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Lesson Info
18. Commercial Grading
Lessons
Intro
1Workshop Intro
03:18Foundations
2Gear
12:14 3Gear - My Camera Bags
08:00 4Mastering Camera Settings
07:41 5Blue Hour, A How-To
10:45 6Photos That Move Us
07:19Visual Storytelling 101
07:51 8Endurance In A World Of Sprinting
06:27 9Keeping Your Ideas Fresh
08:31 10Building Your Story Arc
06:44 11Shooting More: Action Plan
02:01 12Conveying Emotions
07:52In the Field
13The Assignment: Himalaya Pre-Pro
12:08 14In the Field: The Himalaya Defender Shoot
20:29 15The Assignment: Canon Pre-Pro
10:25 16In the Field: Canon USA Shoot
15:06Editing
17Keywords & Organizing Images
06:42 18Commercial Grading
04:47 19Masking & Radial Filters
12:33 20Perspective Correction
05:39 21HDR (Hand-Held)
03:37 22Black & White Edits
07:00 23Before & Afters
01:33 24Moody Grading
13:15 25IG Export Settings
04:00 26Web Export Settings
02:44 27Clone Stamping & Patch Tools
05:51 28Grading in Lightroom
06:45 29Hand-Held Panoramas
03:41 30Radial Filters Pt 2
02:38 31Delivering Files to Clients
12:33 32Archiving & Organizing Images
10:15 33My Favorite Software
03:44Business
34Let's Talk Business
01:03 35Building A Desirable Portfolio
11:17 36How to Contact Clients
12:00 37Prospecting: Finding Brands That Fit You
04:16 38Getting Clients To See Our Value
10:16 39Paid to Travel the World
14:48 40The Art of Making Moodboards & Treatments
08:09 41Keys To A Fulfilling Career
07:40 42Three Things You Need To Know Before Pitching
06:19 43Finding Your Value Proposition
08:02 44Media Kit: A Walk Through
08:06 45How I Built My Audience
07:46 46Social Media Landscape
07:32 47Module Recap
03:08Bonus - Everything To Know About Filters
48Do You Need Lens Filters?
09:36 49Filters in The Field
12:40Bonus - Find Your Path
50Find Your Path
07:44Bonus - How To Print Your Work
51Why Print or Sell Photos
23:21 52Preparing Photos for Print
06:44 53Reviewing Major U.S Printers
06:57Lesson Info
Commercial Grading
(dramatic music) Commercial editing. Let's do a nice edit on this photo. So when I mean nice, I mean, something that's clean that feels high end. Just to reflect the price of the cars and the, you know, the image of the brand. So I'm not gonna come fade blacks or change blues in this image. It's gonna be a very clean, minimal edit and I'm gonna show you how I do it. So this is the raw file right here. And then here is my kind of final image. So we're gonna go from here to there over two episodes. First one is now doing a quick commercial grade on it. And then the second one we will do all the radial filters and gradient filters that are on this image. (mouse clicking) All right, clean slate. So first things first, when I come to this my instinct is to follow the curves. So this one, I wanna bring some contrast on here. See, I'm matching the peaks of the curve and I'm either going the with them or against them, depending on what I want. So. There you go. So obviously it's bringing out...
