Post Processing Portraits
Now what I'd like to do is I like to spin through, just make a couple of selects. I'll probably do this again and 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. So again, this is stuff that I ended up with the portrait here. I really like that close-up look. I'm just gonna heart that. I'm gonna scroll through here. That's actually a pretty good one too. Glasses are a little bit crooked, but we'll evaluate that later. Going to go back out here and look a little bit wide. I like this scene where's he's grabbing his glasses. I think that one is probably legit, there. I like that head tilt, but I don't like where his hand is, I cut his hand off a little bit. That's legit, here. It's a nice, the head down look's pretty good there. I don't like the glare on his glasses in some of the other one. Let's go back there, that's a good one. I'm gonna select that one. Again, when I'm zooming in here every once in a while just...
to make sure that his eyes are tack. I'll go in here and like, yeah, that is sharp. 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 show you one of the things with live, what we're doing here is you hold on that, there you go, you can actually see the whole, look, it took a lot of pictures in there. I think that's nice. I really love moments that are between moments. Yeah, that's what this is. The scarf is not seated and he's not set. That was a characteristic of the book, of the Seattle 100 book that I'm sort of redoing right now. So to me this is actually an interesting photograph because he's sort of, it's the moment in between moments, so I'm gonna heart that one. Let's go back to some of these closeups. This is the one that I was, ooh, that's, let's go in there, look at the detail there. That is incredible. I'm gonna select that one. I want this full-on. Yeah, that's a great one. That mimics a earlier photograph I have of Ryan from 10 years ago. All right, I got a couple hundred good pictures there. And probably a handful that I'd like to go in and retouch. I'm gonna pixel-peep this in preparation for the next book or wherever these photos go, but for here what I wanna do is I wanna just get in and get the look, get a black and white look, which is the look I'm going for for the Seattle 100 sort of redux that I'm working on right now. And it's super easy to do that on the phone, so we're gonna do that now with just a couple of the photographs that I've taken over the last couple of 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 on one of the photographs here. This is a heart and we'll just get the look that we're going for here. You will notice that when I hit edit, I can 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 are some of the black and whites. Now again, this is a super quick way to get in there and say, mmm, 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, or Ryan could, and he'd get a pretty, I think a good response to that photograph 'cause 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 back in, I'm gonna take the color off, gonna go back here to original. I don't feel like I need to rotate this at all. I already showed you what some of the pre-filled filters look like. I'm gonna click in here to some of the dials. I'm gonna open up the light one. And one of the good ways to see what 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 are designed to be worked through from the top down and that has to do with how the processing algorithm is used. It's not required, but it's 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. All right, there's a number of ways to get in to black and white. There's a black and white tab here that I can go and 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 out. That moves it into a black and white look. And then I can go back here and start messing around with some of the contrast. I think finding out what you're most comfortable with and where you get the best results, based on what you wanna do, that's up to you. But again, just off the cuff, this is taking me just a few seconds here, and I think we're in a really, really cool look. Say done. We're gonna zoom in and just such a good look. I can see all the detail down to his eyeball there. I like the language. You can see I haven't really blown out any of the highlights, and I haven't mashed any of the darks. And I can start to see how that's gonna look in the finished product. Another one I liked that I'd marked with a heart earlier is a super closeup. Again, this was shot with portrait mode. You can see that really soft background out of focus. I think that's great, and yet his eyes are crisp. I can see individual eyelashes there 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 at these, at the individual modes. You can see what studio lighting mode does really up close. Contour, you can see what that did. That added some shadows. You can see that, the difference there between studio and contour here in portrait mode. So that's just to give you a little bit of a flavor. I'm gonna go back in and process in a similar fashion to how I processed the other one. So I'm gonna go in here. And I know I wanted to bump the exposure just a little bit. Go in here, take the highlights down just a skosh 'cause his forehead's a little bit hot. Open up the shadows a little bit. Let's go in here and I'm gonna take all of the saturation out. Get down to that black and white. It's a nice silvery tone there. I'm gonna go back in, add some contrast. Ooh, that's starting to look good. Brighten that up just a little bit. I don't mind that I'm blowing out his 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 if we got the black point, make his tie go away a little bit. Super cool. So that's one way of doing that. I can say done here and I'll also go back really quick, I'm gonna go back into edit, I'm gonna hit revert. Revert to the original and then show you a different way of going about creating that same thing. We'll hit edit. I'm just gonna go in here. Let's go into the black and white settings. Kick it over to black and white. Intensity, let's go down into the neutrals and you can scale out of the neutrals there. That's kind of an interesting look. Let's keep the grain 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 hitting the black and white. Again, that's a post-processing lesson. We'll get into that a little bit later.