Workflow and Presets


Wedding Photography


Lesson Info

Workflow and Presets

Excellent great all right, so let's talk about what clothes I'm going back to funeral richie's wedding and what I want to talk about now is that here there was twelve hundred twenty images how we're going to process all of those images so quickly and fast andi we've been you know, days to get him up to the client like online and so forth so you know, the technique said I'll show you is that where I would have teo and think differently and in some ways don't think exactly like a perfectionist all right but what I want ow show you is a couple techniques is looking at the thumbnails is that like a process you know, three quarters of the wedding and so I'm just going to go through here with this sequence select these images just in that right and I might like use a larger monitor for this, you know? So if um you know, I afford it like use a thirty inch or twenty seven inch aiso monitor but if you can't like a great like I'm back twenty seven inches perfect for this just make sure you calib...

rating it as best you can all right? So I'm going to I mean bridge okay, so I should explain that I mean bridge which is comes with photo shop if you and what I'm about to show you is exactly the same as working in light rain in the developed not in the developed module but in the library module. Okay, um so that's where? It's just exactly the same. Now you could do this at home and I you know, if we get time I'll show you how to create a priest, okay? But one of the things I've got like personally is a very sophisticated system that's very simple um and you keep doing to to give about the fundamentals that I'm sharing with you is you can just apply this so I show you by right clicking are going to develop settings and I have all my presets at my disposal. Now I name our workflow module zero is like first that's the very first numbering that's going to come up these ones down here once it goes to two, they like part of that instant collections there out like individual precincts so we can still use those suddenly but what I've got up here and I will open up light room so you can see all the different folders and how you khun even devise something yourself or if you want to get out of work for you, you're welcome to do that and I have at the very first section is complete look, so for instance, where we mentioned outside like indoor color um and then we have down here outdoor color okay? And we have like, a number of different colors versions that I really like that I know that like I really just like that look um and then as I haven't indo black on what outdoor black but then I have some of the the other presets that I loved um that and I have to rename them I renamed them because I want them part of my express section so that way especially in bridge that they come up the top I don't wanna have to go and search for them you have a questioning yeah, and it could be coming up even a little further but I noticed that you picked that four images in the sequence but there's more in the sequence but they look like they're a little bit different in exposure. So did you just pick all the ones that were similar exactly? Because if you choose a pre centers something and if there's two different exposures that could you not get what you're looking for exactly? And but, you know what's great is that like I'm working for images now rather than just wanting me and this is the secret it's working multiple images now know this is where two is like you have to make decisions where, for instance, the amount of time is going to represent the quality of the airport now if I wanted t do this in less time then I would have selected those images as well because even though the exposures off just a little bit the presets will sort of blend that matchup together so I could get away with it so it would be so I guess like the it's what do you wanna classes your proofs see our proofs of really high like you know the images that like if you go into the blawg and like encouraging when going a blawg have a look at the blood place there are proofs they're the image is exactly the same that like the clients see the very very first time to that level the quality and is actually using this process but we do go through a lot more dodging and burning and a little bit more care so so we'll probably spend like you know, extra hours doing that you know me so you could spend like an hour going through all these thumbnails you could spend two hours um and why I mean and then when you're too as you're starting to do dodging and burning um you know, three or four hours then you're starting to do it but the good thing to know I'm still talking like maybe four, five even six hours maximum you know I'm not talking three days I'm not talking one day and in three days and that's huge and there is a way you know both me and adam have spent so much time thinking and looking at work flow you know, for the last eight years I would say, you know, when we were being doing digital is because we know how important it is for our business to be about teo really to produce as well. So let me go ahead like they once we got that first little section these air like images on dh, you know what? They're pretty probably getting pretty right, but then I have, like little ones where, like, you know, like plus two plus one, but in my work flow module, I have also the half stops as well, so if I want to be a little bit more particular, I would just go grab those on drop them in that folder, so I just keep I have two sets of presets, sorry to folders of presets one that's live that bridge is going to pick up and the other one which has everything in it and then