Black & White Edit in Photoshop®
Let's flatten this image again, command, option, command, shift, E. And I will go darker now, so levels and I'm looking at her face where I want it to be somewhere there. I don't care around outside her face. The eye is gonna go to the face. Once I've achieved that, it's ready in color, but let's command, option, shift, E and let's add noise to it. So in the Yervant actions, you go to, I'm learning this myself also because I've perfected for you so I don't know where it is now, but I will find it. Noise, it's in the red. And click noise and it will add a nice five percent noise. If you want to increase, of course you can change, but five percent is quite good. It's not very visual on a picture, but it adds a bit of texture. The skin comes vague and it looks good. Now that I've done that, I always thought this was gonna be a black and white picture. I will add one of my black and white actions. I'm gonna add the Yervant PJ black and white, which is it will add a lot of grain. It will ad...
d nice vignetting on the edges and it will look like one of those old photographics. So what happened in the darkroom, we used to burn the edges, take off from the face and make the eye go straight to the subject. So I will click that action. Hold on, this didn't work because this action works. Let's go back, that's all right. It needs to be flat, so let's go back to the history. There it is. Okay so now the eye goes straight to the thing. This action works better if it is flat. You flatten the file and you apply it. Because this is a filter. So you flatten, go to jpeg, save it as jpeg, then apply the action, and then save as. Okay let's save this picture. It's ready to print. Okay. Save as. Jpeg. And the good thing about this action, the black and white, it's beautiful because it's quite contrasty and it's a true black and white because it gets rid of all the color information from the file and converts it to a nice perfect black and white. And if you want to add more noise to it, you can go to the noise and this time, hold on I'm going to, let's flatten it. Flatten it and add noise. And this time instead of. I've selected monochromatic because it's black and white. I select the monochromatic and the five percent there or make it about 11 percent there, something quite grainy and that's it. So it's quite strong and grainy. Now when I look at the picture, I still need to vignette a little bit. On the left side, the picture of the veil, it's still too white. So what I'm gonna do is I'm gonna make a selection around the girl maybe have this hand in it or just a selection like this and I have a cool vignetting action there, so what I'll do is I click the vignetting action. Always make a selection before you start. I changed the feathering because I want. The bigger the feathering, the bigger it travel. Feathering, 300 feathering. It automatically inverses and you darken the outside. Darken the outside, so look what happened to the picture. Before and after. You see your eye goes even more toward the girls. All the movement of the veil, that makes it quite a perfect beautiful black and white picture. And I love to do this to many pictures in my designing album. But like I said, I do these actions, the filters, the color, black and white color filter when it's in an album layout. So I don't know what picture's gonna become black and white until I decide which one is gonna go where. So I'm gonna share that with you later. Yup.
Do you have a certain time period that you make, 'cause you're all about trying to do things in production because you're making this album it's gonna take some time. Approximately how much time do you spend on each photograph to do all this?
Okay, let me explain. When I do 50 albums a year, that's one album a week. But sometimes you have, you travel and things like that so I have to do two albums at least a week. So I have a week to design two albums, so maybe in two, three days. Two, three days or one and a half day for each album. Or give two days for each album. Because the faster you get, the quicker you're gonna do. Even I can finish an album in about four, five hours. Because I have the actions to (clicks with his mouth) I'm explaining to you, but if I don't explain it to you, it takes a minute. You know, because the (makes sound effects with his mouth) done, next, next, next, and do the layout, apply filters to the final layout, flatten it and go to printing to the album. So it's that only there will be about maybe 10 pictures that I work harder when I want to create a hero picture. The rest, good finishing, but general. But it still, it's beautiful finishing. I'm not short cutting. I'm just running it faster to achieve what I want. Especially if I have four of this picture on a page, I want the same action to run all four so they all look the same. So it's important. So let's save this.
I have one question. When or why do you decide to change from 16 to eight bits?
Okay, the reason I change to eight this image was because I wanted the glow filter applied to it. The glow filter is a PhotoShop filter. Although PhotoShop is saying they're gonna convert everything to 16 bit, but at the moment, all the PhotoShop filters are not 16 bit, so until they fix that, I have to convert it to eight bit. Okay, so that's the only reason. But when it goes to print and when I convert it to jpeg, it's becoming eight bit already. So if it's go for album, I simplify. Eight bit is fine, just ready for album layout. Because my album layouts are all eight bit jpegs.
International award-winning wedding photographer Yervant explains how to make your wedding business a success from capture through print. Before you can take great images, you need to build a strong relationship with your clients. Yervant guides you step-by-step on how to foster that relationship with your clients, interact with the entire family on the wedding day, and how to piece together their story to guarantee a happy client who’s excited to make a large purchase. Utilizing a real wedding, he’ll break down every moment of the day from portraits through reception. You’ll follow Yervant through his post-production process and album creation to help you maximize your product sales.
In this workshop you’ll learn:
- Capture techniques for the bride, groom, and wedding party
- How to work quickly on location shoots to keep your clients happy
- Editing and retouching techniques in Lightroom® and Photoshop®
- Album layout and design
- Monitor calibration and printing techniques
Being a wedding photographer starts with a passion to capture your client’s love story. In this course, Yervant will share his secrets for remaining passionate, relevant and maintaining a thriving business during his wedding career.