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Capture and Edit Classic Black & White Portraits

Lesson 2 of 15

Set Up Your Black & White Portrait

 

Capture and Edit Classic Black & White Portraits

Lesson 2 of 15

Set Up Your Black & White Portrait

 

Lesson Info

Set Up Your Black & White Portrait

let's start first by talking about setting up light room itself because we've got to start by setting up our tethered situation. So we're gonna go into light room here and I'm going to set up a tethered situation. So I'm actually gonna close this down because we're testing to make sure that we were all set. So first thing I need to do is go to the file menu and I'm going to go to the tethered capture option, which is about 1/3 the way down, and I'm gonna click on start tethered capture. Once I'm starting the Tethered capture a man named the Session. We're just gonna call this black and white portraiture if you're gonna do multiple shots. If you segment it by photos, then when you when you're ready for a new photo, you can name a new photo, put it in a new folder so it helps to organize things. But we're just going to do one photo shoot, so we're not gonna worry about that. I also don't like to rename the images on the way in, Um, because I want them to be whatever the original name is.

I don't need to rename it. But you could certainly do that here. But then the most important thing is that we're going to tell it where we want those photos to go. Always put your photos. Where? There. You decide where they go? Don't let light room. Just decide you're going to decide where they're going to go. So for me, I'm gonna actually send them to our creativelive exposure. Um, test. Right. So this is our job basically creative life, and I'm gonna put them in a folder called Portrait, so I'm gonna hit choose. So I'm putting him in the job where I want them to go, and then I'm going to let light room deliver him to there. But I'm also going to do something else a little interesting. I'm going to click on this ad to collection. Now when I add it to a collection, what's gonna happen is the photos they're going to come from the camera to the computer and once again in the computer, lightning's gonna bring them into light room itself. And as soon as it's brought him in delight room, it's also going to add them to a collection. Does everybody know what a collection is okay for those of you out in Internet land, if you don't know what a collection is, it is a virtual set of photos. It's like you've got folders which are actual locations on your hard drive, and then collections is right below that. And collections are virtual folders that don't actually exist, that just collect certain images into them and you can collect them from all over. But the advantage of adding him to a collection is that once I Adam to a collection, that collection could be shared toe light room mobile, which means that I can give a link to a client that's off site, and they could be viewing those images off site and making comments and choosing and selecting images while we're shooting. Plus, the added advantages is that as soon as I'm done with my portrait shoot, I can leave the studio without even shutting down my computer. I can just leave and pull up my phone, and while I'm at lunch, I could be reviewing images on my phone I could be looking at. I'm on IPad. I could be looking at him on some random computer and an Internet cafe because they're now in the cloud. Okay, so in order to do that, we're gonna create a collection. So we're gonna add it to a collection that we're gonna create a collection. And when we create the collection, we're going to go in and sit, tell it where to go. So I'm gonna put it inside of lectures, and we'll just call it Black and White Portrait session. All right, And then we're going to hit, Create. Now that we have created that, we can just tell that all you have to do is right. Click that collection and tell it to be live on Light Ra Mobile, and it will constantly as it's adding to that collection. It'll add to that, and we'll send it live to lighter Mobile. Okay, now, this isn't a light room mobile class, so we that's the last. I'll mention that, but just be aware that that's why you would do that right up front so that every photo that comes in from the tethered shoe is going into that collection. So then it could go live on light Ra mobile. All right. Okay. So below that, I'm gonna put in some metadata. I've added my copyright information, and I've also added things that are common to this photo shoot. So I know it's inside and notes it's creativelive. I know it's a portrait, so I'm adding all of that stuff as keywords so that I can find it later, and then I'm gonna hit. Okay, Okay, so now that we've got that set up, I want to describe a few things, and I'm in any camera in close. Um, so I need to describe a few things on the camera itself so that you know, the best way to capture or to tether capture. So when I am inside of my menu there, this is a canon five D mark four. Your camera might be a little bit different. Um, you go down this. Okay. So, uh, you can see there's a record function folder selection menu button, and every camera will have this. And I've got two different cards in here. I've got a CF card and an SD card in the slot, but I need to choose what's going to those cards. So in order to do that, I'm gonna touch that. An inside I'm telling it to record separately and you can see when I recorded separately. That means that two files, one files going toe, one card and a separate file is going to another card, which means I can actually choose what those two files are. A lot of people shoot like a Rato one and a J peg to the other. We're not gonna do that. And the reason we would shoot a rock toe one and a different file to the other is that this has a 30 megapixel file, and so transferring that via USB three takes a while and it's slow, and I hate for my client to have to wait for it. So instead of doing that, I'm gonna record the full raw file toe one of the cards, and the other car needs a smaller file. Now, what that file is, I'm going to make it a raw file. Some people will do a J peg because they think that J pegs gonna transfer faster. But actually, the rock transfers very, very fast. So I'm gonna do a small raw file. And the reason I want a small raw file is that light room. When I'm adjusting, things is going to look different on a J peg than it is to a raw file. So I'm gonna go into this record separately. So if you click on it, you can see that you can, like, record both the same file toe both cards, or you can record one, and then as soon as it fills up, it can record the next one. But we're gonna record separately and then inside of here, you can see that I'm recording a small Rato, one of the cards and a large raw to the other. And you can choose that in the the cannon system by clicking on this cumin you and then you just toggle down to these areas here where you actually have a small raw going to the CF card and a large raw going to the SD card, and it doesn't matter which one you send it to. But notice that when I go over to this section here the arrow, the selecting arrow that tells me whatever, whatever whatever card is going to be showing when I hit the play button, that's the card that's gonna be transferring stuff over. So when I shoot, it's not gonna transfer from both cards to the computer. It's going to transfer from the one that has this arrow pointing to it, and that's the one that actually is the play. When you hit play, that's the card that's playing when you look at the back your screen. So I'm choosing the small raw to play over to the computer so that it's a fast transfer. The advantage of doing that is that now I'm gonna have a fast transfer over. The client gets to see the file the way it actually exists, and then later on in our next segment. Once we get back from shooting, we're gonna actually be able to take the full raw files, transfer them into the computer and switch light room and say, Don't look at thes anymore. Look at the real ones, And every setting that we changed on the small ones is automatically on the big ones, so there's no changing necessary. You don't have to like, look a J Peg. What did I do to that J Peg and then try and recreate it on the big raw and so that's why we're going to do this system the way we're doing it. We're transferring a small raw and then later on, we'll just replace it with the big one