I actually have other folders that I create just copping the presets, andi putting him into another photo. I know this probably starting to sound a little bit complicated, but once you get used to it, you'll get a feel for what you want to do and it will honestly speedy up your your workflow and the time that you spend to get their clients as well, ok? So here for instance, like I'm just gonna make the's like uh like a black and white like eleven thousand you know, I mean and so it's done a like a reasonable job it's so obviously it's going to be hard with exposure going from my laptop seeing on this screen and what you're seeing it hind there's going to be variations so so please like you know, keep that in I can't like say on my laptop I'm just thinking, you know, I just need to probably just give that a stop exposure above so I'm just brining that by one stop okay um so we've here these shots here actually I know these two shots I'm going to need to go up to shot too so I can just quickly do that and I could reverse it that way if I wanted to see how like I quickly adjusted that exposure um now if I wanted to I could probably select all those six images and go ahead and say, look, I want these to be solid neutral, you know? I mean and it's just going to affect the skin times in a certain way and affect the colors so it just makes things pop, you know? I mean just makes things just really nice if I'm looking for a different look say for instance, these a role like sort of still along that photo generalistic moment and you'll notice that the sequence is similar to the other one so what I should do is then I'm going to use that same preset now I could do that in a number of ways I could pre select one of the other images and in copy and paste the developed settings or just do it manually but I won't get into that yet but because that's just a little bit more advanced you know like tio no the short cuts tio copy on ben pace so I'll just go and I use that black on my basic eleven and and I was really great I don't mind those all those other images except for the last two is that I want to do the exposure and nice now if I want to get like just a little bit more advanced a cz well like I could be considering here um what images need dodging and burning what did we just need cropping you know and if I was doing this at hime um or in a two part process where I just want to do this part first then what we'll do is you know, like I could color code it knowing that I could come back and just do that extra work on nice images as well yeah um the former images that you originally started with the ones you just turned black and white yeah, you give those for to the client I noticed in pretty similar and the way I was thinking before when I called down I wouldn't give images that were similar you know I would find the one that that's fit the moment yeah yeah like what I wanted to show you was like all the images so we did call it down from here so but then sometimes I have a really great problem working out which is the perfect moment you know I mean and remember going back to the honor and one story the very start of you know, day one is that what we did is like had to think about giving her the choice of what that moment meant to her it was a good chance that I would have chosen the following moment because one was looking at them which I just thought wass you know you know beautiful but the other went through she saw that little smile on a dad you know what I mean? And if you remember those words and if you go back to those words and what that meant to her man how like so what if I would have taken that image out you know, I mean I'm thinking back the way I was thinking before the workshop and completely changed the way I think so normally I wouldn't give those four because they are so similar but now I think what you just said makes sense even though the heads turn a little bit and yeah you know she may have a little bit more of a smile on her face so yeah it's hot definitely change the way I think I also think the less the less that you showed to a client that's another tool another huge acidly should have the less you show the better as well try to keep it simple yeah markets one quick question ah just workflow wise is there a particular advantage for you doing this in bridge vice doing it in light room or is that just a personal preference to personal preference you know what like ok, well, you know, one of the lucky things is you know, a w p p I for instance I'll probably get teo together with the guys from adobe inn and because I mean, I'm we talk about this and we go through it all the time were saying that we would love this and so I know that there's been things and we would say, you know, we were using bridge currently now to do it this way, but we would love to do it in library and between that room and three and learning for you know, they listen to us and they made some changes before I don't know I don't show you like one reason reason why um let me just bring up any means uh I'm cleaning this up in camera basing about using exposure adjustments right elects are the, uh the localizer like adjustment brush is for instance see how like I just logged in that you know, part of the dress and you know I can go up now maybe I don't want to do it as light up the top of the dress now this going bring your mouse over pressing knew and then going back to that did you see like how long like that took me? You don't mean to do all right so let's think about if I do this I just pressed it said to all the cato and press it twice it gives me any brush like lightning quick, another brush and I mean another brush you know? I mean, so if I like if I went over and pressed