This is a passion I really love it, you know, I could spend hours in front of the computer just working with images like I find it so creative, you know? So I'm going to be so focused sometimes, but I'm gonna try to share as much information as possible there is a raging fire behind me. Um so please like if my butt gets on fire whatever you guys need, let me know, okay? All right, so let's, I know when things get too crazy, so all right, we got photos show but, you know, I work and see a six um if you haven't tried it, download it as a free trial, you know, it's really important, I want to get through it just a little bit of how I set up my photo shop, so I'm going to go in and just sort of, like, pick the last suit you'll and I said one hundred pixels at the moment I'm going to change that to two hundred fifty um, you know, I may use that it may not, but I just sort of set it up um have on the brush is I'm going to put that on normal here and generally the a pass itty, right? I just a...
lways keep adjusting its going to always we sit it like one hundred standing but the way I'm going to show you how I use it, I'll bring it down to about twenty um sometimes like you might even bring it down to ten often up to thirty but I'll show you a quick two later how you can change that on the fly which is which is really great um let's have a look um, history brush history brush is a great tool, but I'll show you even greater tools um I see why we're even here know me the history brush is set to normal at one hundred percent. All right? So history brush if you bring it down like tio maybe ten oh, yeah let's let's make a tent and put on multiply and you got your brush let's bring it up a little bit so well, that's tv and look what happens through here. All right, so what I can do is just burn in an area now to make it a little bit more obvious. Let me make that like ninety. And now let's see what's happening it's like burning in that area. Okay, so history brush is amazing, so I'm gonna just undo that well, I was going to try to and I'm gonna change that to screen now these air different blending minds that you're going to get to use on, but really easy you know, I mean and you going to use him in many levels and it's a very, very powerful tool so if I want for instance tio screen this rock see look how I can bring that detail back in that shadow that rock just by using that history brush so it's really really cool just very, very simple but I just wanted to show you that that initially uh let's go back so I'm going to bring that brush back down to twenty also just in case we do use a little bit later so it's all ready for me to go um I'm just going to flick down to here and I'm just going to make sure that, you know, like the little white squares a full ground in the background colors of white and black because I use a lot of that in when painting in with using lamb are so yes, like I'm going to show you just really what I use you know, all the time and you know like this you'll be able to go back to this tutorial you know, in this section and one of the things I want you to know is don't be scared don't be scared of making mistakes, you know? I mean in photography, photo shop and everything like that where you make the mistakes is weighing you find out the magic you've come stumble across something new you know and you think that leads me to something else you know it's so it can be really, really great all right, so let's look at a few other little things where you know like maybe preferences just quickly I performance you always want to give your best performance, you know? So I probably try to late leave it around, you know? You know, seventy percent and then the other cool thing here is like the scratched discs you know what I mean is that I've got two hard drives in this laptop and I'm able tio rather than the, uh use the the main hard drive is used a second hard drivers to scratch this so makes it really fast and I also try to use as much ram as I can and put that into the laptop you mean? Well, unfortunately these days the rain is really now those scratch this also it could be just like a sixty gig sst drive you know, which probably these days cost you less than a hundred dollars, you know? So it doesn't have to be a lot of money spent tio just improve your desktop um also, you know, yeah, and I don't always work on a laptop as well, you know, but you know, I just have different computers for different reasons and things like that I'm just working off a mass today and sometimes I would work off a tablet you know but it's whatever you feel comfortable with if you can get a tablet and afford one and loan one from the start it's really really good um it's funny I find it easier sometimes these amounts than the tablet you know I know the tablet will probably yield better results but it's just because I get you know you get used to something um so I just came out of that so that's many of the things that I would change um I have my history actions and layers it's on the right hand side so the way concede what I'm doing you know gonna move where you know go ok so let's some now talk about layers working in layers can often be really important for instance just going to duplicate it and working in layers what's fabulous about it is that if you start thinking about leia modes and blending mites and start combining these all together it means and it gives you a great platform to really craft and shape your images let me give you an example if I've just duplicated that layer and I changed the blending mo to multiply it should it just goes straight to on darkens the whole image we're seeing that at home yeah all right, perfect. Um now if I changed that blending mode to screen right is it broadens the whole screen up that how image? So what I can do now is that I can adjust the image and to the way I like it you know and the way I would be doing that is by using lamma so let me just do one mohr duplicate layer duplicate that change that to multiply and it doesn't matter which one's on topple you know which ones on the bottom but what I can do here is just press this little button here and it creates a lay a mosque okay, so it's going toe um I'll explain a little bit more about lamas if you know familiar in a second so what I do know is that I'm gonna hide that lay a mask so I just go into in vet and I just use command I and it's going to invert that selection so what I do with this layer as well is that I pressed the lamb us and invited so now both these layers are hidden now remember, what I was talking about is that we need tio provide direction within an image so we need to say, you know what? Ok, I want to communicate the story this way obviously for instance like uh we can sort of you know, we've