Lessons

Lesson Info

Audience Q&A

L. Bruno asks. Is there a right and wrong for the gray values in black and white? And I might throw in a dent into that question, saying, Is there a right and wrong for the Black Point or the white point on? Okay, if we start with one in the black point on, no, there is no right or wrong. I talked about ways of avoiding clipping on, but the extent to which you have clipped highlights are clip shadows and your images is kind of a creative decision. What? I wanted to understand his hair. You can avoid inadvertently losing data. So what you don't be doing is sacrificing data that you walked key. So it kind of the sky is important. You don't want to be and, you know, with big white splotches all across the sky because you use the levels told us of the cursed. Or by the same token, if you're shooting a high key portrait, you can have legs. A clip highlights because you could have you got a uniform white background. If you shoot a low key portrait or low key image, you may have lots of clip ...

shutters, so this kind of creative decisions in there, but kind of the way we've been going through these techniques are What I want you to be able to do is avoid doing anything by accident. You know, if you want to intentionally click the shadows or intentional highlights, that's falling. But don't do it by accident. Dance The questions that are coming the point about the gray tones is no. Every image is different. Every emissions a different balance. It's kind of a creative decision that you need to make great. Thank you. A question from a lunk is. What about using Channel Mixer or the black and white tool with luminosity blending mode to change tonality? Only you can do kind of you think back to where we started with the pixel. Every single tool in first shop is doing different things. Eso Sometimes I would use either the black and white tour the channel mixer to change the density of color image. Yes, Richard to luminosity, not affecting the color. So, for instance, you could duck and then sky in light of the sun. So yeah, certainly using different blend modes with the black and white tool is an option. Terrific um, from double track. Any rule of thumb for doing the black and white adjustments in normal versus color blending mode? Uh, no. I would tend to do it in normal, normal blend mode because she would convert to black and white switch into color. I need to check. I'm not sure it makes a vast amount of difference if you do that pamphlet. Terrific. And, um, from earlier we got a We got a note from regarding the history, Graham. And I'm just gonna read this to you. I said I just figured out the answer to my question. Um, the hissed a gram in the curved tool adjustment box. Onley shows the hissed a gram of the unmasked part of the image. I figured it out as it changes when you change the mask, right. This is great, as it means. This means, you know, you put your ass curve around. Yeah, yeah, yes, Kind of. 100 feedback. Told in that case, Yeah, I thought that was pretty handy. Yeah. And also I should just says when you can also change if you use the extended view on the east a gram. I know the history in the top right corner. You can have that be the entire image or a particular. You can do the same thing there as well. Terrific. And the question from Godek photography? Ah, lot of stuff that he's doing in photo shop you couldn't do in camera raw. And so, uh, wife, photo shop. If you have a 16 bit raw file and you're not losing the data or is photoshopped versus camera raw just a personal choice for a matter of habit, I'm neither. I think you can't do masking very effective in camera, or you could do an equivalent of dodging burning if you use the adjustment brush on. But then you kind of stuck with the same problem that you can't go back and tweet these things. You could go back in and use the adjustment brush again. I'm for me. Masking gives you kind of ultimate control over the appearance of your image. Yet there are some things you can do in camera raw on. We kind of skipped over some of those because what I'm trying to do is show you a workflow that involves masking an adjustment legs and building that up. So yeah, it's not a question of preference nor happy. I don't do of estimate camera roll, because I like that level of control you get in front shop Terrific from the Internet. What did you find most challenging about post production when you first started editing photos compared to how you go about processing them now, I think kind of we think back to the flow chart. And there was that kind of trial and error box at the bottom, um, kind of good weather explaining This is when I do these many pierce diseases, but my tutorial. So I bring one in every week. Eso is kind of those I said earlier. It's a little file with all the adjustment layers that people can work through and see how it was done when we first launched those, I kind of figured I would be drawing a lot on one's undone. Previously, I'm so you know, kind of from the early days of the Blogger. Then