How to make sex videos at home – Tips for making amateur porn

Do you like to make homemade porno movies with your partner? Whether you want to keep it for yourself, or upload it for others to see, making amateur porn can be a ton of fun. he best sex videos that we ever see in porn are homemade videos, not those that were paid for.

Choose a site to upload your videos

If you’d like to upload your video for others to watch it for free, there are many sites where you can do so. We prefer using a hookup site called Free Sex, where you can also browse member videos and upload your own.

You can even upload your videos to other sites like OnlyFans and make some money. Or, you could even make videos on a site like Porn.com. If you decide to not share you videos and just keep them private, that’s okay too! Making porn videos is still a lot of fun.

Use a cam, webcam, or phone

Whether you want to film sex with a partner, or yourself, you’ll need a cam, a phone or a webcam. Cameras like a cam, a webcam, a phone or a webcam can be very simple to use. Many webcams can be connected to a PC via USB, or a smartphone can connect directly to it.

If you’re recording yourself, a smartphone or a webcam is the easiest way to do it. If you’re not comfortable with your phone or webcam, there are a variety of cam and webcams to choose from.

If you have a smartphone, you’ll want a cam or webcam that connects to the Internet to make your videos. A cam that works well with your phone is the best way to go.

To get a cam or webcam that connects to your smartphone, search for a cam app. Cam apps connect to a cam or webcam and then use your smartphone’s screen and camera to do so.

Some cam apps also let you record yourself as well. The cam or webcam app can be found on Google Play or Apple’s App Store.

There are some apps out there that are free, while some cam apps cost money. Before making a purchase, do some research about the price for the app, and make sure it’s worth your money! You may have to pay for the app, but it could save you money by allowing you to create better amateur porn videos.

Get the lighting right

To get a good picture, you want your lighting to be perfect. Try out different light sources from overhead lights to lamps, or even a desk lamp. Make sure it’s in a well-lit area and it will be much better to work with than if you had to work with a dark area.

If you have a small bedroom, you can put your cam or webcam on a desk or on a shelf and that will give you the perfect lighting you need.

Put the camera on the bed

Whether you’re filming your partner, or yourself, you’ll want a cam that is in a good position to shoot from. If you put the cam on your bed, the bed will give you the perfect lighting to use for recording.

Also, make sure to put your bed on a hard, flat surface because that will give you a better picture.

Get a tripod

You’ll want a tripod for recording. A tripod can be a huge help when you want to make porn videos of yourself, but it can be very helpful with filming your partner as well. When you use a tripod, you can adjust the camera to be in a better position than if you were trying to make a video without a tripod.

Using a tripod helps you get your lighting right and it can make a huge difference in how professional your videos appear. If you have to use your bed or a desk as your cam or webcam, a tripod can make your videos even better.

Use some props

To make your videos more fun, try using props. For example, try to film yourself with a fake boner or use props like an erect dick. It’ll look a lot better if you film yourself like this, but your partner may not like it.

So be sure to get their permission before you use any props. Or, if you do want to film with props, ask your partner if it’s okay.

Also, if you’re filming with a partner, you can play along. This will make it seem like you’re both having fun. Try to film your partner in a funny way too. For example, if you’re filming a threesome, have fun with the camera. This will make your video a lot better, and you’ll feel much better.

Make sure your camera is set to auto-focus

Whether you’re filming yourself or your partner, you want your camera to be set to auto-focus. Auto-focus will take care of getting your pictures and videos to look great. Auto-focus will also make sure that your video is in focus.

If you’re filming a threesome, you can film all three of you in the same area and just zoom in to get all of you in focus. If you’re filming a threesome, you can also use a timer to make sure all of you are in focus.

Should you really film free sex videos?

Although you can make some money filming your own porn videos, it can also be a great hobby! If you’re at all interested in filming and uploading free porn videos, we suggest you give it a try. However, if you don’t want to make free porn videos, you’ll probably want to look at a more popular site or at least sites where you can get paid to film. You can upload your videos to a site like Sex.com.

How To Create That Studio Look – Lighting Effects

There are occasions when you might want to change the background of an existing shot. Sometimes it’s the client, sometimes it’s your own quest for perfection. Whatever the case, here’s a technique that can help.

Step 1

In this example, I took a portrait from AbleStock.com. I personally thought the brownish yellow background didn’t do much for this model. Her hair seems to disappear.

