great well I think that you have some images you're going to show us how you work it no thanks I just want to go into the I want to go into that last year right there and I just want to talk about that just a little bit you know here on the screen let me just hit my eye in light room I I've become a light room user quite a bit lately uh it really is one of those tools that once you understand it took me a long time to figure out how that room worked and I got so frustrated answer everybody else did too in light room where it's like wait what do mean filing missing you learn you learn how to use that room and I'm not gonna go into all the details of that room you do need to watch a lot room class that's you know here creative lives but but this was this was one of the finished raw files everything that you saw in the video all the screen with all this raw food until they're all they're all files and this is one of the raw files and here's you know there is with him without that silver r...
eflector um I don't know what you want but I do know that just if if it's quick and easy and down and dirty this is a great way to shoot and it requires very little editing as you can see I will show you what I would do to this just in in prepping this for a client a couple of things that come to mind first that I would do I would probably crop just a little bit let me lock that okay so it's locked so that means I can I can crop this without reading without changing my aspect ratio so I'm just gonna crop that just a little bit because I don't need all of this this guy in the back uh so I might crop this something like that maybe even a little bit tighter maybe something like that uh and let me just go into something like that then I would probably just to draw the viewer's attention a little bit I I've found that I've gotten myself into using the grady until quite a bit and I'll go into grady into will make sure that it is on um exposure in this case so I'm gonna set it on on grady in exposure and I'm gonna set it toe minus maybe a minus one stop and then he's gonna draw my grady it from the top down and see if I can't help draw my attention to the viewer draw the viewer's attention to the foreground just a little bit that way and uh and if that's a little too dark for you you can certainly change that a bit but you can see that we can really quickly uh take care of that and maybe you even want to go further and take it in that direction I don't know how you feel about that it's it's again it's a very personal thing but you have that ability and then of course you can you can change the feathering or the amount of that the the softness of the edge of the radiant uh with that I think there's a little dark so it's going heavy so I'm going to bring that back up a bit but then just for fun I would probably go ahead and click done there and then I would do one more on the bottom very slightly uh and I'm not gonna be that that dark but I do want just a little bit of a ned's just to hold my viewer's attention from falling off the page if that makes any sense I know that that I don't want to spotlight those things but I do want my viewer's attention to kind of stay within the frame a little bit and those little grey guys just give me a little bit of a a kind of a simple easy way to do that um in fact in this case the more I look at this the more I'm not through crop in it I think it needs to be tighter and I think we need to come in here and maybe do something more like something more like that yeah maybe I'm still not maybe I'm still not right let me just open it up just a bit okay I think I'm a little bit happier with that kind of a crop maybe uh and and on this screen it does look to me like it's down just a little bit overall exposure wise to me it looks like it's down about a third so I might go into go back to my basic uh and I'll go to my explosion bringing up about plus the third so thirty percent or so something like that I think has a much better feel for me and as you start to do this another thing that you can I sort of get a handle on is if I scroll on down let's go down take a look under the presence my clarity I don't often use clarity on stuff like this but I will always look at it and see if I like it or not so I'll take a quick look at it and I'll bring it in and see if I like what it's doing and I sometimes do and sometimes it's like I don't know I'm not sure if I'm wild about it uh the texture in the in the um matt surfaces popping up a bit more than I would want uh so I'm not sure that I would want to do that but then again of course I could also brush that in as well uh that's an adjustment brush I think that we could do if we want to do that but I will take a look at the vibrant slider and watch what happens to our are supporting necklace and the backgrounds gonna be strongly affected if I just hit it with a little bit more vibrance and you can start to see the little little bit of influence coming in on the ring on the left there's a little bit of color in that ring and if I hit saturation a tiny bit let's see if it'll pop out of there just a little bit yeah so there is that color in there so then you could go and use the adjustment brush if you want to brush that back in it's a technique that a lot of people used I think you can think you can bring in some color in there uh pretty easily
Tony has been a photographer, an educator, and an author. His photographic works have been featured in publications throughout the world. While he has worked for some of the most discerning clients in the world, he is most proud of being acknowledged and included in more than twenty-five photographic books by other photographers. Tony has photographed three U.S. presidents, The Millennium Summit Meeting of World Leaders at the United Nations, sports celebrities, almost 800 brides and grooms, and a handful of NASA astronauts.
Another great course by Tony Corbell. I loved this course. Tony is a great teacher, great photographer and great business man. He's enjoyable to listen to and a great teacher. He holds nothing back and shows how to shoot great pictures even in small shooting environments or on a low budget. I would buy again Tony's courses.
Wow! Tony is fantastic! So many hints and tips, crammed into this great course. I shoot portraits out of a small converted garage, about 9 ft high, 9 feet wide, and about 19 feet long. Tony has shown me so many ways to make this small space work for me, for which I am eternally grateful. What this course highlights is that whatever small space you have, there are ways of making it work. You need to buy this course and watch it over and over because, every time I watch it, I gain more and more info that I missed the first time around. Brilliant!
Absolutely wonderful, I cannot praise the content enough. I value Tony's stories as much as the information he is giving away, because it puts the data in the perspective and practical context of the actions we take. Thank you for this class!