Wedding Photojournalism

Lesson 24 of 34

Proofing Part I

 

Wedding Photojournalism

Lesson 24 of 34

Proofing Part I

 

Lesson Info

Proofing Part I

Welcome back from break everyone we are going to be continuing on with day three of wedding photo journalism from start to finished with job using and that you you guys already know this is not zhou this is rich prove who is joe's assistant you have been his assist for six years and you do all of his post process ames though I'm gonna let you take it away from here since show us what you do great okay let's, get to the computer. Okay, so this segment is almost entirely going to be how I use light rooms controls too color correct retouch justin like and we're not going to go to photo shop yet so this selection of images I have hundred ninety four to get through so I don't know bringing it all the way through it in the segment or not, but these have already been called down to our selection so we don't have to go through and star them or anything like that. They're already set a ce faras the images I think we're probably going to want to use even after you know, color correcting retouchi...

ng, we'll still remove few so you put the time and effort in, but at the end when it comes to really get in that flow just right there's still a chance you won't be using some of the images so I use again the combination of a keyboard and a mouse can't stand like the track pads or anything, so it definitely is the mouse some people love to use awake on tablet I just like the mouse. I don't go for that. So you know how however you guys like is fine away? Come tablet does have a mouse that comes with it, and then you can do other things, but I just find that keeping it all in one place is the way I like to do it. So you see already I'm using the brush tool. This is my favorite thing about light room eyes that I can essentially under expose an image like I can just bring exposure down here, and then I can pull the brush in and just go ahead and paint the light in where I kind of want it, and so that gives me essentially kind of accustomed than getting effect, you'll see I'm kind of tapping the mouse as opposed to just dragging across, because I just find that doing little tap here and there can kind of keep it exactly where I want I can use this mouse is scroll function tto bring the size of the brush up and down super easy for me. And then if you ever hold option you get the minus symbol so if I for example his hands are a little bit too bright so I could be wrong away the adjustment from that brush right here you guys will see all my settings on the brush right now I keep them three exposures a two point two o the contrast is a thirty five the densities only at seventy five percent so that's important to keep that in mind you know feel freedom kind of copy my feather and flow I just put them here because it seems to work out really well I you know use it quite a bit so I find that that's where I wanted to be a size is going to change of course depending on how big adjustment to be so there you go and what's cool is you can always take a look just using this little flip switch to see the difference with this here thea the really cool thing you can do is you khun whenever you move the mouse and this little thing it's highlighted you can use the up and down arrows to bring that specific adjustment down. But something that a lot of people may not know is if you put the mouse up here away from it if you push up and down well, let me see you push up and down it actually does both the contrast and the exposure adjustment whatever it is that you've done to the image will like if I did sharpness as well you can see that as I bring it down everything comes down the whole adjustment from that particular brush and you see there's three different points here I don't usually use this many brushes bye tom just use one and then we'll go in here and you can adjust after and you can see it adjusting in here is kind of cool I don't need the sharpness so much yep that's one of them gets go ahead please on this the first edit you're doing to this photo I mean have you done a global adjustment before you go to the breast or you're just gonna go right to actually you know that's true here's again I'll show you so here's the settings completely reset I'll bring down the contract or the exposure a little bit sometimes I'll bring the shadows down this is the newer set of the two thousand twelve or two thousand ten process two thousand twelve it took me a while to get used to it but essentially it is actually really fun to use this I'll bring the exposed down a little bit to do more contrast I don't typically like to just go straight to the contrast to justice because they get more specific controls here I can use the shadows which actually will bring down some of the contrast you could seal come way down here, but it gets a little funky so you don't want to go too far with anything is usually how I go and then I can use the blacks as well to do just the very darkest but then so yeah, I'll do kind of like you say the global adjustments first and I'll bring it under and then because I'm expecting too in this particular image, I know that I'm going to paint in the light with the brush afterwards so that I'm kind of exposing in a sense for this upper highlight area up here so I want to bring that back down so the attention doesn't go there and then I can bring in the brush tool and again I'm going to minus out his hands and minus at his head a little bit here so that's still in the range and just