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Team Criteria for Image Selection

Lesson 18 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

18. Team Criteria for Image Selection

Lesson Info

Team Criteria for Image Selection

now editing. We are a teen again. As editors, Callie does the first look. I really respect his thoughts. His vision, he calls. He shapes a take down into something that's manageable. Lynn and I also obviously, especially the big takes have eyes on it. All right, Live shoot office picking the pictures, editing one of the hardest task for many photographers. True enough, right? We are often times really lousy editors off our own work. I actually don't sign on to that for me. I'm actually pretty good editor of my own work, you know, um and I'm very dispassionate about my work. That's also incumbent on us. As photographers, we get emotionally involved in our work. It's like, Oh, I really love that picture. And then and then it just goes downhill from there. You have to be hard hitting about your own work. You have to know what's good and know what's bad. So team discussion. Lynn, what's on your checklist? This is Linds area of expression. She she has amazing taste and style. I do look for ...

things that are different than Joe and Callie. So for me, I'm going to zone in on, uh, not that they don't pay attention to, you know, talents, expressions. But, um, I really look at that body language and wardrobe malfunctions, probably wardrobe malfunctions is the biggest thing that I'll look into more so than these guys. Well, particularly as I mentioned before, critical sharpness, and you guys can see I go to the back of jobs camera nonstop. Um, making sure that, you know, everything is perfect in terms of that final shot for this final shots, Um, tech failures. You know, once again, as I reared with that shot in the woods, Um, did we lose the light the background to, you know, we have four lights back. There are three firing. So that's one thing I'm really looking for. Linda's mentioned. Do we meet the objective of the client? You know, it could be a cool picture, but to be kind of facilitate their needs in this shot. So those kind of things I'm looking for is Well, I mean, we all were on the same page in terms of this is like, you know, the bra strap showing, You know, I don't always see, but becomes facial expressions. Their eyes closed. Um, we catch someone in the middle of a moment. Um, and you'll see as we go through these pictures today, um, I probably go through maybe a bit quicker than you guys might of your own work. Um, just because at this point, I know what I'm looking for, Jonas. Well, it's all of us. Just know what we need to get. So to spend time on, like, a single image and look at it for a while. You're just wasting time in the studio. So, you know, we have 1000 pictures or 2000 pictures coming back from a shoot. You just you know what the picture looks like that you want. So I'm looking for, like, gesturing color. You know, I'm very as you would imagine, very involved in the quality of lights. So that has to be very strong for me. Teoh gravitate towards the picture. And then I'm also looking for something odd. Something different off single scintilla of difference. Something where an expression is like this. Or somebody just did this and close their eyes or something like that. Anything at all. Anything I can lay my hands on that might be a little bit different. So retouching is as you see it. Pretty basic darkroom work. We're not a studio that gets called to do major manipulation. Okay, so I did this, which was kind of a cool picture, but a couple of people got out. You know, they were speculation on the Internet that filtered back because, you know, you're out there and it goes out. Ah, he must have replaced the sky. I'm sure he did this. I'm sure he did that. I'm, like, didn't do any of that stuff, you know? I mean, I'm flying in the plane. I'm flying ahead of him. So this is out of camera. That's the finished image. That's the two of them. Side by side contrast. Lightning the ground a little bit. Well, saturation in the sky. Okay. Sharpening the pilots face because the smoke is accumulating on his windscreen. Basic darkroom work pretty much as you see it, you know? So the whole image just brightens. Basically, that's about it, you know. So that's kind of what we do. You know, the guts of the picture are in the camera as I come out of the plane.

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