In Photoshop, open your image and convert the Background Image Layer to Layer 0 by double clicking on the word background in the Layer Palette.

STEP 2

Knock out the background with your prefered method. I chose the pen tool and silouetted the subject, I also feathered the edge so the end result didn’t look like it was out with an Xacto knife.

For now, turn off the layer by clicking on the eyeball on the Layer Palette.

STEP 3

Open a new background (This one is from our Rag & Roll CD) and scale it to the approximate size of your other photo.

STEP 4

Copy your scaled background and paste it over the subject on it’s own layer.

Now, move your new layer, layer 1, below Layer 0 and turn on Layer 0.

Try to envision where you might want a spotlight. You’ll need an idea where for the next step.

STEP 5

Go to Filter>Render>Lighting Effects. In the dialog box that appears, try experimenting with different effects. For the sake of this tutorial, I chose a simple spotlight. You can manipulate the “light” by grabbing the handles and drag in and out. I wanted the “Spot Light” to start fairly low in my new image. After playing with the settings, press ok.

With Layer 0 turned off you can see the balance of ambient light to the spot light.

STEP 7

Turn on layer 0 to see your finished product.

Some additional thoughts.

If you want your background to be slighlty out of focus, try Gaussian Blur.

My subject seemed to have a yellowish cast, presumably from the original background. I increased the blue level in the Color Balance dialog box.

Colorizing Black & White Photographs The Right Way

The question that my customers most often ask is “How did you colorize the ‘Ranch House’ photo?”. The traditional approach many artists and photographers use is to paint on a “multiply” layer. That’s where you create a new layer on top of the scanned image, change the layer mode to multiply, and paint with the color of choice.
The problem with this approach is that you end up with flat and uninteresting color. My technique is somewhat similar, but I use one of my background textures instead of a solid color.

Step 1
If you have any Photoshop CS edition, Ranch House.jpg is located in the Samples folder within the Photoshop CS application folder. In the first step, open the Ranch House file or any other black and white image and change the Image mode to RGB. As an alternative, you can take any color image and desaturate it.
Step 2Open the background texture of your choice. In this case, I used a background from our Artisan Papers CD. I then copied the image and pasted the background over the ‘Ranch House’ image. Because the background texture was much larger than the black and white image, I scaled and cropped it.At this point, I like to make several copies of this layer and turn them off. We will need an original background to copy several times as we go.

Step 3On layer one, the first visible layer of the background texture, convert the layer mode to Color and set the Opacity to 30. Duplicate this layer and set the mode of the new layer to Multiply and set the Opacity to 30. If you look carefully, the texture of the background is starting to emerge.This is where the colorizing process is experimental and fun. Try different layer modes, i.e.: Multiply, Screen, Soft Light, etc. and choose your favorite.

Step 4
Now it’s time to alter the color of individual objects within the photograph. With your pen tool or lasso select the boundaries of an area where you want to change the color. In this case I selected the door.Go back to one of the hidden original background layers and activate it. Select Inverse, and delete all but the selected area. Now deselect your object and change the layer mode to Multiply. Set the Opacity to 30%.Using Image>Adjustments>Hue/Saturation manipulate the layer until you’re happy with your color choice. I found that I had to back off the saturation a bit to keep the color compatible with the overall tone.

Step 5
Continue selecting objects and repeat Step 4 until you’re happy with the result. I think you’ll find this approach has a richness that the traditional techniques lack. Have fun!

Quick Cloud Replacement Therapy Online PhotoShop Tutorial

We’ve all taken photographs with dull and uninspired skies. This tip describes a subtle technique that goes beyond cutting and replacing. I’ve chosen a typical vacation picture that is in need of my cloud replacement therapy. In this tutorial I’ve used on of the cloud formations from my Cloud & Sunset CD. STEP 1 Open your image and select the sky with the magic wand, pen tool, or lasso. It’s your choice. Due to the simple lines in the photograph below, I chose the pen tool. You might need this selection a second time so it’s a good idea to save it. With the selected area complete, click on the Path tab. Then click on the Work Path icon and pull down the black triangle to Save Path. Name the path; Sky. Before you leave the Path palette, pull down the black triangle again to Make Selection. Set the Feather to 0.

STEP 2 Open a replacement sky image and copy it (be sure to Select All then copy).