kind of futz with it until it's pretty much what I wanted to be, I don't her hands to look like they're in some sort of darkness so then you know, that's it and then I can always adjust afterwards the global controls as well just to kind of get it just in the right spot, so yeah, that looks pretty good I don't need to do too much with color maybe warming up a tiny, tiny bit but that's pretty much it for that image I chose the, you know, ceremony stuff because it's kind of fun there's a lot of candid moments in here again, I'll kind of bring this one down and then use this brush and you can see this is another trick that people get caught up in whatever you click the brush tool, it'll leave the settings here that you had last time, except if you adjust them after you pushed the brushes, so when I start making a brush tool, I condone adjust these however I want, and it won't remember these changes, right? Because the next time I closed it out, I go to the next image it'll still be set at the ones that I wanted to remember and the way you get it to remember those is actually a little complicated to may be super nerdy, but essentially you want to go to an image all by itself, you'll open the brush tool, you'll set your settings where you want them in this case, I want him to be let's say I bring it down to one point eight four and I bring the contrast down and I don't want any sharp as I don't know why that was there anyway, so zero them out and then instead of I don't make any brushes strokes on the image itself, I closed the brush tool, so all I've done is opened it made those settings and then close the brush to without making any brushes on there at all. And now it will remember those as the default settings you'll see. I don't have any sharpness here, and this is brought down from where it wass I typically like this to be a two point tio on then, yeah, so we're in here know sharpness, we don't need that, so I'll close it again without making any adjustments that way, it'll keep him remembered the second I start making adjustments and then changing this stuff, you can change as much as you want, and it won't it won't it won't forget the original that you've saved, so I guess I'll just continue here with fixing up the images that I was on, and I just, you know, talk through pretty much everything I'm doing, I'm going to go ahead and select the brush that I'm already using, and you can see if you hold over it just about to click anything, it'll show you where that brush is affecting if you ever need to see it's going to get her in here a little bit, rich feel free to be as nerdy as you like it that way for breakfast, really very good. I will go all nerdy for you it's very good. All right, so then that is and you'll see whenever I click this all the adjustments that this brush already had like the contrast was brought all the way up already but that was there in this brush I'm gonna check sharpness because I don't think this image is exactly we'll go we'll do this because it will give me a little bit less of it so it's not super super sharp we'll see what lands I'm using um let's see what lens I'm using there we go. So this is ahh you know my eighty two, two hundred three point two all the settings rite is just not a super sharpest that's ever been but we can go in here down the sharpening and we can put this a little bit so just adjusting this amount is going to be kind of the small little itsy bits here we could go one on one, bring us in all the way uh okay. So here we go. So this sharpening is kind of a small little tiny pixels unless you adjust the radius I typically if I want to just the radius I do the detail as well and I'll bring them up and then you can kind of see it gets a little bit more gnarly as faras the sharpening is concerned probably asleep. I don't want it to go too far. So it's okay, the images that just a little bit soft because they're not necessarily going to be printing this humongous if they do wanna printed humongous, they should let us know because that's something we always tell people if they're going to print it gargantuan. Just tell the studio because we can, uh we can always go in and make sure that it's really, really right for a large file will give him a tiff file, that kind of thing. Another thing that you can do is you can kind of balance out you're sharpening with your noise reduction. So say the noise reductions all the way down on dh you bring your sharpening up, you'll start to get noise, which does represent the sharpness of the image of what they're doing to it. But if it goes too far, you can kind of balance it out a little bit with noise reduction. You still want to find the sharpness that you're looking for, and that just depends on the image and depends on what you're going for. But let's, see if I would want to make this one where I really wanted you probably down here somewhere and not too much nice reduction because really it's, not that bad. You know, all right, let's, go ahead and get back out to the image itself. I think pretty much everything's all right in this when we don't need to do too much of it yet this one here I'll show you how to do a little vignette we have. I have some pre sets that I've created actually thinks some of these may have been from an action set of some sort, but you can create your own presets really quite easy and photo share in light room. I'm gonna use the standard vignette here. It brings in the edges, but it doesn't really do too much on the top of the bottom usually just goes to the outside and I'll show you the settings on