Edit Photos on iPhone
Now what I'd like to do is that, like it's been through, just make a couple selects. I'll probably do this again with a little bit more scrutiny, but there's a handful of photos that I know I love. I'm gonna go in there and mark them. Um, so again, this is stuff that I ended up with the portrait here. I really like that close up. Look, I'm gonna be able. I'm just gonna heart that I'm going to scroll through here. That's actually a pretty good 12 glasses, a little bit crooked, but well, evaluate that later. Um, going to go back out here and look a little bit wide. I like this scene where you go out on his glasses. Think that one is probably legit there. I like that head tilt, but I don't like where his hand cut his hand off a little bit. That's legit. Here it's a nice head down. Looks pretty good there. I don't like the glare on his glasses and some of the other one. Let's go back there. That's a good one. Select that one again when I'm zooming in here every once in a while just to make...
sure that his, uh, eyes or tackle going here and like, Yeah, that is sure. I'm looking at individual little eyelashes in there. I know that that's crisp. And that's kind of one of the things that I'm doing here and again. I'll just say one of things with live where we're gonna hear you. Hold on that. There you go. You can actually see the whole look. It took a lot of pictures in there. Um, I think that's a nice I really love moments that air between moments. Um, yeah, that's what this is. It's not. The scarf is not seated. And he's not set. That was a characteristic of the book of the Seattle book that I'm sort of redoing right now. So, to me, this is actually interesting photograph because he's he's sort of It's the moment in between moment. So I'm gonna heart that one. Go back to some of these close ups. This is the one that I was moved. That's going there. Look at the detail there. That is incredible. I'm going to select that one. Um, we want this full on. Yeah, that's a great one that mimics the earlier photograph I have of Ryan from 10 years ago. All right, I got a couple 100 good pictures there. Ah, and probably a handful that I'd like to go in and retouch. I'm gonna I'm gonna pixel peep this, you know, in preparation for the for the next book or wherever these photos go. But for here, what I want to do is I want to just get in and get the look. Get a black and white look, which is the look I'm going for for the Seattle sort of reduction I'm working on right now. And it's super easy to do that on phones. We're gonna do that now with just a couple of the photographs that I've taken over the last couple minutes. All right, As I'm scrolling around again, I've got hearts marked on a handful of photographs. I'm just gonna go in and one of the photographs here. This is a heart. We'll just get the look that we're going for here. You will notice that when I hit at it, I can, you know, touch color down here. And there's all these sort of presets. You can see what that looks like this is called dramatic. This is called dramatic. Warm these air some of the black and whites. Now, again, this is a super quick way to get in there and say I can tell that's gonna be a beautiful black and white photograph I could just hit done. And again, whether or not this is the final output, I'll probably go in there and manage it a little bit more. That's in a professional capacity. But here again, I could send that out on Social right now. Ryan could and he'd get a pretty pretty, I think a good response, that photograph, because he looks like a boss and it's beautifully processed. What I'd like to do here is just really quickly show you how I would do it if I were to process that. So I'm gonna go back in. I'm gonna take the color off. Going to go back here to Original. I don't feel like I need to rotate this at all. Already showed you what some of the pre foot filters look like. I'm gonna click in here to some of the dials. I'm gonna open the light one on one of the good way to see what these each of these do is just to sort of move them back and forth a little bit. You can see the outcome. What's important for you to think about is these air designed to be worked through from the top down? And that has to do with how the the processing algorithm is used is not required, but just a really good habit to get in as a part of your workflow exposure looks good. I'm just gonna play around some of the highlights here that looks solid. Um, all right, there's a number of ways to get in a black away. There's a black and white tab here that I could go on, just press black and white mess with the intensity of that black and white here. So let's leave it on color for a second. So another thing I can do is I can just go in here to saturation and take all the saturation at that, moves it into a black and white look, and then I can go back here and start mess around with some of the contrast. I think finding out what you're most comfortable with when we get the best results based on what you want to do, that's up to you. But again, just, you know, off the cuff. This is taking me just a few seconds here. And I think we're in a really, really cool, really cool look say, done. We're going to zoom in and just such a good look. I can see all the detail done. It was eyeball there. I like. I like the language. You can see. I haven't really blown out any of the highlights, and I havent mashed in either darks and I can start to see Well, that's gonna look in the finished product. Another one I liked it I had marked with a heart earlier is a super close up again. This is shot with portrait mode. You can see that really soft background out of focus. I think that's great. And yet his eyes or risk I can see individual eyelashes. They're really clearly so let's go in here and I'm gonna hit the edit. And rather than doing the pre selected filters, let's look here again. Just a the's at the at the individual modes, you can see what studio lighting mode does really up close Contour. You can see that. What that did that added some shadows. You could see that The difference there between studio and Contour here in portrait mode. Um, so that's just give you a little bit of a flavor. I'm gonna go back in and processed in a similar fashion try process the other one, something to go in here. And I know I want to bump the exposure just a little bit going Here, take the highlights down. Just a Scotia because four heads a little bit hot. Open up the shadows a little bit. Um, it's going here, and I'm gonna take all of the saturation out. Get down to that black and whites and I silvery tone there to go back in. At some contrast, that's starting to look good. Bring that up just a little bit. I don't mind that I'm blind as forehead too much there. I'm gonna bring that back with the highlights. I think overall, that's a really, really interesting Let's see what we got. The black point. Make us Tiger. Why a little bit super cool. So that's one way of doing that. I can say done here and also go back really quick. I wanna go back in to edit. I mean it, Revert, revert to the original and then show you a different way of going about creating that same thing Will hit at it. Just gonna go in here. It's going to the black and white settings. Kick it over to black and white intensity. Let's go down into the neutrals. You can scale a lot of the neutrals there. That's kind of interesting. Look, let's keep the grand down to a minimum. And again, to me, there's a little bit more control when I'm using the other set of controls rather than just hit the black and white again. That's a post processing lesson. We'll get into that a little bit later.