Proofing Part III


Wedding Photojournalism


Lesson Info

Proofing Part III

The other thing to keep in mind, I guess, is these are called we call them proves for a reason, you know, these air for the client to see all of them color corrected, but they're not tweet like one hundred fifty percent, these are the proofs for them to look at, and then they choose the images for their album, and when they've chosen those images, those of the ones that we give extra extra attention. Teo so that's partly why I can be a little bit of loose loosey goosey and kind of five played by my seat is because they are just proofs that being said, I'm doing a lot for proofs I'm doing a lot to make them where we want them, we obviously want the client to see them the best they can see them, so I'm going to bring down this exposure for all of this, but I'm also bringing this down, and I don't want that to come down, so we're going to use the brush tool once again to bring this in and it's okay, if there's a little bit of a vignette effect here because I kind of like this having a lit...

tle bit of a halo, maybe just a little bit, so I'll bring down the adjustment of this whole brush by clicking over there. Bringing the flowers of the little on under there and we should be in good shape on that let's, see if I could bring the contrast what's the exposure just a tiny bit. I mean, you know, these days the stuff comes out of cameras so great, I'm telling you a few years ago would have taken a bit more effort to get these files toe, you know, really look as natural as they can, but nowadays I'm just so happy with the cameras, they're just the color balance is really, really good to begin with. So a little bit less work. I know you were that day. All right, rich lena has a great question she's wondering if you have any secret presets. No, I mean all the presets air pretty much. These are the ones that I used. I only have a couple one for black and white, and then these little vignette e one's secrets. Not really there's, an action that I'll use in photo shop that won't be secret. Either because I'll use it that being said, the action that I use in photo shopped for those wow, we're kind of extra images. I don't really know how it works, so we'll go through it. I'll try and figure out on camera how that's what the steps of the action are, I can pull down the action and we'll see what what goes on. But but I don't really even know how that action was probably a cosy and blur kind of thing that then I reduce using the race or tool and using the opacity of the layer, we'll get into that in the next segment, but nothing really secret. I mean, you know, yeah, nothing. These are all out of camera. Get rid of the info for a second. Because I wanted you to see what's going on here. Um, this image I want to crop up a little bit so that we have this little third's rule this thing's kind of a pain in the butt. Now in photo shop. It'll be really easy to grab out, but let's, see if we can do it here because this will save us a few moments bringing it into photoshopped. So this is the whatever the hell the healing stamp, I guess, is what is considered in light room. Just try and grab it healing also a huge pain in about a large learning curve to try and figure out how to use healing because if I got if I get even the slightest bit of his hair and there see what it does it does this really strange blend e out so you don't want that you've got to be really careful you can use the arrows to do little micro adjustments so that he doesn't get in there let's wait for it a load there we are and then that thing is out of there I do suggest clicking and dragging this because um because if you just click it sometimes it doesn't know where you're going see it's grabbing this little bit of this thing and pulling it up into here and it tries to do his best job thank you much very much light room but I do prefer finding your spot here and then dragging to where you know it's going to be cool and then you wait for it to load check it out see if there's a kind of awkwardness is about it and just go from there so that's not too bad I don't find it too distracting maybe this little spot here again you go crazy doing this stuff like how far in should I zoom until I'm ready all right so here we go with this we're gonna bring her up I'm going to leave the sides on touch because we want that little bit of a natural kind of and yet feel maybe we'll bring him up just a little but not too much her expressions kind of goofy so I don't know if we're going to end up using it but it's nice for now, okay, so this one I think I am going to crop in a bit because this guy's not really in the shot and I don't know if it really lends to much I'm gonna tilt out a little bit too yeah, I don't know maybe maybe we'll just get rid of him entirely and we'll see what this looks like it's not too bad warming up a little bit bring down the shadows and a black here and then up with this actually will bring us down because we'll just do the brush and then she's pretty dark and muddy so we're gonna bring her up a little bit in the background that's probably fine maybe the highlights a little and go back to black will be in good shape. I like this shot a lot. I think this is really cool there's a lot going on um this one's a joe there's a good shot like this we're going to go ahead and we could color balance this there's also lends itself to black and right white really well just because there's a lot going on and the color may be a little distracting so let's color correct it and then you know if we want to try it in black and white let's just go ahead and do it this shot does not really need very much the black and whites a little under bring it up yeah, I think that's pretty cool okay bridegroom hanging out of her brighten her her uncle hanging out of your nose grew going on can you explain what your processes with mixed lighting when your color correcting? Okay, let's go let's just skip out of here I'll show you one that is mixed lighting so there's all ceremony stuff so we're not gonna have too much of that let me go teo it gets in here. This is the stuff we're gonna be working on later. Um some of the nicest stuff but let's see, we got some really funky light down in here. Okay, let's go with this one. So okay, this is an image where joe is using that frizzy light the video light toe light them up a little bit but it's not really affecting the light too much it's still all kind of purple in the background but let's go ahead and color correct this image because we do want it to look right and we don't want it to be I mean, sure, this is how it wasn't shot naturally, but I'm going to go ahead and see how close we can get this natural skin tone and see the background is definitely more magenta for sure. I'm not too concerned about it. Honestly, because the subjects here, I want them to look really good. I don't mind too much that these guys were purple in the background is kind of cool. However, I do want their skin tone to be kind of close to where it's supposed to be, because it's just more pleasing to the eye, so that's it. I just went extreme with the tent down until it got to a point. Obviously when I bring that these guys are going to get adjusted, but they were already pretty purple to begin with, so it actually worked out pretty well. We'll do a little bit of that fins and yet, and then maybe we'll just boost