Building a Successful Boudoir Business

Lesson 16 of 19

Post-Production

 

Building a Successful Boudoir Business

Lesson 16 of 19

Post-Production

 

Lesson Info

Post-Production

We are in light room right now and I am not gonna lie we're in light room three because I have not changed for yet, so um I'm not always as quick to upgrade some other people are I know it's silly it's probably just one hundred dollars upgrade or something, but I just feel like I don't know I just don't feel like doing it right now on my own three is working fine for me, so I usually do my upgrades when I'm a little bit slower when I'm busy I never upgrade or change any of my software because that inevitably will be the time that it stops working and I'm under pressure too get my files ready so right now I'm just I'm just using three what we do is we called up all the pictures and I'm just going through them one by one really really fast I'm gonna actually do that now we have about four hundred twenty six photos from the shoot that we did just now and I'm just gonna go through fast and just take a peek and I'm gonna press p for kick on any photo that I like. I'm not over analyzing I'mj...

ust going yes, I like it no, I don't just going through a really fast and impressing p what's happening is when I press p it flags it so you'll see it'll say flag picked soapy for pick if I pick something by accident, I just pressed you for unpick very simple, and you'll see on the bottom like a little flag is popping up as I press it, you'll see. So, like a photo like this? Oops, I cut off her hand. Move on when I'm looking for really is making sure, um, there's some variety that there's no blinking, no blurriness if a picture is just not, um I don't know, just not up to my standards for any reason or it's not interesting, like some of these are just test shots and just going through them let's see? And I mean, really, this is how fast I go, here's where we I'm kind of slow down the shutter to see what we would get. So a lot of these air kind of blurry and weird, so maybe you are, you see, like why I'm picking that? Sure, and then we'll get into it a little bit more to after I go through all of them to explain, you know, to show the difference is in the pictures uh, c s so I picked that one. I don't know. It just looks interesting. Her body looks interesting. Who these air fun I'm really seen these yet so this is like really super real so here I'm just gonna kind of look for where her body looks good and the fabric looks good and like a picture like this I cut off her toes so I'm just gonna kind of go through it not picket even though everything else in the image looks pretty good what are some of your biggest challenges with post processing where do you like when you start are you where do you get hung up? Is it in the culling of the images is it what are some of your biggest challenge is maybe we can talk through those post processing for me is I get maybe a little bit too caught up in train new things on everything you need to maybe pick something a little bit more consistent is mine um I'm like post processing I and I like playing around with photo shop probably what I get hung up on is sometimes I pick an image that I think is awesome but then the client says, well, do you have another one where I not looking quite so happy or something like not quite what the client was looking for? I really love post check I have lots and lots of fun editing where I get caught up is the slowness of my computer so to my husband if he's watching I would love a new one wear find himself away sometimes a danger they do have is that I'm very aggressive with my calling and I just have to slow myself down every once in a while because I might just go no no no no but there was a yes in there so for me the hardest part is I'm I'm still so new uh keep repeating but I'm still so new that I'm not quite sure what is a good image yet so when I'm looking at it you know, I just I just don't know is that good or is this one better? So it's just a process of learning I guess the more and more that I do I'll see start to learn you know my I will start to pick up and I cannot wait to get there one of my challenges is over shooting so maybe like general fall in love with a pose and I'll just keep shooting and shooting it because I'm so in the moment on the models feeling it in the chemistry's great and then I realized oh, I didn't need a hundred pictures of that one um editing is something that I'm really good at and I've been doing it for so long that I am really starting to hate it so I've learned a lot of tips and tricks from watching other photographers, which is really the reason why I've gotten good at it so I'm excited to see how gender's what she does all right, well, thank you. I'm sure a lot of people at home are feeling the same way resonating with so many of you back over okay, so I'm still just kind of going through these images really fast um and what I'm looking for here is, like, obviously an image like this a lauren I'll kind of talk this through because I'm sure if you are concerned about what to look for those other people that are concerned with the look for so for example, an image like this is covering her face clearly it's no good unless it covers our face and it's totally awesome and it's maybe one, eyes showing and it's kind of cool, but in this case is just not, um so we have a lot of movement in these photos, so I'm not I'm going to assume that I'm not gonna get a lot of great ones out of here, so I'm probably gonna skip past most of them, but anything where her body shape looks good on her face is showing it looks good. I'm just gonna picket for now, this is just kind of round one, we go through multiple rounds, so I'm just kind of grabbing pretty much anything that just catches my eye anything where I feel like I could work with that um that's kind of cool to better faces and showing their this is where you go through those moments we go, man, you shouldn't cut off her hand. Oh, man, I wish I would've done that thing jen told me, you know, but yeah, I have a lot of those moments, but that's okay? Because the ones that were not picking or just they're just garbage. Now there it's it's, you know, it's like, okay, we forgot about you, and we're not going to beat ourselves up over