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Culling with Cali

Lesson 19 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

19. Culling with Cali

Lesson Info

Culling with Cali

what I did earlier today is I pulled the pictures that we did yesterday in the bar. Andi kind of brought those down to about maybe 40 to 60 Um, so that I could just kind of go through some of the images with you wide shows what I chose, Maybe some of them I also picked because they were, like, building shots. And we can kind of just quick discussed into our joke and, you know, comment on those. I was also asked if I could take some of the pictures from today that we had shot and pull them up, and so I'll just kind of go through, um, the editing process that I would take first start, pull these two in, and then, um you know, hopefully by the end of the 20 minutes here, we can have a main selected three main selects from the day or the two days, but for mechanic is as a viewer, and you're to see here it's a grid like this. I have day one, um, and the yellow selects that I have right now are just my main ones that I had made for you guys to start the way we do. This is there's multiple co...

lor codes from all the numbers. Three being orange to being read, one being purple. And so I always start with the orange just to say, Hey, these air Kallis selects. I think these are the best shots that's choose from these ones. Um, and I'll go through a couple of build shots, too. So I pulled some from the beginning of the day. Um, when we kind of started with that banister in the back and you can see like I like the light of these. So I'm pulling these for you guys to see. But, um, here we have started bring the bar back in. Joe was messing around the floor, and then we changed color, you know, started adding some kicker lights in the background, bringing up the light up front, his face here. So the things that I'm looking at right now, I'm like, OK, I know that these aren't the main shots, but if this was to be the main shot, what am I looking at? I'm looking at the ratio of light right now. I want to see that his face is, you know well, I have detail in the background over here. The problem I'm seeing is that I have maybe a little too much highlight over here. Way too much shadow up here. So I know that the start of this edit would be pretty difficult. And this is where I would start working more in terms of the selects. I think you took had the watch come out. He was at you. I wanted it to sound. So somebody must have taken because it was way too obvious in this photo. So the watch is coming out once again looking to seeing, um What the lights doing outside. How you know, how much detail do I have in the top? Here, You'll see. This is where we started filling in the back bar here. I think Joe changed the color. Yep. And then we talked about this whole section down here. This was a problem. So we started to incorporate some light, and then I remember we went from 56 to 1 boy for So this is where I knew, um, that we kind of had the shot that we've wanted. And this is where Joe started to work more with riot. The end. So right off the bat here, I know that I really enjoy the shower here. So starting off I would say, just as a select I'm gonna go orange on it. I'm going through and I'm, like, just kind of like from the from the previous shot to the next shot. Do I like this one, Mawr? What? I like more about it. See how the light kicks up on his face a bit more? It's a little more pleasing, I would say. And the thing is that I'm still getting room under here, so I know that I can work on the bottom of the picture. I know I have room to work on the top of the picture. This one I chose for that specific reason I just mentioned he's so close to the bottom here. There's nothing that I can really do. If I needed to work, you know, turn crop, anything like that. So I wouldn't make this one to select. These ones are pretty close, so I would just grab that as an orange. A little bit different. Look, his face is like a little more filled in here. I'd probably grab that one once again, too close to the bottom, too close to the side over here, Cutting off elbow. This one's This one's still pretty nice. I think that's enough for him to work. So just from that first section, I'm gonna exit out here and you'll see we ended up from If I take this from the start of that shoot to the very last picture that shoot, um, about 100 and 44 images. So if I'm looking through, I just like the look at the light on this one a lot. I really enjoy the shot. And then I go to that last one and it just it's to It's to Billy. Yeah, so immediately I would I wouldn't completely negate the shot. I would just turn it back yellow. And now we have what, four to work with. I don't know if I like his face as much feel that way. I kind of like I'm a little more turned, but I keep coming back to this one. I think I would say that was probably the shot that I would choose as a final for my for my brothers, what I struggled with all the way through the shooting was the highlight of that chandelier back in here, kind of growing out of his head. And this is one of the frames that has it. Has it gone? So that that's what I'm looking at right now. The light. You know, I like. I like his expression here. So this will be our purple that I would choose that as a purple, And then I would take his other three that we knew that we really did enjoy. And I would just command to call those red. And so now, from the first generation, we have a final select three backups and then a bunch of other ones we can work with.

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