really seen and there's a doctor wrote to the left and it's brought it to you know, to the ride and you know what we need to balance that you know, I mean, we need to think ok, well, how do we couldn't do that? And by using these layers and these different blending lives we can now grab al paintbrush and the reason why I headed on twenty percent before is that I'll just enlarge the paintbrush is depending and this was the multiply layer I can start just brushing in that area so yeah it's a good plan he wants on and so then I can just brush in that area and doc in that area down and maybe just the dock in this area just in the corner and because that's a little bit right there I can brush that in okay, so now I can go to my screen land because I want the center interest to be the broadest is that I can come in and just right in his face and her face now what I can do to just, you know, it's going to go back just a little bit oh, actually, no, I'm not gonna go back because we're going to show you is what's great about leia mosques lama's means that I can change it back to black and then go back and undo what I just painted and that's what's great about having the land mass but I do when I just bring that brush a pass ity back down to about twenty have that on wine so I can just bring that up just a little bit there and just a little bit here and just around the inside of a slave so can you see what I'm doing is now I'm creating the line now he had his back to the actual son ok now the light that was currently being on his face was actually being reflected off her skin okay so there was like coming back so this way it wasn't completely dark and so but that's where I needed them to be positioned but also to ok is that I just was letting them have a moment okay so this is it iron personal moment now I could have said which I probably did later on you know standing could you look towards the sun um you know but I guess and I'm detracting from that moment for them you know at the moment this is so real you know and so that's important when I see those images so that's why I'm using and sharing these techniques with you is that because sometimes when everything's not totally perfectly right is that you can overcome them very very quickly now I'm doing this quite slightly but you be able to do this like really quick and we'll show you I'll show you that so let's just get back up here and you know you know let's even let's take a little snapshot from there and let's have a look from there two there and you know we've hardly done any work to shit see the difference now we have direction so we have like from that where we're not really quite sure if we probably rotated that image we would look towards this righthand corner with that sanders because it's probably you know, one of the broadest part of that image and it would just sort of hold our attention there and then I guess like, you know, um so consciously we were just sort of look at the bride and groom but remember trying to eliminate that problem it means that the image has a lot more strength and a lot more power and it's very subtle, you know, it's very important to understand ok, so let's do this just a little bit more so like let's just bring this brush up and I'm just going to dark in that and say, remember now you got direction okay? You got direction off if you want to make this really dark and moody um and bring out all the details in the clouds you could do that now I can just gonna introduce something new to you. All right? Um is edit fade rush tool so the edit fatal right is whatever you just last done, so what it means now is that I can change the a pass ity and make it even higher so when we when that just refreshes, you can see that I was able to increase that without having to go back and do it. So now, like what I could do to is I just make sure using my black brush that I didn't like go too much over the couple well, it's making sure that I'm on the lay a mask whoops, and because it refreshes, you can forget, so you just got to make sure you're on the right color brush, so I'm just eliminating what I just did from that area on that lamb are so again what's great about using lame ass is that I'm able to just brush that back through, okay? So again, like if I I just switch that swatch over to the uae brush, I can then come back through here and really dark in this area again, so let's, just take a quick little snap shot of that as well, ok? And so we've gone from where we were the original snapshot and now toe where now they can just sort of see, like, how you khun you can sort of play with that now, you know, we were talking scott before about like, you know, one of the things that you just absolutely love is just when the light just happens you know, the main it's just this amazing light and and this is where you know it's a certain point you can actually help create the light as well in front of shock and because it may have been there um and you just need to refine it out, but I'm just going to just sort of show you like if you went from let's bring it up a little bit and then just had that and then fade it so I just use like, shift command f and it brings up the fatal it's not going to show me the previous so and then I just take a quick little snap shot of that now you can sort of say where we are from here to the first snapshot to the second and then just bringing that lighting and we go from the star from their now see the a difference like we really, really balancing that and we're starting to tell a story now keep in mind like you can actually do this in raw as well. So I'll show you how you can do this like at the rural fire stage, but think about it like from the client's perspective now is what would you prefer to say from you know, your photographer this image here all this image there so we cry so let any questions on that before like we like to move on when you're using the different layers and you're a masking and you find that it over saturates the colors and do compensate for that yeah, you can certainly came like, you know, like so what you may want to do is like a couple little things is that you say, you know, what is that all bring up another layer and just sort of de saturate that whole whole effect when I'm doing these dodging and burnings? I don't really find that as much now if you wanted tio, this is where you could use the history brush and actually use a blending light teo, you know indy saturated as well and bring that back to through on color and stifle so there's a number of ways you could do that some of the things that I'll show you a little bit in a little while yeah, there you will find that it can really such right things and you then have to even correct it or love it, you know? Because