I looked them up on a lot of them were just a complete mess, so they weren't learning to a tall. They were kind of very much stock in this trial and everything. Ah, I think it's a little difficult, but it all gets easier. I'm gonna come back to this new minute as well, in terms of the tools have been using. But it's just kind of learning what you can put together and what you can't put together and what you need to be working on. And it's kind of it's the creative decisions, difficult ones. Not really the technique. Once on, although you do need to realize you can only push images a certain distance. If you got very, very deep shadows, you're not going to happen at the details of the legs of noise. So kind of nothing in particular on git doesn't get easier with practice, and my work flows a lot simpler than it used to be on. Hopefully, I can share some of that over today and tomorrow, and I'm gonna throw out a question we were talking about earlier. David, can you tell us about your daily workflow and the equipment that you use? Uh, with your workflow on? This is mine. Tie workflow here. Why isn't my entire equipment my 15 inch MacBook prime? Um, it's kind of failing you. It's not the newest model I do have. We were talking about graphics tablets. You know, I keep buying graphics tablets because people keep telling me that they're gonna be really useful when I'll spend a couple of days getting really frustrated with it. I'm just slipped back to using the track pants. So, in terms of daily workflow, I have this on various other ways of storing files. We haven't talked about digital asset management. Basically, what do you guys do? How do you make sure you don't lose your files? Um, I I back up all my stuff. After I shoot, I put everything on to little, many G tec drives that evaded. And then when I get back to the office, I copy those to my Drogo. Perfect. You've covered all bases there. You got multiple copies of multiple locations. I'm quite a lot of people do back ups, but the only do backups hope so. Kind of nobody's expecting that hangs to burn down. But if it does, where your files, You know, if the sat next to your computer in separate hard drive, then you got problems, so you will have separate backups away from the house. I don't have. I have to drive home that I used, but I This is the only time of the year when I'm away from my house. Yeah, you're right. I should have something you want with me. You got you know, hermit, you go shopping. Your hair's could catch fine. You could be, Do you think? Yeah, it doesn't happen all the time, but it is a bear in mind that you will lose the whole lot if your house catches fire, a few burger people are gonna pick up your hard drive, right? And then you have nothing. I was wondering if you were referring toa like an online back because you said you have three drove both home and then the two other drives. But when you go home, all your driver at the same place my drug was on my office. OK, ok, yeah. I got one serving vulgarity with me and another one in the UK. Okay, So kind of like a bit because I'm back manually. But mostly I got two separate locations and yeah, I have been in terms of work flow on. Yeah, I understand. The laptop in part, the files are working the ones I'm working on when I'm done, I shifted off with service. Great. Thank you. A question from excuse me using cat mat. I'm sorry if I'm not pronouncing that properly properly. Um, David, do you use any third party plug ins with blend modes when blend modes channels are not enough? I don't use a great deal of plug ins. What are trying doing imitations? Well, is show people the techniques that they need so they can avoid using a lot of plug ins on. There's kind of nothing wrong with plug ins, and you get good results with them, but they don't teach you anything in particular. You press the button because that's the bottom work with the last picture, but you don't really know what you don't eso. If I wouldn't recommend any black and white plug ins, for example, because it's so easy to use these tools on. You can blend in different techniques, and you can use cursed masks that even with a very small amount of practice, you will be able to do something better than any of the plug ins someone do you use. I use, for instance, Topaz detail. It's a great plugging for bringing your additional fine scale detail. It's kind of like enhancing local contrast on a portrait we were discussing. Launch portraiture from image gnomic. I'm plugging on light because it is a great job of cleaning up on skin tones and find blemishes and things like that. Generally, No, I don't use a greater plug ins, uh, the other thing to bear in mind what I tend to so plug ins. If if they save you time or they do something that you can do for you to shop, then the good on normally with my own work, I don't need to rush. There's no timescale involved. If I was a wedding photographer and shooting wedding every week, I might change my mind about plug ins because you need a quick workflow. Generally, though, a lot of things