Editing The Album Photos Part II


Wedding Photojournalism


Lesson Info

Editing The Album Photos Part II

I am going to show you what action I have for kind of sprucing these up in photo shop it's called dream I didn't name it and I'm not sure where it came from but we could take a look at what it does first I'll just play it and then we'll see how it goes I think there is a bit of a gauzy and laura is gonna happen and I always have it set so that right after the action the very last step of the action is it brings up my eraser tool okay, so we've got it uh the razor tool is here somewhere uh well it is here says it's selected it I don't see it but it's all right let's just go ahead and start racing so what is cool is I can now race away a minute, you know? It created the layer, so it's created this layer and obviously is all softie soft and kind of like goofy looking and a little bit to contrast e so I'm just going to go ahead and ideally, if this eraser tools doing what it's supposed to a race around her face yes, it's working it takes a second to adjust, but yeah, we're going to race ar...

ound here because I don't want it to be so contrast in dark in her face and around her hair I'm gonna go get rid of that you can see on this layer you can see where it's gotten a little bit lighter around the areas that I've erased this this adjustment it's still pretty intense we can now bring it down a little bit and really it's not that much but it is a nice little tool I mean in the flowers and stuff you can see there's a little bit of like a kind of fluffy gazi you know whenever you want to call it look to it they wouldn't get in the natural shot obviously the contrast goes up a little bit too so it's a tool that I mean it's definitely a preset or a an action rather than I really enjoy its not too extreme and it just adds a little bit extra to the image so they want to go ahead and flatten that now and they're really probably isn't anything else that I'm too concerned about in the shot um let's see let's see let's see it again it's not really all that important that we go crazy with this stuff we just wanted to be a little extra so that they understand that we're taking time with their album prince and making sure that they are where they need to be before we send the client like I could probably do the lines down here you know and just kind of mute them a little bit could you talk a little bit about your sharpening workflow, the sharpening against opening workload? We saw you do a little bit on eyes, yet you might have been a tiny bit in in light room. That's, correct. And then will you have a final at the very end, do anything, or is it your once you're done, you're done. Yeah, once I'm done, I'm done. I don't typically export with a sharpening in there as well. You can export and have it sharpened for a screen or sharpened for a print. But no, I do mostly sharpening all here and then later I will later. I'll just leave it pretty much just do all the sharpening, either mostly in light room, if it's like a global thing that I can handle, or I can use the brush in light room to do a sharpening adjustment or if it's really intensive or needs like the zoom capabilities of photo shop, then I can do it right here and just make that happen. Bridge when you guys were done, I mean, this's what you said album quality are you guys building that album yourself within the studio, or does that go out to wei? Have your money? Is our layout an album producer on dh? She'll come in a couple of times a week, teo work with clients on their album on, do the layout for them and then get approval and go back and forth with a client a few times to make sure that it is where they needed to be. So you export this as a j peg or a tip for what? What? You gonna export them in the j peg and the way we've been doing it? You know, there's so many different ways that you can handle doing layouts, she likes to actually have prints, so we have a big printer and I could do like a contact sheet for her, and then she'll just cut them out and she'll place them on the book and then kind of do a very rough. I wish I knew more, I actually don't know one hundred percent how she handles it, I just take her requests whenever they come in handy this image, I need these sets of images ready for album, we typically will do what I'm doing right now. Um I'll make will find this election that they've made for the book and then I will go in and do extra retouching that all of them make sure everything's exactly where it needs to be, and most of them are pretty close because again, we proved them pretty close, but then we'll send them out to the client. They can improve the files and the retouching that I've done that can make requests as faras hey, can you get rid of this on my face? Or can you get rid of this person in the background or something? And we typically, you know, we'll do it if it's requested andi it's impossible, but a lot of things really mind blowingly possible, but yeah, we'll have them approve the images and then she'll do I believe the layout as she sees fit, and then the client will be able to approve and make changes, and then I think we go back and forth a few times until they're satisfied and then, you know, we send it to the album cos graph e to print and bind and then we get in so that's pretty much the process she was here, she'd probably answer that better, but it's going to save this now, um, that was pretty good for what we did it, we're gonna go into another one um, so, yeah, okay, this one here, I mean, it's really close to where it needs to be. There are a lot of mohr elements in this shot that, you know, I could be extra nitpicking on, like, for example, when he's the patch tool, I'm going to go ahead and get rid of this bad boy and actually there's a couple ways I could do this, I could patch it out. Wait a minute. Joe's laptop settings are not the same as mine. How does this source here we go. There we go. So I can just patch this out and do it like this and follow the line of the door jamb. And then obviously there's still some left over down here or I could I could just hit. I believe this is the new photoshopped f six or no, I haven't I haven't. You know, I did. I set it up, I've set it up so that have six is an action but its content aware which you can also do by just clicking the heck is content wearing here? Gosh darn, I forget what content? Where would be it's, their newest it's one of their newest things it's the new adjustment layer or phil there adjustment layer I don't actually know where it is it's phil layers somewhere here right here is phil and then you can choose content aware capacity under present and you hit okay? And it does this content aware thing just kind of an algorithm that the