those mistakes anymore, and you're gonna actually delete those no, okay, I pretty much never delete anything unless, like, I'm done final clients, things been delivered and she's, like, I never need you again in my entire life. And I'll say, can I delete your photos? Yes, fine, but no otherwise not because I don't know why there's still my babies, but here's, the other thing I don't get attached to pictures like everyone's. Mom, I'll have my assistant call for me and she'll be like, all right, I took it down from four hundred photos to three hundred photos, and I'm like that's not really calling, you know, that's like, but they're so good, and I know you like and I'm like listen to me don't get attached, it's just a file it's just a picture you know you have to do what you have to be the boss here and take a stand and and really look for the ones that are great and the ones that are just so so why? Why keep them or why take them and put them into your um proves if they're not great because they're gonna be overshadowed by the great ones anyway and you're just going to give yourself more work to dio in the end so these always pretty good I'm just going to grab a bunch of them here like her hair is sticking up remember yesterday's that oh don't do something like that, but here I think it's kind of fashion, so I like it so the number one rule in my studio is not allowed to break my own rules, so here I'm breaking my own rules and I'm also looking for a variety of looking up, looking down the only thing I want to make sure I don't get is blinking or like here's a perfect example of like a pose and an expression mismatch so she's smiling because we were having a moment but she's like too much of a like a hot, smoky princess to be smiling she wants to be sexy, so I'm not gonna choose something like that and even if I'm not sure like I'm not really sure about her elbow here but I'm just going to take it anyway and we'll make some decisions after and just to show you like the speed that I would normally work at look here I'm not gonna do it it looks like she's sticking I mean I see you have a question you just give me one second to show you the speed that would normally work and I'm gonna go through a bunch without talking for one second just to show you how I would normally do it I'm not sure michael back but I really go pretty fast it's pretty I think she was kind of just like a gut instinct and like here I didn't take it I wasn't really sure if I did take it I did flag it but then I see this one I know automatically I'm not gonna like this one so I'll go back and un flag it then I'll take this one instead you have a question tracy yeah just like when you were commenting on the one where she's smiling but not matching oppose what if you like picked the one that you like and then you get the client worse she says that I like that I like everything about that image I want that image except I I wish I was smiling well in my client sessions I make sure I get every pose I said this yesterday, so this is a good point to remember every poet I get pretty much smiling serious, looking up and looking down, so if a girl's in whatever pose let's say she's like this and just making silly holes, I'll say, okay, look up at me, look down, give me a little laugh while you're looking down, huh? Look up at me and smile good those four shots I take so and then I'll show her the variations of each one so wherever her smile looks the best, I'll show her the smile wherever and if all four pictures the great all share all four versions, but I make sure when we're choosing for the album that we're limiting, you know, like not every picture smiling, not every picture sexy were mixing it up a little bit, but I pretty much shoot all poses and at least two of those for if not all four moments, good question, but here we're looking for looking for something different, and I'm not doing this for her, I'm doing it for me, and I know what I want smiling was not what I want and if you remember, I said that to her, so don't smile was ok if she did she's cute when she smiles and we were having a moment, I guess, but, um yeah, and this is also when you see here, I'm definitely gonna take this one. So I'm definitely take this one out because this one's a better picture and I could see that right away. Oh, yeah like that. So some things just kind of become obvious and some things are not so so, like, super obvious. I'm not taking this picture, but let's see what happens when the smoke dissipates? Yeah. Oh, my god. She's so fun. A lot of these air good. Like here. I just don't want to look up her nose. Um, other questions while I'm running through these really fast before I can go, absolutely. First of all, I just wanted to give tracy a shout out from manual in washington who are an emma wants to know that you're watching trained together last summer. Many clicks. All right, uh, question from andy and west virginia is. Do you choose images based on what you think your client will like or what you like? Does previous feedback from women about their images? Color your choices? Yeah, definitely both. Um, you know, like, if my client is saying, oh, I really love my chest, and I see that oh, I have this picture, this picture, I can't decide which one I like better, but you know what? Her test is a little more visible in this picture, I'll go for that, so it definitely sways my decisions, but, um, yeah, really make sure that it's what I want her to see where I think she looks flattered, and it used to be like when I showed them so many photos, they would always like something different that I liked, it would always be like I like this picture, and I really I love this picture, but it's, just because they're not really they're not sure they've never really seen themselves sexy, so they don't recognize themselves, so you have to be really careful about showing them to many different options of the same type of polish, your expressions because it gets confusing, so show them what you want them to see what you think is a good picture because you're really the artist, you're the one that decides which wants a good picture and chances are shoes and see the other one she's not gonna know the difference anyway, all right, we're almost at the end of these, my other so hot lauren good choice on the smoke I