you can learn to do yourself. Then you've got more control on technically and creatively terrific, and Anna Lena asks about any screen color calibration adjustment software. Do you do by I know No on. I'll use a spine to relate three, which is kind of one of the devices. You just sit on the screen. Color management isn't it's not 100% crucial for the stuff I do. I'm not trying. I'm not shooting objects and not shooting for clients to require color fidelity on. But what you don't want is a screen that's off. Your screen is off. Everything is off. Your principal look wrong. Eso is a good idea to calibrate screen. You can't do it by I The room you're in with affected. The time of day will affect it. You can get closer, but you can't do it accurately. My advice to people as if they don't invest in a device themselves. This club together as a group, you only need to calibrate screen every once in a while. Eso get together with some other people and I, by device share, share, share it if you calibrate once every month, one thought to you. Good to go. You wanted to see if there are any questions in the studio audience on the black light back to when we were talking about using camera raw and relationship, he's in black and white, where you said your suggestion was always to go into camera raw. If you if you if you did camera. Roberts has a smart object going in, and then you decided you wanted to make more additional adjustments to it going back. Why wouldn't you go that route? Well, that's one way of doing it. And it's certainly a very effective way of doing it, because you can think, Azzawi said Yes. There you can go back to tweak the settings on for the smart object. What you can't do is blend multiple techniques. I'm so we're gonna look at Onders. Picture the car in a minute, and I've got an idea for American blend techniques to commit a crime. It's a lot stronger. Image is a question of workflow. If from the outset you know that you're going to produce a black and white image, then camera raw gives you the most control because you have these eight sliders rather than six. Now that's not always a benefit, you know. If there are no purples in the image on no oranges, for example, united six liners, some images only three my effectively. So it doesn't make any difference with the use and camera roll of black and white. So it's kind of, you know, what's your intention for an image on hand with scope is gonna give you anyway. Ah, so yeah, it's swings and roundabouts. Really? Which way you go? If from New York's that you go black and whitened hemorrhoids with I wasn't saying Don't use it or just saying personally, I tend to start color and then switch back. Okay, Because All right, we're good. I think we should know about that. Okay, we're gonna move on. Teoh, look at London's picture of the car in a moment. But what I want to do is jump back to my Kino. I'm in terms of what we're going to learn. So would you agree? So far on this goes out to ever be online as well. So quick, Yes or no would be could hear the postproduction we've done so far. Is it difficult? Yes. Yes, a bit of it that it isn't difficult. You would agree that it isn't difficult, right? Right? Yes. Right now we're getting yeses. We got any nose up. We get a lot of knows, but I think they're saying no, not difficult was asked the question. Yeah, right. Let's assume that's what got some no ish. Yeah, laws. This is it kind of comes back to practicing these techniques, but in the past, the question should be in principle. Does it seem difficult? Because clearly you can you can sleep in and do this stuff you do need to practice on. The second point was that you don't need a whole heap of complex tools and techniques. I think one of the reasons people get stuck with voters shop is it's a message program. It's been around since the eighties. It just 28 trillion different things. I'm most of them you don't need. You know what kind of scratching the surface of what you could do with a shot. But I am talking about the key tools that I use. You know, I'm not hiding, you know, David Crowe mazes, special workflow. There isn't one. This is kind of how I worked my images on, and you can get lost in photo shopping. You can think you need to really complex tools, techniques and kind of one of the reasons you think that is. You don't have this creative workflow talked to use to develop an image. So once you start thinking about what the image needs or what's wrong with him in picking the tools is kind of easy, you know, it is about brightness is about color will come back to kiloliter. You probably already understand most of what you need to know. So I taught you some things about the curse. Toe actually didn't know when something's about nasty. But I'm not told you anything completely revolutionary you've never heard of or never used. Yeah, okay, so hopefully that it started to make a bit sense. This is no, it's not rocket science. The key thing is not. It's not the tools and techniques, it's how you use them, kind of that's what working through.