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Wedding Photojournalism

Lesson 27 of 34

12:45 pm - Editing The Album Photos Part I

 

Wedding Photojournalism

Lesson 27 of 34

12:45 pm - Editing The Album Photos Part I

 

Lesson Info

12:45 pm - Editing The Album Photos Part I

welcome back to Day three of wedding photo journalism from start to finish with job using right now, we're gonna handed over to it Rich Prue, who has been Joe's associate and curator of his images and post processing and finalizing all the images for the last six year. So we'll let you take it away and show us your photo shop magic. Okay, great. Let's do go, um, to right, The next group of images you guys gonna be seeing are essentially what we thought were We usually pick out images for the client to show what's gonna happen for their album images. And we always give the album images extra as faras. Just little tweaks here and there, making sure that nothing is distracting in the shots and maybe just a little bit of like Ghazi and Blur effect some a little bit of inaction. So we will now see what that looks like. Someone to go to my albums likes folder and I've also done a Z were talking about earlier in the last segment, I have put virtual copies of the images next to each other to s...

how you before and after what I've done in just light room. Just so I have something else to talk about, and then you can you kind of get the idea, and then I'll pull these images into a photo shop and hopefully will run smoothly. I just occurred to me that maybe it will be a little bit of a waiting period, but we could do some things. Well, that's what we're waiting. So here we go. We got these images air kind of the again. Our favorites so far. Um, and you'll get to see him all right, here, right now. And you'll get to see the before and after. And if anything, obviously, many questions come up about these, Um, go ahead and ask away. And then I'll also probably do a few of these, um, in light room and then in photo shop just to show you these have not yet been photoshopped. So these are just all you can do in light room, and then we could go even further, so there's a difference there. The groom hanging out. Get him in his. This is a moment where he got a gift from the bride, which was this little compass here. And he was really hit by. It was an awesome moment. Um, so you can see just slight adjustments here to make the image just to boost it a little bit. The little girl brought him the the gift, so then she wouldn't hugged him. Really cute. This is a portrait of the bride. You can see a little bit extra on the even yet and, uh, in the brush here. The breast stroke that I did. It's just a little bit more extreme than normal. This shot we saw earlier this is it. After a little bit of vineyard, a little bit of crop to kind of bring your attention in. We got them coming down the aisle after again simple vignette ing just to bring down the white up here and you get those guys. Here's a portrait of her that Joe did. And this will probably be the image that we use in a photo shop to show an example of what we can dio just in the details of the face, just to kind of, even though she really doesn't need very much at all, I could do some of the lines here and a little bit under her eyes, and we can just do a little bit of a smoothness. But we are going to bring it back a bit, so it's not gonna will go too far with it. And then we can bring it back because of the layers and Photoshopped. This one we also saw earlier, um, gave it a little color adjustment and been getting to make that happen. This one here while the dancers were a little too dark, and I wanted to make sure that we brought our attention in to these guys. So I did this one, one of Joe's awesome sunset images the before and the after what we do in contrast, and then this one's mine. I thought it was kind of funny because there's actually raindrops still in the lens because it's raining out there. But, um, yeah, I don't know. We kept it in there. For now. There was a rainbow. You can see it here. It's just barely in the shot. This is one image that did need a little bit extra attention as faras, the brushing and the vignette ing goes so you can see what happens when you bring the image down a little bit. You can really start to mark out. And then we got the bride and groom doing a little posey pose down here to kind of make them stand out just a little bit in this environment. It was so lucky to get that rainbow in there. Uh, crazy. All right. Anyway, I got a few dancing moments. First dance, no flash or fill on this one. Same with this. I did a black and white, and then this is Joe's. Um, I believe this one's been retouched. I think these both their kind of adjusted, but but yeah, this is with his frenzy fill light that he was showing earlier. So it's got a little bit of extra punch in there, and it's getting more detail from the light source again. You can see kind of the split tone lighting. It's not horrible to me. I don't mind. It's was there. And obviously here it's a little extreme, and they look kind of alien. So I wanted to make sure that it did look somewhat natural. Andi, attention is brought to where it