have to say okay, so I went through all four hundred twenty six photos I know what I'm going to do is click on them and I sort of hit control and I'm like it's it's like right click uh I'm really bad with computers and what I'll do oh no I'm lying I'm going to go sorry to the bottom here was his filters off the filter that was really fast calling four hundred twenty six yeah, but always time I like it. The thing is I already know what I'm shooting which ones I like let's be honest, you already know like he took them and you're like I really like this one I'm just checking for like, blinking or blur that you might not be able to see on the back of the camera but you pretty much already know I think if you're if you're stopping every two to three images and really looking at what you took, you pretty much know which of the good ones and by the way, I never ever, ever, ever delete a picture off my camera ever during a shoot even if I think it's terrible because why just don't I don't know why I just don't because I just feel like then you're going to spend too much time the only time I'll ever do it is um if there's a lot of blinking pictures, I know it's a blinking picture and I'd have to take, like, five more shots in my car to school I might raise couple blinking pictures otherwise, if I'm not sure about a photo, I would never take it off my card. I'll check it out later on the computer, so I'm going to go here and it's it's normally on filters off, but I'm gonna change it to flag and when it's going to do is going to change it to all of the photos that I flagged so of the four hundred twenty six pictures I've chosen two hundred six of them, so I'm already halfway there halfway down. Did you say if you had a target number that you would? Yeah, I was just going to say that actually, so for a client, I like to show her between seventy, five hundred twenty five, so I'm really not that far off from where I need to be on I already know because I went through them there's some that are very, very similar I just wasn't sure in the moment which one I liked better, but that's it's, not time for those decisions, we're gonna go back to the beginning and start again, so what we're going to do here is I'm going to just kind of go through decide like I don't I decide now I don't like this picture and I'm gonna see similar poses so I'm going to leave something like this in because I don't have anything else like it but this picture in this picture are pretty similar, so what you could do is you can highlight both of them and you compress um this button over here that shows a few squares and it will call them up together and you can either go back and forth or you could double click one just keep going back and forth between them and see which one you like better or again you could look at them side to side I like cook see, I like this one better I just feel like with her head tilted it is a little bit more interest, so I'm gonna delete that I mean unflagging that and I press you to do that on flag he for picked you for unpick its good back I decided I don't like this for whatever reason I just heard heads up too high I'm looking up her nose I don't like it any more I like this still it's kind of fierce definitely like this I feel like she's defying gravity here, which is way cool um it almost looks like she shouldn't she shouldn't be or she should be sitting on something um I like this one better than this one because of the elbow so we're gonna bundle eat that I think that this is okay, but we have better shots at the end that are closer to her face. I'm gonna un delete or unpick un delete I don't know where I made that up from I like this I like this e I like it down better than up you delete up cute but better her legs look shorter here compared to this one doing thanks so we're gonna take this one out see, this is the thing and by the way, if you make a mistake it compressed command z and it'll undo the last action you just did. So what I did was I press commands and it called it back up I still like this picture and this is what I'm talking about like letting it go not being attached I still like this picture, but if I'm gonna block them let's say people are gonna like this picture much more because it's more flattering to her and then this picture is just clouding and confusing the situation so we're gonna take it out and already I like this picture better than this one, but for right now I'm not gonna leave them both in because we have one looking on one looking away and the client might want a specific thing but we have this one too if you know what I don't like where her arm is in this picture is much if you go back you can see I think putting her arm in the back is for a little bit more length were here it looks a little tiny bit awkward maybe I'm just not picking but I'm gonna take that same here I don't like this one is much cute I don't think I have a lot of other two pictures in here let's see I don't like the sun that's cute okay I think I like that first one the best will take the other ones out he's going to be harder and there's sometimes I just don't know what I like the best so I might leave a few in so this is what I'm gonna do on these I'm going to call up a bunch of them that are this this you know same and I'm gonna look here you know what is it about them is there something that stands out to me what I'm going to just take this last one out of the mix because it's not really like the other ones so if I don't want owen flag it but I just want to take it out of the grouping I'm in I'm gonna press the x at the bottom let's go show me these six six or too many to leave in let's see what they look like okay, so I don't like this one is much. I don't think it flatters her face as much. And so what I'm looking for here are they different enough to keep more than one in or they so similar? That should just keep one. I think they're pretty similar. Um, except for this one, this one her face is like, head on. So I'm gonna leave this one in and then, like, these two are pretty much identical. So this one she's looking at me a little bit more directly, so I'll take this one out and I'll take that one out. Okay, so these are minor differences, but I might leave something like these three in for a client to decide when they're so similar, and I'm