Proofing Part II

 

Wedding Photojournalism

 

Lesson Info

Proofing Part II

Rich just to let you know marty in the chat rooms is letting you know that you have a serious fan club in the internet waken break your web sight that great so I noticed that you crop the photo before editing is not always not always right here I just did it after I noticed that I mean just like you say fly by see and you know I'm sure someone's again being like dude, you could probably do it faster if he did it in this order, but I just want to do it as I feel it because that's that brings the energy into the image to go and are you always cropping from the raw file in light room? Or do you ever crop and a photo shop? No, I typically do the cropping in light room I mean again if there's for some reason later I go well, if I could only have cropped this earlier while cropping and photo shop or something, but you'll find that most of the images don't even go into photo ship I mean really it's only a select few that we take into photo shopped for specific reasons, so yeah, I do all the c...

ropping before anything else um or somewhere in the middle but yeah, like this image here hardly needed a crop hardly needed it, but I did it anyway it's just important I don't want this guy's like there's a nose over here I can see it it's tiny but it's out of there and there's just a little bit less of you know there's more of a kind of flow to the image this way so gotta do it rich yes uh do you ever sink your edit? I think my edit meaning once you added a picture sync it with other similar images um you mean like as far as the order of the images are concerned oh, I know you're talking about I'm sorry because I know exactly what you mean she's think of course yes I do you're not seeing much of that right now because because I'm not mess it's not necessary for these because these are all kind of different I guess this image and this image or pretty similar I could have you're probably right save the second here well let's try it so we're gonna reset go back to this image over here so okay we've done the adjustments he's in this corner of the image but wow so is she? How crazy is that let's see what happens if I grabbed these out and sink them? I'm going to select all oh sometimes I unclipped crop sometimes on click local adjustments in this particular case we're going to leave them so let's synchronize this image gets the adjustment it's a little brighter than it would have been my adjustments earlier were better, but I can always just bring it down on dyken always check what where the tools are because I know I had see here some brushes that I don't need on this image I'm gonna get rid of those and leave this one here, and this one you'll see is mostly on her because it was where it was on him, and I can always adjust this brush to to this image specifically. So yeah, I do think the other thing that I could have done instead of sinking was hit this previous previous button. So instead of selecting both images, I could have just moved to the next image and then I hit previous and that does the same thing on lee. It sinks every single thing, including like spot adjustments, like if I grab something out of the other image that it would totally have brought the spot adjustment in this one, which I don't necessarily want, so it typically you sink instead of previous for the formals. I'll definitely be thinking, michael, I'll do a very basic color adjustment and light and color correction, and then if the formals air all these uniforms, they're supposed to be as faras we shot them, I can sink a whole ton of them at once I do even more thinking if it's like a person's portrait or head shots that kind of thing that's really easy just sinking sinking sink you'll just find the sections of images that you could just throw together sorry singlet what is he talking about all right one of the most important things in freaking light room all right so this image is a little hot we're going to bring it down bring down the highlights so they wouldn't get his shirt in the range maybe the whites to just to see what that does bringing a little brush adjustment tum it will bring these guys up a little bit here too you'll see the computer's bogging down but that's all right bring the blacks and then it looks pretty cool doesn't actually could be a good contender for a black and white as well so let's try it let's just do it looks like you'll notice it's has something to do with reflections I like like reflections in black away so we got a little sparkles and little highlighting things here black and white kind of makes it look really neato okay so this one we're going to get rid of her I so we're gonna crop her in I guess we'll leave this guy he kind of even though his face really isn't in the shot his angle goes along with bringing the attention to our subject uh let's do that little thin vignette this one here and then we'll bring her down a little bit so that we could bring the whole image down and rash grows brush those teeth fresh all right that's good we'll bring him in a little bit too and then it's a little under contrast so I'll bring down the blacks and will bring up highlights