the foreground as a little bit too bright, and the background as being too bright, but that's okay because I'm gonna work on that after. I just want to see it. Now, I don't do, I don't do any of the HSL panels here. Sharpening is something I'm gonna have to do. I usually go with a and then I work on the masking. So if you hit out, if you hit option on your masking bar you can see what's actually sharpening. So I don't wanna sharpen the background. You know, like the local lines of the hanger. I don't wanna do that. I mostly wanna sharpen the lines of the, the vehicle make it stand out more boom, right there. Now peripheral corrections. This was shot with a 7200, which already has minimal deformation. Like I showed you in the field day. I don't wanna shoot a lens that's gonna deform the car too much. So this one, I just do it because it removes some vignette and straighten some of the hanger lines. Generally, I like to bring back the vignette when I'm shooting a wide angle lens, because I like this natural vignette, but here it doesn't do much because you know the 7200 has no vignette almost. Perspective correction. Somehow this was stuck on full. I definitely wanna align the lines of the building, and I have an episode coming on that, but let's just do it real quick just because it's bugging the eyes. Okay. So in a more edit, in a more personal edit I would tint it with my blues here too and maybe add some grain, but because this is a very clean commercial edit we're pretty much getting close to done. My white balance feels really good. I might just double check it on the asphalt here. Just put it up a little too much. Picking something neutral but it just feels really good out of camera honestly. It gets a little too red and I wanna just get a little green going. I'm just trusting the eye for now. This is a little too green. So you know, this tool is not the holy grail it doesn't do everything right. In this case it's not working really well. So I'm just using these. The blues feel good. So now I might just wanna kill a bit of highlights on the sky, because if I do this, if I do the lights off, if I hit L two times I have it set as white, this area here, but by default it comes on black on Lightroom. So, I advise you to change it in the settings. You can just Google how to change the background on Lightroom, the lights of background. So you see here, the, the line of the sky is kind of disappearing to this pure white which is a red flag to me, right? Means something is overexposed. And I'll work on that on the next episode of the gradient filters. Otherwise like the curves pretty much do everything that this does. That's just a bit more specific. Not a ton I need to do here. If the photo is well exposed and the light is good like that morning. So this feels right. So now it doesn't, it's just, it's just ready now for the radial filters. So let's do that next.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Jon
Not What I Was Expecting Let me just start by saying that the workshop was very good. There were lots of things that I learned and many insights I took away. Perhaps the greatest bit of wisdom imparted to me was not anything Alex said but how he approached every subject he talked about. I felt that he was talking to me as a friend, very personal and open book. This was both a blessing and a curse as the course tends to meander around and is not as structured as others I've taken. Alex's passion for the highest quality, and craftsmanship in every aspect of his business, is very evident. From the premiums he charges, to the attention to detail in client deliveries. This is where my review is going to give some hopefully constructive criticisms. For someone so focused on a premium experience I was a surprised to find the course a bit sloppily assembled, and the videography and editing lackluster. This is coming from a videographer and someone with a lot of experience in online training. A few short examples to illustrate my point include: repeating segments of the edit (in some instances the exact same segment), poor framing. Colors changing between cuts, and my biggest pet peeve, not leaving photo examples on for long enough to see them. These are all small things, but they add up, and along with the topics meandering, left me a bit disappointed. I'm curious who you would say this class is aimed towards. Amateurs, mid-level, or experts? The assumption of who you are addressing changes throughout the course. I feel like with a bit of work from an instructional designer, and some editing cleanup, you could help hone this course to be one of the best out there. I feel like I need to do a more in depth review than will fit here, to actually explain this well. Let me know if that would be helpful to you. One other note: When I signed up for a workshop on Adventure Photography, I honestly thought it would be more field focused. The field examples were all shoots for products, and not shoots documenting an adventure. I guess I had just hoped to learn that side of the storytelling process more. Getting into the nitty gritty of being wet, cold, and dirty, and still shooting bangers. The section on filters (going out and building the snow cave) was more what I thought this course was going to be. Anyhow, with all that said, I still found it valuable and worthwhile. To summarize, the course feels a bit unpolished and in some ways unfinished though there is still great value. I've taken Jimmy Chin's Masterclass on adventure photography and it felt very structured and highly polished. I purchased "Adventure Pro" on the "finish in a month" discount. I would have felt ripped off if I had paid full price with the course in its current state. Thanks for reading and I hope my criticisms come as helpful. As I've already mentioned I'd be happy to further elaborate.
Topher Hammond
One of the best photography investments I'm only 1/4 of the way through Alex's course and I feel like I already have a loose plan on how I can move forward in my own career as a photographer. I felt like my work was lacking a specific feeling. The way that Alex articulated ideas on how to convey emotion in your imagery and building that overarching story arc for your own life narrative were super helpful to focus on how to make my work better. Super looking forward to the rest of this course. Thanks Alex and team!
Sergi Mas de xaxars Rosell
Great Workshop I learned quite a lot with this workshop. Because I'm in the industry for 5 years now, there were a few things I already knew. On the other hand, Alex showed me different and more effective ways to improve my business. I like the way he gives the lessons, always in a personal and close way. This is the knowledge I wish I had when I started. Totally worth it!