Class Description

Black and White portraits are not simply photographs without color. Making a great black and white portrait requires a completely different mindset and a different set of techniques. Jared Platt will walk you through the process of creating beautiful, classic black and white portraits. From shoot through post-processing, you will learn every step of the process: lighting, camera settings, exposure, editing, retouching, and printing. 

You'll learn:
  • How to see in Black & White for a portrait shoot
  • Reading exposures -Lighting for Contrast
  • Classic Black and White Style 
  • Basic Black and White Adjustments in Post 
  • Getting More Out of Your Black and White Image 
  • Going Dark Room Crazy in a Lightroom World
  • Printing in Black and White



Software Used: Adobe Photoshop CC 2017, Adobe Lightroom CC 2015

Reviews

rorofot
 

This course is a good overview and I love the way Jared teaches. But the course mixes basic lightroom handling with intermediate portrait photography and really expensive gear. Which person, that doesn't know the basic importing and editing in lightroom, has three studiolights from profoto with grid or a calibrating system for the inkjet printer?? And be aware, it's only about LR-editing and nothing about photoshop. But over all it's a good overview for beginners - alas not for intermediate users.

TIm Smith
 

I usually don't write reviews, but thought Jared did a great job presenting the material. Clear, concise and didn't talk excessively fast. Material was well organized and reasons were given for why something was done a certain way. The fill lighting technique was something different and plan on using. The discussion on tones, textures, clothing and background were also helpful when discussing black and white.

Amy Vaughn
 

I haven't shot much with the intention of turning the photos black and white, but this class piqued my interest in trying it. This class isn't just about how to turn any photograph black and white, but how to think about the photo as you're shooting for black and white. I especially appreciated Jared's explanations about the importance of texture, creating drama and carefully targeting lights.