STEP 3 Click on your original photo to activate the window. Your sky area should be still selected. Under Edit, choose Paste Into. You’ll notice a mask was created and your new sky is in place.

STEP 4 Activate the cloud layer, not the mask, by clicking on the cloud image in layer 1 in the Layers Palette. Now with the Selection arrow you can position your replacement sky to your liking, You can also scale the sky by using Edit>Transform>Scale. Here, I raised the clouds and compressed them. Press Return or Enter to complete the transformation.
STEP 5 The last step is crucial and is a good trick to remember. To make the new sky blend into our original image we are going to fade the sky at the horizon. Go back to the Paths tab on the Layer Palette and reselect your “Sky” path. Under the black triangle, choose Make Selection. Go back to the Layers tab and click on the black and white mask. Make your background and foreground colors black and white by clicking on the black & white icon at the bottom of the tools palette. Choose the gradient tool from the Tools Palette. Now you’re ready. With the cursor drag from the horizon line up. If done properly, the new sky will fade into the old sky.
The final product after only a couple minutes of work. Don’t forget, it’s Cloud Repacement Therapy.

Direct Skill Of Retouching Photos with Background Textures

Retouching Photos with Background Textures

Our Tip #3 deals with line drawings and how to create a watercolor from them using Photoshop. In this installment, we will take a photograph, and overlay textures to create a “watercolor”. To keep the tutorial simple, I’ve kept the layers and therefore the effect to a minimum. Having said that, sometimes subtle effects are more impressive than ones that are overwhelming. Below, is the original snapshot, with a distracting background. On the right is the finished piece.
Step 1With your magnetic pen tool, select the area where you want your new background pasted into.



Step 2 Within the Layers palette, choose the Paths tab. Under the pull down menu, choose Make Selection. In the dialog box enter 2 to 3 pixels, anti-aliased for feathering and click OK. We’ll want a soft edge when we Paste Into.


Step 3 Open your background file, and select a section that you’d like as your new background. Copy it, and select Edit>Paste Into.I could have stopped at this point. The background is fun, but I’ll continue adding my watercolor textures to the photograph.This time, I chosen the sweater with the magic wand. And before pasting inside, I chose Select>Feather… to soften the edges. I once again used the same watercolor background as I used for the sky. It’s important to maintain a “look and feel” through out your work.Step 4 After pasting inside, as in Step 3, I altered the brightness and contrast, with Image>Adjust>Brightness/Contrast and changed the color balance – Image>Adjust>Color Balance.I went back and forth between Brightness/Contrast and Color Balance before I was happy with the results. You can always delete the layer and try again.



Before long, I’ve replaced the entire photograph with textures. The next step is to dial in transparency. We will want to retain some of the definition of the original photograph.Step 5Begin by selecting a layer and choose the opacity slider. This is how you can make each element transparent. Manipulate the transparency until you’re happy with the results.Final TweaksWhen your done, you’ll probably want to darken and lighten certain areas. This will put the finishing touches to your painting. I’ve use a combination of tools on this tutorial. I airbrushed the background sky using black set at 25% opacity. I added highlights by selecting an area and manipulating the Brightness/Contrast controls. I think you’ll find adding textures to your work satisfying.

Useful Retouching Tutorial On Painting with Hard Light

You might have noticed by now that I really like “painterly effects”. I really enjoy the mood that subtle texture brings to a photograph. Once again, I’ve experimented with blending modes to achieve a great effect.

Step 1 For my primary subject, I chose this studio portrait. I didn’t want anything in the background so you could see the total effect.

STEP 2 Copy and paste a background of your choice on to it’s own layer. I chose WCT-12.jpg from the Watercolor Background CD.
STEP 3 Choose “Hard Light” from the blending modes menu.

STEP 4 Select your eraser tool, and choose “Rolled Rag – Cotton” brush and selectively remove some of the watercolor background from layer 1. FYI – if you hover your cursor over the brushes, you’ll see their descriptive names. STEP 5 Go back to your original image which should be your background image. Copy it, and move it above Layer 1. Choose “Saturation” from the blending modes menu and dial down the opacity to 80%.

STEP 6 Create a combined duplicate of the first three layers by first selecting all the layers. Hold down the command,option, shift keys and press the letter E.
(PC control. option, shift and the letter E) Change the blending mode to “Multiply”. Here is a close up of this tutorial –
Painting with Hard Light. Take a close look and notice the really nice subtle texture – one that you can’t get with a repeated pattern.

