Shoot & Design Wedding Albums

Lesson 16 of 29

Editing Continued

 

Shoot & Design Wedding Albums

Lesson 16 of 29

Editing Continued

 

Lesson Info

Editing Continued

Okay, this picture reminds me quite a nice grace kelly shot it's very gray scale ish yeah you know, sometimes the nineteen fifties were amazing time for beautiful pictures those masters were creating amazing pictures the photograph a beautiful feminine gorgeous picture and this is amazing guide I think I love it very much but I don't see too much in this picture I don't I don't want to do crazy things to it I don't want to play with it a lot the only thing let me see if I need a bit off image nomics on it let's close there because I'm used to tool to monitors now in this little space I don't know where to go but it's okay now let's go closer to her face it's solved it's nice but we can sharpen it a little bit so let's go filter ah which one was their's image gnomic has a very good one here which is actually one off the one you're winning just a sharper morally toby that that gives me enough but I'm going to work on her rise to bring because the eyes are the most important part of a pic...

ture so I'm going to work on her eyes to being a bit of sharpness in tow her eyes okay let's make a new layer let's try again well there it is okay, thank you guys sometimes I need help, okay fifty was too much that's why you can see the feathering let's go make let's make twenty twenty federico feder twenty and they tied the selection so I know what I'm doing just levels so I'm going to bring a bit off light in tow arise make them lighter bit of contrast right and brightness in contrast I just ugh saturation and I'm going to saturate those eyes a little bit more work but the problem is I have more selection is it it is what's gonna happen so I select again go to the round around there and here further ten just levels in let's bring it a bit off light again into it in the more contrast in levers you put into it it becomes sharper okay that's that's good maybe a bit off color his saturation again the saturate saturate it is okay it's good enough the picture is soft enough so let's go down to the the image leads to a bit off cropping so like I told you before command j control t oh sorry I had a selection there sorry let's do it again command j control tea and I'm going to slightly crop it on the right side I hold the shift key so I don't I don't distort the picture it's very important hiskey and there it is off cropped image I'm going I'm now going to drop it down a little bit so I'm going to move the image done just sent her just over there okay, I'm going to merge it donna now a tool I use quite a lot lately is the healing tube because thiss has improved quite a lot content aware so it selects the you can do it sample from all theirs but because I'm flattered and all the time I'll just leave it content where in increase my bryce size just there and what I'm going to do is get rid off that reflected item into the mirror you must do this few times until it's gone because in my pickup other things around it one more time there and paint that area just get rid off those extract details sometimes when when we enlarged it you might see it's not to bet on this sometimes he used me might be a bit off flaking the best way I do it because it's an out of focus section my blur technique works magic with this just make an approximate selection there command j blur go simpler sorry glor in causing glow and you soften the whole thing off you see by softening it will give you quite a nice circle soft effect we dot we're not getting rid off anything thiss area here, I can fix it if you if you need to so merge down now I'm going to go dead area just with the stamp toe just fix it a little bit just somewhere then after I had noise today they had all that effect will disappear okay? I like the whole softness I liked the whole look off it I'm not going to do too much of it I can see details next next what I'm going to do is go to my command j and they start diffuse glow make sure that the color selection is black on white just click okay because I don't want to play with so much with dead changed your capacity in capacity merged on command j now I'm going to go to nick software before I go to nick software are our might converted to black and white because the way I convert black and white it's quite a good way of doing it and this action is going to be included in your free ah action and when it comes with the show so what I'm going to do is look carefully I wish are you once on ly image more image mort this is where you say the rgb seem like a moved there into the pallet at select lab colors if you look on the right where the tunnels are its rgb red, green and blue those are the rgb colors I'm going to convert this to love color don't fly too neat okay suddenly dead channel changes from rgb two love lightness a and b so I'm going to select layer a select all and delete with the keyboard not not the layer just the lead with a keyboard you will get a funny pink are color on the love you get white in a channel what I've done off the lead id section off the like color in the picture now there's another section in b I'm going to delete the color are also from this so the leaf so love is something like that crazy but lightness is my black and white, so this is a true black and white the same way as you used to do with film. Basically instead ofthe converting a black and white film print on a sorry, colorful imprinted on a black and white paper, which is usually this one, I make the negative black and white and printed on a black and white paper. So it's it's it's a real black and white, so the grayscale is very strong. If you see the image, it goes lighter because it's now has a lot of details, so I'm going to god created image modes, converted toe grayscale first and then converted converge it toe rgb because we work on rgb with printing on color paper now I'm goingto go adjust levels and I'm going to start darkening the image plenty off details there plenty of details wherever I want now let's go some off the light areas just a bit detail I don't want to much but I want also those areas to be solved feather one hundred just level so just let's talk in those area little bit liked it command jae in blur go simpler I want those areas to be quite nice as soft and beautiful so let's see before and after up to know we can't see it because I've converted it I'll show you in a minute okay? Now that I've done the picture where I wanted to be another thing I'm very particulary is distortion or not straight lines I love straight lines horizontal or vertical the stand there is slightly killed just very small but you know I created the shortcut commanding so what I'll do is I'll go into the this is lance correction select is thiss one here make a straight