knew all the time about using the mouse and it would just take so long like so and when we're thinking about like looking at five, six hundred images and if you if that difference is like a second every time or two seconds every time you add that up by five hundred you know plus how many you know, and then you could probably times it by ten because you're probably used ten different strokes and I mean it's pretty you know, amazing the difference at the time you say and that's what the business person of me like you know, kick scene you know is that like we look at the speed of our computers you know? And one of the things that we would like measure is like how long does it take for the images to load up in bridge or you know david cameron for us to actually do the do the bra russian things like that and if it's taking like, five seconds, right? But we can combine new computer and it's doesn't in one second over entire year that is like thousands and thousands and thousands of dollars off saving off like of wages as well and so it like if I have saved ten thousand dollars by buying a two thousand dollars computer what he thinks the smart thing today by that computer you know and that's where we're going I think really smartly about when we're in business and I know that you know, we haven't gone into too much business over the last three days but and maybe I'll get to come back and do creative live into a whole business module because you know, we've got a like a tremendously successful studio um you know, we should a lot of weddings and but the foundation is like like a photography, you know? I mean, but because of that we've been out of building incredible business, but I couldn't go into the the business straight up if you guys don't understand how important the photography was because that's like our usp you know that's what makes us really unique all right, I just go back to the thumb now because we are going to do that we're gonna open believe it or not this is some people may do this but others that could be brain knew were going to open up all of these images in adobe camera or all of them all at once. All right? So seeing I've now got these images right and they're different you know what I mean? I want a different look for those even these air like a photo generalistic portrait um I want to do something a little bit different so I will rather than look at my work flow module oh, come back down a little bit and look at like a nice start now you need to really know your presets here. All right? Um so just sort of did it you know and I mean have touched his images that's how good guys presets like all the those ones with the workflow ones you gotta just, you know, nurture him a little bit, just tweak him a little bit and you make him your own and I'll teach you how to do that how you just create you preset you could even take my presets do the tweaking what you like um and then just say them and making me right and you put him in your own work flight um so just sort of coming down and let's just look at another sequence so say for instance right? This was all very quickly these shots um except the ones at the back here these last two c she's a little bit more in shadow especially this one so even though they're in the same lighting and everything like that, I need to think of them a little bit differently so I would you know what I'm going to do this I'm going to do just going to what I show you what I would do rather than some knaus these need to have a little bit more care so I would have flagged them to be dodging and burning so rather than do the priest said I'm just going to open up in camera roll now we've got three images and camera ll now you can like begin to see why like like I might do this and then just come in and do like a bit of a local thing hit the said key tries I've got another teo um I just wanted a lot in that corner up a little bit now I got into this image as well and just add adding bring that back up here as well, bringing another toe double high and can you see what I'm doing? I'm shaping the image and I'm like adjusting the center of interest ok, so so this is how um you know, I get photoshopping light rain and bridge it's always together just seamlessly on debt was the other important thing and so all I do is press done I doing tio open image now I can come back right now we've got a ll these six images similarly and now I can go you know what I want tio like them like that black and white oh what's really nice is like this pewter as well so might just do that pewter and nice images so when you just bring this up in a day be camera roger sunny so we can see it larger so you can just see how that that's done you know? I mean and it's finished so again just when you're in I don't become a royal just pressed done you don't open image because what I would do is like I'll use our quick flow to process all the images in a batch that we talked about yesterday already so just sort of coming in you know, these are great like we actually worked that one yesterday um so let me just work out work the other three and you remember yes, I just added it like a blur softening so let's just go just bring that exposure up one and I want to do anything else just other than soften it. And we just sort of say the difference and just gives an, you know, nice look now, let's, have a look at this because remember what I also said yesterday is we need to be thinking about, um, the center of interest being shop, so if I noticed that images like a soft, I grabbed my brush, like I just reset the like, the exposure I could even leave it up just a little bit, but what I want to go in include here is the clarity bring that ride up and the shop miss a