Editing The Album Photos Part I


Wedding Photojournalism


Lesson Info

Editing The Album Photos Part I

Welcome back to day three of wedding photo journalism from start to finish with job you sink right now we're gonna hand it over to a 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 years. So we'll let you take it away and show us your photo shop magic. Okay, great let's do it, theo. Right. The next group of images you guys going to be seeing are essentially what we thought were we usually pick out images for the client to show what what's going to 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 ai ghazi and blur effect some a little bit of an action, so we will now see what that looks like. Someone got to my albums likes holder, and I've also done a cz were talking about earlier in the last segment, I have put virtual copies of the images next to ...

each other to show you before and after what I've done in just light room, just so I have something else to talk about, and then you you kind of get the idea. And then I'll pull these images into photo shop and hopefully will run smoothly just occurred to me that maybe it'll be a little bit of a waiting period, but we could do some things well that's that well, we're waiting so here we go we got these images, they're kind of the again our favorites so far and you'll get to see them 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 go ahead, ask away and then I'll also probably do a few of these 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 can go even further so there's a difference there the groom hanging out get him in his uh this is the moment where he got a gift from the bride, which was this little compass here and he was really hit by it. It was an awesome moment, so you can see just slight adjustments here to make the images to boost it a little bit the little girl brought him the gift, so then she went hugged him like you this's a portrait of the bride and you can see a little bit extra on the even yet and the the brush here, the breaststroke 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 in just to bring down the white up here and you get those guys here's a portrait of her joe did and this will probably be the image that we use in photoshopped to show an example of what we can do 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 could just do a little bit of a smoothness but we are going to bring it back a bit so it's not going well go too far with it and then we can bring it back because of the layers and photoshopped this when we also saw earlier david 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 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 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 thie 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 that was so lucky to get that rainbow in there. Uh, crazy. All right. Anyway, I got a few dancing moments for stance. No flash or phil on this one. Same one this I did a black and white and then this is jos. Um, I believe this one's been retouched to think these both there kind of adjusted, but but yeah, this is with his frenzy feel like 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 is not horrible to me. I don't mind it's it was there and obviously here it's a little extreme and they look kind of aliens, so I wanted to make sure that it did look somewhat natural. Andi attentions brought to where it needs to go. Okay, I got up on a table. I got up on the bar for this shot and 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 eso up to four thousand I'm using the one point four lens at one point four, because I think I'm far enough away from them that it's okay, if maybe a little bit out of focus on this one, but it's not going to be a big deal because its silhouette and for the most part, this the lines or 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, relighting them up and I decide to do black and white conversion on that kind of punch it up a little bit that's crazy isn't it? And then this is joe shot from behind we got them to climb up this ladder which on lee surely it would do this I mean, obviously he went up there too but back not any bride is going to 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 sixty four hundred this is the fourteen millimeter lens and this is the same image just brought way in and you can see if we goto oneto one here you can see some grain from the fact that 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 in the photo shop first? Why don't we start with this one here and we'll go out grab a few out which one's air really really worthy of doing this? I like this one over here here I'll go to grid rebuke you 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 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 tio let's just bring what I have right now let's see I could we're about to find out how fast joe's computer is so let's pop on photo shop let that load first justcause asking it to khun bring them over to photo shop and lode photo shop the same time can always be a little bit of a pain in the butt so now we're going to hit at it in c s five and we'll see if this actually does it if it doesn't I can export that will do the j pegs but as we wait are there any questions waken bull right now er should we uh actually before you maybe pop over to photoshopped that folks were wondering if they could see the before and after on the same screen sure yeah there is a way to get a couple of those images sure okay let's get back here I think foolish I was going to do its thing anyway so let's see um 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 performed after on him let's do used to let's see, this one is a good example of hello away forgot actually this isn't even that great in exam because they're pretty clubs this one here might be a better example oh gosh here goes the 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 see these air loading in here? I love these corners by the way so that you could just kind of zoom out, be all trendy and flip out the one thing into the other and I think the new mac operating system hasn't even more robust version of that um he was 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 the subject appropriately here is before and after so there's one that you know somebody might go 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 are 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 development. Nigel, um, 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 that have been yet 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 et 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 that's how I do it. A lot of people I don't know may know there's eighteen different ways to do anything in photo shop that's kind of why it's, an awesome program is also wise, 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 could 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 going to go ahead and select around the eyes because these are what we really care about when it comes to sharpness I'm gonna refine the edge of this which means I'm essentially going feather this election 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 wanted to be nice and feathered out to the point of not not seeing the blend essentially so we'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 enemy we had the layer already so we're going to go ahead and go in here I 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 going to bring this down to maybe sixty six or something before it starts to get too grainy. It'll just kind of find a spot in there that still looks kind of natural without it being too much of a pain in the butt. And then I just flatten the layers you khun do it this way merge layers or I typically do is ooh shift command and e, which also emerges them down so we got that one now were you working alone 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 put her down this way, so now we're going to do under the eyes. I have the a healing rush and the capacities of full on this layer and I'm going to go ahead and go into her eyes and he's kind of clean up a little bit under here and again, you can go as far as you want because you are 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 even entirely sure how to adjust that's not that we'll be fine we'll continue on with the eye, grab 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 and amusing option by the way to do this option grabs the target point and then you can kind of find a way to deal with us so we got her in here, we wanted to look pretty normal even though it's going to look kind of weird at the same time you 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 are still there but they're just diminished a little bit and again she's 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 and help soften just a little bit on that so I'm going to go ahead and leave that we're gonna come down here I'm going to 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 a hundred percent because somebody might notice that might be like a whole man you missed it because you were one hundred percent he was really obvious um again I don't really want to do too much I'm going to do our necklines here just because 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 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 leaving you hey look at that I can get out of here I 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 to dean having fun yet guys all right, so now we got black lines going and we'll just show you once before after is like and then we'll bring him back because they've got to be there, they just don't have to be as intense necessarily, so you do like fifty or forty five percent somewhere in here there, there that still looks natural, it doesn't look like we went crazy or anything and we're just going to 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 reach 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