program uses but it worked really, really well and I've set it up is an action so that I don't have to do all of that every stinking time, so for example, I could do it here on this guy sensitive mouths we could do it here and we'll just see what happens content where go good it didn't do it grade so we could always go in and go hey, never mind content where I know better and then there is sometimes you gotta do it yourself. All right? So then we're gonna look around here for anything else that's a little awkward or strange in the photo that like, you know, like you could get really nitpicky like this little tiny little whatever and just go on the line um, right, this is funny these the same things I say to myself when I'm touching it there's this guy is a little funny highlight I don't know what the heck that came from, so why not it's just an example of how you can get really into it as far as getting rid of distractions in the image but it's really not super super super necessary in this shot let's go backto layers were going to create a new layer now and she is making a really cute face but this down here is just a little extra money bumpy and we're going to go ahead and take care of her on that and we'll see what happens so go back to the healing brush we're going to find an area that has pretty decent skin quality like it nice and they're here and we'll go ahead and what kind of again you can take this and go as far as you want with it because you're always gonna bring it back and I can start selecting from here now because I have the same skin to use right here we're gonna get kind of blend this stuff out and a lot of this healing breast tool just comes with using it and using it and using it because there's no way I can explain why I'm doing it exactly the way I'm doing it it's just a feel because you never know for sure what the healing brushes going to dio until you just get super super super used to it so I'm just going to kind of grab lips see like right there see how it kind of blends her lips down if I do it the wrong way you've got to stay out of there so we're just going to try and do this anyone to sleep there? Anyone sleep? Sleep yet? No. Okay. Good. Right. So now we've got her chin looking like totally like I don't know. Like I don't know. I don't even know what to say. It just looks kind of funny, but we can bring it back and we can still have it be they're just not his extreme. I mean, we'll find a spot that looks really good and honestly, one thing you can do is you could bring it back only a little bit, and then you can go over your razor brush and depending on the size and capacity of your brush, which I cannot see here for some reason, you can kind of just a race around and kind of do it more custom as the post is doing a global on that with god, what is going on here? So, you know, not a huge difference, but something it gives her a little bit of extra layer of fun. We'll go ahead and do some of this. Here is another way you can do this too. There is another action that are not action, but set up you can use. So if I don't want to do healing brush on all these little guys. Or say she's got really bumpy skin. Some people you know, have little acne or whatnot a lot, and you have to really deal with it. One way you can deal with it is just selecting the area that you want to deal with, and maybe I'll add two selection you have to add two selection will be with shift, so I'm adding this and this is really fun because it makes this whole thing was like a really strange mask, but you can kind of added in the areas that you want, you can again. First, I'm going to make sure that I've started a new layer I'm gonna flatten mt and do another one, just in case you can refine the edge because I don't want any of that stuff to be in there. I can even subtract where the selection is like bring it in shifting and where it could go more if I want to bring in more, we're going to subtract a little bit of this, okay? And then we have a new layer, we're going filter, and we're going to do this gauzy and blur right to bring this in, and you can see the difference right here. So you can see how I added this kind of blurry blur and you could make a really intense but you don't want to go too far with it because it's trying harder to bring down the layer if you go crazy, but we have a blur now, and all of this is super smooth. It still looks kind of funky, so we got the opacity layer and we can bring it down, and even if you can't notice it, I notice it and I can see that this has helped us out in this area quite a little bit so and then if I want to bring back her forehead a little bit because it doesn't look supernatural, I can do that with the eraser. It doesn't make a huge difference, but it might make enough of a difference. So you go ahead and flatten that layer we've done or face a little bit in and and that's that let's hit this action here. Let's, let's do the dream one and see what happens, and then maybe I'll expand this and we'll see what it's actually trying to dio when we hit this button. Okay, so we've gone and done that here it is here. So they got duplicate layer set current layer and I don't know too I don't know you know I'm just going to hopefully someone khun diagnosis this and tell me what is doing so is doing a certain kind of gazi and blur with this setting here said current layer opacity three percent well that's a big difference in thirty one percent good grief this is the action so it is going to open all of these and then later when you're watching on your computer you khun like paws and copy or you could figure out where I got this pretty set in the first place, and just get it from them because it's really long my god alright resat arise I like saying resat arise this is that's cool! And then I added this one of the very bottom said current brush and that's their race or brush because I want to be able to race right away because I don't want it here on their faces let's make sure it's doing it. Yes, it is you go backto layers here so I can keep an eye on our layers and these are all condensed like the layers and actions are next to each other here on the computer back home I have a much bigger monitor, so I wouldn't I would have the layers up here and you know what I'll be I would have to switch back and forth so much so it's one of those top tips do you mind letting us know what actions you're actually using? Um it's called dream you mean the one that I just used? Yeah that's what it's called I'm not sure where I got it from but that's why? I'm tryingto kind of expand all the little settings in it. So ideally someone good if they wanted to take the time to recreate it, they could just go in here and just take a look at all of these settings. Good grief. You