just a regular New York HDR I wanted to finish by New York, New York. You know, Amash is a beautiful city cause we've seen everything but New York. So I'm gonna take the three photos and I'm gonna open up in the Camero. So that's the under exposed little That's your very exposed photo. And that's the normal. And I shot this from a rooftop from a friend. So I'm gonna go here, make sure Senegalese on, and I'm gonna go to merge to HDR. And it's just to show you just one more, you know, every photo, every photo is a challenge, especially about the white bounds. I think the hardest thing to go from one foot to do the other is the white bands. Because it's the one factor that's gonna change the look of you filled with the most. So you know, having ah presets is you know, having your things is really good. So ah appreciates because, you know, you can set a certain type of white balance. I lining majors these Go sing it off. I'm gonna click on merge. I'm going to save this and I'm going to ret...
ouch it as an a t r. Okay. And here we go. So open up the shadows. Bring on the highlights again. Not too much. I don't want to make this sort of crispy sort of a sky. I'm gonna do my blacks and my wife. So she the beginning is always the same Where it gets tricky is the white bonds. You know what? Do we choose daylight, or do I go like shade? Very warm. I think this one shade because there's not much blue. And, you know, I could go, you know, daylight and even more blue. But sometimes you just want to go warm. Sometimes you just want to go California style this warm? No. You know, it's hot. It's cool. Summers can be really hotting in New York. So I'm just gonna go for a big, warm look here, and, um voila. Clarity. No. Minus carty. Often I do minus clarity because it takes a little bit out of this sort of hdr. Look, if you want to go natural, it's kind of globally. I do my insecurity at a question. No. Okay. Okay, go for it comes off printing. Do you have any special consideration at the time off boss processing your photos? Yeah, just for printing. When I print, I just was When you print, if you don't do anything, your prints will always be darker than what you expect. Just because this is a screen, it's pre lighted from behind. Paper is not protected from behind. So you have to add about 10 15% off brightness and you have to add a bit of sharpening and you have to over sharpen it. Because when you print, it actually blew. Is it a little bit the photo? So if you overshot on it, it's gonna call. That's only to think 10 50% exposure and chopping off course. I make sure it's not too no easy and make sure that it's a look at it at 100%. Make sure all the pixels are really clean. These perfect, you know. But anyways, uh, this one, I really wanted to be colorful, so I'm gonna add some vibrance and saturation. We want to go crazy on that yellow sort of feeding their maybe even more contrast and more exposure a little bit brighter. Let's go to the transform in its automatics, see what it gives me yesil more straight kind off. Okay, Maybe a little bit of a Grady int here in the sky. Not so much. Maybe we had a bit of blue. Maybe we don't. Yeah, I think I'm just gonna go straight on the on the exposure, and I'm gonna close this also, right? And something here. I want to break the tone. So I want to make this. I want to get more details here. So I'm gonna make big circle. Gonna add a bit of exposure and a bit of clarity in that circle. Okay, I'm gonna duplicate it, but it will here, And you don't have to do some things that could add more exposure to the circle circle. What I'm trying to do is just make the photo of the more interesting in a natural way. Um, okay, I think I, uh maybe, you know, take a little brush here and just brush even more Sometimes, you know, when there's civilized like this, I like to add a bit of yellow, a bit of exposure and a bit of minus clarity to have a bit of diffuse light. So they sort of diffused light from the window. You know, sometimes I overdo it, but I kind of like that. Sometimes that works kind of well, Rendall, with your white balance, Do you normally have a set white balance in camera? Or do you just wait to do that in your post processing? That's a great pressure. No, I always try to get it. I mean, not all the time on this project, because, like for you that I was totally off on the Paris one, but especially injury design. But even sunset, like sometimes you don't realize how beautiful it is. So, yeah, to be honest, I should on shade every sunset, shadow, daylight. If it's really warm and golden hour, I go on Shakur's. I like to put it even more If it's like I feel there's a lot of blue. There's still some nice blue I go on daylight. But yeah, because I want to get an estimate of what I'm going to get at the end of the day. So, you know, being totally off in the white balance sometimes can throw you off. You think you have a bad photo when you have a great one. In fact,