you know what I mean is that the thing is what you're creating is like something really cool say it's actually maybe on purpose um you have a couple they're coming in online a grand the free miner is wondering why you used at it fade brush instead just changing the color of the brush to reverse what was just done oh okay the reason why he's at it fade brush I first I wanted to introduce people to this amazing tool which is just a fact so it's really an edit fade anything that you just said that's the one thing the edit fight too is that because it's going to be faster I just did the brush and knowing that I was a fifty percent is that I thought you know what I should have bean at that he was saying so it allows me to change it on the fly before you know commit otherwise if it's another couple steps tio go back change the swatch and then we do what I just did so it's all about working fast and smartly you know so that's what fun and there are so many ways to do one single thing is that so it's kind of there's a lot of questions like why this instead of this there were a couple questions about the history brush br coleman from chicago and hitch br coleman asked can you please explain why use the history the history brush and hitch asked why wouldn't you just burn instead of multiplying the history brush ok because I find the history brush better quality but the thing is actually not really he's you know I actually use this technique all the time with the dodge and burn because I just find it just like keeps better better results so so this is that and that's probably why I guess like one of the things I wanted to show the history brush is because there's a like you saying you know so there's many ways of doing things someone out there during one of may not wanna work in layers and set up the lame us they just want tio you know just be otto quickly change it and then that history brush khun do all of that everything would contrast you could get soft light and you could just do localize contrasts as well eh so that's why this year russia could be so powerful you know maybe it is a brush that I would use in a situation where I'm doing a very very quick mock up off what I want tio I guess no I want to quickly zooms in and the brush trains the blending mode and beyond tio completed so yeah he's great and before we move on just one from abby elaine do this type of editor for every photo or just a select few is this is this representative of what you do the whole for every image yeah it depends at what stage we're doing it now if we I actually use a lot more elaborate actions and this one where there's a lot of I guess you know magic juice moving the action so like I use our image styler actions but I wanted to get people that the dodge and burn action because it is so powerful andi I think it's so important that people could just play with it and be comfortable about learning about bringing at the center of interests and so that's why I wanted teo you know, you know, share that with everyone s o they're also not scared about using lamb us um insightful and because you know I mean some people are scared of photo shop like, you know, that could be honest, you know? And it just because it's a big part of my life I like you know, I just do it you know? I mean and so that's why you know what I want and I just show that like just very quickly is I'm going to go back to the start and I'll press the dodging bone, which is this is in the static collection action that you can download from the side you just press play and it's just got like, a little instruction thing here and so it's just a stop and it's just telling you what you can do okay? So then you can turn that stop off you're just going to let me show you how you turn that stop off you're just going to the action and you just unclipped that stop and the next time you do it you won't get that message so just makes it even faster okay, so let's have a look I using my brush is going to be in my wife brush I can now judge and do that but not because I'm at fifty five percent I'm just going to undo that and just bring that down and just show you how it and only work is that he now I'm just there very quickly can see that I've just dodged a couple and now I just dodged the outside just got back into other certain areas go in here now bringing that in just one click there and went down so let me do a snap like a little snapshot and you saw how fast it wass so we've gone from there today you don't mean still doing exactly what I did before you know and just very quickly and it can be just that quick you mean you don't have to spend a lot of time because you know you're going to evaluate what stage you're doing things so where I would use like the image styler action is when that image is going into theat album when it's going on the war you know, in rather than spending hours sitting that file up and going through everything like that it's designed to give me all the way as I want and I just brushing the areas that have all the magic g you know on don't show you some of that magic juice but you know like how that's done and it's, just a great way of working. So let's have a look at some of the other things. So let's, just go back and let's, use this sauce star. Okay, so this is, like, a really, really tiny mini image dollar action that I designed for you guys. So you just press play, okay? And instantly, when it comes up, is that it's gone through it's, giving a lovely softness to the over image it's, like, really, really dark as well. Now the idea, though, is, is a couple things that we're gonna do is just dodge using a black paintbrush around the couple around that center of interests so it can keep everything else sort of soft around it. And so what we do is that I'll go around it a little more doing this for that area, but then come in and just really hit that area where their faces up, and then just to blend it around those clouds. So let's, just even have a look where we are just there with that snapshot. All right? So we've gone from here today in that very, very short space of time, okay? And this is like, uh, just for you guys to download now, and you'll be able to use it, and just you can use it everyday okay so here for instance if you want to this is where it's cool like working in layers and lamb us if I want to emphasize that even more I just go and drag that and then I changed my lad to multiply so it's like see how and and I can change my a pass ity and bring it down and so we've gone from a really really bright seen image to something a look more dark intimate and meeting so if you like that look you can create that you might be saying it you know I hate that you know I just hate it so you could go the other way you know I mean