Illford HP5 Black Crush
Illford HP5 Black Crush
27. Illford HP5 Black Crush
Primer and Intro Must Watch35:14 2
90 Second Advanced Edit On Signature Color Image05:24 3
Soft Skin Color07:15 4
90 Second Advanced Edit On Soft SkinColor04:27 5
Vivid Color11:28 6
Black Crush08:40 7
Vivid Black Crush07:55 8
2 Minute Advanced Edit On Glam Color06:21 10
HDR Natural Color07:12 11
HDR Vivid Color08:17 12
Soft Pastel Color07:57 13
Signature Soft B&W09:18 14
Vivid B&W09:53 15
Clack Crush B&W08:45 16
Vivid Crush B&W07:43 17
Glam B&W08:07 18
HDR B& W08:14 19
Fuj i400h09:41 20
Fuji 400h Plus HDR Fade11:45 21
Fuji 400h Plus Rich Tones06:03 22
Fuji 400h Plus Rich Matte06:25 23
Kodak Portra 80010:09 24
Kodak Portra 800 HDR Fade07:55 25
Kodak Porta 800 Rich Tones07:21 26
Kodak Portra 800 Rich Matte07:20 27
Illford HP5 Black Crush10:12 28
Illford HP5 Lifted Matte07:41 29
Ilford HP5 Deep Black Matte09:01
Illford HP5 Black Crush
Teoh Teoh to To What's up, everybody? My name is Pi A Welcome to the Ilford HP five Black crush, 12th mixology tutorial. We're gonna create this lovely little black and white look to go from this raw file to this final image. And I love Ilford. It's one of the awesome new presets that's included with the 2015 lighter preset system. We're gonna create a mixology less than 10 seconds, like I mentioned. And then we're also gonna apply it to other images and talk about what types of scenes I like to use this present on as well as what settings make this preset tick when it comes to the develop settings already, Let's jump in. We're gonna get started first. I'm going to select this image. Let's just take a look at our exposure right here and our temperature. So we're at 58. 50 10 to 24. Exposure of 240.73 I wanna go ahead and reset this out by President Control Shift are and let's just go 2.73 And I think I already forgot what I said for temperature. I don't know. I'm just gonna get it to a...
bout the right temperature and your undoing. Cool this one down a little bit and then add a little bit more pinks, maybe a little more yellows. There we go. And here's the thing. Even when it comes a great in black and white presets, I still and when it comes just developing black and white images, you need to still dial in a white balance. A lot of people forget that part, but the white mounds has a big impact on the totality of the black and white image. Because if you imagine your skin colors can be blue, if they're too cool and they could be warm, it there too, or yellow if they're too warm. And that's gonna impact whatever you're black and white mixed sliders are basically doing so. What we're doing is creating this Ilford HP five black crush, which I live this look. It has this really cool black crush look with a filmic quality to it. Let's go ahead and get started. I don't know what it is press right now, but I didn't mean to press it. Press control Z just to undo that, let's go ahead and save out our adjustments, just as the before and we're gonna do is actually add one more thing. So let's press V to switch this over to black and white. So now we have the black and white conversion of light room to compare against our conversion, and we've already dialed in the temperature and exposure. So going to right click and select copy history step settings to be four. All right, let's go ahead and create our Ilford hp five. So, what, we're going to we're gonna start with our foundation. I'm gonna select. Well, let's put 10 seconds up on the clock. Okay? Now we're gonna select Ilford hp five, and this is a black crushed. So I'm gonna select black crutches to deepen those blacks a little bit. And the last thing I want to do is just hardened the definition just a bit more. OK, so that is the preset We are diggity done. Hope that was under 10 seconds. If not, I went into the penalty zone. Okay, so let's select 85 Black crush. We should have the exact same thing, and we do. All right, so from here I'm gonna do is just adjust my exposure up a little bit and we have this really nice high contrast kind of black crush Look, But let's select J. And you could see what's actually being crushed. We see a little bit of the blacks dropping into that crushed area, but not too much. We'll see a little bit of highlights, their super bright. But we have this beautiful filmic quality of the image. And let's compare this now to the, uh well, the before image the standard black and white conversion. So look, center, black and white. Awesome. Black and white. Standard awesome. Standard awesome. Impressing backslash, by the way. Standard awesome. Standard possible Now, of course, if you'd like, you can adjust your base tones to be whatever you'd like it to be. You want your highlights? B'more recovered. You wanna have more of ah hdr Look to the image you want tohave levels boosted. You wanna have shadows lifted? Whatever it is that you'd like your ilford to be, you can So again we're gonna stick with our black crush and let me just go ahead and select our mixology row fast, so I'm gonna go ahead and select 85 Black crush. I think all of you by now Know how to save these out as presets or as mixology. So I'm not gonna go into that. What I'm gonna do is talk a little about what makes this preset kind of work. We see that standard black cross setting dialed, and we have a drop a little bit in the highlights in the white and also in the shadows and the blacks again. When we drop the shadows and blacks to create the black crush. We don't want to leave highlights just by themselves because otherwise they could easily blow out, especially when we brighten up in image. So we drop them just a little bit with contrast or raising it to 25. Clarity were raising it to 10 because again, I, like my black and white said, generally have a little bit more definition to them. We have a standard contrast boosting tone curve. And then if