of the contrast for the exposure it losing track check the sharpness just in case but I think we're in good shape she looks happy um framing on this one's pretty much what we want it s o we don't need to crop it, bring up the contrast a little underexposed cause I'm I'm going to try and make sure that we balance these two guys out she's a little bit darker skin that he is obviously so we'll bring her in a little bit and balance them out just a little um also because she's more the subject than he is she's in that quadrant it's definitely under contrast so we'll try a couple things here as faras bringing down the shadows and the blacks and then bringing up exposure to where we like it that's pretty good she could probably was just a little bit more we'll use the same brush and maybe I'll do contrast specifically on her with that brush adjustment so there we go next you gotta detail um all right let's use a vignette on this one we're going to do the post crop one which brings it in significantly farther in I can even bring this in like I was saying earlier I could bring the mid point so you can see how this is doing it I don't know if it's shown up totally okay, so we'll bring the mid point all the way in and you know we can bring us all the way down if we want and then I can again use this brush there's going to be using the brush a little bit differently I want to go around the edges to bring out these flowers around the edges you can see how this creates a custom in yet it's not just a vignette it's now got in a vignette specifically underneath but not so much up top and that's cool because it's you know it's not it's, not some out of the box and yet we're using we're actually doing a custom work on that too, and let me just show you the before and after because why not? If I do this, then we can just hit undo the difference kind of a big difference that's wild something distracting me over here just cause why not? We're doing this so get that out of there, all right moving on a little more of the text thing going on here um yeah, you know, we want to be able to read this so I could do a little bit of contra are a little bit of clarity a little bit of sharpening because there's nobody's faces involved if there are people space involved, you gotta be more careful with the clarity and the sharpness just because you know, people's faces people get more sensitive to faces than they do to things like text a little bit of the vignette from the sides and we're good to go there's another detail this can use probably this one this thin vignette you can really see it here because of the way the light is hanging out you see how thin that is? I don't really like it to be too obvious again I'm going to bring in the mid point and then bring down the highlight or the amount of that and then ah, maybe a little highlights yep like I was saying, I never I'm always just doing this alone in the studio. This is so cool be ableto hang out with you guys and I'll show you what's going on so let's get her out completely we're going to leave obviously these to find this little spot in here and then we'll do this to bring down the highlights a little bit pretty good to go yeah, actually this one didn't really need to much as faras adjustments are concerned that's why I don't even know if I like enough to keep but let's let's keep it in here anyway because he knows rich I was goingto just police I was going to joke around just for a second that that was our own c l susan who works one of our host here so I would say I think you need a lot more work on that one. Yeah, a lot of work without getting yes she's in the back going dude, come on. No that's fine. All right, so we're gonna brush in this one, as you can see and then, uh you know, that did a pretty good deal of adjustment to that. Well, uh believe the rest of it. Okay, so this guy I'm going to crop this one, I'm distracted just slightly by the angle of this door, not matching the shot. So I wanna tilt this by pulling the crop tool out to the side. You'll see the second you start tilting, you've got this big grid, I don't want to lose his shoes that we don't want to lose his shoes down there, but I am going to crop it, teo the tilt of the door jam here and then we'll bring it back down to his shoes and we'll bring it back up a ce faras it'll let us go so now it's just got a little bit less of the tilt on the edge of the photo we're going to do that same I think we'll try this vignette on this just to bring this door jam down without messing with him and then we'll bring this down and paint him in this very well could be an image that we don't end abusing because the subject so far over I mean it's kind of cool I like him these guys over here kind of not doing much the other option could be boomed vertical on this but again is kind of not really we might just eliminate this later because even if I do a vertical crap it's just kind of a funny angle, so we'll leave it for now. What's hello let's reset a crap and we'll just go back to that till you finish it up. We will leave it for now. Ah, a little under but that's good because I don't need to bring it under to do this brush so just let the brush load whenever