and have it really bright you know I mean and just change that but you still got that nice softness coming through now if you don't like that softness then we can actually just get this layer now and just with the a pass ity is just adjust that so just adjusted to where you wanted to pay you know I mean so let's just sort of um let's just delete this left for one second go back to where we hear and just sort of get a nice balance so about that okay real quick yeah while you're on this one do you worry about the blacks on this rock yeah yeah yeah I didn't like the book it was two black you know mean so it's just not balancing with the rest the shot so so this is where like saying like my image styler action is that I'll have already built in an area where I could just bring that rock back but what I have to do at the moment is just go back now get to their play my other dajun burn action and now just dodged that area there's a few other things will do as well so let's just go in and uh make sure I'm a white paint brush now just dodged that area on the rock trying to keep it you know natural and bringing back you know, all that detail there even maybe just here as well and she isn't it's fabulous now I can bring it back all the detail where I want everything to bay you know I mean so you don't have to worry about losing detail so obviously you know, depending on the screen you're looking at a time you know, depending on how that's calibrated how the whole the transmission is will obviously depend upon what really you're seeing but on my laptop because it's calibrated and I used like the x ray equipment I know it's really right and so I know that it's right to go to the web you know on to our web site or you know, go to print as well but I mean obviously to like I would use liken aiso monitor you know, for very critical work if I you know, if it's going to be important to use and aiso monitor because I can see a full adobe rgb color space and we'll probably talk about color space just a little while it will be one of the things because it's important so let's just now like, you know what let's just do one quick um, dogs just around the couple, I think just just a and I'm blending the clouds make and lotte just to to adjust what I'm gonna do and it's going to change that capacity on that layer and now I'm gonna flat in it because one of the things now that's important is like doing a shopping, so I want to shop in this image so again, it's just going to stop, but you can turn that off so here now I can sharpen in an area that I want shop, so obviously for me that is the couple around their faces, so I'm just painting that area in because we put a softness in certain areas of the image. I don't want to lose that detail in the couple's faces and so let's just find in that image just why were they grab like a snapshot and named just go from there today now and you can start to say that you can refine how much you like but if we went back to what we just initially did so about there it still looks good you know, you could show that to the client and depending on how much you work it will probably be dependent upon how much you know the klein is paying for it at that point in time you know? I mean, if it's going on the war I'm going to be here for sure you know I mean but if it's just a proof maybe I'm back here you know I mean or just today yeah yeah I know you used three action for sharpening yeah, but to use high pass yeah and it is a hop us ok, that one um so I was going to show you show you that so a lot of these what I'm doing with the actions I'm going to show you the long way anyway so you just got a really really good idea so that's just sort of like saying now like I want to show you this hero black online people like so many photographers around the world just love this action and I thought rather than keep it to myself, I'm giving it to you you know way used to sell it liking you know all essential actions kid so there's still some other cool black and whites and that but this is awesome so on day one that everyone writes about so I'm just gonna press it it's just going to do it and then it has to stop and so I can just a just like the human the saturation and as well so let me just bring that up for you okay? So you can do it a couple different ways you compressed up and but now he could see the immense detail like in this blackened wine like fully you know I mean and it's also brought out the skin times amazingly no we may then choose to go back into the teo and use the dodge in bone action again just to you know, balance everything out a little bit again um but let me go back and I'm just going to go back a little step and you'll be able to see how it's all or done and let me just change that I'm gonna press it again because there's a couple ways you can use this action second press continue and it brings up this dialog box now I'm just going to there's just a little bit of their guy it was just a little bit of a delay with my memory like the memory but the v a cot in mind laptop so I want to show you this this is like a channel mixer ok when I made this look at the difference within the same and so it means that you've got so much control over how this black and one is looking ok? And so we pre worked out roughly weighs a great area to stop and so that's where if you just do it on auto it's going to look right but see how it changed the saturation how it changed the lightness again the detail that you might like one it a little bit more dark and moody but you can bring it on okay and it's just fabulous like that okay let's press ok? All right, we'll leave it there. Any questions about that? Yes, just it's more of in general you know, you keep explaining how cool these are that you can make it a bit darker and moody air you can make a little lighter and brighter in general do you go by per image or like let's say you decided this image you liked it kind of dark and moody the rest in this kind of siri's would you keep them all dark and moody or would you just go per image yet know if they're going to be in an album to give a collection? They need to be on the side saying yeah, all the same and you pick from the stern which one you're kind of going with and then you just exactly exactly on the odd occasion, you know, we might have like ten images from that sequence and we've done eight of them one way into the other way just to make sure that we're giving the climate choice so when they come time to do their album they say you know what? I love that in color you know I mean so let's have do those other ones and in color just so they can see it you know I mean because sometimes like we're not always right there's times to wear you like an image both ways yeah, so you're like I love