line in the in the mirror there and les corrections so everything is perfectly straight now so the line is straight so that the bride is more straight in off fixed or correction but somehow I lost a little bit on the details but doesn't matter doesn't matter now I'm going to going to filter nick software silver effects pro this is the black and white nick software which I quite like a tte the moment in the demo demo because I don't have the full version here and I like the one which wass somewhere here let me see yeah it's let's let's give it this one here let's give that effect here I didn't find the right one because I have created it myself so what I'm doing is I'm creating a nice border ages to it a bit more contrast into it and let me create a sepia tone the manual way my way so I okay that's nice what I'm going to do is adjust hugh saturation this is quite a nice sepia colorize I'm going to go hear about charity and saturation about fifteen I want slightly warmer slightly warmer somewhere there and that's my finished picture that's going to his history or story original toe finished again you're not seeing the actual picture but it's if you want to come you're welcome girls so that that gives me quite a nice portraiture off off a girl in in er would you mind um toddling back and forth from start to finish for us as well so we can see let's go few layers this is I don't think I have all the plays that I'll do it at the next one I should remember to do that before and after yep make tanglewood ask our catch light's important to do you recreate catch lights in your subjects eyes if you don't capture them in the eye they catch lights are very important for me, but I make sure that I have case light we're not in the picture. If you've got the right right image, it should have a catch light in there, it should have some type of lighting it so it's very important, so you would not select a photo if you were missing the catch lights not really always select if it's a moment, because sometimes those moment pictures might not have the catch light because it's in the wrong position, but it was a moment that I couldn't create the moment, so I'm much is there, but they will look great in black and white those pictures because it's not perfectly lead or perfected perfectly exposed okay, I like this picture, so let me open that picture there. This was when I used the tungsten tungsten light, so what I'm going to do is I'm going to change the temperature, so her face heard that the skin tones are quite warm and more natural, so somewhere like that, you see the background becomes quite blue and very exciting. I love that look look at the european movies and you get quite a lot off this effective they should quite a lot off like this available light in the end they light tungsten light and they're like mixed so let's open that, okay, now I converted it to worm, but some areas where the natural light ese is not is not as warm I don't mind it but I would like a little bit warming them here in photo shop wanting also I don't mind using is the liquefied too for many reasons sometimes to go might have a large arm and you can reduce it and this technique of learned or I'll be shown by bambi cantrell and it's quite a nice way off doing it so what? What she does is she his selects a large brush and goes to the section off the image and wherever she wants to reduce just read this with large brush what I'm trying there was a little bit off mom and her leg looked larger than what it wass I'm not making her skinnier on anything I'm just fixing the visual look and maybe just at the bit off curve just around here so she looks more curvy maybe pusher I mean they're so not too much but she will no one will notice just don't tell them you've done this so just the best off adjustment doesn't hurt anyone and I'm sure the girl will love it so those areas that are not is colorful just need to be adjusted a little bit the arm fist feather two hundred you see this is why I used quite a lot of feathers adjust color I'm going to add a bit of yellow and a bit of red and maybe a little off contrast brightness in contrast the authorities so make let's make a new layer so we I can show you stage by stage command j so I sort of had a selection sorry it's command jake and I'm going to go to the couch around this area just around there and I'm going toe slightly warm it up feather two hundred hide my selection just levels just a bit off blake softening and they're just colors it's warm that part again just not too much don't overdo it I don't want it to match her face but as long as slightly warmer then then the rest off the picture. Okay, this area off the catch needs too much now so I select that area also feather two hundred I'd selection just levels just darken it slightly. Okay, just color so I made the front off the counter that's perfect. Okay, this area has gone a little bit darker, so what I'm going to do is selected area want those details to come up feather one hundred just levels and let being details into those areas just to be collected. Okay, now let's, go to the background. Let me go and select this area again. Okay, let's go up into the layers feather one hundred comanche it's it just levels in ancona darken dead area and it's not darkening how come you're on quick question yeah risen japan us do you know how do you know what values to use when feathering in different situations that changes from picture to picture it? It's always experiment have a large fair file and feather one hundred see how much you get take a small section twenty akama to get there's no formula for that it's section might have different figuring this one I did a lot of feathering because it's a background and I wanted to blend but benefit tonight if you do too much feathering it's not going to be feathering because there's not going to happen anything okay? I know what happened my also opacity had gone zero so just levels to it again there it is so what I'm going to do is I'm going to darken the background so I'm going to get that blue blue feeling into the picture then what I'm going to do select the curtain area or the back area some areas there was no curtain but I'm going to select that area there. This is a good technique also toe iran address I'm going to create command j and I'm going to go blur motion blur motion blur it will blur in the direction off the road heading will so I'm going to rotate in the direction ofthe the fall off the curtain so it gives me a beautiful smooth flow it works amazing with veils also if you have a veil in a picture and it's moving just making layer selected area motion blur and blending with the thing is kids dead globe beautiful filled to the to the background sorry what's happening okay let's go done that's something different to this file it's not working the way I want it because