it. It's just vignette there's no kind of midpoint brought in there really isn't very much going on in the post crop and getting in fact, I'm not sure why there is, but I can bring the midpoint in a little bit if I won and you can see how it kind of brings in from the sides. Um, not so much again from the top and bottom on this particular preset. If I do use the vignette. And I know that the focus is kind of going to be on the text up here I can always then take the brush and bring our light just back up here just a little bit just to help the I draw up to where the focus is going to be images just a tiny bit purple, so I don't mind bringing the I guess it's magenta would be the correct term, so I'm gonna bring the tent just a little bit over again, using the arrows just to kind of adjust you can see when use the arrows and you don't hide and when this is just highlighted, there goes in steps of I think five on dh you khun do it more specifically just by clicking there and then doing the arrows so that's just one spot each time. So if you really want to get specific with your color adjustments, you can click in the box and do the up and down arrows, bring a little bit of this and bring down the shadows will do a little bit of blacks to on dh yeah, that's more or less done. This image actually could be good contender for a black and white if you want to do black and white, I have won again, it's a preset that I've created called creative black and white I click that and it pretty much does everything as far as bringing the saturation all the way down there are definitely plenty of ways to do black and white I know there's somewhere in here if I were to click a different there's a black and white adjustments in here somewhere but I don't typically don't use it I just go in with these simple adjustments making the saturation all the way down I love to do a little bit more on the shadows up like the fill light if you're using the old process version was called fill light on guy just kind of balance it out in a way that it seems appropriate again these are the presets here so you can feel free to copy him the only thing I don't use when I'm doing that is exposure that I leave for later so I guess we can really show you quickly how to create a preset so okay let's just do it really quick we're not so let's say I want to do black and white extreme or something that we're never going to use that but then here we go in and you're gonna these air the settings that are going to be affected by this preset you're creating so white balance is not applicable again I don't want to use exposure because the exposure's going to be different for image anyway the rest of these I am going to use tone curve I haven't made any adjustments to it I rarely used tone curve I used to use it a lot actually used tone curve in photo shop a lot but not in leg room anyway I just do that's how you go about it in for a shock s o tome curve not necessary but we can leave it click that's right clarity you know sometimes all adjust the clarity for black and whites maybe bring it up a little bit sharpening yes, obviously all this color stuff we'll leave than the rest of these things will leave noise reduction in there too none other than getting and these air fly when we can leave that that's fine as the process version that's what version you're using um I'm going to create this now it's already created based on the settings here but if I want to make it extreme, obviously I have to do some stuff to make it a little bit more extreme so we'll go a little down here. Maybe we'll go like this and they will pop up the clarity and the sharpening a little bit so let me think is there anything else I want to dio my introduction? No let's just take a look at how this looks up close that's fine, but you can see like for texts you khun do clarity, no problem on people's faces I have weighed clarity for the most part of people's faces, but with text it's actually time it works really well so now I'm gonna update this preset with those things I just changed again I'm going to change I'm going to keep the ones that I have selected already and not the one that I don't want I'm gonna update it so now you can see a difference here this one here black and white standard this one's black and white extreme which we're never going to use someone deleted uh huh. So that's that so anyway, let's, go continue on with our photo are light room adjustments all right? We got an image here detail of the what we call that the tools of the officiant strayed for the wedding. Um, yeah, we're gonna bring down our highlights just a little bit. Ah, you know, I'm not even really all that sure what? I want to do this image so let's try a few things just do a little bit of the brush tool in here just to kind of highlight a little bit did already d'oh yeah, I did. So I used my post crops are implying through things so post crop vignette is my favorite one to use this one does bring it in from all the sides and you'll see the settings down here in the post crop, then yachting instead of this other lensman getting this is post crop so that means no matter where I cropped the image it's still going teo, bring that vignette evenly across the shot. Um, and then we get this get out here and then you know, this is obvious. I can see the vignette and I don't really want to see it too much, so I can always go in and go toe amount and bring it back a little bit. So that it's not super obvious, so he just threw a vignette on there. I don't want it to be that obvious. I could bring the midpoint