know what you probably can't even read. Do you remember where you got those? I don't that's the problem it could have been because joe gets a bunch of stuff in the studio it could have been. Is it, uh, true botha actions possibly or it could have been from did a little google. I found a deviant art that sounds about right. Yeah, that sounds about right. It was just a pack of the actions that we were. He was like trying this out and I threw it in and this was the one that I enjoyed and that does sound about right? Yeah, I think I used that myself. Yeah, at one point ok, cool, so that's it deviant art is who produced this particular action I'm glad because I unfortunately can't honor without knowing who it came from but but yeah there's there all the settings there hopefully they're not copyright or something we're in big trouble so there's that okay? So anyway so I've gone ahead and I have raced around their faces I'm going to raise her a little bit here from the action so that it doesn't ruin our other kind of half subject that we have over in this quadrant and you can see it's going to take it's time to do that, but then afterwards we can kind of pop it down a little bit and it does make a difference it does make a nice little bit of a difference to the image and that's something that I probably couldn't really do in photo staring like room there's certain like areas of the image that is going into especially the gazi and blair I don't know if there's a way to do that in light room, so these are some things that definitely are specific to photo shop and it's why I had to bring this image in going to go and say that he used his actions like in this room scene here and several other images within that scene you're going to make sure that you know no, not because again this image is one that we've picked for them to see what we do the album images so they're if they picked three images for their album from this section than absolutely I'll try and match them all so that when they're in a spread together they look the same but right now no I'm not going to because their proofs or their proofs and these are special attention images that we give for their album and we do this on ly for these so yeah um let's see this one or this one although I don't think this one's the right one let's try this one how about this? This one again is kind of already where it needs to be there are a few little distracting things going on here that we could probably get rid of so like yeah bird poo on the wall can go I mean this is again this is like if they're going to make this print really big because this kind of does lend itself to being a large print it may be important for us now this is a speck of water they got on the lens and so is this kind of blurriness here and those they're going to be a real pain in the butt sticks but we'll try it let's just try and see what we can do here I want to refine the edge kind of just trying to select just that we'll definitely do a layer because I might totally screw this up we're gonna go in and do curves which is command m and we're just going to try and kind of get rid of that a little bit. Bring down the highlight. Nice. It looks kind of funky, so we may end up just like not actually carrying so much, but we can always bring in the eraser and kind of a race around that. Yeah. That's not going to be super easy to get rid of. Maybe we could try it with patch tool and see what it does not. We're making this up as we go, folks, it was going on here. Let's. Just do this. Yeah. That's not gonna do it, it's just kind of, like, really funky. All right, well, everything's a no trial and error going to go ahead and get rid of this little blues back here because that's actually something that's totally doable. Uh, oops. Last one didn't work. There we go. Not perfect. I don't want to rush this too much, but I also make sure you were nice and interesting for everyone to deal. Um, yeah, I think we're just leave these for right now, I'm not too concerned about it. That's part of the image and there it is. That rainbow looking awesome I don't see any specs in there, so why don't we go ahead and we're going to take a look at the actions that we can do? Same idea I'm gonna use the same one I have one that's here's called soft overlay it's kind of similar but it doesn't go is far and it can't see it's a little bit of a difference and it's similar to the dream one but I think the dream one takes a little bit further and again I really enjoy going a little bit too far and then bringing the layer back down so we're gonna go in and hit this dream and we're going to go and see what does to the sky a lot of the time it does something a little bit too much to the sky and it makes it too bright and I like that there's a lot of contrast in here so let's see what we can d'oh actually that's not too bad not a race in here just a little bit so that it kind of stays a little bit even okay let's reach what version of photo shop used this is cs five yes five that were used on a daily basis right now is there new one? It might be a couple of their couple maybe three or four really want to see what photo shop where we are now free see? Agreed. Well, I always like to let the audience know which version you're using but really for the most part doing this work these tools have been around for so long, you know, right? I mean, yeah, well, I can probably will talk to the studio see if we need to get a new one, but you know their way even keep cs three on the computer because there are a few things that they removed from cs three that we utilise quite a lot like being able to make pfc from stuff like they removed that feature and I was like, why would they remove something that was useful? I guess so that you would get adobe creative sweep or something flasher I don't know what it is. Ok, so here we go. We've done a little bit with this image in the action I'm done a sixty four percent just because it was already punched up a little bit I don't want to go too much further. I kind of like it like this, so we're gonna leave it. One other thing I could do if I was a little concerned about where the attention is, I could do a little selection around the bride and groom kind of a messy, a messy little selection and then refine the edge and go ahead and soften the heck out of this one and this is a new layers. So I'm going to go ahead and use the curves and kind of bring them up a little bit and obviously taking it too far. One, add some more contrast to them. But now they pop a little bit more, and then I'm gonna bring it down just a little bit. Yeah, we don't want that much, just a little bit, so that the tension goes to them even more. And then we're good.

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