it both ways but how you really kind of let the client decide well, they get but like hell like this image looks amazing and blackmore really does know you personally would if you like the image in black and white and color would you save both? Yeah both or no because then I guess I would have taken like ten shots and so then I would have just at least left one in color so they can see it you know? I mean and you know it's hot you know? And this is what it's about communicating and this is where you got to ask yourself as an artist, right? I mean, how cool does it look? Because like let's just snapshot that but come back up tio here look at that won't look at that connection and that feeling you get from that shot do you wanna main but then photographically that's just the dye for you don't I mean like the detail the tonal range you know I mean this is like now like if you're thinking I'm not saying this is an ansel adams print or anything at all but it's using this principles you know I mean it's getting that turn orange throughout the whole lot it's like it's sexy shopping sex you know my wife might not think so question from online this question is from derek chad photography who asked to use light room or photo shop more for editing mass photos at the same time and why and there was quite a few questions about editing multiple images at once perfect way going pretty much to a whole session on work flow on and that's doing working bulk images at once but you know what let me just quickly show you what I would do so and it will go into greater depth tomorrow so just in case anything just changes around you know let me I got light remark open um I'm gonna go back and I've got a few non richie's wedding right okay so fiona richie's wedding just here and it's completely un processed um so you know I wish we couldn't just have days going through union richie's wedding looking at the un processed images toe compared to the processed images because we could evaluate live all right you know what? I'm going to bring up one image here so see what I was looking for I was looking for the line you know the main could you imagine if he was just sitting down on the ground with his back cleaning up there you know like against the war you know probably get gylfie is hell but yeah be amazing shot you know so but anyway let me just digest about the work flow right so a couple great things is that I do working light room and I do work in a sea um so in a series of davy camera roll through bridge and and that's the way I will work it but I can actually go through right and select these three images here and then say right click and press right click yep and then goodell ofhis um develops settings and then what I do is I have my own work floor express so and then I might have a variation of it so what I created is a preset folder which is made up out of these ones so for instance workflow one folder is about color balance two's exposure three is contrast but the zero one is the style processes so for instance like a style process if I just choose you know and you sort of just choose your favorites and so there's a whole hips and then he might just go you know what like the indoor so I want to keep them indoor bride black and white so I do that those three images now are going to change the black and white there gonna be a little bit broader and you know, the the tonal range is going to come out with a lot of magic juice behind it because it's going toe look for the skin times and bride on the skin time's up a swell you know? I mean and then if I find there just like that little bit too dark, I'll just go into my exposure and just just go up, you know, and add a stop to them all right? So I could go through and have selected twenty images or together, right? You know, in this thumb now mode and continue working so I'm actually not opening up the images completely know the coping about lie room and you could do in photo shop is what I can do now is that I can color code them or starve them whatever your system is and then say ok, I'm going to use is like pirate red and that's going to signal to me that I need to do additional dodging and burning on that image or it might be green and I want to go ahead and, you know, do some cropping and things like that or just some further adjustments imagine like we're running just did three three on it took two seconds, but imagine doing that at twenty then do another twenty imagine how fast you gonna get through four hundred images fast and so what I do right is like is that when I'm here is I you just spend a little bit of time getting to know all the little workflow modules that we have you pick out the one that you want or the two or three and then what I do is then I have my express so my express means I've got the three or four basic color in black and white ones that are going to do a great global effect over those images to really great result in on no which one to use under certain temperature lighting if it's indoor out or seif off then if I need to adjust, expose your quickly did that increased increase contrast softened shopping and a bit of a big net so for one of bribing that are adopting and so I just select and then that might be my express I might have another workflow you know and I just copping out of the out of my main work flight and grit and create my own photo and you guys could do that yourself easy just go through the precepts that you really love and said I really love that look I just will create my um I know that all well from from from shooting for a little while I know that works when you have consistent exposures union when you're accurately catching the exposure you want so what about those shots when you purposely under expose you have to go back and do those individually or does not know if I do that all the time and you say let's let's have a look at these images like look at this one it's like purposely under expires you know I mean let's like bring it up you know it's there at the table and I purposely under exposed it right and I mean it's hard to see on this monitor here but on my monitor it's really black you know I mean so like I go develop settings right and I choose like it let's choose my express now and then I say ok I want to use like the basic black and white but and I know that's not gonna give it enough punch right in fact a darkened it a little bit so I wouldn't know like not to use it you know I mean about what I did tio is that I know that I need tio over expose it by two stops so it's just going to just that and look at that ok? You know I mean so and what's happening also behind the scenes with the precepts that I create it's retaining other information and other like say for instance are going back to a color image