little bit, and now what I can do is I can just bring that rushed down in size and just come in here and just shopping the eyes a little, and it was just subtle, but it was important difference because that's, where the eye contact is going to be on defy, I can always use the arrays a tool, and then I can do that. And if I wanted to look, if these images are going to be just pertain here, they're all the same, right? And this is the one thing that I just love that role say, so I've got to read the select, so control day is like d select or images so just to remember that it's like a fast key and one of the things let me just do this also got that first team was selected, then I can hold down the shift k select all of them now, it's going toe, I'm goingto bring up the synchronized tool and I'm just going unchecked like normally what I do is like, I just put, like, select one, but I'm going to just do it but see, local adjustments remember those local adjustments that I did, so this is another really fast, too, so that shopping I did in the eyes and I was just saying let's, pretend like all of them were in the same spot and this is great for dodging and burning as well is imagine just synchronizing that, so then you only have to dodge in, burn one image out of that, maybe that sequence of three or six or so so you can start to get to feel like how you could really, really speedy up your work for you. So I'm just gonna like, so I don't run out of time. I'm just going toe, maybe at this stage just attained that we've done all the images, you know, I mean so let's select all images, right and let's, go right click opening camera all ok, then now I'm just going to say this is because I'm doing this I need just to show you that it doesn't matter how many images you're opening, you know? I mean, um, it's not going to make any difference, but what I probably have done, as you know, we've been doing the work flow is tagging images that should be cropped, maybe that lends correction, um, dodging and burning and things like that, I might be doing some of the dodging and burning why do it? And you could see reason why? Because it's going to speed up that process? So what happens though, is then I might have a folder, and this is where lot rooms amazing is that you can have a color card that adds to a quick collection, so it creates a quick collection off that color cart, so when I just got to that quick collection, then it just actually has those images, you know, I wish is called, um then what happens let's go through and in this situation is that we can access all those images. So for instance, like, all these are a similar right, and if I want to do a big net on those images, I would probably have a preset that did that, and so I wouldn't need to do this, um you know I said like he would go like a doctor in it and it just did that dark signet just lightning fast if you you know you know what like why it's just there I'm just going to do something like you like just so with the exposure just so you can see how fast it doesn't let me bring that or down he had that when half past that wass so you can actually select or two hundred twenty images and if you want that two hundred twenty images to have the exact same um big net that's how you do it you know and again what you do you just press done don't open images you will crash your computer if you open twelve hundred twenty role images all right, so I'm going to quickly I've been photoshopped now so let's just pretend now that we've got we're going through all that images the crop the way we want we are all at the roll stage we're only at the roll stage um so let's see I'm gonna open up photo shop and then I will going toe oh open up light room justice show you that it's exactly the same principles you know a daily camera roar is is lottery is exactly the same just like room as a whole heap of alison okay, so pushup amazing you know like you we've got to spend time in it yesterday but what I do is have the script. Ah, which is called quick flight. Um, I just browse where funeral richie's wedding images are, which is under creative life and going to richie and un process. But we've been processing them. Um, so we go like that. We just pressed, ok? And we just choose a place to go to say them so, like, I'll just go save a new folder safe, you know, to and prayers open. Now what I have the option here to do is I compress? Yes, if I want to play in action now, this sudden little magic stuff that you can't do in light remorse. David cameron, buddy khun building into an action where, you know, you might use like the goods ember soft lights and things like that that just add that little bit of punch sparkle, you know, to all your images and it's just very subtle, but people were going to ask you, well, there's, something about images I don't know what it is and I mean and that's what we do, we have, like, a special little photo shop action. Um, that we just run on now images that just give that little bit of sparkle, so we just keep that open you could also incorporate textures and things like that if you want to do textures and and think about this this is great for portrait's well, like if you just got sixty or one hundred images you go to process this is perfect for portrait ce you know and if you want to have like a texture on all those portrait so everything's to say this is the way to do it so he every tick box will actually create a folder and then what happens is that the the when we're going through the save a folder is created and every twelve hundred twenty images is then saved into that folder at that resolution and color space now I know we didn't get into color space but we're going to probably work in adobe rgb