Editing Questions and Answers


Wedding Photojournalism


Lesson Info

Editing Questions and Answers

Lots and lots of questions about noise reduction, both shooting on hi s o okay, how do you balance noise reduction and sharpness settings in between? Like, when you're shooting so two hundred versus so sixty, four hundred? Sure. Well, when you're shooting at s o two hundred, I wouldn't really find it highly ever necessary to worry about noise reduction, but when it comes to an image that is shot at a very high, I s o, which, you know, we can probably go into the library and actually filter here by esa is not correct. We go in here and hit, do you both generally shoot the same s o during a winning? No, not necessarily that just always changes by based on, you know, whatever is going on, so we'll go ahead and select out these air, the sixty, four hundred images actually hold on one second, I'm going to go back tio the originals holder, and then we'll do the same things meta data and we'll do sixty four hundred, and we have a bunch to pick from here, and we'll see which ones are like unde...

rexposed and going to be grainy, so we're going to find one of the harder images to your lies um, all right, well, heck, why not? So this image here we may not even use it because it's pretty weird and a little bit out, but we're going to go ahead and see what we can dio to bring it up to an acceptable level it's green so we're going to go ahead and check our color calibration you can see is totally it is grainy, you know has definitely got that going on. We're going to bring this up to a level that I think the skin tones look pretty decent and that is an extreme example, so bear with me, all right? Let's, take a look at it from out here, we're going to do a little bit of a vignette just cause I want to be ableto we're gonna bring that down a little ok to do what I s always has taken. This was sixty four hundred s o and this is with the cannon mark three five mark three so we do have some grain and we can go ahead and try out some noise reduction on it. Actually, that looks pretty good to begin with. I went to twenty three. You know, the further you go obviously the funnier it's going to start looking if you go way too far, they just look like they've been created with crayons so we wanted, like you say, balance out the sharpening with the the noise that we're finding to be unacceptable for a principal image you can go a little bit further with the noise reduction if you bring up the sharpening to kind of balance it out and it's also kind of just trial by error I usually try and find that nice area in between where yes sure there's a little bit of grain but we're not getting that strange effect of too much noise reduction so I probably would stick around here and you can see before and after by clicking this we can sew this completely this is actually sorry so this is it without any noise reduction of all and the camera's air defaulted to set it up with a certain amount of the color noise reduction so you can see without color noise reduction you can see all the little ditty dots and here they're red and weird and awkward colors purple and green and it's just wild on dh you can change that specifically with this color one and I'm pretty sure almost all cameras come with this or at least all light room presets come with this as part of it that this has already said that the twenty five percent so I bring it all the way down you'll start to see these colors come back in and it looks really awkward so that's a good tool to know if you ever see that happening you can always bring this up higher and it doesn't usually make it look too weird even if you bring that up higher this one however the luminous is the one where it can start to get too far so you know it's about finding that spot that you're comfortable with giving the client and that they're going toe not hate or mind too much um this image still needs to go a little bit further in order to make it kind of even worth giving to them so we're going to go ahead and paint in a little bit of light in here and then we're going to also check again after we've painted in some light will have to check the grain because the more you bring up the exposure of the grain of the more adjustments you make in general did typically becomes more and more obvious the digital nature of the shot bring down here and it's kind of too much bring it up here and we're probably in good shape so there's an example of it anyway and yeah you can go back and forth between noise reduction and sharpness to kind of find that and it's just play with it I would just play with it until it's to a point where you're like ok I could hand this in and they could print this you know at least with this image they could print it eight by ten or eleven by fifteen you'll be okay when my fourteen um if they want to go any bigger than either you say well maybe shouldn't or you can say well okay let me look give it another look over and you can really get even more intense with it but for the most part I think this looks pretty good mmm mmm umm see you now I'm going to go ahead with this one and we're going to see what happens when I turn on this little boosting action and we'll see what happens here we'll give him a little dream effect question about clients today ever specifically request certain types of retouching from you over sure absolutely yeah I mean, there are certain things that I'll easily let go and they want well, you know, this one side of my face has this one thing and we really wanted to be gone in every single picture that we're using for the book can you do that? Absolutely it's not there's no question about