of a portrait that's fine one a little bit like a close up portrait of fear in there like that I took light our own all right, so here let's let's have a look at this image so beautiful window live it's really nice and so what I think about I can't care going toe lining it use a color and I just used my express an indoor color and it's just going toe, you know, brought in her up on def it doesn't I just use my exposure, you know? And then because what it's doing is lifting also the skin time. So if I just bring that up a stop first if I want to bring it up to two stops, I just just change it now here, for instance like, you know, it might be nice to do some softening on this no member, I'm actually I would be working all six images all at once here, so I just go in I'm here website back into the one that I do and I just got soften and you'll just see like this nice softness see that and you know, for women's portrait's just really nice it's just like using clarity and a few other little things that just give this soup nous and smoothness to the scheme on also even just bringing up the noise reduction as well and it's just really nice so so the great all right anyway so let's go back tio let's just go back while we're here let's start talking about role ross is the coolest thing in the world okay, so let me quickly show you them you know these air the free presets just here so there's one from each one so I press one button and that's the change like instant like it just sort of like, you know, like I've done all the hard work for you you know it's just it's evaluating the image it's looking at what needs to be brought enough especially from a portrait point of view saturating the colors and things like that so I just undo that so you can see the difference that makes so and then like, you know, like I might like that like a silver time like him like then but you might like what? Like a different black and white and so you go ok, I love that sort of book and then you might tell I just let me just do a little tweak you know, with the exposure just to bring it down a stop so sometimes you just need to do it like a tiny little tweak but sometimes you want to push the detail as well because remember sometimes what's technically correct isn't always um visually what you want you know, sometimes you may lose a little bit in the whites you know, sometimes you may leave some things in the shadows because it's the feeling that you're going for now I'm not advocating and saying yeah blowout or your shadows and it's ok to do that but sometimes you know you want to convey a feeling and to do that you need to do that like let me show you um like one of the presets that, like I've got for you is like an anti porcelain like and this is one of the most popular siri's like like out of a well it's the one that everyone buys you know, because it's just like does amazing things to images and all different images so that one's just in the free one let me just sort of show you like a couple of my favorite ones for in the in the porcelain said I just got out like a here so leon hendrix so just bring the exposure down a little bit just to make it and sort of see that softness and the beauty that intimacy all of a sudden it's so different that intimacy is more there than in that shot sorry like this, you know oh, even the color one you know, so it's about bringing that intimacy out and making it really personable another one you know is like like it's something you know, completely different but here is one we're a bit of a big net to it as well just like a bit of a change again totally different but he noticed like the big net that would be no good to create remember I'm just pressing a button and it's got a completely different feel every time and the qualities outstanding you know and so that's when like you know changing from that three to four days working in front of the computer you know we just sort of worked out and everything that we loved and a ll the tricks and techniques that we know about you know light room and rural farmers inside our and then we just say them as presets you know and then now we can quickly just press a button and we got yet that's cool let's do that yeah I know you talked about being a bad copy so can you talk about the inspiration behind creating these things because I mean did you figure these out that someone figure them out for you did you give someone on an idea and they ran with it and created these for you how did you get inspiration team talk a little bit about that this is like like twelve years like being a photographer plus on dh then you know when even before like the first digital camera came out we were getting out images scan so we've seen working on photo shopped for like eight years old nine years and so it's been a huge passion of mine and it's aimed how that that quick flows groups came about is that we needed to come up with smart processes we needed to think smarter to do our job well but also you know we just sort of I love playing you know and this is how like I found out about all this stuff is that I just play you know what I mean? It's sort of like it's like my second wife you know like uh it's like you know like it's um you know it's it's beautiful you know like it's like it's like a I don't know like for me and I could be able tio design something and all that and this is all me you know? You know we it's my ideas it's it's exactly what I'm doing and I'm actually creating these presets you know? So these these air actually my personal preset and these are the ones that like that I build in the studio and and adam build some as well he's got some favor and even our lee now she has a favorite thing says you know there's a there's a bit of life on on that web site you from all this but it's our vision you know and it's about like really helping photographers because you need to be marketing you know you need to be in front of clients you know you can't be sitting behind a computer, but the thing I know is that, like a studio he's like its foundation is built on its imagery and out imagery has to look different to everyone else and the cool thing is we've all these processes so many of them you're not going to look like everyone else even you know, and because you stall of images so you know, it's not going to be replicated and that's what we're happy to share, but I mean, I always we don't look like us, you know think but this doesn't do that yeah, I know you use a lot of hirai esos in low light situations can you speak a little bit too? How you like to do noise reduction? Yeah, like, you know, I might use a little bit of noise reduction, but you know what? Like shooting that's, why I shoot the default and that's why I shouldn't go on um oh, nikon, you