Slideshow Edits

 

The Wedding Story: Capture Creative and Authentic Photos

 

Lesson Info

Slideshow Edits

When it comes to our slideshow and portfolio, we do use a different approach, and all of those edits are done in Photoshop. We use Smart Object layers that we apply on the same image a multitude of times and really work on bringing out the best out of every part of the image. So it's basically a more refined version of what you've seen done in Lightroom. The Lightroom process is supposed to be quicker because we're doing so many more photos and because now we're going to our slideshow, which is, you know, our final product, it's what we're working towards all day. Then we really want that to be even more refined and just more perfected. It's really the same mindset, but the technique allows us to go and get even more detail and a lot more color in the image. In an image like this, we do wanna push our color and push our contrast on the bottom of the frame, really go and get those bold colors, but if we do that on the entire image, the skin tone is gonna go a little bit too crazy, s...

o we wanna avoid that. And by doing multiple layers in Photoshop, we're able to achieve that. Again, raw file, we wanna bring out a lot of the color, a lot of the texture, we also wanna fix a lot of the wide balance issues here between the light and the ambient light. And doing so with layers in Photoshop allows us to really bring this image to life. Again, we never really wanna create something that's not there in the photo. We just wanna bring out the best out of every part of the frame and really make the image shine as much as possible. On black and white images, here you can see there's still a little bit of light on the dad's face, and that's really what we wanna emphasize in the final edit. So we make sure that the bride goes into a full silhouette, which is how we envision the final photo to go, and then emphasize the light on the dad's face. Something like this, the raw files from the drone, they come out super, super flat, really not fun to look at on the computer, but all of that information and all of the detail is there. So the image really comes to life once you start pushing your settings a little bit more. Each edit, we end up spending maybe, you know, anywhere between three and 15 minutes per image. It really depends on the complexity of the photo. It is a lot of work, but we believe that spending this time on the photos that we worked so hard to get only increases the value of our product and it makes our images stand out that much more. Again, you saw this one edited in Lightroom, but in reality we delivered this photo as a slideshow photo, so we did spend a little bit more time editing it. Same with this one. Yeah. See, you didn't crop it. That's right, no crop. Told you. A good way, one of the ways that we like to use our editing in Photoshop is really to reverse the highlights in an image. So here the highlights are sort of in all of the wrong places, they're not on the dad and the groom, which is where we want the viewer to look at. So by playing with our exposures and our contrast levels, we can really bring out the best out of the center of the frame and make sure that the viewer looks at that part of the image. This photo, there's a lot of issues with the white balance. It's so cold from one side of the windows, but it's warmer from the other side because we're getting shade daylight and we're getting sun daylight and we have light from the candles, so there's multiple layers that are needed here to really bring out the best out of every part of the image. In the end it was about six or seven different layers to really piece it together and really make that image shine. You guys will recognize this photo, super super flat, but the information is there, you know, the colors are there, they just need to be brought out. So again, we're not trying to create anything that's not there. We emphasize the white balance on the one side of the frame and emphasize the white balance on the other side and really give it more punch. I see you use a combination of your actions as well as some personal touches in slides. Do you do that for every single image or do you ever synchronize your images that were taken under the same light condition? That's a great point. We do definitely, our sequences will be edited by syncing, and then possibly little tweaks, a crop or anything that changes from one image to the other, but we definitely, you know, the first image of the sequence will get a little bit more work to kinda set the tone and then that helps us throughout the rest of that sequence. And since we are often shooting in the same situations, the getting ready room will, a lot of those tones will remain the same, a lot of the white balance will remain the same, so then the tweaks just end up being more minimal from one image to the next. Go ahead, in the front and then in the back. As you guys are processing a full wedding, are you applying these local adjustment, like brush, like dodge and burning, each image as you go, or are you just color correcting first and then going back to it, or what's the process with that? I think it's really a priority thing. I try to look at the images like, is this really going to be worth the time, is it really necessary? And it kind of goes back to our formula in a way. The images that are higher priority, they'll spend a little bit more time on, even if they're part of the full gallery versus going and nitpicking every single image just for the sake of nitpicking. It's probably not worth your time. So it is a priority thing to a certain extent. But the adjustment brush is applied as we're on that image. Yes. We don't do the general settings first on the entire gallery and then go back with the adjustment brush, because once you're in that mindset about editing that specific photo, you might as well go all the way and not come back to it later on. Does that answer your question? Yeah. Okay. Do you have a question? So I noticed you had your brightness all the way up on your photo laptop. Is that typically how you always edit? Yes. And also, do you do any sort of calibrations to your screens or monitors? Love that question. So no, actually, we don't. We're very visual people; as long as what I see on my screen is consistent with the way our prints come out and the way our albums come out, I'm satisfied with that. The thing is, I can't control how our bride and groom's screen is done, same at the Image Salon, we get that question a lot, which is very normal. But we can't control what kind of screen our clients have, and even two iMacs side by side with the same calibration, they're not gonna look a hundred percent identical. And you know because you tested it. Yeah, we've done all of the testing. So the adjustments that we make, they're always relative to what our client tells us. So if they feel on a consistent basis everything is coming back too bright or coming back too warm, they communicate that to their editor, and the editor knows that based on what they're seeing on their screen, they need to make that adjustment relative to that. So same thing for our approach. It's always gonna be relative to the way things come out on print and in our albums, yeah.

