Wedding Photojournalism

Lesson 29 of 34

Editing The Album Photos Part III

 

Wedding Photojournalism

Lesson 29 of 34

Editing The Album Photos Part III

 

Lesson Info

Editing The Album Photos Part III

I'm going to 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 too the photo shop actions speaking of importing from light room to photo shop are you importing as a psd or a 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 I yaps 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 sixteen bit or a pit that I think we stick with sixteen bit and I you know I guess just because we might as well keep it in sixteen bit yeah they do come in his tough because then they say back in photo shop very unlike room here is a tiff file um but I'm pretty sure I have the settings on sixteen bit yeah we can check really quick but I'm pretty sure we dio exter...

nal editing sixteen so yeah they're probably pretty big files the funny thing is a lot of the time he's just going to get end up in jail pegs as it worked is the proves they're always j peg we hot we'll 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 sight I don't think it was like a big pack of images I just searched infrared actions because I wanted one and then hear all the settings for it just so you guys can see for later gotta diffuse 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 haven't set I wanted to create a new layer the original action didn't so I'm going to say don't flatten my layers because I want that extra layer it's going to go ahead and bring up this diffuse 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 going to bring this back so we got them here there's our difference it kind of blows out the whites a little bit and it kind of goes all nuts but that's okay because we have our race it'll selected so we're going to 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 going to go out and go for it when a race her dress out of this because it was blowing out too much and then I'm going to 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 d'oh 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 going to erase it around the edges too because it's kind of lightening up my then yet I kind of like to live in yet where it wass I'm going to 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 going to flatten these two when I found it, I think that looks pretty good to begin with when I go ahead and flatten those have another I want to 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 and race around their heads. I have no idea how big oh yeah, the brushes big you got and then we're going. Teo, check that, right? So I like all of this I want to keep some of this cloud going, someone who 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, keep checking it and bring it back because we don't need it so much hopes. What I just deal rich quick question for you and a handful of photographers will sometimes add noise or grain right after the fact to get amore film like effect is that something that you do not typically? I mean, in my black and white conversion in light room, I upped the sharpness just a little bit, which does in a sense, add some grain um but no, not really. I mean, if there's 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, andi, even if it were, I'm not too upset about a lot of grain. Some people added, yeah, I understand that too, but, you know, we don't typically add grain, or we do a little bit of reduction, depending on the image, but over the days where we embraced grain of what you don't like, thirty, two hundred speed film joe still does. He brings his thirty, two hundred film every now and then to a gig, and it is wild, it was totally wild, and that is so funny, because when you bring in film and you work on it digitally, it is really hard to use things like that the healing brush or the clone stamp, because the green is so intense that whenever you're trying like, clone something out, it grabs from and it's like, 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 on many, many others? Yeah, that's a great question depending on the client, it could be anywhere from like ten percent to twenty percent I don't think it ever goes up further twenty percent of the images usually it's like yeah, maybe if it's a thousand images were turning in there could be a cz little as fifty or so that we do black and white or there could be as many as two hundred fifty so depending on the client what they like and also depending on the circumstances of the images yeah it's rough it's rough rough 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? 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 it, the action that I'm using and if there are any more questions definitely we love I'd love to answer those because uh, because 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 on 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 jpeg 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 yeah, ah, 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. We didn't catch it then sometimes we can, we have to take the eyes from one person to 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 how to do that if you want, but but for that example, I would have to go back to the original images. Actually, no, I wouldn't because if we proved them out to j peg there would be two probably shots if we didn't if we 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 what? We just make adjustments from the proofs question yeah, right now is shot I don't remember seeing any flash going off or anything. So is that all ambient light actually know this wass used this's 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 this 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 it would just be a little bit flatter she was at an angle she was probably down in 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 yeah 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 make it 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 didn't want to make sure in light room that the grain was kind of to an acceptable level this khun 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 teo see if I can figure out a good way to do it. That makes some sense that everybody but we would really need to do is find a way with the healing brush to kind of create our own flat a 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 hoops we'll save why not let's see this image here? Why don't 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 going to go ahead and retouch this here in in light room and they'll bring in over the photos, so I'll do the post crop in yet 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 on him. We're going to check our kind of dress by bringing down the shadows and the blacks a little bet this a little in bringing 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 zooming 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 is 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 teo 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

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