taking the request and going ahead with it. Um so yeah, we've got a lot of people and you know, even what we're shooting there people who will say how would you know try to get me from this side as opposed to the other side and you know, we accommodate as best we can if there's a moment that's happening that's not from that side I'm still totally taking the picture it's just gonna happen but you know, you just buy a client by client basis, you try and, you know, deal with their requests and keep people happy, and for the most part, it all works out. But yeah, for sure we get specific west's absolutely question from pro photographer wondering how do you handle scars or imperfection on a client's face? How do you know what to retouch and what to leave alone? And also probably because it's a wedding there's many, many guests there and what if you have a lovely portrait of a guest and you don't know their name and you can ask them directly? That's, right? That's, right? Well, with scars, you do have to be sensitive because if you get rid of it entirely, they're going to know right away they're going to like it. What I mean, you know, is that something I should be concerned about? I just put myself in their foot in there, I try and think about it from my perspective, if I have a scar, then no, I wouldn't want it gone completely. If it's acne, then sure it's temporary and for the most part it's temporary so I would say get rid of it if you have the moment to dio and just go ahead and take care of it for them because, you know it's just a temporary part of what was going on but if it's a permanent scar that I would leave it and you know if they request later either the client or the client's friend once a print and they say, hey, listen, can you ask the photographer for that to be removed? No problem, of course, but yeah, permanent stuff we leave we just I don't want to insult anybody by saying, hey, your scars awkward I'm getting rid of it, you know, it's it could be a a point of pride for somebody so yeah, you got to be really sensitive about that kind of thing and that's that's actually something that I had to deal with a lot when I was doing headshots for actors as well like a scar on an actor there trying to sell themselves too agents and casting burgers and you can't get rid of it if it's something that make up can take care of then there's a different kind of thing like of its acne or something that's just a light scar and they would probably have it done by makeup then you talk to them and say, hey, by the way, um so that's the difference between that and like a business portrait if we're doing portrait's for business people like a headshot for a business client, you retouch the heck out of him no problem I mean even scars whatever you can still ask him and try and be sensitive but they're going to want more retouching because they're not trying to represent you know what they're going to look like on camera anything they're trying to look really good in the photographs so you know it sze something you have to kind of go by base by your client my client but for the most part it's just how would you feel if it was done? You know, do you ever get a chance to have tto do glasses, glare and glasses? Yeah for sure I don't think they're really any good examples in here that I could do but you know when you're shooting if it's a portrait of somebody and they're wearing glasses you know, usually tilting heads down a little bit can help just a little bit of a tilt down and maybe pull the glasses in a little bit closer to the face because typically if you like outside or something the sky is going to be with reflecting. So tell the head down a little bit it's also kind of a flattering angle you don't want people being too much like gil what's up anyway, but yeah, and then sometimes I'll ask the client like if we're doing the formals or a really good close up I asked them sometimes do you always wear glasses um if they looked like somebody who just has readers on I'll ask you do you always wear glasses or do you wantto have them off for the shot and sometimes it'll be like I always wear them okay well then let's give money but if if they're a temporary thing and they're just readers or you know something they put on every now and then sometimes they'll be like oh you're right I totally don't want these in the shot because you know I want to be fresh faced or whatever without the glasses so so yeah as far as retouching the glare if you have to retouch it it could be really tough it can definitely be really tough because if it's going in front of their eye or their pupil than then I mean you can spend a lot of time retouching it and just making it look right but then everyone's super sensitive eyes when they're looking at photographs so if it looks a little weird it can get really uncanny really quickly but yeah there are ways to do it you khun burn it in using the burn tool and highlights mode right so you go in here to the burn tool and change the range to highlights and this will on ly d'oh let me see her I can show you guys on his shirt it's only do obviously the highlights that really bright parts of of the outfit and it will burn those in and obviously does a little bit of a graying effect, but if these were glasses and there's a reflection, maybe that's what you want to dio in this case I don't want to do that because now I'm sure it looks totally bonkers, but yeah, you can change it to highlights, and hopefully it will be able to knock it out a little bit. So I think I've finished with this image for the most part actually was going to leave this layer um the other thing with laptops, there's another reason why you