for a high res files on we save them is j pig twelves um or you could choose to save emma's job victims then we're going to look at hate dean size images and you can change like the pixels if you want him you know nineteen twenty by nineteen twenty then standard if I want a white border you know tow do a nice dvd product or something like that we've logo so and if I'm sending it to a aa wedding planner and just to prove for the client um and we've artist proof if I'm sending it off and I don't really know the source have big artist proof watermarked on the images well, so then I have another lower screen resolution images on dh then below like webb and blawg resolution images and what that means is once I quick all of them so let's just why don't we just click all and I press okay and what's going to happen and this is what's important to know is that just do this at the end of the day you know I mean if you're going to get if you're at home and work from heim um just stood at the end of the day you know, if you got a false computer it's probably done in an hour anyway but like this will probably take you know, like um you know, three, four hours on this laptop and it's just going to process it so why would I want to press play a ten o'clock in the morning when I can just press play it you know, ten p m when you know finish work wouldn't like mice photographers do you know all right, so I'm going to just I'll just let that play just for a little bit longer and then just we'll just evaluate like, the images just the images that you know, we didn't apply presets too to these ones that anything um which produce should've dragged them into another photo, but all right I'm gonna just kill that so it would just give me a warning signal that you just killed me. What are you doing? So I just quit the script o and d stop anybody okay? So let's go into explorer now and look for that photo we had that we created safe to see how it created a folder for every safe so all these different color spaces a different so this one like you know it's just for three with a um you know, a white border so it's nice for presentations. Um this is great to put a blogged post together so you see like a little logo so they're exactly the same as I logged logo so we've all the say for instance you have like different sizes to put your proof so you can actually put different logos on them as well um you know different you know things that for instance he's like a different version so we got a bar logo there then seeking to say the artist proof going over it as well. So so we got that version and that's at nineteen twenty pixels um the other one's screen I forgot what we said it I think was twelve, eighty pixels so it just sort of gives you use like say, for instance that you may just want to get something up on the web straight away so you may just process just for the web only um and just trees that take books it's up to you guys all right so let's some open up like cream and if you didn't catch like yesterday's discussion um when we're talking about like water mocking and everything like that would be definitely with while going back and and and looking at that all right so we got ah light rain so I'll just leave this image up so ok so here in um development what the one thing that I do love about light room is that you've got this preview plane is that like you get to see you know exactly what that preset does so we do like let me show you all the they're workflow ones so work flow like comes with lots and lots of presets so we've got ones for exposure so like they're already done like from zero like every half stop um you know things to do with white balance um you know sharpens tone ings grains and big nets because you want to be out of build you know and we talked a little bit about this yesterday workflow workflow module allows you to build on existing presets where the other presets arm or like you presser a preset and it's gonna globally change everything okay on and you can change the turn those off if you want to but but so what I do is that I go through and these are the style different processes remember the star process is also could be or the other presents as well and all the precepts that you create and that you just love so what happens to is that I then create a photo accord on way already create one that's included in it but is like work for express so I just put the things in here that I'm going to use all the time you know I mean and uh and I may have another one workflow babies or workflow weddings and things like that and have specific precepts that we could do that if you guys like working in light room right is that you can go back and in here tio exactly the same thing that we were doing before like cheese oldies images here and go right click develop settings now I go to my and what's really good about um like dream is that you got photos taken having many folders has one and say and I was your order um I wish like a cr did this you know you could have photos we can't so if you want I want like say for instance to just bring them up like an exposure I can do that um and it is just updating that straight away I'm going to develop settings again and let's say sorry I just got into the work for express and I might just go you know I just want my outdoor black and white and it's now just gonna update those as well so exactly the same you know so no different what's important though is that you need to go into light room catalog settings and go automatically right changes into ex mp so I can process the um the images in light room but then open up photo shop and use quick floated process images so it sees it and it's exactly the same and it just opens and saves so