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Wedding Photojournalism

Lesson 29 of 34

1:30 pm - Editing The Album Photos Part III

 

Wedding Photojournalism

Lesson 29 of 34

1:30 pm - Editing The Album Photos Part III

 

Lesson Info

1:30 pm - Editing The Album Photos Part III

I'm gonna go ahead and bring in a black and white because I actually want you guys to see there's this one black and white action that I used that specific to the photo shop actions. Speaking of importing from light room to photo shop, are you importing as a PSD or tiff tiff? I believe I typically do, although for some reason, these air coming in as any F files, which would be in raw. So I didn't even think that was an option. Yes, they're supposed to come in his tips. Um, well, we'll find out in a second. You know what? Maybe if I go over here, it'll tell us that I've saved one is a tiff file. And also do you know if they're coming in a 16 bit or a bit that I think re stick with bit and I You know, I guess just because we might as well keep it in 16 bit. Yeah, they do come in. It's tough because then I save back in photo shot Burton light room. Here is a tiff file. Um, but I'm pretty sure I have the settings on 16 bit. Yeah, we can check really quick, but I'm pretty sure we dio exter...

nal editing 16 bit, so yeah, they're probably pretty big files. The funny thing is, a lot of the time these are just going to get end up in J pegs as it work is that proves there always J Peg, um, we hot will have the tiff file if we need it. If they decide they want a big print, we have no problem. It's still here so we can go ahead and use that to make a large print, that kind of thing. So again, this image here, this is a black and white. This is of them being lit up by the fireworks. It's already pretty good to go, but I do have this kind of infrared adjustable action and let's see if we can pull up the full title of it here. I did download this one from some site. I don't think it was like a big pack of images. I just searched infrared actions because I wanted one. And then here, all the settings for it just so you guys can see for later. Got a diffused glow is kind of the main setting on this action, and it only really applies to black and white. If you do it in color, they end up all kind of funny. So you already do the black and white conversion in light room you bring in here, I will hit infrared and we'll see what happens. I have it set. I wanted to create a new layer. The original action didn't. So I'm gonna say, Don't flatten my layers because I want that extra layer. It's gonna go ahead and bring up this diffused glow setting and again, these the settings that I've put in and we'll find them here somewhere so you can see it's got this crazy kind of glowy skin translucent effect to it. And it does go too far, and it's got some grain going on, too. But again, we're just gonna bring this back. Sue, We got them here. There's our difference. It kind of blows out the whites a little bit, and it kind of goes a little nuts, but it's OK because we have our eraser tool selected, so we're gonna kind of get rid of it on some of her. And this may not be the best image for as an example. But you know what? We're gonna go out and go for it when erase her dress out of this because it was blowing out too much, and then I'm gonna go ahead and bring it down. This is just to add a little bit extra. And some images react to this a lot better than others. Dio. So you can tell this is kind of given her an extra little bit of, ah, punch in her highlights, but not so much. So we've added a little bit. I'm gonna erase it around the edges too, cause it's kind of lightening up my vignette. I kind of like to live in yet where it wa So I'm gonna go ahead and racer all the way around the edges. Okay, so we're gonna wait for that to do its thing, and then we're gonna flatten these two. When I found you, I think that looks pretty good to begin with. When I go ahead and flatten those, I have another. I'm gonna go back to the dream one, and we're gonna punch it up with this. And I may hate it because it's too much, but we're gonna go ahead in a race around their heads. I have no idea how big. Oh, yeah, the brushes big you got and then we're going. Teoh, check that. Right. So I like all of this. I want to keep some of this cloud going. Someone kind of, like dodge it essentially. But what I'm really doing is erasing that action. I'm gonna bring this tree and just a little bit down here, Bring this cloud back a little bit right there. And then we're gonna bring this way down. Yeah, I'm gonna keep checking it and bring it back because we don't need it so much. Hopes? What? I just deal a rich quick question for you, sir. A handful of photographers will sometimes add noise or grain right after the fact to get, um, or film like effect. Is that something that you do not typically. I mean, um, in my black and white conversion in light room, I up the sharpness just a little bit. Which does, in a sense, add some grain. Um, but no, not really. I mean, if there is a photo that's really great to begin with, there's not much you can do. I mean, here You can see there is some grain in this shot in the end, but it's not extreme. Um, and even if it were, I'm not too upset about a lot of grain. Some people at it. Yeah, I understand that, too. But now we don't typically add Grainer or we do a little bit of reduction, depending on the image. But over the days where we embraced grain and what you don't like 3200 speed film, Joe still does. He brings his 3200 film every now and then to gig, and, um, it is wild. It is totally wild. Um, and that is so funny, cause when you bring in film and you work on it digitally, it is really hard to use things like that, um, the healing brush or the clone stamp cause the green is so intense that whenever you try and, like, clone something out, it grabs from, and it's like it thinks there's an object there because there's so much great It's wild rich about how what percentage of images do you conferred to black and white? And that's from pro photographers and many, many others. Yeah, that's a great question. depending on the client, it could be anywhere from, like 10% to 20%. I don't think it ever goes up further. 