really shouldn't be editing photos of retouching, especially in laptop is because depending on how you're looking at it, it can look way too bright or way too dark and that's just the nature of the screen a standard monitor has a lot bigger range of movement near it that you can kind of be around. You're not going to see a big difference, but these things you never really know exactly where that center point is that you're looking at a print worthy or calibrated version of the shot so it's just another top tip on that kind of thing, all right? Are there any other questions for this kind of stuff in there's a ton of questions, eyes just a matter of which topic are we going teo address right now all right, how about at the end at the end, when you have expert in j peg? And do you ever, uh you ever edit using dmg or proxy dmg ever back up you're brought to genji at the end? I haven't done that either. No, because wait, could I know it's backing up to dmg does save some space, I believe as faras the raw files versus png. But if we have enough space at our studio, we just we have these big drogo drives with four terabytes and each one and whenever they get full, you can always pull out the floor and put another four drives in. So for us, it's, just we want to keep the raw files, we just keep them and that's the safest way for us to to deal with it. I haven't really worked in dmg at all. I'm not really sure what the advantages would be other than maybe it helps you save a little bit of space, but I would still think that the raw images is probably the best wayto toe, you know, get the most detail out of the highlights in that kind of thing. Do you keep all their all files or just the ones they're using you keep all of them everything one, all of them a tte first actually, we always we typically always just keep all of them because we can always, like I said, it put in more hard drives and, you know, four terabytes last a long time, but I mean, we could go back. The thing is, a lot of these clients don't get to their album stuff for a couple of years. I mean, we're trying to work on that more and more by saying, hey, there's deadlines, and we want to help you with it and that kind of thing is there's always ways to encourage hey, let's, get this done, but there are definitely some clients celebrity clients that we have, and your money will come over to me and say, hey, can we pull these files? And I'll go? I don't know where these files are will go into the filing cabinet, and they'll have the disks from when we used to burn raw files and they'll still be there, and there may be some requests like, hey, do you have a different version of this shot? We know you proved him out that many years ago, but do you have, like, one where my eyes are looking this way instead of this way, and I can pull those disks and find that file and, you know, we look better that way it's probably at that point kind of beyond you know our responsibility so be like yeah, we got it I mean or whatever but it be always good to give the clients happy and do what we can for them. So jamie tips on organizing your files because I think I've tried every way in the book and it's still a mess if ilic there was a bogging down on you or is that the deal that I feel like I've organized them in a good way like naming the folders, I guess and then it never fails like I always end up thinking it's this and it's really named something else that makes okay. Okay, well, here's how I can just walk you guys through the process really quick let's pretend let's pretend this hard drive that I've connected here is actually a flash drive okay, so I'll create a folder I'm going to do this on our drove oh system not on the desktop but this will be the example. So we always go by the date first and we kind of ifyou're goingto a sort by name which is with the way the finder and max usually organizes things we do the date first two oh one three oh nine twenty two would have been the other day right and then I go ahead and just create and then how do you spell so shell? Oh, my gosh, I I know, but how do you see? Oh, okay. And a tea e u r. Thanks, guys. Okay, so there we are. There's, our original file. I'll go in there, I'll create a folder called originals, and then I'll go and create a file called joe and I'll go right in the same thing and called a file called rich and that's, where we'll throw our raw, raw files. So we have a few different layers down from the original parent folders was called and so we'll go ahead. We'll find our raw files here. Oh, and the dry air. You go ahead and open the window. Originals there's joe, these address images, copy of writing their lips. How great did it? I did it terribly. Let's, try that one more time. Oh, what's it doing now. I don't want to put my password. So anyway there goes, it goes into joe's folder and mine will go into this folder and that's pretty much how we do it. It's. Very simple, but it's like a few layers down. Let's. Get that one in there too. And whatever. And then, um and then yeah so this is and you'll see like I don't have the main hard drive with me but you'll see on our list we have two thousand thirteen nine twenty two two thousand thirteen o nine thirty one or whatever and I just goes down the list from date so that you could just go in and then we'll also put when we export next two originals are full they're called proofs right and then for some weddings this one included there will be a folder called private and these are the files that no one ever gets I usually mark that read just by going in here and labeling the thing just so no one goes in and lister you know they know what they're doing but yeah originals