it's a great way of you know doing by so that way also teo I mean I like working in both people at home I just have it like a like a seven preference I know this like lot ramos I think really popular of here as well so so you can do exactly the same you know just go through here and see because all these are the same and go develop settings and what's good is a bit if you know that like if you don't go to the workflow modules you just go you know what like I might just go into film lab and I'm just gonna use like a century old with a negative border and that would just sort of update um and it's just a nice sort of you know, pre set you know what I mean? So you know we have a border like a and everything so it looks like it's taken a hundred years ago so um so yet so why don't I show you how you do a preset ok because you guys might already have old great presets um or ideas and things like that and and you could just create your own work play if you want us well, you know I say let's just going to develop mild module and I'm going to reset that and that's just sort of think about like, we might just sort of like, um adjust the highlights a little bit let's have a look what the shadows just open up a little bit what's you know, just maybe just bring that to there and just the blacks just open it just a little bit now let me share something um, some little secrets with you so lumen, its luminous is fabulous because you kenbrell ng the skin tone up like her skin tone is changing, and if I bring this up that's going to adjust the wall because it's it's, clise but that just tiny little adjustment there that just little curve, you know, we have luminous we'll just bring out the skin just a little bit more. You got to make sure you like you don't really do it but it's a great way of saving you time where you don't even have to dodge sometimes because it's doing it automatically for you as well, so another thing that you might want to do is like let's just warm the image up a little bit so let's just ever so slightly you know, maybe in the highlights so it's just like it's subtle you know um and that's you know there's so many different things that you could play with like you play with this module and the problem is is that you can literally spend an hour just like, you know, creating one pre set you know it's like fine shane things and because as soon as like you move these you know you gotto like balance it was something else but it might be disappointed kya look that you're doing as well all right, so also under profile this is where if you're using the extract color checker and do those, uh two photos and produced that's where you can actually put your camera profiling as well and you'll just get another ten percent improvement upon what you're doing as well. All right, so what you gonna do to create a preset is pressed the plus button and just now if you want a global preset you just keep it everything checked. All right? So if you're swapping from one look to another but if you just want like the things that we change so we changed highlight shadows why points of black clippings we changed uh what did which is returning and we also did a bit of color adjustment and that was it so what we can do is we could say new photo we just quote creative live spell it the right way so we got creative life and we'll put like just um color standard pop press create and then what we can do is go back to our live remote and just choose these two images there together going to develop settings okay and find creative live and a color stand a pup and we just adjust to that image see how is just like a little puppy you know that could be the hugest difference from just changing it from getting out of camera a swell and so I remember you got like free presets and you go free actions that you can just also you know, start your work fly with you know I mean so and then if you want more welcome to go to the store and we'll keep this store up for uh that just come for a little while sofa ways so they got all right so what about any questions I noticed that you were pretty liberal as you were going through and creating that pre set with, you know, changing the highlights and the shadows do you worry about poster ization ends there ah, a new area where you're like oh, I can't go this far and maybe I should back it off on this side yeah, I definitely, like and that's, where having a really good, calibrated monitor really helps. So I know where I've just pushed it too far or something, but sometimes we are wanting to push it. Did you see, like that, century old sort of, you know, look, you know, like that's pushing it fire, you know, I mean, to get that look, but there's, still all this incredible detail and everything like that, but we're not supposed to do that. And I said, I've just spent hours and hours, just like coming up, because I just love these old looks and and to be honest, I'm just too lazy. Teo, you know, like, going get out it like a full five camera and create them, you know, the main and, um, so, like, I just do it in presets.

Class Description

Learn wedding photography the Marcus Bell way! Marcus Bell is coming to creativeLIVE to teach how to prepare for the wedding, shoot emotional documentary images, and create the 'weddingscapes' that Marcus's clients love: a beautiful combination of wedding portrait and gorgeous landscape. Even if you're not shooting in majestic outdoor locations, he'll teach how to approach urban, boring, and common locations with fresh eyes, making the best of even the most mundane by finding the best light. Marcus will also teach what makes a good photograph and post-production techniques to create award-winning images and pictures that sell!