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Wedding Photojournalism

Lesson 25 of 34

11:15 am - Proofing Part II

 

Wedding Photojournalism

Lesson 25 of 34

11:15 am - Proofing Part II

 

Lesson Info

11:15 am - Proofing Part II

rich. Just to let you know Marty in the chat rooms is letting you know that you have a serious fan club in the Internet way. Let's see if we can break your website. That's great. So I noticed that you crop the photo before editing. Is that always not always right here? I just did it after I noticed that I mean it just like you say, Fly by your seat And, you know, I'm sure someone's again being like Dude, you could probably do it faster if he did it in this order, but I just want to do it as I feel it, because that's that brings the energy into the image to do. And are you always cropping from the raw file in light room? Or do you ever crop? And um, no, I typically do the cropping in light room. I mean again, if there's for some reason later, I go well, if I could only have cropped this earlier while cropping and Photoshopped or something. But you'll find that most of the images don't even go into photo ship. I mean, really, it's only a select few that we take into Photoshopped for spec...

ific reasons. Um, so, yeah, I do all the cropping before anything else? Um, or somewhere in the middle, but yeah, like this image here hardly needed a crop. Hardly needed it, But I did it anyway. It's just important. I don't want This guy's like, there's a nose over here. I can see it. It's tiny, but it's out of there. And there's just a little bit less of, you know, there's more of a kind of flow to the image this way. So gotta do it average, Yes. Do you ever sink your edits? Sink my edit. Meaning once you added a picture, sink it with other similar images. Um, you mean like, as far as the order of the images are concerned Oh, I know you're talking about. I'm sorry. Yes, I know exactly what you mean. She's think, of course. Yes, I do. You're not seeing much of that right now because because I'm not necessary. Not necessary for these, because these are all kind of different. I guess this image in this image are pretty similar. I could have You're probably right. Saved a second here. Well, let's try it. So we're gonna reset. Go back to this image over here, So Okay, we've done the adjustments. He's in this corner of the image, but, wow, so is she. How crazy is that? Let's see what happens if I grabbed these out and sink them. I'm gonna select all. Sometimes I unclip crop sometimes on click local adjustments. In this particular case, we're gonna leave him, so synchronize this image gets the adjustment. Um, it's a little brighter than it would have been. My adjustments earlier were better, but I can always just bring it down on Guy can always check what where the tools are. Because I know I had See, here's and brushes that I don't need on this image. So I'm gonna get rid of those and leave this one here. And this one you'll see is mostly on her, cause it was where it was on him. And I can always adjust this brush to to this image specifically. So yeah, I do sink. The other thing that I could have done instead of sinking was hit this previous previous button. So instead of selecting both images, I could have just moved to the next image. And then I hit previous and that does the same thing. Only it sinks every single thing, including, like spot adjustments. Like if I had grab something out of the other image that it would totally have brought the spot adjustment in this one, which I don't necessarily want. So I typically use sink instead of previous um, for the formals. I'll definitely be sinking, Michael. I'll do a very basic color adjustment and light and color correction. And then, if the formal zehr always uniforms they're supposed to be as far as we shot them, I can sink a whole ton of them at once. I do even more sinking if it's like a person's portrait's or headshots, that kind of thing. That's really easy. Just sink and sink and think you'll just find the sections of images that you can just throw together. Sorry, singlet. What is he talking about? All right, one of the most important things in freakin light room. All right, so this image is a little hot. We're gonna bring it down, bring down the highlights so they wouldn't get his shirt in the range. Maybe the whites to just to see what that does, Bringing a little brush adjustment that it will bring these guys up a little bit here to you'll see the computers bogging down. But that's all right. And bring the blacks and then looks pretty cool. This one actually could be a good contender for a black and white as well. So let's try it. Let's just see what looks like. You'll notice it has something to do with reflections I like like reflections in black and white. So we got a little sparkles and little highlighting things here black and white. Kind of makes it look really neato. Okay, so this one, we're going to get rid of her eye. So we're gonna cropper in. I guess we'll leave this guy. He kind of Even though his face really isn't in the shot, his angle goes along with bringing the attention to our subject. Uh, let's do that little thin vignette, this one here. And then we'll bring her down a little bit so that we can bring the whole image down and rash brush pros brush those teeth pressure. Okay, All right, that's good. We'll bring him in a little bit, too. And then it's a little under contrast, so I'll bring down the blacks, and we'll bring up the highlights of the contrast for the exposure. Losing track. Check for sharpness just in case. But I think we're in good shape. She looks happy. Um, framing on this one is pretty much where we want. It s oh, we don't need to crop it. Bring up the contrast. A little minute under exposed cause I'm going to try and make sure that we balance these two guys out. She's a little bit darker skin that he is, Obviously. So we'll bring her in a little bit and balance them out just a little also, because she's more the subject than he is. She's in that quadrant, definitely under contrast. So we'll try a couple things here as far as bringing down the shadows and the blacks and then bringing up exposure to where we like it. That's pretty good. She could probably use just a little bit more. I'll use the same brush and maybe I'll do contrast specifically on her with that brush adjustment. So there we go. Next. Got a detail? Um, all right, let's use a vignette on this one. We're gonna do the post crop one, which brings it in significantly farther in. I can even bring this in. Like I was saying earlier, I could bring the midpoint so you can see how this is doing it. I don't know if it's shown up. Yeah, totally is. Okay, so we'll bring the midpoint all the way in. And, you know, we can bring this all the way down if we want, And then I can again use this brush. There's gonna be using the brush a little bit differently. I'm gonna go around the edges to bring out these flowers around the edges. You can see how this creates a custom in yet it's not just a vignette. It's now got