really gonna be happy with any of them. I'll be like, you know what? I'll leave three of them and let the client figure out which expression she likes best or which way she likes her head. Then I'm gonna take this one out, actually, so we'll leave it to two, then we'll probably I don't like this one at all. Actually, you know, what's happening. Remember we talked yesterday during posing about how when you put your arm next to your body, it adds with its happening to her right here because we can't see a definition because her hair is there between her arm and her body so she looks kind of wide and her arm up here looks very strange someone take this one out say okay I already I don't like this hand as much as I like this hand so we'll take this one out I like it looking away and looking at me I'll keep both looking at me again little bit of a different expression so believe that and I don't like this is much alright he's get harder so already here I cut off her finger I'm just gonna get rid of it I like everything else about the picture it kind of hurts but just don't get attached I just just want her head is too far back for me as much as I like it too stressed okay so here like her arms are a little bit straighter and here they're a little bit more bent on I just think it looks a bit more natural here it looks a little bit forced I'll take this one out. I don't know that doesn't look it to me on and I just want to say okay so here I feel like her hair looks a bit flats are going to take it out compared to some of the other ones um is this helpful to see why I'm choosing is this absolutely? Do you have any comments? Yeah. Daphne so jen when you're editing and you're looking at the images and obviously you're keeping in mind all those eight points but are you also keeping in mind the theme of the creative and you just talk a little tiny bit sorry when you're editing and you're looking at which images to choosing with their technically correct are you keeping the ones that are more on the theme of the creative? Yeah definitely fiercer kind of more editorial definitely that's why I didn't take that smiling picture okay even though like if it was a client I would and I might go back and take that picture and send it to sarah anyway because it's cute but I would never block a picture like that, okay? Or put that on my website because it's not what I was going for and then it's confusing you're just sending mixed messages to your clients. So question from felicity ford in perth in australia and your concept shoots do you give your model on ly the shots you choose to work with or do you allow the model to see a wider range of images and then choose from them all? Yeah, no, I get what I choose to edit because although I don't need to give myself more where this is about my vision, my creation this is not like clients you know that you want to show them more and let them choose what they want. This is, this is about me, okay, so I'm just gonna go through real fast. We're almost done with these and grab the ones I like. What city? So here I'm just trying to make sure, like her body looks good and there's enough, like, movement in the fabric to make it worth keeping the shot. Um, otherwise, it looks kind of silly, and some of these she looks a little tiny bit short, but I'm going to take them anyway. Um, just see that it's. Uh uh, and again, I'm just kind of trusting my gut on these what's that cool. No, I'm glad, and I just really I'm trusting my instincts here. You know what I think looks good. What? We'll go, what I see for an album, um I'm just looking for a little changes in her body like um with this one here it's a beautiful shot but the light is really blocked on her and I just feel like it's gonna be way too much work for me not that you shouldn't do work in a photo shop but I have other beautiful pictures I'm not gonna spend time going through this and photoshopped dodging and burning and trying to make it look good when I have another picture you know something like this that already looks beautiful so what you know why am I going to give myself more work um so so I won't do that oh see like I'll leave this in and I'll send it to her because this is such a cute kind of behind the scenes sort of a thing but I would never block and image like that can't decide what I feel about this yeah so fun oh my god these were so fun with the smoke machine oh, this is the fabric you're right oh my god it looks like smoke I told myself it works it's funny you write like glad she corrected me that's so silly I really like her when her arms air out a little bit more like that's that's pretty but here we start getting smushed right even when she just moves her arms out a little tiny bit like that it makes such a big difference and this is even better so we'll get rid of this and we'll go to this keep that will keep that she's looking at me cool all right so again I'm just kind of comparing like this is so minimal but I like it better with her elbow out than facing the camera a little bit more we'll leave both of those for now I'm looking at facial expression I don't want her nose she is fierce and she's so funny because when she stops making his expression she's like so bubbly she's sitting in the cafeteria they get excited I like you the same person that was just in there all right here she's like like what is this why don't even pick it to begin with she's like half cropped half off thing I don't know what that is so we'll just take it out and I really like this picture but I hate her eyeball just irks me that I can't really like she's not really looking at me she's kind of half blinking so I'm gonna take that out um I believe that emily that and I don't like that I don't know why I just don't we'll take one of those out I just love this picture I kind of wish your hand in the front was a little not off kind of like that like but I still think it's an awesome picture I still really like it the curves everybody look good and almost bringing her arm in the front of her made her waist look even tinier. So I'm just gonna leave it. And honestly, I think it's better than this picture. I'll take that picture out to smiley. This is the kind of thing where you're cropping, somebody she's kind of out of the frame, but it still looks kind of cool, so I may or may not keep