Class Description

Wedding Photography is a hard and sometimes exhausting business. Finding ways to stay creative while continuing to capture timeless and classic imagery is important. Drawing from their own life experiences, Davina and Daniel Kudish capture the subtle nuances of their client's life stories at every wedding. In this course, they’ll discuss techniques to personalize each individual wedding to capture the stories and moments that make each couple unique.

They’ll discuss the formula to capturing stories and teach:

  • Pre-Wedding Conversation techniques with clients to help build your shot list
  • Utilize what you know about each couple to help approach capturing the day
  • Research and location scouting techniques
  • Capture the details that matter most
  • How to work with various lighting situations
  • Preserve the mood and capture natural moments
  • Composition and Framing
  • Shooting with variety
  • Create personal and creative portraits
  • Edit a slideshow and how to create an album

Davina and Daniel are known for capturing creative portraits and important moments that tell every unique love story. Join them to learn how to implement their formula to find and capture the creative story with every client.

Lessons

1Class Introduction
2What Are "Epic" Images?
3The Slideshow Formula
4First Client Meeting
5Establish Client Relationship
6Expectation vs Preparation
7Pre-Wedding Checklist
8Gear for Photographing Weddings
9Capture The Subtleties
10Show The Connection
11Importance of Capturing Transitions
12Sidelines & Story Telling Details
13Anticipation & Patience
14Let The Scene Develop
15Sequencing in Numbers
16Successful "Anticipatience"
17Examples of Poor Reaction Time
18HTCG in 10
19Giving Direction
20Have Variety With Light & Composition
21Capture The Mood
22Take Advantage of Natural Light
23Be Creative With Video Light
24On-camera Flash For The Dance Floor
25Find Flattering Ambient Light
26Don't be Afraid of Tough Light
27Composition & Framing
28Lens Choice
29Keep it Simple
30Purpose of the Creative Portrait
31Scouting for the Creative Portrait
32Maximize a Location
33Unique Posing for a Creative Portrait
34Experiment with Your Photography
35Make The Image Personal
36Post Production Overview
37Stay Organized in Post Production
38Full Gallery Edits
39Lightroom Workflow Overview
40Bring Out Detail in Lightroom
41Black & White in Lightroom
42Landscape Images in Lightroom
43Bold Images in Lightroom
44Slideshow Edits
45Importance of The Slideshow
46Selecting Slideshow Images For a Large Wedding
47Culling Slideshow Images for a Large Wedding
48Complete Slideshow Example for a Large Wedding
49Slideshow Images for a Small Wedding
50Complete Slideshow Example for a Small Wedding
51Build a Business Around Storytelling
52Portfolio for Clients
53Importance of The Inquiry Reply
54Price List Best Practices
55How to Price Your Work
56Final Thoughts