in and then feather it out a little bit more and it's just a little bit there so you can see what you can see by clicking these little switches. That's the adjustment I made not a huge difference, but enough to draw your eyes in pretty simple. I think I can see a little bit of grain in here no that's, not that's, just that's just what that looks like. So then no, I don't need to do any kind of grain reduction it's definitely magenta, but that is kind of the image, so I can go ahead and try to adjust it if I want to make it all like white balanced, but I think in this particular version I'm going to probably leave it in that's purple e goodness because that's kind of where we want it to be I don't want to do too much contrast yeah I'm not too concerned about this image it looks pretty good to begin with them all right here we're gonna crop in a little bit because we got a lot of shoulder just find that and then again here's my rule of thirds I'm going a little bit off of it from the subject which is this text over here it's still a lot of shoulder let's see I'll probably use it and yet let's try this one this is the uh it's called s k I got this from somewhere I'm not entirely sure where I got this preset but this one it's actually kind of similar to the post crop it is a post crop vignette but it's a lot more like kind of squared and it's much thinner along the edges here let me see if I can show you it's definitely more noticeable but it only runs along the very edge of the image as opposed to being nice and fluffed into the center so I'm gonna go ahead and use that just because the edges here are you know I kind of want to darken out these edges and then I'm gonna bring in the brush tool to get that subject again kind of eliminated a little bit just please when you're cropping what size are you cross are you cropping it to any particular size or just what looks good for that image as faras the size out it's a humanist parts like the aspect ratio right yeah that is staying as shot I don't want to mess with them right now as far as making them anymore eight by ten or any more five by seven I'm going to keep them the same size as the sensor on this on the original amy edge so I'm not going to mess too much with that as far as you know the size of the crop I'm just going to leave it I used to do all sorts of crazy crops but that was way back in the beginning it was like eh I could do all these cool crops and then my body was like dude we can't you know we're not going to use this because those prints are going to come out five and a half by you know four or whatever it's like just strange little crop so for the most part I would just suggest you keep them the same aspect ratio is the original file so we've got the contrast here again purple but it's supposed to because you can tell her skin tones right so that's the image on that one we got these guys you know what this one is gonna have a little bit of that post crop in yet so you see, I brought down the green up here a little she's out a little bit. I can even bring this down. You know what? Never mind, I'm not going to I'm not going to do that. We'll give him a little bit more and that's that so you can see we don't do a whole ton. We don't do a whole lot of stuff to these images. We wanted to be natural. We don't want people to be like, oh, I know exactly what he did to get that image where you want it. So you see how I'm bringing this in? I don't like so much of this. I don't like so much of this, I kind of want to tell a story with her across to her so it's a little bit of flow through the image, we're going to use the vignette, the standard one that just brings in the top and bottom, not the sides, because she's kind of in the side here, and so is she going to do that? We're going to bring this down a little teeny bit again, there's another example of one that I can really bring the exposure under, bring in the brush and adjust the size of it, it's going to get her in there. Something you'll see me use actually let me go ahead and leave that adjustment. So one thing that I love to do is I start big with the brush, and then I go in smaller so you'll see me adjusting the brush smaller as I go, and I just do little cliques until I get way down in here. And of course, this is extreme, but I'm just kind of trying to show us an example, so I started big, I kind of went and when and when it when it went in and kept making little adjustments the whole time, I'm going to bring down the shadows of this brush and maybe a little bit of contrast on this brush so that's that will do a little bit of the same thing with the normal with the actual global adjustments, maybe bring the contrast a little bit up by bringing the blacks down. Let's, check her out, see what's going on here and you are you mostly sorry, rich, rich dude, the hair man, very busy are you mostly a fly by the seat editor? Like are you? Are you looking at the numbers much like the history grams and know you're you know you're numbers, and I don't care what good to you yeah exactly so it's about how it feels how it looks and you know like you say yeah fly by your seat is probably the way to put it I mean I could go in and look at the history and let's see what is it what does it even mean if I'm going to teach a class of history graeme we're gonna be off the air in a second I actually I'm not super familiar I mean I know that it's supposed to be all the way to the ends but no I don't really care highlights I don't really mind too much like this is probably out a little bit back here but it's okay I