this in let's keep it in for now. I like it more because they think the smoke is sort of framing her even though, like I said she's out of out of the actual frame, there's something cool about it mysterious, almost like you're peeking in, like you shouldn't really be there, so you can't see all of her, so I'm just gonna leave it in for now. Um, but it's definitely a stronger image when she's in the frame, but the other one's not so bad, something a client would like. What I maybe, you know, blogging for me, maybe not so much. And here's, another one. Her fingers were cut off. I don't care right now because I still think it's a good picture, um, but here, okay, so here, like her fingers, air back in so I'll probably take this one out it hurts a little but we're not gonna get attached um I kind of love these at the end and I love when she was playing with the bodysuit like they're such a big difference I still like it elbow out better here like here elbow back it looks kind of weird to just a creepy hand and here elbow have looks much better so we get rid of that one that it almost looks like she's holding a bar even though there's no bar there, right? So good look at her body shave, man cool all right, I'm just gonna kind of leave the rest of these in because I know this is probably pretty boring watching them so I don't like this one as much as this one I don't know she looks like it's so strange pose I don't know what that isthe I don't like that one I don't like that one. Okay, so now we're down to one hundred twelve really not so bad, right? And I mean that's kind of really genuinely how it works, what I would do normally I'm not gonna do it now, but what I would do normally is go through one more time just make sure I don't have any other duplicates and I'll probably end up taking ten or fifteen pictures out and I'll be right in one hundred and that's pretty standard and it's interesting, because I guess I'm consistent you talk about overshooting or undershooting, I guess I'm pretty consistent cause this is just about the exact amount of pictures I would take during a shoot, and this is just about exactly how much you know my ratio that I would get teo, even though I'm not in my studio and we didn't do as many outfit changes or whatnot, it's just kind of funny how that works. I think when you get into a habit, a routine stop over shooting, I usedto overshoot also a lot. Oh my gosh! And you just want to shoot yourself after why'd I do that, and these little pictures have, like the small innuendoes between them and you're like this one or that one and your hemming and hawing. Um, this is why you need to stop every two to three frames if they're too, if they're good frames oh, sweet every frame, stop shooting, move on to something else good, but I'm with you. I've done that before, too were especially if somebody's amazing in front of the camera you like your emotion, your heart starts racing and your emotions are going in, I just want to capture every single moment stop like when you feel that you have to just stop um it's true, I think about you need like a little person in your head okay, daphne knock it off, you know, think about it you used to shoot fillmore you shot film before us they think about if it was film when you do that probably not exactly so even though it's digital and it's free ish um still treated with respect, I think and, um you know, they're still important they're still your images, so I would still treat them with the respect that you don't want overshoot undershoot something we sort of have a joke with my girlfriends that we all shooting threes I do that a lot like for some reason I'll shoot the same thing three times and I don't know why because I know the first time I nailed it, but the second time I now depart for some reason it just makes me feel safe to take the third. So that's sort of my habit, my bad habit. I did a little bit of it today. That's why? You see some of the pictures are similar, but I just think a little bit when you're doing it. Any questions before I go on with this wait question from keith who asked how do you handle clients that demand to seymour images because they think they'd like to see the others um uh what happens happens you know, it has it ever happened? Yes, it doesn't happen to people. Yes, I kind of think if you set them up from the beginning and you say you're going to see one hundred to one hundred twenty five photos or you're going to see seventy five photos and, you know, you're really gonna show them one hundred twenty five, then they're not gonna ask for more pictures every once in a while, girl will say, well, what happens to the three hundred pictures was ugly in those, and I'll be like, oh, my god, sometimes I just I don't know where my head was that day they were blurry or you were blinking, I'm so you know, I had my camera on the wrong setting. I blame myself because it really isn't about her or I'll say they were duplicates, you know, I have this habit of shooting in threes, so I only take a quarter of my photos because, you know, together three are exactly alike, so I'm just honest about that, and it really is the truth because let's think about it. I didn't take those other pictures I took out didn't take out because she was ugly, I didn't take them out because they were terrible pictures. I said to her, these are the best pictures, you know, that's all. So how then do you instill in your client's value of quality over quantity? Because I, you know, like with my sessions, I do you know, I do about fifty to sixty and, you know, I've had a few girls are like that's it that's all the photos again, and I kind of look at and I think, well, what are you going to do with them any photos of yourself? Really? But how do you how do you help them to understand of its quality over quantity without being brash or she heard about it? I don't think they're necessarily wrong either, because from a person's point of view, where they're not a photographer, they're probably wondering, why are you taking so many pictures? But why did we do so much work if I'm only gonna see sixty pictures? It's not, but sixty pictures is in a lot of pictures it is but compared to let's, say four hundred pictures it's not sorry. I'm breathing today. It's. Not that, um she and she's thinking where what