How to Do Background Replacement with Green Screen – CS5

Green screen photography, or chroma key as it’s called in the broadcast industry, has been around for a long time. The technique was originally developed by feature film producers in the 1930s, but you’re probably most familiar with it from nightly news and weather reports.

Green is the most commonly used background color, but blue is also used in some situations. The most important criteria is that the background color doesn’t appear anywhere else in the image.

Now, with digital capture and readily available digital darkroom tools, green screen replacement is within the range of every photographer. Mastering the tools opens up new possibilities for special effects, and also provides a very cost effective way to expand the variety of backgrounds you can offer to clients.

As an added benefit, you can freely change the color of the background to fine tune the background to best complement the subject.

With still photography, the biggest challenge is to cleanly cut out the subject. (A digital photo is typically much higher resolution than video or HDTV, which has about the same resolution as a 4 X 6 inch print.) The process normally involves three steps; first you need to remove the green background by creating a mask around the subject, then you normally need to fine tune the mask, and lastly you will drop in a new background. Most of the steps are similar whether the starting point is a green screen, blue screen, or any other background.

All of the steps can be done effectively in Adobe Photoshop, which is the focus of this tutorial. There are also a number of dedicated programs that specialize in green screen removal. such as Green Screen Wizard and Primatte. You can also buy kits that bundle a green backdrop with software, such as the Westcott Digital Green Screen Kit.

You’ll probably want to avoid showing your subjects full length. It can be done, but there are numerous new challenges when the image includes the ground and a horizon line.

To get started, you need a suitable backdrop. There are a number of good options, including paper rolls, pop-up backdrops, and bulk material. You can also create your own by painting a wall or other suitable surface with an appropriate paint formulation. The best backgrounds won’t show any glare or reflections, so be sure to use something with a dull finish, such as felt or flat wall paint.

A good end result starts with a good image. Make sure the background is brightly and evenly light. Ideally, you want a uniform, well saturated color that will be easy to select. It’s important to avoid shadows on the background from the subject. In this example, there is a background light positioned behind the subjects specifically to light the backdrop.

You may run into a situation where the background isn’t large enough to completely fill the frame. No problem, just make sure that the green screen is behind the most important parts, especially around hair or other difficult to extract parts. It’s very easy to deal with corners and other areas of the frame with normal selection tools.

Be sure to keep some space between your subject and the background. If the background is too close, or too bright, you can get quite a bit of color contamination on the subject. In the sample photo, the backdrop was about six feet behind the subjects.

The new Photoshop CS5 includes a number of really great, new features, but here we’ll focus on how the new Refine Edge command makes green screen extraction even better. In fact, it’s so good, you may find that you don’t need any additional cleanup work on the mask.

Load the image into Photoshop to get started. Unlike with previous versions, you don’t need to duplicate the background layer. CS5 will do that for us, and automatically create the mask.

The last step in this dialog box is to adjust the Fuzziness slider back and forth until you get a good selection where all of the background is masked, and all of the subject is visible.

The first step is to create a selection. You can use either Select Color Range, or any selection tool will work as a starting point. Many times you can get outstanding results using the Quick Selection tool as well. With the new Refine Edge tool, the quality of the initial selection is less important than it was with earlier versions.

Create an initial selection using the Select Color Range command, which will open the dialog box shown here. To see the selected area, I’ve chosen the Quick Mask preview mode. I’ve also checked the Invert box to invert the selection. That way, the colors I choose will be masked out, and the remainder will be actually be the selected region.

Click on the left-most eyedropper tool and click on the image in the green area. To fill in the entire green area, click on the middle eyedropper and continue clicking in other areas of the background to add those colors to the selection.

The last step in this dialog box is to adjust the Fuzziness slider back and forth until you get a good selection where all of the background is masked, and all of the subject is visible.

Now the CS5 magic! Select the new Select – Refine Edge tool from the menu. As shown here, I’ve chosen to view the resulting image on a white background, so it’s easy to see how the settings will be applied. There is also a new Smart Radius setting that tells Photoshop how far out to look for adjoining details. I’ve also used the Paint Edge tool (just to the left of the Edge Detection box) to paint around the hair where I want CS5 to look a little further out. I’ve also checked the box to remove color contamination, which does even more to perfect the selection.