mean if I want to bring it down I can see the only thing is and this is something that everyone should know right this is something that took me forever or at least what I was trying to learn these new controls highlights apparently just works with the stuff that's really, really, really really bright where is this whites adjustment is a global so it does a little bit more of your mid tones as well it kind of adjust the whole image just like shadows really is specific just to the shadows whereas I believe help I'm getting this right I might be wrong actually between the shadows and the blacks I think the black doesn't mess maybe it does mess with the whole image well, okay, do your research but one of these does just the section of the history graham and then the others does kind of the global whole thing but yeah, that's those of the major difference is I usually go to shadows first justcause blacks could make it look really muddy so I try and see how much contrast I could get out of just using the shadows. So what, you're going to do this to all one hundred seventy and then picked a handful of them to do the wow to that's correct, we're going to get an opportunity to so yeah that's our next segment our next segment will be how the wilds have been picked and and essentially what we do to those next images, the wows and just to answer a couple questions, everyone is wondering how you do the what software you work within with for those wow images that'll be photoshopped, it will be fun that'll be photoshopped and so that will be like skin collection and everything. Yeah, I mean, we can do that for sure we have a couple shots of the bride that you know, I mean she didn't need very much retouching to begin with she's really pretty and she had great skin that being said, I have a couple examples where we can go in and I can clean up under her eyes maybe a little bit neckline kind of stuff on dh then I'll show you how we reduce that adjustment because you never want to just go all out you want to make it look again like it's still there, but maybe reduce just a little bit so I can show you guys how we do that later we're going to go ahead and give her a little bit of warmth. We're going to go ahead and do a little bit of vignette ing, and we'll bring up the contrast. This one doesn't eat very much just a little moment. Okay, so here's an image of shot uh, that, you know, leads cropping for sure I was going to find the spot that makes the most sense. Maybe we leave some of these people up in the background here if I if I'm going to follow the two thirds rule, he's got to be kind of way down in there, but let's see what this looks like? That's? Not too bad we'll go and use that don't use this kind of thin vignette down in here bring down the whole exposure and then we're going to just go ahead and give him a little extra around him here. Can I keep the adjustment for the most part to keep this a brush nice and big so that it doesn't become super obvious that I've used it all right, so let's see uh now we can probably do a little bit just a contrast simple contrast adjustment yeah, I don't think we need to much else check for sharpness just to make sure but I think this one's nice and good yep we lookin good gives a little boost their exposure it's do you use a program to calibrate your monitors or do you just yes, we do. We use the spider spider pro spider something yes spider pro I think I have the it's probably spider three pro right here and it's probably telling me hey, you haven't done this in a month or whatever but yeah, we use the spider on the laptop you gotta use it laptops are always kind of bright because you're goingto be using him outside. I mean, a lot of these out laptop's air just auto to the lightness but they're I don't ever recommend doing every touching on the laptop. I mean, I'm doing it here because that's what we got but you wanted to be really controlled environment you don't wanna have to bring in a laptop that's trying to adjust for the light conditions you wanted to be really, really stable the whole time and yet you calibrate with the spider three at least that's what we do are you processing sort of general processing for web for print is all purpose processing right now yep, that's right. This stuff is going to be. I mean, we're going to create standard j pegs out of these, so they'll be, you know, five, six, seven megabytes of peace, that kind of thing for proofing and for you, no printing. If they want to print from those that you can print, you know, with a j think that size more than eleven by fourteen, you can print you could probably get up. I mean, yeah, technical jargon on that is also, I get nervous because I know everyone's watching someone on the computers like you can't print bigger than this on a five megabyte file. But I'm pretty sure that you can print pretty, pretty decent size with those.

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.

user 3c6b62
 

I gained a lot of valuable information about photography. It gave me new insight on trying different things and it is ok to made mistake. The great photographers have bad photos too. I photography a wedding for a friends family member. I was looking for the moments of the wedding. One was the bride & groom looking at each other with deep love as the wedding party is scrambling around. One great shot of the couple from the hip. The whole moment took less than 3 to 4 seconds. P-mode and meter lock technique help out with the different lighting. I still watch the videos for a refresher. Thank you for this course.