know, if you're from america, it is like because it's so good and, you know, and, uh, the reason why I stopped I used to she cannon and, like adam is always being like a nikon, um, shooter, you know, I mean, and I just like, you know, we went into the job one day together and it was really hard low light and I had the one d s on dh he was shooting the d three when it first came out with a fourteen to twenty four mill and that lends its so beautiful like so I saw a difference in the sharpness um I stopped over you know and that's what I did you know I mean and it's why I love you know using your card you know I mean and I'm not saying anything about cannon cannons got good stuff you know may now you shut up for a long time you know? I mean and they got good stuff now I believe you know, I mean but I wanted to give the best to my clients at the time and at the time that was definitely nico you know, I mean and I was fortunate enough to have a camera store that we're just willing to trade everything and get me into nikon gear and so on dso the changeover wasn't too a huge I did leave some lenses because they weren't around so that helped me as well. So the money that I was losing on the trade and the difference made that I was losing some lenses they build over time and it but I mean I had to just get them back as soon as an economy released him you know, over the last few years and so which has been good but you realize that in mind what is she you know like I said yesterday it's it's not the box that does the job it's you a couple more questions from the internet there was a question asked by quite a few people and this is from deedee dee nine six seven but why would you purposely ever under expose an image like the one you did in the kitchen scene yeah, you talk a little bit about that definitely because I want to try to retain the highlights where possible and I know that I can extract out of my files or the details out of the shadows so often that you'll see like in my work flow and when I shoot that I'll under expose it a little bit you know remains because it means that I can balance that image using you know a role so here we are let's let's just quickly go into that to just show I like so enroll you've got like like the adjustment brush right? So exactly what I was showing you in um uh put a shop with those lives you can do in the row foul and I'm not saying that to be honest, I wouldn't do it to this image because it doesn't need it you know, it doesn't need it all and but I'm just going toe just show you anyway like if I wanted to dock in this sky down is that I could come in and just brush that in, you know what I mean? And do a rough job on this massive amusing. But then I just do a new brush, okay, and then lighten this area as well. You know, I mean, the great thing about this is because you get these little pinpoints is that now I can adjust that brush down and you can see see that, you know, I mean, I really change the field of this image now, just by doing that, um so for instance, to like, maybe there's a little bit too much for halo and what's. So good about this is that I can use the arrays tour now and go through and then just go around like that area, you know, I mean, and so not that I want to do that, but looking like that, but I just want to show you how you can do that. I would favor the brush a lot mohr and so forth. So I just sort of undo that brush stroke and it's gone, but seemed the cool thing about now is that these pins stay here so you can see the lay a mask, a cz well, like where it's actually being affected and so forth, so thespian stay with in the data and why I'm here my eyes will show you that it's really important for you go into um kind of look settings and under metadata is take this box and it says automatically right changes into ex mp ok so that's really important for two reasons one it means that whenever you open that image ing photo shop and you may not go through light room to do it it sees the changes to the row file okay also one of the things that we can do is use their quick flow scripts within photo shop that we may have worked all the images in light room and we've done the four hundred or eight hundred images and we actually processed amusing that script so we need to be I want to save it you know see that daughter that we changed in liar and so and also means that you can get through both programs really easy I mean you can do that with bean lottery anyway but I like tio you know I just sort of be uh have more flexibility the other advantages and to be honest I've never had this situation and touch touch wood is head like um you know is that if light room was ever to crash you know then you wouldn't lose your daughter that you I spent so much time doing changing your row falls so it's already there sort of it's an added security measure I believe as well so any more questions for yes you know you know there's always more always a gun wedding photographers out skiing will often do stack presets and could provide examples like how many times you use multiple presets on the same image yeah yeah heaps like this different ways that like I have my presets so let's think these presets right like let's have a look the's air like global changes so this is like a like a like a black and white just undo it but then just so we can see it but see not saying that I would do this but look what like that instantly like you know change that look okay? So these air sort of pre sets that have global changes when it comes to the work flow um one is what I want to do is I want to just be able to say, you know I'm just going to increase the exposure by that and the I can actually then stack them on top of each other I can even change the look and three days aiken decrease contrast and so forth and it's only going to make that change you know? So that's where I use a lot of stacking when I'm doing work flow but if I want a particular look I just it will be a global look yeah and you can what's cool is if you do like to presets you can and we'll get into this but well, you smart objects within photo shop and then blend the two together and smart objects is it's like crack full you know, like photographers man it's like if you love roll like this is incredibly cool sewing clothes in the miles I can just leave that one open at the moment so let's open something six silence all right let's hope in this image let me just find like a preset let's just use like a like a porcelain and I just was one different one okay, so just gonna open image and I did it wrong already so you don't when you're enroll you got two choices so you can open an image or you can open as a smart object and the way I would be working this image is I want to open a smart object so