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Reviewing Yesterday's Images

right. What we're gonna do today is I'm just waiting for the schedule to flick over onto the screen there, there in a second. But we're gonna start with is gonna take a look at the student images that we shot out in the earliest. I'm a little later today. We'll look at the images. Um, you guys online shop on, put up for homework. I was start with a quick review of images, and then we'll move into working through some tools in food shops about it. There we look at the curse to all. We're gonna look at masks converting regions, black and white, turning images. Now, the first few bits going kind of run together. So Kurds mass. An adjustment layer is the kind of the kind of the same topic. We'll start with curves and build it up from there. Well, look at conversion is too black and white, probably for launch turning region straight after lunch. But I also want to do is after we've reviewed the students images. I want to get them up here at some point, so they consider the desk and I can wo...

rk through the image of cells. So perhaps We'll all kind of huddled around the computer on. I'll kind of assist in some editing. So what? What going to do first is you look at your images and then bear those in minds. We go through these techniques on again. It kind of comes back to this idea of using your imagination to pulling up something in these shots. So let's have a quick look at what we managed to come up with yesterday. So he is his and shots first. I didn't say anything about these damn things we go through. Sorry. Do you want Do you want to give us a quick common tree on? What were you thinking of these shots? What you're trying to do? Eso This was the prop I brought along. Um, I was just trying to place it in a context that gave it some character. So I tried, I think have five shots in there. Okay, So which is your favorite? Which is my favorite, which is in favor of the camera with that? Well, they almost all have the camera. I think I like the one of the model sitting down with the camera. You're looking at the raw image right now as opposed to my interpretation. Okay. What about you guys? Don't even wake up our favorite of hers. Yeah, number one. Yeah. Which would be what? The one that you most drawn to off the What's going on in that upper? Guess what was right in the blue. Yeah, this was the kind of woods with the eye drawn bottom. You know, Nexus that. I think I like the one of the chain link fence. I'm actually kind of drawn to that one. Like I said, that although the blues and that's kind of your favorites full screen from surround getting there and I really love Can we look at the one that was the bottom, right? Yes. One. Yes. I'm excited to see what you did with the Post. Yeah, I'm not too happy with what it did with the Post for this particular one, but I have great hope for helping me through this way. Go through. We're not gonna have time to go through everybody's image on work through all of them. So either pick one. Um, they specifically want to work on one that you're struggling with. You have to decide whether it's better not to work with the favorites and work on that one. Maybe or Yeah, decide as we go along because some of the techniques we're gonna talk about you think Oh, right. Okay. I could use I could use upto working late, and I'm gonna just chime in from the Internet. People are saying they like the bottom right one and oris network on Twitter saying that the one with the eyes really dramatic, that tension there. Yeah. There's kind of a nice perceptual link between the two that I think I think probably that was my favorite. But you kind of knew that my phone, I expected that. Want to be your favorite or the one in the bottom? Right? The one that surprised me is actually the one from Nick's shoot the r I P Steve one. Which doesn't seem all that promising looking at that particular framing, But I kind of like what I did with the post production. So I don't know if you want to see this, but yeah, yeah, kind of. Yeah. Okay. What's that? That's your shots. Uh, just close it down a second. David's. So who's drunk? You were drawing the fish. Yeah, Yeah. Okay. Is expecting one of many one of those fish photos Kind of looking at now on the one of them. Like it's kind of fish coming out the water here. But there's more fish here. Said it would be nice if another shot, which was kind of this angle with the fish, some of the fish in the water and someone coming out. Kind of like the stuff in the background. The one we worked on there is this one, isn't it? Did you wanna talk us through what we're trying to do here? Read it on the post production. But what were you thinking when you're shooting it? Uh, well, I'm not exactly sure. How is it gonna look when you finished? Okay. So I want there to be a little bit stronger. Other than yet. I want that ball. I want a little bit more of the blue to come out of the ball like her skin to lose some of read and pink in it. Like those the color of her skin to be muted a little bit more than that. Both of stand out, I guess. The image that you showed yesterday of your daughter with coat. It was sort of a blue, and that blue became sort of a muted blue. I really like the color of that. I'd love to see that come out. And it was interesting you mentioned Vignette because I was wondering what kind of a reverse vignette would work for this kind of brighten up the edges because we're trying to focus in on the ball. Yeah, we'll see. But I'm not. I'm thinking if we go dark around the edges and you kind of just bring your eyeing But tonight we could go the other way. It's really all about the ball. On the other. Option is black and white in this one as well. Right? So perhaps when we get to the section on black and White, we can take a look at this one. So, were you happy with the final result? Yeah. Yeah, I think so. I like I like that at the field. I like that bow in the background. I like the framing. So which is this one in the end Was awful. Yeah, Yeah, I did actually crop it a little bit coming in on the right. Yeah, it kind of balances noise knows even that. Okay, What about you guys? What you thinking? I think it'll look really cool when it's done. Yeah. Yeah. So you're all thinking in the