happened? What did I do wrong in all of those other pictures, um so when my clients especially the sale sessions when they say to me oh if I buy a cd do I get only the cd and the of the pictures in the album or do I get all of the pictures all kind of say to her what do you need all of the pictures for? Well, I don't know I just want to have them I'll say but we just spent an hour and a half picking your best photos why do you want your second best photos? What are you going to do with your second best photos if this is the best one now you're gonna put this one on facebook or let me say this is over I'm not working this is your best photo you're gonna put this one on facebook no, you're gonna put your best photo on facebook so you know if you want them I'll sell them to you that's fine, but before you spend the money I would say to you why do you want your second best photos? And then all of a sudden you're like yeah, you're right why what am I gonna do with that and it's true do you ever print your second best photos? You have a show anybody? You're second best photos you showed him your best that's what I would say okay, these are your best you know these are your best images I took I'm not gonna show you second best, right? What's nice about this. Is that the smoke shot? By the way, I don't need to do any skin softening on this it's kind of already done for me. Same thing where we were a shooting, um, through the fabric, if I can find it more knots remind me which one it isthe here, like no skin softening needed, right? But if you do need skin softening, let's, find a couple of pictures where we're going to do it. Let me grab these. I grabbed three of these pictures and I know we're close ups and I use, um I used portraiture in light room. I know most people do it in a photo shop, but I don't do it that way. So once I'm done picking my pictures, well, first of all, let me just go back one step by the way, we're not once I'm done picking my pictures, I'll go through each one and make sure the exposure is correct. The temperature's correct. And I'll even straighten them, like, for example, a picture like this. Um, I'll go to the development you so there's different menus appear. I may have just crashed everything now, ok? And you can impress on this little square here and you can kind of straight in the image and this is where you could do some cropping also if you wanted teo is this in this stage is this where you would go in and make sure that things were attack sharp? Yeah um I would you can click on let's hope this is you can click it up and say yeah that's pretty sure that was from dave oh yeah I'm not picking it unless it's if unless a chart if it's blurry I mean, there are some images that I might shoot that might be like a little tiny that less than sharp but I know if I sharpen it it'll look fine. You know, I'm not printing for a billboard, so I don't have to make sure that it's like but yeah, I want to make sure like her eyes are sharp and that you know, everything is I mean, I could see everything I need to see here I could practically see her burgers. So yeah, this is good and you know, I this is like the white balance picker here, so we might, like find somewhere we can, you know, do whatever we want to do with the white balance it's hard to tell in this screen for me because it's not my computer but let's just say like that and it was great about it is you can sink them so you can grab other photos and you compress think at the bottom you can click what you want to sink on and you just say synchronize and automatically changes other pictures to the same white balance, so if you're shooting like in a certain area and you know your exposure is the same and everything and the color is the same on everything, you could just fix one photo and synchronized them all, which is amazing so much easier than doing each one in photo shop so that's, what I would do here and again, you can fix the exposure, but I think it was okay the way it was before and if you want to see what's over exposed, you kind of just sneak up here and it will show you what's over exposed now I expect from over exposure here because she has the window behind her, but everything on her is exposed properly, so I'm not worried about that. So that's that's what I would do with all the images that this one I'd go through, make sure they're straight exposures proper white balance is correct and then let's just assume I did that with thes already, although this is a little tiny bit dark but may just kind of take it up a little bit you're gonna think that, and then what I'll show you normally I would grab all of them except for maybe the smoke shots here and I'm gonna write click and I'm going to say, ed it in and it's going to say, you know, imogen, amit portraiture, that's a programme it's a plug and you can use either in photo shop or late room and its skin softening, I'm going to say at it and it's gonna turn them into tiffs for me automatically. This process usually takes a little while, which is why I'm only grabbing three images because it takes a little bit of time. And then would we have a question from stew from scotland? Do you prepare the final edit in one session or over a period of days when you have fresh eyes? Yeah, no, I won't do it, maybe right after so I the way I work, we'll talk a little bit about this next also, my scheduling is I have a studio that I shoot in, but I do all my editing at home in my home office, so I'll shoot and I'll come home and depending on the time I get home. Usually me there with the kids, but if I have time, my kids aren't home yet. Then I'll upload the photos. I don't either do them right then and there because it's fresh in my mind or I'll do it the next day, but I really don't wait any longer than that. So here we have all these different, um, scary buttons, and I'm not gonna lie, teo, I sort of have mind set up, and I never really change it. The only thing I changed usually is the threshold, and it has has auto detect on here, although detectives like making sure to text skin, this is one of those programs, I don't know, I never really I just kind of changed threshold, and it works for me, right? Do you use it daily and you change any of the other buttons? Usually, um, I find if I take the fine detail smoothing down a little