by-step walk through, a
Case Study presents a different sort of challenge to
the student-artist. You are given the final outcome
and asked to develop steps in order to recreate that
outcome. For instance, you are given an image and
you will have to try and figure out how you can make
a copy or mimic this image. This is a great way to
challenge your skills and force you to think about
steps and procedures (instead of just winging it!).
Good luck!
Complete 10 Studio Portraits, each one must:
•
use studio lighting with a two-light or three-light system
minimum
•
be posed using the guidelines concerning head tilt, torso
and leg positioning, angles and perspective, and
composition rules
•
edited in photoshop for levels, color, contrast, and
blemish removal
•
edited in photoshop for magazine quality images and
cropped accordingly
Create these portraits:
1.
Posed Male Model - use a male model for this image
2.
Posed Female Model
image
3.
Posed Group Shot - use at least two or more people
4.
Headshot and Upper Body ONLY
5.
FULL BODY Sitting
6.
FULL BODY Standing
- use a female model for this