it decides to load up for me come on again. I'm going to start big and move in and move in, move in and then I'll do a little bit of a drag and then we'll do the contrast mmm this guy's head's distracting me so we'll crop him out it's a very simple little crop just to make that little even this is kind of distracting I don't know if I want to move that too far in cause it'll change the framing but I can it's actually not that big a difference so that'll help just bring our image a little focused look at this guy let's take care of him he's a creative live busy yeah that's right he's one of the creative lives right? So we'll get a little vignette for him here and then this image again we don't really need to do too much so believe it and we're good grandma over here and we definitely wanted to get her as a as a moment because we got to get got to get these guys the elderly anyone honestly, I think a lot of photographers get nervous because you know it's it's a little bit harder to get the right angles or what not but you have to make sure to get all the elderly people because they're the ones who are going the furthest to get there they're the ones who are going out of their way to you know be at the wedding and not you know, it's just it's a respect thing you got to make sure you get him so get her out there and get it nice shot of the bride with her too, so that was nice later not too much that needs to be done. I cannot claim to be the most inconspicuous photographer that's for sure people almost always see me coming so this guy spotted me way out there was dual contrast you know what? I'll bring her back a little bit because we don't want to look too muddy so and richard he's mostly with eighty five this is actually the seventy, eighty two, two hundred and I'm using and then I think joe's is in here to uh let's see jos yep he's using his seventy two hundred so yeah for ceremony that's what we use for the most part just cause then way try to get the candid moments where they don't see you coming and you have a longer lens but he's on me so did she s on me but it's all right? Because even when they see you hopefully they smile or you have a little moment of some sort. Well, john corner cello was probably just trying to check out your equipment see what you're using this guy here? Yeah that's our one of our instructors here look, I got what's he doing there I love that all right? So just give a little more boost in contrast and then we're good to go on her these guys obviously totally saw me but that's all right because this is kind of cute we got a little too up bring down this cheque for the sharpest because I'm actually feeling it may be not as sharp now it's all right, we could give this a little extra alright, cool. We're going to go with tent just a little bit I noticed it was green let's let's show you guys this is the hardest part of color correction and exposure correction is the color and it comes just with plenty of experience trying to figure out the skin tones got a little bit of green in it? Not very much, but I just make a slight adjustment in the magenta and it takes care of it, you know, it's hardly noticeable let's see their wayto the before and after here without doing the whole thing I guess I have to do all day so you see, it's got just a little bit of green to it and we bring it back and then the skin tones are okay so okay, we get fruit don't miss out the fruit shot I don't know what we're gonna do with this thing that we've been yet I don't want to lose the top of it so paint the top back in that's fine, you know, not a big deal we've got to get some of these details, okay here's an image that's got some blown out ness to it will bring down the highlights it's ok, that it's blown out but I want to see some detail in here of the strangeness of this lovely curtains so we'll do a little bit of that going on under exposed a little bit driving yet yeah, see, this is super obvious to me I don't like it if I'm gonna leave it I'm going to bring it way down so that it's just kind of there a little tiny bit bring that down. This image also is a little cool so bring up the warmth a little just so it's pleasing to the eye it doesn't have to be correct necessarily. What I want is for you to be pleasing to the eye so you know someone like home that's supposed to be cool? Well, I don't know, I kind of like it to be just a little bit warmer and that's, you know, it's my prerogative in this particular case, I'm gonna do it. Um see what happens when I bring the shadows down a little bit kind of brings this area in here down so that your focus goes to this and a little bit to that there she is again. Try this one yet, it's a little bit too much, so we'll bring it back with the adjustment there we'll get rid of that, bring her down a little, bring in the tools give it a little bit of the brushy brush and we're pretty much good on that bring down the shadows in contrast and she sharp gotta love it another detail this one could use a vignette up here but if I bring in a vignette it'll bring this down and I don't want to bring this down because it's the subject so I guess in this instance heck, I'll just use the brush tool so here's