bit, it keeps the eyes sharper in the hair sharper, right? But for two years, I used it on the settings that it came with and work fabulous work just fine. So subject does it like like what? So can you talk a bit more about what this bugging is? I like, I don't know what this budget is, soft space like airbrushing and can you does it soften the entire image or just skin? And then can you erase it out of places like eyes where you don't want to be softened? The auto detect is detecting the same skin automatically I think is what it is or basically it's it's basically the program let me back up since I don't know that much about the program and how it works I shouldn't say that it's basically detecting the skin automatically that's the point of it and so you don't have to go in and say, okay, here's, where I want you to airbrush it's to do it's doing an automatic so it shouldn't be touching the eyes yeah on this it's not creating layers wherein photoshopped you have layers, so if you want to have a little more control over it that I would do it in photo shop because then you can go on the layer and control the capacity and where you want it, I find it easier to do it in light room because it just works for me and I could do it and walk away from it and let it just go. All right? I don't I'm not a big bachelor in photo shop um it's just easier for me at this stage of the game and I'll tell you why because I don't really do that much photoshopping on my pictures for the most part all I'm going to do is call through these pictures make sure the white balance is good the exposure's good and I'm gonna portraiture them and I'm gonna show it to my clients that way for me I believe they're strong enough images to do that so let me just show you so if you click on the image this might not be the best image to see it on I don't know if you could see but right now the portraiture is on and then when I click it goes off you could see the difference and it's making its very subtle so let me bring up the threshold maybe it'll show you a little bit more do you see especially on this side of her face here to see how it's taking up some of those dark spots and wrinkles and it's all very little let's see if I can cancel this and pick a better image to do it on see so it's called in literature for literature yeah you know she's young she starts with skin so let's wait and do it on one of these but yeah it's a it's a program I mean these girls all have such beautiful skin torn them go back to this time let's go back to flag let's see maybe this image called the different image in particular we'll be able to see it more on her forehead here so let's see if we well, anyway that's what I would do I would I would portraiture all of them and then I I export them out of light room as j pegs in a separate folder called let's say you know sarah and her mackenzie the date and proofs and then I would call them into photo shop to make any little adjustments I want to make and that's how I show them to my client let's see if it works here do you have a typical size j peg that you're I just export them on whatever stand I make sure everything's high rez and I know some people like resize their images and whatnot um I don't know I give my client's high res images I just tell them during the sale sessions that if you want to print anything bigger than eight by ten you need to come back to me and they d'oh so let's just say, you know we have special process that we use it for printing anything larger than an eight by ten so just make sure you come back to me if you want to do it I'm giving them the full size images because the last thing I want to do is have them print something big and it looks terrible and that doesn't look good for me either do you see here coordinate this might be a better example so this is with portraiture this is without it's light and the thing is, that's why I like it because it's still keeping the texture and her skin is just taking out some of the darker spots so let's, just run it and say, okay, and then we can see how it affects the whole image. This is way faster than my computer. By the way, I think it's time to ask my husband for new one. Teo so this is before, and this is after it's so slight, but it definitely makes a difference, and you can control how much and how little you want. So what I would do is I would I'm quick on the ones that are done, and I would say, export, and you're going to decide where you want to export it to. Usually I make a folder for them once I import it with their name, the date, and I call it raw. I put in a sub folder cold, raw, and then when I export it exported is j peg full size j pike and renamed the files also so they'll go in order once you know sarah mackenzie, february sixteen whatever might be, and then they'll be one, two, three, four and those will be her proofs and that's what I'll show her. And like I said, I will call them into photo shop if I need to do a tiny little nipper talk or maybe, um, here under her eyes, khun b lightened up a little tiny bit, but that's really it? And I hate to say this because I know I always say to my client, so I'm charging for the editing and all that, but when you this is why it's important to nail pictures in camera, because when you do now pictures in camera, you really don't have to do that much more work after unless you're really airbrushing, you're taking out all of the texture and you're really nipping and talking or you're brightening eyes, I don't really do any of that. I really want this woman to look as much like she knows herself to look like, but better so I don't do a ton of editing and I just I like there's something about the natural woman it doesn't, it shouldn't be that perfect. No, we're trying to break against that mold of the absolutely perfect woman. So why would I make her look absolutely flawless? Perfect like, you know she has no skin fours or anything like that so you don't enhance blacks or contrast or colors or if I need you in my opinion, it's not easy for you to see on this screen. But on my screen, she doesn't need that. Yeah, but as a general rule, like needs it, you do it totally, okay. And, uh, the other day, you mentioned no vignette ing, not even a dreamy white one. Especially not kidding. I would never have expected. Don't worry, I'm not.