private proves anything are there any others like if we have a coordinator folder like I'll make that and then we'll upload those to a website for them to grab them you know because the coordinator needs their images to and they give us a lot of referrals so gotta take care of your coordinators always always always always always yes what about light room catalog organization okay that's a good question so like room catalogs I always saved to the pictures folder on the main hard drive of the computer because you wanted to be the fastest hard drive available for your catalog and the previews we'll go right there too so I think in this particular version, it should be in here somewhere. I thought I put it in here. Yeah, I did. Okay, so creative live was the creek catalog I created for this weekend. Where? This week and there's the catalog. Right there on the main hard drive the catalogs. Now, those can take up some space over the course of some time. So you keep the raw files, you keep your proofs catalogues you don't necessarily need to keep him forever. So, you know, I could go back and start the leading catalogs. If I have, like, a hundred of these catalogs from all these different flying clients and all these different things than there are ways to go back and say, well, all right, I don't need this catalog anymore. They've obviously got all their proves, and I'll always have the proofs as well. So the adjustments have been done, and they have been j peg he's in new catalog for each wedding. No, actually, no, we do one big catalogue for our we do it. I think by the year we'll have two thousand thirteen's catalog two thousand fourteen's catalogue. The reason we do that is we do a lot of switching around between the gigs, depending on what's requested of us at that moment, and then the other would be because sometimes we'll have our second shooter if they want to conduce um retouching at home and then they bring their raw files and they bring a catalogue and we can just import that catalog into that bigger catalogue with all the gigs in it and it's a lot easier to kind of mess everything together. So yeah, we do one master catalog per year and we have like a portfolio catalog for only joes like super awesome images over the years that's a separate catalog, so we'll create a duplicate of those images thrown in a folder and then those are the only images that go into that light from catalogue aries portfolio staff so huh something really quickly joe it's zhou yu miss me? No, I would not with this guy around he's pretty awesome, so just really straight up I don't know what he's talking about, nothing I haven't I can't I don't know blah zy and gerd from a girl along I have no idea if we can pull up that fireworks shop because I think that guy's watching you we didn't talk about the initial capture of that which was with the fourteen millimeter that's right? And that what you showed as a final to start working on was a crop that's a good idea so so that's the final that's the final there's, the original image so that's a shot saying the lighting on that was correct that that is from kate that's the present because I needed to be able to focus so it was merely to light them up give them a little like to begin with for me crucially and for more the most important thing for me to be able to focus them in the dark before that thing burst right so I had complete black sky and the camera can't see anything so I told kate hit it the other thing was is that all around that van our cars and I had a very short space the work in the ultimate way I would have shot this well clearly it's actually the way I shot it but another way we're the bidding with a long lens and further away right because that compresses everything would have been great however remember I'm handholding and seventy two two hundred and two hundred compressed like that at two point eight and a quarter second forget about it right so fourteen millimeter this close at two point eight quarter of a second chances are one of them will be sharp and again I had multiple shots oh yeah with different burst and not all of them were shocked it's like watching a little movie right not all of them were sharp and that's that's exactly right so then we find the one that is sharp and but when we zoom in on it when it's like that and there's your shot so you have to remember how much of this is actually a crop and that's why I also it's grainy besides the fact that it is not just crop that type sixty four hundred so I've amplified everything by virtue of cropping at that much that's all I wanted to say that he's back I'm out he's rock star day on my interview was like complete cameo job easy cameo on joe do you think workshop cool? Keep the questions coming really like that beckoned suit or go get my guests and grab an image or two and run through like if you're going to export your proofs like foul size oh sure, yeah, I can tell you how to export. All right, so let's, go let me go back to a folder that we've kind of retired, right? So we did these earlier, these ceremony shots, so we'll go down to where I finished just because those are the ones we want to export right around here somewhere so I select the images, go ahead and hit export this way you could do it down here as well. Just click export this will bring up your well, there are a few things obviously that you can pay attention to in here when you're creating standard size full j pegs there's not actually too much to worry about I have pre sets back home and I'm gonna add one right now that's going to show you what I do so I called us on sequenced so this will be sequenced by file name because depending on what I've