needs to go. Okay. I got up on a table. I got up on the bar for this shot and, uh, was able to get some attention from the guys in the background to get in there and kind of do a fun moment for the bride and groom on the dance floor. Okay, so these air during the fireworks, the fireworks were just about to go off. I brought the cameras. I eso up to 4000. I'm using the 1.4 lens at 1.4, cause I think I'm far enough away from them that it's OK if maybe a little bit out of focus on this one. But it's not gonna be a big deal because its silhouette and for the most part, this the lines are sharp. This is a moment where I had to kind of be like, OK, look at each other because I wanted to get just a little bit of the sides of their face. Otherwise, it's just kind of this is a kind of a goofy moment there, this is the original while of fireworks were lighting them up, and I decided to do a black and white conversion on that, the kind of punch it up a little bit. That's crazy, isn't it? Um, And then this is Joe shot from behind. We got them to climb up this ladder. Which Onley Shelia would do this. Obviously he went up there to. But not any bride is gonna climb up a rickety ladder on the side of some truck. But we got him up there. That was awesome. And then we crop in for this. So this is again it's shot a 64 100. This is the 14 millimeter lens, and this is the same image just brought Weigh in and you can see if we go toe oneto one. Here, you can see some grain from the fact that have cropped in, but it's acceptable. And I have done some stuff to bring it down a little bit. So let's see, which one should we bring into Photoshopped first? Why don't we start with this one here and grab a few out? Um, which ones were really, really worthy of doing this? I like this one over here. He'll go to grid review so you can see what I'm selecting. We'll do a little punch on him here. We'll do this one. Um, this one I really like. So we'll do this one, too, And, uh, we could try this. This is already pretty much where it needs to be, but we'll get there anyway. Well, these have probably gone as far as we need to go with them. So we're not going to go too much with that. These air? Probably good to, um let's just bring what I have right now. Let's see. I could We're about to find out how fast does computer is? So let's pop on Photoshopped Let that load first just cause asking it to Kenbrell them over to photo shop and lode photo shop at the same time can always be a little bit of a pain in the butt. So now we're gonna hit edit in CS five and we'll see if this actually does it. If it doesn't, I can export. And then we'll do the J pegs. But as we wait, are there any questions? Waken bull run our Should we, uh, actually, uh, before you maybe pop over to photo shop, you folks are wondering if they could see the before and after on the same screen. Sure there is a way to get a couple of those images. Sure. Okay, lets get back here. I think foolish. I was gonna do its thing anyway. So let's see if I do this. And then I think this is all in here, right? And we'll get rid of the info so you guys can see before and after on him once Dio used to. Let's see, this one is a good example of Hello. Await. Forgot. Actually, this isn't even that great example cause they're pretty clubs. This one here might be a better example. Oh, gosh. So here goes no laptop. So in this one, you again you can see she was a little blown out in this general vicinity, So I brought her down and then was able to brush in the light in the areas that I thought it needed. Maybe that would be a good image to bring in a photo shop to If I have already selected that one, you can see these air loading in here. I love these corners, by the way, so that you can just kind of zoom out, be all trendy and flip out to one thing into the other. Um and that I think the new Mac operating system has an even more robust version of that, Um, here's another kind of side by side if it'll go for it. So again, she was kind of dark, but we brought her in a little bit again. Not so much that it's unnatural just so that the eyes draw into subject appropriately. Here is before and after. So there's one that you know somebody might go home, man, that's pretty blown out. But honestly, it's all in the range. You can bring us all down, no problem, and not lose too much as faras detail or or, you know, the contrast doesn't go down very much. You can just select out highlights and bring that down. Actually, I can show you what I did. If we go to the develop module, um, seal, you see the settings here, all standard, all set to nothing. And then here we brought down highlights. We brought down whites and that a little bit of the contrast. And then you'll see my brush here is pretty much right on her face. But it's not even all that noticeable. Is there a vignette on this one? Nope. No vignette and going on, very straightforward. And so we'll take a look. We might get rid of a little bit of the rose, a nous here and clean up a little bit of this. I'll show you guys right now. Let's go to her. There she is. All right, so I this how I do it. A lot of people I don't know may know there's 18 different ways to do anything in voter shop. That's