Class Description

Photographer Jen Rozenbaum didn't let anything stand in her way when starting her boudoir photography business. She started shooting in her bedroom and built a profitable career from there. In this three-day boudoir tutorial, Jen teaches you how to put the "HOT" in photography! She will show you step-by-step how to build an amazing high-end experience for your clients — from the first contact to the final portfolio. Learn how to take your posing to the next level and make your clients look even more beautiful. If you are new to boudoir, or already have a thriving boudoir photography business, you don't want to miss this creativeLIVE course.

Reviews

Robyn Crawford
 

Wow what an amazing journey. A not to be missed intimate opportunity to explore this genre. Im sure even if you do other types and styles of photography there is so much to learn from this course. For me, starting out, it was more like an experience and I really felt part of the awesome class audience. Jen effortlessly offers heaps of wisdom and helpful advice. Her outlook and openess about her learning trajectory and the choices she’s made constantly gives the viewer permission to learn, grow and embrace change. Her delivery is direct, truthful from the heart and yes, funny. Thank you so much Jen.

user-4a8a53
 

I don't know Jen or anyone in the class but I related so well with everyone involved in this workshop. I felt like I was in Oregon in the audience because I was so engaged.. haha Jen was so candid and detailed with every aspect. She never held back any information. If you would like to receive many helpful posing tips and so many great sales ideas and client communication advice then BUY THIS NOW! I debated between Jen and Christa but I totally connect with Jen as a person. She's so down to earth and has a fearless confidence that is contagious! It rubbed off on me so much that the day after I finished watching, I reached out to 4 bridal shops about partnership marketing and have a meeting on Monday with the lingerie shop that I really wanted to work with! I also started my ala carte price list the next day. If you've ever been to PPA and you know the feeling of leaving the confrence with a whole lot of pep in your step, if your anything like me, you will feel exactly the same after watching this 3 day workshop. I highly recommend!