we go down to the black white mixed here is where the magic is happening. Well, there's one place black, one mix and also with our camera calibration. So the black white mixed. We're tweaking our color tones and you'll notice that what we've done here is we've left our reds and oranges and reds and oranges for the most part pretty intact. We've dropped them a little bit because Ilford does have a little bit of a drop in that area. But yellows and greens airdrop quite significantly. We also have pumped purples of magenta up and left kind of the AUC was and blues just a little bit down. So this is just affecting overall luminosity. So has this really cool kind of look to it? And we have our standard sharpening that's being applied where we're reducing sharpening. We're adding a little bit of noise reduction and adding a little bit of grain as well. And on this we've actually added a bit more grain, so you can choose to go with the standard amount of grain in the foundation preset. Or you can add fine film, grain or even medium film grain to this image for black and whites. I usually go with fine film grain or medium because I like a little bit more grain over the image. It still is a nice, fine quality. We haven't stepped up too, in medium or coarse grain, but has a great look overall camera calibration could see that were pulling the shadows that tent into the green side a little bit more. We're pulling the red just to be a little bit more on the agenda side, and we're pulling down the green primary a little bit as well, kind of more into the yellows just a bit. And that's it. That's how we get to our look. So let's go ahead and apply this to other images and talk about when I like to use this preset Well, it's black and white, for crying out loud. I like to do black and white pretty much whatever. But you know, black White works especially well when you're dealing with moments that seem to be timeless. They are vintage moments, or if you're dealing with scenes that don't necessarily have good color or a lot of color to begin with. So this kind of fits multiple examples of that. We have a scene that is very much a vintage quality in terms of their styling and their dress. It also is the scene that doesn't have a lot of color to begin with, and they're in a pose and kind of that emotion is very timeless. So it looks fantastic on or do we just adjust my exposure a little bit? I'm gonna create a unique little to tow one crop on this image because I think it would look cool. And I'm gonna use a radio filter to just burn things down on the outsides just a bit, okay? Just a radio burn. And look at that before and after. Very cool. Very awesome. Ilford, hp five conversion. Okay, let's go to our final image right here. And we're gonna convert this one as well. I'm gonna go ahead and let's select HP five black crush. All right? I'm just gonna brian that up a little bit, and this is solid again. We have this beautiful, fine film grain that's just barely noticeable has a very great quality to the image. I really dig it. OK, And then what? I might do it for this one as well. Just pull out that radio filter again just to, uh, kind of bringing the attention a little bit into our subjects. This HB five is also fantastic for more low key images as well. You'll dig it on those two, but that's it Let's go and look at the before and after on this one looks fantastical. Let me show you one thing to let me tell you something. Okay? I'm gonna go ahead and select all three of these. We're gonna create virtual copies for all of them, and I'm gonna reset each of these out. So let's just reset each of these by selecting the original image and then pressing control, shift our command shift our now for this particular image. Let's go ahead and just copy the, uh I want to copy the crop setting so that we can have the same crop on both from and what I'm gonna do now is just copy. Let's just go ahead and select copy, and then we're gonna select check none and just white balance and just the exposure. I want to show you all something. Copy that and pace that over here. Okay? And then press V to switch it to black and white. This is how we're gonna compare the standard Black went conversion to our black of like inversion. Who knew the same thing here. Copy those two things. Paste it right over here by President Control Shift v and then press V to switch this over to black and white. Same thing here. Control, shift beer command shifty copy. Command shift V to paste it in and then press V to switch into black and white. So now look at the black and white conversions between standard just like here in black and white versus our ilford, black and white. Isn't that cool? Look at this one has such a more just dramatic and vivid look to the image so cool. Yet we've maintained really nice skin tone as well. So it's a really great conversion. I'm gonna do one last thing. This image that I think would look really, really quite nice. Let's go ahead and go to stylization. Let's do a little advanced edit here. I'm gonna do a radio filter with a radio plus And again, let's go press shift em just to bring up our radio controls, and we're gonna drag these right over their face. This is a perfect image for this type of an adjustment because we have these sweeping lines, and that's just gonna exaggerate. That kind of blur effect over the image looks awesome. I like it all right. All right. So we're done with these three images. Hopefully you all enjoyed, and I'll see you in the next video.
Ratings and Reviews
Cool presets, but the course is a little slow...
The importing by copying and pasting the presets into the directory doesn't work for me in Lightroom Classic.
a Creativelive Student
Pye and his website courses newsletters and teaching style and education are 2 nd to none! I have his presets and some courses Brilliant stuff !