let's just re open that image now so I could just get a recent image bring up that same dialog box so normally what I would do is just bring this one up to I would normally be working in sixteen bit okay because you're gonna get a lot better quality and it's really bottle to do that um but just so things working really quickly if you always opening things that opened in small objects you can just take that onda work but I just want to show you that when you pressed on the shift key it changes the option to open object so from open image toe open object ok so what's great about smart objects is that all those techniques about doing multiplying layers and changing the blending mode and things like that what we can do is now you can still do that you go new layer only smart object by a copy if you only just you don't do this where you drag and you just drop locate that image and I'll leave that you and you make a change to the raw data then it will change all those files but because it's a snooze new smart object layer buy a copy then what happens it allows you to actually change this last let me show you I clicked the tiny tiny little foldout within that little preview and it brings up the road daughter again so it means like so you've been working the image that it means that and you went chief are on something and you need to bring a highlight back or a tiny little bit area off any means where you just forgot about you can do so it's amazing so but here we just wanted to say ok let's do like a different preset you know what let's just be like something totally different like let's look at like um you know what let's do this a century old neg border so it's like got that turn of the century sort of feel to it and this is in now film lab precepts and normally I would just go one toe one but I just want to show you how you could just blame to presets together so you could do it like change the a pass it e c how like it's actually quite nice you know what I mean so you could do that like so here are saying I wouldn't do it but now I look at it and go yeah I like that so you know I can leave it like that but also if I wanted to I can then create a lay a mask and if for instance I don't want it to be coming out like around the edges I want a little bit more green in the edges here just threatened there why? I don't know but I'm just showing you that we can do that way could use a layer mass to do that you know I mean um anyway that's embarrassing me so I'm gonna believe that um yeah so yeah it's just suppose that so see how just blended tio blame us and came up with a different look that actually like so and that's now become unique for your client? Yes but can you on ly open something as a smart object from inside of a cr is there a way to do it from later you can do in his light room as well but it's gonna use fighter shot to do it he's still gonna have photo shop but you just open it as a small object information or even as object I think it just says um yeah so you can do it from light raymond but you do need friendship for it so this way I could I could seriously nearly all the time just working lot remorse you know I mean and produced the image in there and it doesn't need any extra work but you know there is times and you know what let's let's show you we've got a couple minutes so a little bit of magic juice I just find in the image so I'm just getting rid of the smart objects and things like that because just so we could make a big quicker I jeep locate the layer all right let's go filter blood goes in black let's go a little crazy and go up to forty just you know, like I probably using in around ten or five or twenty andi you see like a little blurry pretty blurry this is where the edit fade toe is like uh is so amazing so just like that see how it's like really blurry so I go edit fade goes ian blair right it's one hundred percent I can now just it okay but that's what I'm not interested in I mean it it's helpful but what's when I changed the blending mine and I'll do you multiply first and see what happens see how it's selected certain areas of the image so that would dark and it just has this you know, softness and this beauty through it so then we can do the opposite so let's screen that and there is so many different blending minds that you're able to do you know what I mean? And you can actually do these on the layers as well so in combination you know it's just incredible you know it gives you so much you know, different ways of working and things like that so let's just leave that there for a second because we're talking about hi possible to before so let's bring back that sharpness I'm just going to flat in it now I just want to leave it like here the moment like normally I wouldn't do that but now let's go filter under other and inga high pass all right and then I go ten and it looks very different so a senior press that on soft light it will bring back like the sucks sharpness all over that image but certain areas is going to leave us softness but this is where like I would probably do this is usually imus inverted and then just pain in the areas that you want just through here to give you and I'm planning on a black paint brush again, which is not going to do anything you know? And uh so just here I am just like sort of making it shop just where the center of interest is so hopefully like then you're getting a picture now is that like, I'm thinking about the center of interest how can I maybe blur other areas and how many? And then how can I then just you know, so shopping the image and then thinking in back the painters right about in composition about layers you know, I mean having something in the full ground so it's sort of creating that as well, so it adds like a three dimensional image to it the other thing that has always been said to me and I know you know why it is but they vote people always said your your work has this film look to it it always just looks like it's been taken with film, you know, end and I think it's because like I did shoot film for many, many years, you know, you're like an I love film, you know? I mean, and one of the things though like I find is that because I learned in the darkroom using my hand everything is a film process, so what I'm doing is really emulating and guess recreating but subconsciously a film look naturally you know, I mean, because I think about the grain. I think about the structure. I think about her, everything is and said, that's, why I do that, you know, like, I mean, I think, it's, great. If if people out there, you know, shooting film, but I just think, like, the control that we have, you know, by shooting digital and if it can still look like film man that's, such a better way to go. And I want so much control.