in a vignette specifically underneath, but not so much up top. And that's cool cause it's, you know, it's not. It's not some out of the box, and yet we're using. We're actually doing a custom work on that, too. And let me just show you the before and after, because why not? I do this and we can just hit, undo, see the difference kind of a big difference. That's wild. Something distracting me over here just cause why not? We're doing this, so get that out of there. All right. Moving on more of the text thing going on here? Um, yeah. You know, we want to be able to read this so I could do a little bit of contra A little bit of clarity, A little bit of sharpening because there's nobody's face is involved. If they're feels phase involved, you gotta be more careful with the clarity and the sharpness just cause, you know, people's faces people get more sensitive to faces than they Due to things like text a little bit of the vignette from the sides. We're good to go. There's another detail this can use probably. Ah, this one. This thin vignette. You can really see it here because of the way the light is hanging out. Um, you can see how thin that is. I don't really like it to be too obvious again. I'm gonna bring in the mid point and then bring down the highlight or the amount of that. And then maybe a little highlights he up like I was saying, I never I'm always just doing this alone in the studio. This is so cool. Be ableto hang out with you guys and show you what's going on. So let's get her out completely. We're gonna leave. Obviously these two find this little spot in here, and then we'll do this to bring down highlights a little bit. Really good to go. Actually, this one didn't really need too much. As far as adjustments are concerned, that's we don't even know if I like enough to keep. But let's let's keep it in here anyway. Because who knows? Um, Rich, I was gonna just please. I was gonna joke around just for a second. That was our own cl Susan, who works one of our host here. So I think you need a lot more work on that one. Yeah, just a lot of working out. Yes, she is in the back. I'm going, Dude, come on, help me. No, it's fine. That's hilarious. All right, so we're gonna brush in this one, as you can see, and then, ah, you know, that did a pretty good deal of adjustment to that. Well, uh, we'll leave the rest of it. Okay? So this guy, I'm gonna crop this one. I'm distracted just slightly by the angle of this door, not matching the shot So I'm gonna tilt this by pulling the crop tool out to the side. You'll see the second you start tilting, you get this big grid. I don't wanna lose his shoes that we don't want to lose his shoes down there. But I am going to crop it to the tilt of the door jam here, and I will bring it back down to his shoes and we'll bring it back up. A Sfar a Zittel Let us go. So now it's just got a little bit less of the tilt on the edge of the photo. We're gonna do that. Same. I think we'll try this vignette on this just to bring this door jam down without messing with him. And then we'll bring this down and paint him in. This very well. Could be an image that we don't end abusing because the subject so far over I mean, it's kind of cool. I like him. These guys over here kind of not doing much. The other option could be boom to a vertical on this, but again is kind of not really. We might just eliminate this later because even if I do a vertical crap It's just kind of a funny angle, so we'll leave it for now. Whoops. Hello? Let's reset the crap and we'll just go back to that till you finish it up. We will leave it for now, a little under. But that's good, because I don't need to bring it under to do this brush. So just let the brush load whenever it decides to load up for me here, Come on again. I'm gonna start big and moving and movin, movin, and then I'll do a little bit of a drag and then we'll do the contrast. Uh huh. This guy's heads distracting me. So well, crop amount is a very simple little crop just to make that little even. This is kind of distracting. I don't know if I want to move that too far in, because it will change the framing, but I can. It's actually not that big a difference that'll help just bring our image a little focused earlier. This guy, let's take care of him. He's a creative live, is he? Yeah, that's right. He's one of the creative lives, right? So we'll get a little vignette for him here and then this image again. We don't really need to do too much, So believe it and we're good. We got grandma over here and we definitely wanted to get her as a as a moment is we gotta get got to get these guys, the elderly, anyone. Honestly, I think a lot of photographers get nervous because, you know, it's it's a little bit harder to get the right angles or what not, But you have to make sure to get all the elderly people because they're the ones who are going the furthest to get there. They're the ones who are going out of their way to, you know, be at the wedding and, you know, it's just it's a respect thing. You got to make sure you got himself. Get her out there. I did get a nice shot of the bride with her, too, so that was nice. Later you got not too much that needs to be done. I don't I cannot claim to be the most inconspicuous photographer, that's for sure. People almost always see me coming. So this guy spotted me away. Out there was dual contrast. You know what? I'll bring her back a little bit because we don't want her to look too muddy. So and Richard, these mostly with 85 this is actually the 70 82 200 that I'm using. And then I think Joe's is in here to, uh let's see Joe's. Yep. He's using his 72 200. So, yeah, for ceremony. That's what we use for the most part. Just cause then we try to get the candid moments where they don't see you coming. So you got a longer lens, but he's on me. So did she saw me. But it's all right, because even when they see you, hopefully they smile or you have a little moment of some sort. Well, John corner cello was probably just trying to check out your equipment, See what you're using. Yeah, This guy here? Yeah, that's our one of our instructors here and got in there. I love that. All right, so just give a little more boost in contrast, and then we're going to go on her. These guys obviously totally saw me, but that's all right, because this is kind of cute. We got a little too up. Bring this check for the sharpest cause I'm actually feeling it. Maybe not as sharp. Now. It's alright. We can give this a little extra. All right, Cool. We're gonna go with tent just a little bit. I noticed it was green. Um, let's let's show you guys, this is the hardest part of color correction and and exposure. Correction is the color, and it comes just with plenty of experience trying to figure out the skin tones. Got a little bit agreeing in. It might very much, but I just make a slight adjustment in the magenta and it takes care of it. I know it's hardly noticeable. Let's see. Is there wayto so the before and after here without doing the whole thing? I guess I have to do holding. So you see, it's got just a little bit