scientist. Nice production. Bringing out the detail in a bowl. This is kind of saying yes, there is this idea of imagination. So what would you know if I'm looking at this and think it wouldn't be cool if this ball late if it had some sort of internal light source with? I don't know how far we have to push that, but can we can we get it? So it looks like it's glowing in her hands. And, uh, Scott Wood's photography had said the orb would be cool if you could add a reflection of some kind as well. There's kind of a reflection in there, so, yeah, another thought, they also possibly be is to maybe on some of the darker tones in the in the sphere itself. It almost looked a bit like a global person's hand. With some of the continent showing, I don't know, maybe possibly calling out some of that may be in a blue tone or something. Almost that world in a hand type of perspective. Well, in terms of color, we've got two choices. We can either really boost the colors that they're kind of shift the total. So maybe before lunch, But certainly just after lunch we'll be looking at ways of adding tones. And we're doing that with masks. And of course, we can totally turn the globe independently to kind of, Yeah, I think there's a lot potential left would have to come back tonight. Okay, So Henry's right. Let's bring up the Can you talk us through it? So that actually was one of the pre shots that we did. That was that was actually I was not pleased with some of the other. So that was actually one of three shots that we did with Mackenzie on that one. When I started playing with it, I was kind of cropping that tighter in on her basic using, using the gray, straightening it out, using it for about 1/3 and putting her in about 2/3 of the frame and kind of pulling some of that down. Also, I was looking at playing with more saturation in the color on that one. Yeah, the one I was kind of working towards. Actually, the last one, if you wanted to bring up all of them, is a cluster one that I was kind of more intrigued with. Was the that one right there? It was between that and the other telephone when that was kind of looking at and it was possibly looking at, probably trying to do something with the background, something with the brick. And then also possibly something but the glitter in the shoes. I'm not sure which way to go with those two. Yeah, but that's where I was kind of thinking with that, playing up in those components of it. Yeah, I think I probably need to brightness ice up slowly. We were working with no idea like yesterday, So we need to throw some light back onto hair, I think. But yes, that's a potential as well. Right? Excellent. Anybody else? Yeah. It is nice things from it's fun. I would almost want kloppitt. I was I was kind of playing with the cropping how to have the best crop it whether to push her more towards the left or towards the right. With that a little bit a little bit too much on center for me, but I like the way they dress is flowing. So maybe cropping up more, pushing her little more towards the right with more the body of the dress going more towards the left. Um, going to bother me a little bit. Is that up in the upper left hand corner? That telephone pole is kind of adding a bit of a odd no angle to it. So neither one of, um, take that out or do something with it. Kind of minimize it. You could also look at the square coppers. Well, yeah, I'm not sure. I'm not sure what the Windows adding to the story Probably not a great deal on debt would kind of get rid of the telegraph pole as well. So we might want to think about cropping that won't get even Though I said yes, that cropping was cheating. I didn't really Okay, so that's nice. Nice once. Ah, right. Here we go. Different roles. Can you talk us through it? Okay. That was early on and pulls It was actually kind of a throwaway image. And when I looked at it later, I liked it. Except of course, the distraction in there with the foot. So I cleaned it up in post processing, and I think it came out its hands foot. And I really liked it. After I cleaned it up, I worked on it. I like the composition in general, in terms of the people in the background there out of focus. Yeah, I think I think this one tells a nice story issue. Looking at the people over there. Issue looking somewhere else. She's clearly a lot more elegant, that scruffy photographer and random collection of creative life folk in the background. So, yeah, there's a There's a nice, interesting way of interpreting that one. So, yeah, without the fort, you lose the foot on Russian. Look at that one lighter. Yeah. I didn't see a shooting. These you mentioned. He brought the cars along. That is cool. That was my little toy. Um, and I worked this also, and I did a black and white virgin as well. I because of the way the alley was. I was looking for something else that was blue to complement the car. And that little hole just happened to be there. Just worked, like, yeah, I think I got a lot of potential. What kind of damage maybe takes into the maybe crops in the bottom off there and a vignette? Yeah. Yeah, I work in black and white. I really like the colors there. I'm not ashamed to sacrifice the matching blues thistles where I was struggling. I like both versions. So I left the layers and Photoshopped the black and white, and I turned it off, taking a back and forth, but in color, I really boosted the contrast. And I did been yet on the sides. So that really made it stand out more. Yeah. Yeah, and some sharpening. And that's really pretty much all I did. I think you really succeeded with your pre visualization of one thing to deal with perspective when we were talking about before we went out there. Because you have to look at it a couple of times to realize Is that Thank you. And people? People in the chat room are really enjoying that shot as well. So they're excited to see what you did with it. Yeah. No, nothing. That's yeah, it's really good. But this is when we spent a lot of time all because people remember if they're watching live that we were kind of shooting a much wider shot to start with and then weigh switched to this one. So we're happy with this one? I didn't see it until just a few minutes ago because tethering with an iconic didn't write to my card and I actually like it right off camera. Um, I