done here, let me cancel say there's an image that's kind of it's sure it's khurana logically in order by timestamp, but maybe I don't like that it's like for example, these two details there's these guys right in between and maybe I like the flow to be better with this image and where the heck was it? So this one here I can pull it over and change it and now I'm in user order the problem is the file names are going to be in a different order, so if I export them and keep the file names, then they're just going to end up back in the old order when the client is looking at them sorting by name so what I do is I'll go ahead and select all of them after I've done norman user order of drag that one over go to export gosh, we'll just do it this way when export so I'll hit sequence, which will be a preset export settings essentially and so let's go ahead and manipulate them right now so you can change the file name I'm going to add a sequence number by four digits then I'm going to add this and then you can leave the original file name there now obviously I've already changed these file names so it's going to look really, really weird and long but this is you get the idea instead of saying to six eight nine it would say j b one five four one two or whatever dodge a peg so we leave sequence than dash than file name make sure it starts with sequence number one extensions of lower case is no problem nothing in video file settings j peg, I'm not going to limit the file size a quality all the way up s rgb is absolutely fine I'm not going to re size to fit anything I'm not going to sharpen because I've already done all the sharpening I need I don't need the watermark thes because it's for the client I wanted to show me in the finder when that's done processing these and then I'm going to go ahead and update this with the current settings so now whenever I hit standard it doesn't rename whenever I hit sequenced it goes into this neat renaming thing right? So standard if I want to keep the original file name the same whatever sequences for when I prove out the clients export and then like I was saying you'll go in, you'll go into the folder where your originals are you'll go ahead and say proves and, boom, you're going and then this thing will just take however long it takes because it's a laptop and I don't know if it's gonna go very quickly. Um, the other option would be if I wanted to do these for the client to see them. Unlike a flash website that we have, we call it it's called d photo we use for just like a little gallery that's really easy to use for them to go on. Look, we khun dio a small for web because we're goingto first off, we're gonna lock them so they don't download them. Secondly, if they do down, then we don't have the big files because we want them to, you know, know that they're not getting the large file. We want them to ask for the adjustments, and then we get give them the adjustments and then we send them the proofs. So in this case, you can change this and add, like, sm for small is something what I'll dio because you wanted to be a different file name when you're creating small files just so you don't replace one by accident with the other with the small version, and then you can always limits file size toe like a thousand. We'll be, you know, one megabyte file or so which you know you could still print from if they wanted to do that but it's just it's just a limited file size they'll upload way faster that way too so lim file size two thousand sometimes it'll say, hey, this one image was too big and we couldn't bring it so you could also do like twelve hundred or something, but it will always tell you which image it was and you can go back and do it. I don't mess with this too much because I don't need to change the resolution because it's already going to find a way to make it a thousand please do take a little bit longer to create because the file size is being there's using some algorithm to figure out you know what would make it a thousand kilobytes and sometimes for this you can do like a low sharpening for the small just cause they're going to be a little bit smaller files but then you can export that and create a new folder and say for a blowed and then you know you get that as well and so those would be a lot smaller files obviously you can create your own watermarks too if you want to put like a big job using copyright across the image, you could do that too using the export settings we don't typically need to do that but let's pretend we dio for just a half second which might take hold it longer but it might be fun to fool it so you get on the water marking small copyright you could go to edit watermarks and you can kind of either pull one image that you have already of like joe signature we have an image of someone's going to try and steal it but he was just copyright job using down here you can choose how big you want it to be uh where would that be where's this size here we go. So say we wanted to be like obtrusive and obnoxious and you put it in the middle somewhere should be a weight should be offset but maybe we have to do this oh that's the shadow uh being silly, I'm being silly so you go ahead and put it here you can anchor in the middle so it's like do you guys can see it but you're never gonna want to use it to get the photo shop his big awkward name off of there because when of noxious, I'm sure that's totally spelled right creates that we are obnoxious watermark on that's how you can water mark your images by exporting them that way and then you could also again create a a preset for that as well any other questions regarding exporting or anything else for that matter? You bet