kind of why it's an awesome program is also why is extremely intimidating when you're just getting into it. What I typically do is I duplicate the layer of the background, right, so I have a duplicate, and then what I can do is make my adjustments on this layer, and then I can bring the opacity of this layer down to wherever I want. So let's start with her face and let's see what we can do here first. There's a little bit of lack of sharpness that I'm seeing now that we brought in a photo shop. So I'm just gonna go ahead and select around the eyes cause these air what we really care about when it comes to sharpness, I'm gonna refine the edge of this, which means I'm essentially gonna feather this selection. Right? So let's find a settings here that make this right. We're gonna bring the feather down quite a bit. So you see how you can You can do it really know edgy, but don't want to do that. You want it to be nice and feathered out to the point of not not seeing the blend. Essentially. So you've made that selection. Now I'm gonna hide that selection because I like to hide it. So you don't see this Command h and then we have the every We had the layer already. So we're gonna go ahead and go in here. I would like to do on sharp mask, right. And these adjustments are pretty standard for what I do. We can bring this up a little bit more. What? I'm just the one thing to do is always take a little bit too far as long as you have a layer, because then you can bring it back. So I'm taking it just a little bit too far, and you can whips and then you can hit the little eyeball and you can see the difference. It's actually pretty big difference. And we're gonna bring this down to maybe 66 or something before it starts to get too grainy. So we'll just kind of find a spot in there that still looks kind of natural without it being too much pain in the butt. And then I just flatten the layers. You condone it this way, merge layers, or I typically just do shift command and e which also merges them down. So we got that one. Now we're gonna work another one again. There's probably some other way to do this that, like you just keep adding layers and layers. But I don't. I just prefer her doing this way. So now we're gonna do under the eyes. I have the healing brush and the opacity. Is it full on this layer? And I'm gonna go ahead and go into her eyes and just kind of clean up a little bit under here and again. You can go as far as you want because you're going to bring it back down. This. You know what? This brush is not exactly how I'm used to it back home, and I'm not entirely sure how to adjust. But that's our It's not that different. Either he'll be fine. We'll continue on with the I grab a little skin and you see, I'm constantly changing my source plane from where this is coming because I want to be able to grab an amusing option by the way, to do this option grabs a target point and then you can kind of find a way to deal with those. So we got her in here. We wanted to look pretty normal, even though it's gonna look kind of weird at the same time. You can see the difference here. It looks kind of bonkers when you do it like that. So what I can do is I'm going to go in here that looks kind of flattened out and that I could bring this capacity back to the point of where the lines were still there. But they're just diminished a little bit. And again, she is not a great example because she's got great skin and doesn't really need too much of this. But you can see there is a difference just a little bit. It helps soften just a little bit on that. So we're gonna go ahead and leave that going to come down here. I'm gonna get completely rid of this little rose. A red mark here and then even that I could bring back just a little bit because you wanted to be natural skin tone. You don't I always say, don't do 100% because somebody might notice. That might be like a whole man. You missed it because you were 100%. He was really obvious. Um, again, I don't really want to do too much. I'm gonna do our necklines here just cause they are a little bit stronger, so we'll go ahead and take care of those two. She's not watching right now, Is she Great, if you like. Come on. Me and all right, So we're gonna go ahead and grab these out, and then we'll bring him back a little bit. Same idea. Just leaving you. Hey, look at that. I can this thing get out of here. I don't want this. Cool. All right, Mikey. Structure now in the bottom left corner for all of you wondering. Yeah, We're gonna go grab these out, too. Having fun yet, guys. All right, so now we got black lines going, and we'll just show you what before and after is like and then we'll bring him back because they got to be there. They just don't have to be as intense necessarily. So what we do, like 50 or 45% Somewhere in here, there, there, but still looks natural. It doesn't look like we went crazy or anything. Um, and we're just gonna flatten that later. So the next thing we could continue going, Obviously, the more you zoom in, the more you're like, Man, I could retouch this for hours, but we're not going to do that right now because I want to move on anyway.

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.