Lastly, I’ve chosen output to New Layer with Layer Mask. With this setting, CS5 will automatically duplicate the Background layer and add the mask. Talk about easy! Just fill the Background layer with white and you’re ready to move on.

Even as amazing as the new Refine Edge command is, there may still be some areas of the mask that need to be cleaned up. It really depends on the size and resolution of the finished image. If it’s going to be used as a small avatar on Facebook, then you’re probably done here. If you want to print an 8 X 10 inch portrait, you’ll probably need to fine tune the mask.

No matter which process you use to create the mask, you probably still need to do some fine tuning. In this tutorial, I’ll describe the two most common tasks, fine tuning the mask to perfect the cutout and fixing color contamination that may occur. The most difficult area is around hair, so we’ll concentrate on those areas.

This area exhibits both kinds of problems. There are some areas where the green background is still partially visible through the mask. Also, notice that some of the fine hair has taken on a green color cast. The detail is there, it’s just the wrong color.

First, let’s work on the mask. Just like we used Overlay mode when we filled the “a copy” channel with white and black, we can paint in overlay mode to fine tune the edges. First, make sure the mask is selected in the Layers pallet, and choose a soft brush. Set your foreground color to black. Lastly, change the brush’s Mode to Overlay

As you begin to brush over the offending areas on the mask, the mask edges will contract and increase in contrast. In this example, I made one stroke at 100% opacity, but that was too much of an adjustment. I immediately selected Edit – Fade to adjust the brush’s opacity to 15%.

If you to make the opposite adjustment, simply change the brush color to white. Then, painting on the mask will reveal the detail.

Next, we’ll deal with the color contamination. The goal here is to restore the correct color to the fine hairs by painting the color on a new layer.

Add a new layer and set its blending mode to “Hue.” Then, right-click to the right of the layer name and select “Create Clipping Mask.” That will ensure that whatever is on this layer only affects the visible pixels on the layer below.

Now, select a soft edged brush and set the foreground color by Alt-clicking on a nearby region of hair. Then simply paint that color onto the layer. The color you paint only affects the color (because of Hue blending mode ) of the visible hair (because the layer is clipped to the one below).

The big advantage of the traditional filter tools is that they can be applied to just a portion of the mask. The Masks panel works on the entire mask – all or nothing. But, the Filter tools can be applied to just a selected area of the mask. With the mask active, select the region to be affected (using the Rectangular Marquee or Polygonal Lasso tool) and apply the filters. A typical change is to grow or shrink the mask by 1 or 2 pixels, then apply a Gaussian blur of that amount or less.

It’s that easy. Just work your way around the subject inspecting and fine tuning as you go. You may also find it useful to occasionally invert the white background to black to make sure the result looks good on different backgrounds. Depending on the subject, some backgrounds are much more forgiving than others.

There are three broad categories of replacement background. You can create a background entirely within Photoshop by applying filters and layer styles to a new layer. You can also use images of traditional backgrounds. You may have a background you can photograph, but you’ll probably want to get one from Wetzel & Company that specializes in providing high quality files that can be used as a digital background.

Of course, you can also place your subjects in an entirely new setting. Here’s where taste and judgment comes into play. If you want a natural looking result, you’ll need to choose a setting that’s appropriate for the subject’s pose, style and lighting. The example shown here would look very out of place with a beach sunset as a background, whereas a model in a swimsuit would look out of place with a formal studio background.
Next, let’s try a background with a more current feel. Here, I’ve chosen the Wetzel DPB-12 from the Digital Pastel collection. I chose this background because it has the look of a traditional hand-painted canvas backdrop.

I’ve added the new background image as a Smart Object, which provides continued flexibility. As in the previous example, I added a Gradient Overlay layer effect. I also added a Gaussian Blur as a Smart Filter so that the background will appear out of focus.

To fine tune the brightness, contrast and color of the background, I added two additional adjustment layers, both clipped to the layer with the new background.

Again, notice that I haven’t deleted any of the earlier alternatives. I can easily go back to either of the earlier backgrounds.
One really nice feature of digital backgrounds is their flexibility. If you like the pattern, but the color doesn’t fit the subject, you can easily change it. In this example, I’ve simply clipped a Hue Saturation adjustment layer to the background Smart Object and shifted adjusted the Hue, Saturation and Brightness sliders to get a completely different look.