this's locked maybe oh capacity this way ok that's why merge down that's it okay, I'm going to merge down not this top layer is it just created the softness off the falling of curtain in the background I'm going to merge down sometimes you might get a highlight around eight when you do effects like this so what I'm going to do is I'm going to take them the stamp too great a big brush even bigger than decide a big brush click okay? And then I'm going to go into moat off the brush and darken so whatever area is dark dark I'm going to make a selection from there and just darken it won't paint over the face one paid over their hair it just darkens the area so that glow halo on the ages will disappear and sometimes if it's overdone for example this area here there could be war marks and things like that even I do this all in some skies are with select area let's say you have a lot off camera marks you know the the the shutter was not clean is selected command j blur motion blur sorry causing blur and just not give a nice soft texture in that area there okay, now I'm going to merge it down. We're done okay, now let's, let me show you how can I get rid off some off the cast there, for example? Thiss chair maybe I want this chair to look white, not blue because there was a day life in it and I don't want it blue to come out. I want the white chair to show his white or maybe softer so I selected the chair approximately feather thirty now I'm going to hide my selection again adjust hugh saturation go when you get to his saturation palate go to the master china's it's a pop up manu select cyan because that's a sigh in color or blue click the pier what you call this the two anyone knows the name of the other eye dropper yes, the eyedropper sometime I forget the names the eyedropper take a sample off the color in that area, try a few times and then go in saturate and saturate just it gives back a bit off the white into the background it doesn't work with his picture on much rather have it all blew, but this works fantastic if we go let me undo days and on the bride's dress it's to that area there so let's go feather one hundred adjust you so this seriously, toby science so little science the eyedropper tools select a bit off the color and go and de saturate and just bring a little bit of white and maybe the humoring a little bit it in k tradeoff that saturation okay, so once I've done all this, if we go in a bit off command j distort, make sure that it's black and white talent they start diffuse globe click okay in changing capacity. Okay, that's what I want to achieve and let's see before and after and the original was quite right so I got rid ofthe dead and just make made it into a beautiful soft portrait in the studio you're not going to sit in house, they're going to see how, how it's beautifully converted into a nice portrait and this wass photograph with video light available light and a hand held camera. So that's it's a question that has come up many times. This is from mindy rose from new york. Do you use any dues? The traditional rules for cropping body parts? I usedto isn't whatever you I used to your, you know, cropping body party shouldn't leave the fingers that we shouldn't leave our mark then I say that picture was a moment because she was moving the army's cut. But does it matter? So I break the rules at one stage, I follow the rules, then pectorals way have kind of a general question from vlad gauss, who asked, how do you keep your inspiration and artistic impulse after thirty years of shooting weddings? Beautiful woman e I I always say the woman inspires me. Music inspires me and my equipment. Give me my my strength and that's what I live for did what allow for and easy, is it? I will. I have never bean board shooting a wedding but sometimes you get blank. You go to a wedding and seo another waiting. What am I going to do? And it might not happen until halfway into the wedding. They just start to get in spite at the start. You say okay, I'm not going to do much here. I'm not inspired it's not happening. Nothing is the way I wanted. But I don't stay in that condition all day. Eventually I will get inspite somewhere. So it's always keep it positive. Keep it positive. It will happen. Okay, well, that's it's been fabulous watching into this actually creating the art that you sell and it's it's, it's, art it's also we need to go to wei have all the tools why not make it to the better stage why not go to the highest quality and true and I just feel like everyone has a different style and way that they do this so it's just fascinating for me to watch you do it in no way I'm saying my way's the best way or run away I'm just saying how I do it if you don't like it it's fine with me I don't I don't really care about it well I personally like it I personally like it that's good I like it a lot don't forget also in the last two bit off noise into it just bit off touch off noise so it feels not plasticky that's a very important part of it because the screen doesn't feel the same way as the paper paper is much softer you see more details if you add noise it's not going to be is contrast is the picture I can't put up to ten percent noise printed and you will have the sea any noise on the picture on the on the paper so don't be scared off they don't think that screen is exactly what it's going to be end up somewhere mind should work for the finished product not for the screen because this is not where it's going to be shawn and this is not how I wanted to be shown

Class Description

Where does fashion photography meet wedding photography? Join us June 21—23 to learn the secrets to creating cutting-edge, fashionable wedding images and albums with Yervant. Yervant’s shooting and technology techniques have forever altered the wedding photography landscape. During his 3-day course, he will teach you the methods that have made him one of the most desired wedding photographers of all time.

Using live demonstrations and engaging how-to lessons, Yervant will take you step-by-step through the creation of a perfect wedding package — including how to choose the right business model, pose the bride and groom on their big day, and design a timeless wedding album that your clients will treasure forever.

If your wedding photography needs an upgrade, join us for this A-Z guide to high-end wedding photography with the Grand Master Yervant.

Reviews

Olesya Savlenko
 

Thank you very much for the wonderful lessons. I learned a lot of interesting despite the fact that there is strong in English. Please tell us how to do touch-3 band. Many thanks

user-b38b59
 

Yervant shares his knowledge with a passion. If you are a wedding photographer and even if you're not, you will love this course. Thank you Creative Live for sourcing the very best in creativity and making it available to us. Frank Jun 24, 2016