of green to it, and we bring it back, and then the skin tones air. OK, so Okay, here we go. Fruit. Don't miss out the fruit shot. I don't know what we're gonna do with this thing, Cove, and yet I want to lose the top of it. So paint the top back in. That's fine. You know, Not a big deal. We got to get some of these details. Okay, here's an image that's got some blown out in this two. It will bring down the highlights. It's OK that it's blown out, but I want to see some detail in here of the strangeness of this lovely curtains. So we'll do a little bit of that beginning under exposed a little bit. Um, it's driving yet. You see, this is super obvious to me. I don't like it. If I'm gonna leave it, I'm gonna bring it way down so that it's just kind of there a little tiny bit. Bring that down. This image also is a little cool, So bring up the warmth a little, just so it's pleasing to the eye. It doesn't have to be correct. Necessarily. What I want is for to be pleasing to the eye. So you know, if someone like home that's supposed to be cool, well, I don't know. I kind of like it to be just a little bit warmer, and that's, you know, it's my prerogative in this particular case, I'm gonna do it. Um, let's see what happens when I bring the shadows down a little bit kind of brings this area in here down so that your focus goes to this and a little bit, too, that there she is again. Try this one, yet it's a little bit too much, so we'll bring it back with the adjustment there. Get rid of that, her down a little, bringing the tool, a little bit of the brushy brush, and we're pretty much good on that. Bring down the shadows. Bring in contrast and she's armed. Gotta love it. Another detail. This one could use a vignette up here. But if I bring in a vignette, it'll bring this down. And I don't want to bring this down because it's the subject. So I guess in this instance heck, I'll just use the brush tool. So here's what I'll dio. I will use my standard adjustments because if I adjust these too soon, it might save them. I don't want it to save my job, so I'm actually gonna make this brighter, so I know exactly where it is. But it's the opposite of what I actually want to dio. I want to make a darker so now I'll go ahead and bring down that I don't want the contrast in there I'll bring down the brightness After I brought down the brightness. I can continue to paint in kind of where I want it. I can also erase just a little bit on these flowers. The adjustment I just made because I want them to stay kind of part of the subject. And then I can bring the whole image up in contrast and exposure. And I think I might do it one more time just cause I want this very edge to be a little bit less extreme. So you know, it's a simple shot. Some people may go, man. He's spending a lot of time on a simple shot, but I don't know. It's I'm teaching, and I actually kind of like the adjustments I made. So let's see what it looked like before and then after. Not a big difference, but how do I do? How do we do it? Radio. So it's redo is control shift. Okay, so that's that. That's that. You see the difference back and forth. I think he may have seen me since since you mentioned time spent on the photo. About how much time do you think it takes you to edit a full wedding. I mean, again, it depends on how many images there are and how much like dancing and craziness And how many photographers that were using. Um, but yeah. I mean, I think I said it earlier was something like 10 hours or so for two photographers. That's after they've been edited down. This is just the retouching portion, but maybe 10 hours for two photographers on Ben. Export and burn also take some time. Um, but yeah, that's probably ballpark. Um, if I was in the price is right, I would totally lose cause I'm bad at estimating, but yeah, that's pretty much it about that much time rich. So money these creativelive courses is just white balance. White balance. You get it right in camera. And you know, I'm watching your just pretty much just doing it to feel to skin tones, right? That seems to matter. Skin tones are the most important for this kind of stuff. That's how I go anyway, um, so, yeah, I just go until it looks right to me. And sometimes it does take really my new little adjustments to do that. But like, you know, someone, someone could say Oh, well, I want. And I just use this tool here. This is the eyedropper and he's got white on, so I could just hit this, but see how green it is. I don't know why that would be. It's a white source. It's a white point, but that drives me crazy. It's not. That doesn't look right. This looks good to me. There it is. I don't want to use the eyedropper tool necessarily. If it's really, really far out. And sometimes I want to get close. I'll use the I drop tool and I'll use a white point and I'll find what's close. But then I'll still probably adjusted to what ends up being pleasing to me. And when you're on location, you guys doing any white about any card shooting any, you know, color of cards. No way. All just trust the cameras to do their white balance auto. Sometimes if I'm doing, for example, a detail that's only lit by orange light or something, I'll go to Kelvin Mode and I'll bring it down to like, super low 2500 K or something. But, um, that still I'm gonna foot so that here anyway, So the more I do on location, unless I'm engaged in the wedding, What's going on? That kind of thing. That's kind of the general rule of thumb. Just stay with the moment. Let the cameras deal with most of it. I mean, you know, there are definitely things I do in camera toe. Make the shots work. I mean, I shoot manual Joe shoots p mode, but he knows how to shoot P mode in a way that I wouldn't be able to do. He just he knows how to lock the exposure on one spot that he knows is going to be right in the range. And it does allow him to shoot a lot quicker and freer if he's going inside outside, for example, he doesn't have toe get too concerned about losing a few shots. Um, I should manual. It's just how I do it. Um, I like to think that the harder I'm working, the better I work. That's why I do crazy things like that off camera flash, because I'm working way harder, holding the camera with one hand, and sometimes I have a longer lens on and it's heavy, but I'm just and I have the flash in this weird spot every time, and it's always adjusting, and I have to think about that. I have to think about this. I have to think about what's going on and again. It's just the more involved you are with the work, the harder I think and the better. I think you're gonna end up working. Um, that's why you know, whenever someone's like, Hey, what lens should I get? I'm just starting out 50 millimeter, not expensive at all, and you'll be moving your body as opposed to zooming like this. So just move your body around and get involved, and that's I think that's the best way to kind of get into it. We're doing a little brush here. I'm gonna do that vignette from the side so that this comes down a little, and then I'm gonna bring the contrast down