20% of the images. Um, usually it's like, yeah, maybe if it's 1000 images were turning in, there could be as little as 50 or so that we do to black and White, where there could be as many as 250. So depending on the client, what they like And also, depending on the circumstances of the images, Yeah, it's rough. It's rough. Rest estimate in there, but yeah, so let's see, uh, trying to think. Is there anything else I could give you guys a really good example of four. This kind of work? How about this? Um, I mean, I can continue on we can do. This image in photo shop is well and kind of show what we can do with the action that I'm using. And if there any more questions, Definitely. We love. I'd love to answer, does cause, uh, cause this is kind of winding down this far. Absolutely. There is a question earlier about when you are editing here in photo shop and you flatten the layers and then convert to J. Peg whenever the client wants something different. Are you editing the J Peg later? Typically, yeah, because we've done all the adjustments already. I can use the J peg or, if it's they're definitely circumstances where you want to use the raw file instead. For example, if if they need an image darker and it's a blown out image, then you need to go back to the original raw file and you can start from scratch. Or if you're going to go from black and white to color. Obviously you'd have to go back to the original image because you've knocked out all the color from the image. But but, yeah, um, a lot of the time we'll just use the J Peg that we've already proved out to the client. But it really just depends. It depends on how much detail you need to bring back for the adjustment that they're requesting. Um, a lot of the times will have to do like eyes if they're formals. And we didn't catch that somebody was blinking and it just went through when he didn't catch it. Then sometimes we can, if we have to take the eyes from one person, a different photograph, the same person, rather from a different photograph, and placed them in using photo shop and a layer. And then you race around. I can show you guys how to do that if you want, but, um, But for that example, I would have to go back to the original images. Actually, no, I wouldn't. Because if we proved amount to Jay Peak, there would be two probably shots if we didn't, if we'd eliminated one, and then we kept the other than you would have to go back to the raw files to grab the image. But when the most part, we just make adjustments from the proofs. Got a question? Yeah, right now is shot. I don't remember seeing the flash going off for anything. So is that all Ambient light actually know this waas used this is Joe with his frenzy again. And he actually had his assistant, Kate, walk up closer to them and like them with the video light for the shot. I know it works out, right? Yeah, because the flash would have I mean, it would have a whole different effect. The smoke over here might have gotten illuminated a bit too much or would just be a little bit flatter. She was at an angle. She was probably down this quadrant here, shooting up with the light over over this direction. Or maybe it was this way because the fall off on this side. But that's his video light lighting them up. And the the fireworks are naturally lit by explosions. So again, I use the same kind of dream layer. But again, this one here not too much going on to really making a good example of it. So not too much needed. I mean, this is straight out. We don't need to do too much to it. Toe. Make it that great. I did want to make sure, in light room that the grain was kind of to an acceptable level. Um, this can print probably pretty large, even still, there's grain, but it's not. I don't find it too horrible. I don't find it too distracting. There are ways that we could reduce this further if we had Teoh. See if I can figure out a good way to do it. That makes some sense toe everybody, but we would really need to do is find a way with the healing brush to kind of create our own flat, clean area. But it doesn't look like it's really gonna work in this in this example. But no, I don't think we really need to get rid of it. I don't mind it too much groups will save my not let's see this image here. How do we go back? And we'll start this image from scratch so you guys can see another one of these from the beginning. So there's the image from scratch. That's what I did to it. But we're gonna go ahead and retouch this year in in light room, and they will bring it over to photo shop. So I'll do the post crop vignette. I'll bring the brush back in, and hopefully it will live it up for us. There we go and do a little bit of a brushing it on him. We're going to check our kind of dress by bringing down the shadows and the blacks a little bit. Do this a little angry on this contrast to check him for sharpness, which will be good to go a little bit of grain, But it's really not a big deal at all, because we're super super is even in. Okay, I think we got this pretty much where we need it for. Let's see how it compares to the other image. Okay, this was a little bit flatter. This one's a little punchy. I did this one the other day, but yeah, we're gonna go ahead and use this image. We're gonna add it in photo shop, and we'll see what we can do with this because this one could be punched up a little bit more if we wanted Teoh, and we'll use that action to do it.

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.