you so a lot of people been asking about how you correct tilt and angle on your shots is that something you do in light room? Is that something you do a lot of? Do you like that artistic angle sometimes on chimes and we're going to use it and when might you not? So it is a great example, so we have are coming down the aisle shots and I'm you know, I typically do they're coming down the shaft and it's uncomfortable, you know, your for example, I'm trying to shoot long lens and then I grab the other camera and shoot, you know, with a flash on camera and stuff, and so obviously this image here it's totally a little wonky because I'm like, sweating and tryingto juggle two cameras while people are coming down the aisle. So yeah, I would like these to be a little bit straighter and yes, I do do it in light room, the reason being because light room doesn't really nice till job, and if you bring me the photo shop, you can easily crop into like nowheresville and you'll see what I mean, so if I crop in here and I can tell seol image kind of, it stays within the bounds of the image when you do the tilting in this and you also get when you like I was saying earlier you get these lovely little lines that show up as you're tilting to kind of match this lineup here and kind of find that center and then when you do it you're like any other looks pretty straight I like it andi uh you know, obviously now you got me doing this image but yeah it's uh it's something I do in my room I could do in photo shop but here's what happens let's go let's reset this one let's go down here and we'll edit this info to shop. Come on, come on. This may take a half second and I would do a little dance but well, it's doing the dance? What do you tell us how you got started in photography, please? Okay, sure. I went to school for theater actually, believe it or not, I went to syracuse university for theater and I halfway through college got into just doing little digit digital point and click just for the fun of it. I never really wanted to take like pictures of friends at parties or anything. I actually when I got the little camera for my birthday was really interested in just doing well, funny angles and close ups and just macro kind of, you know, just very abstract crap essentially, but it was playing it was fun for me. I got a copy of photo shop and would just mess with it as much as I could. I would go in and be like, well, look at these curves I can do like crazy looking hard c that is like that. Like that I would do that to be like, yeah ah, and so I did a lot of that just for the fun of it and then we got the chance to go teo hadn't abroad abroad program went to london, and during that program there was a photography class I had a lady five millimeter or not eighty five thirty five millimeter black and white camera and I brought it out there and I figured I'm in london anyway, I'm gonna be taking a lot of pictures anyway, so I might as well take this class. It was black and white development, black and white film, all the old school dodging and burning everything. I really enjoyed it. I got invited into ah higher end. When I got back to syracuse, I got invited to take some classes at new house, which is their kind of school communications kind of world renowned for being like the whole another level and so I got invited in to do some classes there had a great great teacher doc mason he was awesome and he helped me out with the fashion photography editorial stuff it was mostly based on communications though so a lot of it was photojournalism teaching and some of it was like fashion photography which is funny because now I'm not doing either of those although wedding photography is kind of the best because it has like a ton of different kinds of photography in one eight hour event. So anyway I was looking for somebody who did head shots I was doing head shots for my actor friends and just portrait's just for fun and to make a little bit of extra cash and a little bit of the end of my senior year and I was like, well I could do head shots and be an actor at the same time in l a so why don't I go out l a and she was like and when I went out there I looked up a few people who were doing headshot photographer and I saw this one guy's work my friend donald norris and I met up with him he had great advice for me he was already working with job using he was braving about this master photography was getting to work with and he picked me up just doing like little bar mitzvahs and maybe second shooting here at a wedding and that was bad I was not a rig you're like really it it was I had, like, a pentax, some terrible lenses, the kit lens. You know, it started just pretty much where a lot of digital photographers has started, and probably a lot of photographers in general just start with whatever camera they haven't just do. And so eventually he introduced me to joe and joe brought me under his wing assistant carrying his bags, and I was shooting this whole time, getting more involved with doing second shooting work and having a few other photographers hire me here and there. And eventually he had me starting to do retouching on his computer, and he needed somebody to replace his old assistant. So you saw I was good with computers and quick, and so I got in there and did that I've been working with photo shop in some light room here, and they're just as a hobby and for my own business and stuff, too. So yeah, then he started just bring me under his wing and he's a great teacher, so I've learned a lot from him working on his images has influenced me in such a huge way, and yeah, that's kind of the story.

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