Class Description

Learn everything you need to know about telling a gorgeous wedding story from start to finish using photojournalism techniques. Award-winning photographer Joe Buissink will guide you through the process as he shoots a longtime creativeLIVE employee’s real wedding, live and in real time.

This three-and-a-half day course will begin with Joe posing, lighting, and shooting every step of this creativeLIVE family wedding — right before your eyes. You’ll have a front row seat as you watch Joe’s unique style in action as he deftly captures the portraits his client expects while still documenting the overall chorus of emotion throughout the day.

After the newlyweds head off to their honeymoon, Joe will explain why he made certain lighting, posing, and angle choices during the ceremony. You’ll learn his techniques, workflow, and on-the-fly tricks for dealing with unexpected developments. This intimate, interactive experience will invite you into the creativeLIVE family and empower you to photograph weddings with the eye of a photojournalist

Reviews

Carlos Zaldivar
 

Joe Buissink, Thank you for share your out of this world wedding photography its be on great,I just love it. I look up to you every day I do a wedding. I have yet to meet you but some day I will. I took conclave in April 2013 and wished you would have been there. My favorite wedding photographer is Denis Reggie which has become a friend I just love his work also. Between you and him both of you I look up to and hope some day I can be as great of a photographer just like the both of you. I just love to be a wedding photographer. Thank you for share such great information and course. Carlos Zaldivar Carlos Zaldivar photographers www.carlos-zaldivar.com

Jessica Lindsay-Sonkin
 

This is one of the more slower-paced courses I have taken on Creative Live. I ended up watching the videos over a span of about 4 months, but enjoyed every moment of it. Watching Joe and Rich work is a beautiful dance. I love Joe's philosophy and he instills a calm spark in all that he does. The way he looks at angles, approaches situation and works with his clients is mesmerizing. I highly recommend this course if you are looking to be inspired by wonderful philosophy and to gain valuable insight through watching a master in action.