would probably just do a little bit of work, Teoh. It may be a little bit of sharpening. Bringing out some of the grain in the in the pavement there, uh, to be with her shoe. The grain in her shoe, in the grain in the pavement. It almost has a little natural vignette ing on the right. Yeah, I think it works really well, there's nice structure on you Got the great position down here. You got this crank running all through the background. It's really nice composition. And it is worth reiterating that we're talking about dramatic postproduction, but sometimes shots are good. So this does this to stand on its mirror. I think we can do some some of things with it to improve it or certain make it different on. But you shouldn't look at every shot is that it requires massive amounts of post production. Um, you know, it would be illustrative of no shooting Very well if every single shot required it. I'm saying, What do you think this one goes? Do you like it? Yeah, I definitely like I like it. I'm liking other other shot. Better get the car. The car is really inspiring me. Yeah, you know what number So But I also think of watching from yesterday that that shot it could be a perfect with those sparkles. Could be the perfect dramatic postproduction. The she I think there's just the shoe. Yeah, I think it answers a question from yesterday. Is this dramatic? Amazing shot? Well, no, in my opinion, but I see where something is there, then composition is beautiful and yeah, yeah, One way doing this would be to really kind of dark in the shop. Damn on, which will retain the highlights. You drank the midterms in the shadows down and the shoes have been really stand down. And then if you had been yet it's kind of it's just gonna be the shoes and some structure, so yeah, we'll definitely look up. Maybe both of those lighter every time. Okay, so that brings us to necklaces. Police names. What's wrong? E saying that? Uh, sorry. This full screen. Where's my control? Start again? Well, after So I don't like that one. No, it was a turning to remember toe pause. Right? Okay. What should you favor out of these? I think you're gonna say this woman, You're on you because this is the one. This is the one we're working towards. Women shooting you kind of overcoming the problem here. Which was the writing initially. It was kind of it was kind of up up here. Wasn't and a lot fainter. Yeah, so I like that a lot. I, um I worked on a little bit last night. I made the like, the leather and the book really kind of crispy looking. Um, I kind of dark in the back a little bit on, brought out some contrast in her legs and feet, did a little bit of like toning with some green and red, you know, to make it look kind of surreal. And, uh, right. A little bit more detail in the paper on the edge of the book to. Yeah. Yeah. You got a lot of scope of this one. It's a caring image that worked very well in black and white on. Yeah. Yeah. You're like I was like, this one. Christie did the ones, huh? You bring up the whole collection? Oh, yeah. Yeah, that's good. Did this one work in the end? We're happy with this one. I think that it could, um, with some work. Maybe you can help me turn that into something more dramatic. No, it's kind of, like, really flat right now. Yeah, Yeah, yeah. And like her skin a little bit dark on her face, Um, and the color in the wall doesn't really do anything. Yeah, I kind of think we've probably got two choices you can either really dark down. So it's kind of just a suggestion of somebody doing the writing are kind of brighten it up a bit. It depends kind of how you want to tell the story is it is the story about her. Or is it about the pee Steve on kind of back? Both. You can change the emphasis in the image, so yeah, we certainly have a look at that one on one of we're going to delete that one. It's just horrible. What about this one? Those has kind of had the chalk in my pocket. I was thinking that if if we would have written the the rest in peace Steve on the pavement or, like, lower on the wall and you didn't call to have the chalk in the photo to Yeah, so I just wanted to make something cool with the chalk. Yeah, Yeah, I think the right. I think it needs to be. I think this kind of almost need to be part of a different story because it doesn't. It doesn't quite carry it as an image on its And I don't think so for me. I'm wondering why there's a feather there. It was just I was just there. Yeah? What does it contribute to the image? Maybe it just a distraction. Yeah, Yeah, yeah, yeah. Okay. Yeah, that's that's not my favorite of yours. Let's look at the last one before we move on. And that one. I I did that really quick afterwards, and, um, I thought that I mean, I don't I don't like how our skin tone looks. I think that it has potential toe Be something cool. I'd like to see. Get your opinion on how you would make that a lot better. I think you need you kind of need to emphasize her in a shot. Here is what you've got is I kind of thought you line down here is quite interesting, but you've also got a very bright edge which isn't helping. And it kind of brightens up towards the top corner cause this kind of went the direction of light was coming in from you got nice lie on her butt. You kind of pulled out towards the edges of the image. So something there, but yeah, I agree. I don't think it is potential on. I think that's my favorite, Andi. I really wouldn't want to do it with that one. I did a crop that one down. Teoh portrait orientation, like a little bit tighter on your body in your head. If you do inflicted it on, somebody else would probably like it. Looked interesting. Okay, So what we've got there, then, is we've got some interesting shots to work with later on center Lots of scope on all the techniques. When we working through. I think we can apply to those images. Okay, Right. So it's time to do some serious postproduction before we do that. I just wanted Teoh. Shut out that Libby, your wife has put a tweet out saying, sitting with the Children, watching their dad on creative life, they all have their favorite photo do that very that they are quick to judge the kids. It's interesting when I'm when I'm going through an Edison stuff. All this walk by and go really lawn out. So yeah, it z interesting to get feedback from.