what I'll do I will use my standard adjustments because if I had just thies too soon it might save them I don't want it to save my dough so I'm actually going to make this brighter so I know exactly where it is but it's the opposite of what I actually want to dio I want to make a darker so now I'll go ahead and bring down that I don't want the contrast in there I'll bring down the brightness after I brought down the brightness I can continue to paint in kind of where I want it I can also erase just a little bit on these flowers the adjustment I just made is I want them to stay kind of part of the subject and then I can bring the whole image up in contrast and exposure and I think I might do it one more time just cause I want this very edge to be a little bit less extreme so you know, it's, a simple shot, some people may go men. He spent a lot of time on a simple shot, but I don't know it's. I'm teaching and I actually kind of like the adjustments I've made so let's see what it looked like before and then after not a big difference, but how do I do? How do we do it? Radio redux is control shift. Okay, so that's, that that's that you see the difference back and forth. I think he may have seen me since you mentioned time spent on the photo about how much time do you think it takes you to edit a full wedding? I mean, again, it depends on how many images there are and how much like dancing and craziness and how many photographers that we're using, but yeah, I mean, I think I said it earlier was something like ten hours or so for two photographers that's after they've been edited down. This is just the retouching portion, but maybe ten hours for two photographers bond, then export and burn also take some time. But, yeah, that's probably ballpark. If I was on the price is right. I would totally lose because I'm bad at estimating, but yeah, that's, that's pretty much it about that much time rich so money these creative life courses is just white balance white balance you get it right in camera and you know, I'm watching you're just pretty much just doing it to feel the skin tones, right things the matter skin tones of the most important for this kind of stuff that's how I go anyway so yeah, I just go until it looks right to me, and sometimes it does take really my new little adjustments to do that, but like, you know, someone, someone could say, oh, well, I want I just use this tool here. This is the I drop her and he's got white on, so I just hit this, but see how green it is. I don't know why that would be it's a white source it's a white point, but that drives me crazy. It's not that doesn't look right. This looks good to make there it is I don't want to use the eyedropper tool necessarily if it's really, really far out and sometimes I wanted to get close, I'll use the eye drop tool and I'll use the white point and I'll find what's close, but then I'll still probably adjusted to what ends up being pleasing to me, and when you're on location, you guys doing any white about any card shooting any, you know, color cards no, we all just trust the cameras to do their white balance auto. Sometimes if I'm doing, for example, a detail that's only live by orange light or something, I'll go to kelvin mode and I'll bring it down to, like, super low twenty, five hundred k or something, but that still I'm going to fight so that here anyway, so the more I do on location, unless I'm engaged in the the wedding what's going on that kind of thing that's kind of the general rule of thumb just stay with a moment like the camera's deal with most of it. I mean, you know, there are definitely things I do in camera make the shots work. I mean, I should manual joe shoots p mode, but he knows how to shoot a moat in a way that I wouldn't be able to do he just he knows howto lock exposure on one spot that he knows is going to be right in the range, and it does allow him to shoot a lot quicker and freer. If he's going inside outside, for example, he doesn't have to get too concerned about losing a few shots. I should manual it's just how I do it, I like to think that the harder I'm working, the better I work. That's why I do crazy things like that off camera flash because I'm working way harder holding the camera with one hand, and sometimes I have a longer lens on and it's heavy, but I'm just and I have the flash and this weird spot every time and it's always adjusting, and I have to think about that. I have to think about this, and I have to think about what's going on and again, it's just the more involved you are with the work, the harder I think and the better I think you're going to end up working that's. Why, you know, whenever someone's like, hey, what len should I get? I'm just starting out fifty millimeter, not expensive at all, and you'll be moving your body as opposed to zooming like this, so just move your body around and get involved and that's, I think that's the best way to kind of get into it, we're doing well, brush here, I'm going to do that vignette from the side so that this comes down a little and then I'm going to bring the contrast down.

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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