Welcome back. I am, uh, way we're looking at what I'm seeing. I'm waiting for the files to finish transferring from the camera. Uh, but basically, I've pulled in the shots and I sort of made some preliminary preliminary choices, and right now I'm I've applied just applying my grayscale migrate card calibration to the rest of the files so we can see them gradually, slowly they're coming in and readjusting for the neutral on that great card on as soon as that's done. Then we can kind of really start looking at these. Um but I have starred the ones that I wanted to work with or at least I wanted to consider. So let me, uh I guess, uh, no, it's, not a flag it's rated there we go rated. Okay, so, uh, bear with me now the light room is is is finishing up the rendering the conversion to neutralize to that great cards in the moment, we can really kind of start looking at these. Okay, let's. So there's my leaping shot, that was like the second one that I did, uh on dh pretty gratified that I ca...
ught that the action on that and I didn't embarrass myself, so we're going to look at some of these others and I'm going toe I'm gonna look for I'm going on ly work on a couple pictures out of these, so I just want to review them for myself and try and decide what would be a good one to work with. And I must tell you that when my normal process, I like to live with these images for a while, I don't I go through them like I have done here, and I sort of still make a one star pick and those of the ones that I think have the most potential, and then I really I liketo kind of live with them for a while and try not to make, you know, a snap judgment come backto a day later and look and see, and sometimes I changed my mind, the ones that I think we're going to be, the the hero shots, I'll come back a day later, and I feel differently about it. So, uh, I'm I'm feeling a little, you know, kind of rushed right now to kind of come up with something to finish this day off because there is some good stuff here, um and, you know, maybe so my my process, I go through the ones that I think are workable, and I give them a star and then I go through again and try to pick the ones that really stand out that I really think our mohr interesting and I'll give them two stars, we're not going, we're gonna one start that again and go back this one, I think, is better problems when you did, you get so many good shots and you kind of like, you love too many of them and it's like, I don't want to work, I don't want to work that many images, so I'm trying trying to trim this down, but their issues she was fabulous, I was just so many of us, so we'd love teo, you know, continue to hear how how what's going through your mind and is it easy for youto talk out loud? Oh, you're doing hard, I'm a little, you know, for me, it's it's sort of like I get so focused and I'm you know, it's harder for me to sort of talk about my intuitive process what's going on, you know what? What do I see in this? That I'm too? It is better than something else, um, and I'm just sort of looking at that we got so much good stuff that it's just really, you know, like, I really like this, but it may not illustrate it some you know something for the class so I'm tryingto pick things that khun illustrated a bunch of different techniques on there was a question you had a question when you were shooting you said that you were first starting off with some dance shot so a lot of movement and emphasis on body and by the end you were concentrating on cem portrait work so right now at this point since those tend to go in two different directions have you already decided that you're gonna look more towards the portrait or more towards the move wells I want tohave you know I'm gonna I'm going to do something with this shot just you know because it's such a great action shot lovely now and I can I can do a little figure enhancing on this because not that she didn't have a great body but for for the ideal kind of thing which were always asked to do and it's sort of a touchy thing because I always feel like there's way too much retouching going on you know, on dh our culture has just kind of bizarre fixation on this very specific kind of ideal uh that that sort of so um and I was I'm always kind of asked across that line in my own retouching people you know maker thinner maker thinner you know you've seen those sort of finish up disasters where they're so emaciated that they couldn't you know stand up you know but there are things that almost every fashion photo it has some body contouring done in it, and I think you're going to need to know how to do that, so you might as well figure out how to do it right? And, you know, this has great action in it, but we're going to be working the torso a little bit to kind of, uh, idealize it and it's sort of a natural because you can't make everyone be perfect in every possible position, but when we're asked to show something in a magazine, they want it to be perfect. It's an ideal it's, not reality, it's a fantasy. So? So I'm just I just wantto pick up like, maybe three shots to work with let's see what I've I think I've already got made some two star select, sir let's even got ok, so I got this. I got this now, let's. See, among these two, these three, we'll definitely is that so? I will. I will submit it to the studio audience here. What I what I needed to decide is among these three. This one, this one or this one? Which one? Number two? Number two let this one, ok, good, so that gets three. All right, so these are the three that we're gonna work on on dh I will do three, um, okay, so I feel somewhat at a loss because my, my view of this image that I think the monitor calibration is a little out, so it's kind of seemed a little little contrast in a little saturated, so I'm not really sure what people out there and internet land are seeing in terms of color, so I'm goingto be sort of conservative and how I adjust these, um, but let's, let's going to develop mode and a t least put a crop, so my what I'm going to do is ultimately going to mask this figure out of the background, so I don't really I'm not concerned about composition in in the frame so much, so I'm just going to crop right? Uh to the figure here because I'm going to remove all this anyway and put her on a different background, so we'll go through all of these and crop to the figure. So I'm just gonna establish an initial crop here in light room for all of these, and, uh, I've done some sort of basic adjustments, and I'm you know, a little nervous about doing too much in light because I'm not really quite one hundred percent sure what I'm looking at here, but subtle brightening uh, it seems like we're a little rich on our exposure. Um, opening the shadows a little bit, because I want to make sure I have good detail in her hair. This one, maybe seems like it should don't need as much opening it up. So we never bring exposure back down and okay.