the contrast of tiny bet. Yep, there they are, the first dance and, uh, let's see, we just check here that's a little bit more of a version, but let me see if I can show you the before and after. So there is before there it is after and you know it's like I got the skin tones pretty close to where they need to be I want to see if I can find another one that's kind of mixed fighting as you're saying I mean this one's not to me thanks it's all pretty magenta um no there's one here here we go here we go. Okay, so here's the image unread touched I think and here it is after I've done all the adjustments to it so in order to get there I'm looking mostly her worried about her skin tone because it's kind of wild looking so we will go ahead and adjust out some of this magenta bring up this warmth a little here we'll see how close I can get to the other image that I've already worked on see how consistent I am azari thatcher oh gosh we're going to use that post crop in yet to bring in a little bit more I'm gonna under I'm goingto black down so I could get some more contrast to continue to bring down the exposure for a second because we're going to bring in this brush so we're going to get her and then we're gonna get the bride and groom in the background because I want to make sure that we can tell what's going on I love that she's pointing up with them too that's kind of like kind of lucky framing all right uh let's see what's going on here I'm just going to go in and adjust a little bit of sharpness because it is a little out bring up these radios and detail just a tiny bit not a big deal and then we can even do a little bit more of the contrast. Okay let's see so I already done this other image before let's see if I'm any clothes to where this other images what's the difference pretty close actually think I like what I just did mohr the they're both adjusted images there's the difference there's the fly by your seat stuff right there the vignettes a little stronger on this edge and this image where is here it's a little bit still lit up obviously the contrast is a little bit less but yeah I think you know it's not that big a deal one or the next one they both looked pretty good this one actually does probably look a little bit better color let's see again, this is a little bit more purple so we might end up going with this this one I had adjusted yesterday yeah that's a little bit of I guess split lighting let me think there's another split light kind of thing is yeah, this is split like because I mean yeah there's a little bit of you can see it in here it's different it's just going to have to be that way unless you go black and white there is going to be purple in some spots and natural kind of flashlight or whatever it is I don't even know the flash fired on this shot why don't we find out? I noticed that you have virtual copies of a lot o that's this actually sorry yeah, that ism virtual copies in this particular instance is for display purposes for our show because I wanted to show these images before and after again I'm going to do this more in the next segment, but having a virtual copy isn't necessarily part of your work not usually know I don't usually do virtual copy is the only time I will is if there's an image that's just like so cool that I wanted to be black and white and in color I'll do a virtual copy and they'll do a black away conversion and we'll give them both but for the most part no, I don't I don't need them really for most of the stuff that I do so let's see, I'm gonna go back to the ceremony and let's let's see how fast I can go if I could just do this and not talk as much, maybe we'll see how fast I can do these next pits um we were in here somewhere, right? Okay so okay, here we are, let's. Just go for it. Speed rich speed, I don't think I'm gonna be able to do it, but hey, why not? Of course, the computer at the will of the computer at this point to been here going here we'll go down like this who's this up a little bit, a little bit of warmth and we are pretty good. Maybe it'll work on trust, so you have not necessarily and were fast, but I know that this image is similar to this image, so I could just like that one and go back to this one hit previous wait for it and then we get poor more or less the same adjustments actually got exactly the same adjustments. He's a little bit brighter than he was in the other ones someone erase some of the brush off of him. I love this shot. This is joe shot freaking awesome, awesome, awesome shot. So we're going to go ahead and bring it down. We're gonna feature the bride with the brush. We're going to zoom in right down to her face. So you see, I'm doing that. I'm just kind of clicking, clicking and then getting it way down in there, but because I was zooming in the whole time, it doesn't look like I just did her face it kind of has a natural grady in't we might bring her in a little bit too and then we might contrast it to this is nice and colorful this and this pretty close let's try it let's try previous or sink okay actually yeah that works we'll just leave it because that's pretty cool I might do a little bit of a crop because there's a little bit more headroom going on so I cropped down to this light I could leave this light and because it's also kind of an edge of the image but I'm going to go and crop down to this light because I want him and the framing to be a little bit less head roomie headroom meets a new phrase I get no hopes I did the wrong button I did ten when I meant to do contrast another cool shot of joe's here maryland loves to make fun of joe he loves glassware and so we'll get some really cool stuff of a lot of glassware and she's like where the people but they do workout I mean this is cool whoever placed this these glasses in this light knew what they were doing because I even got a shot of it later too was just like too too well that this is just a cool little detail bring this highlights down a little bit and we'll leave it this image needs a little bit of exposure actually I'm not going not going to crop too much. Maybe a little bit of these highlights up top. Bring him in with the brush. It'll come out now using the brush. A lot does slow down the machine, so if you don't have a super fast machine, you have to be aware that the more you use the brush, it typically takes up ram from your machine and you'll start to bog down a little bit. You can fix that a little bi, you know, hitting the restart. Restart the computer a couple times in a row. I find doing that sometimes helps. I'm not an expert on that, but that's something I use if it starts to bog down a little bit. Having a good machine is obviously really, really important. This computer has eight gigabytes of ram. The one we have the studio has. How much did we get on that computer? It's? Something close to thirty two gigabytes of ram, which is probably more than we need, but who knows? So having a good fast machine is a big deal rich. I notice you're not converting a lot of them to black and white is not something you're gonna go through and do afterwards or it's, just you do it by phone. Feel as you go well partly that's because I did the edit and maryland didn't do the edit she does pick the black and whites probably better than I do but yeah if you know if a bunch of these have been picked out the black and white then I would have just gone ahead and done them right now sometimes we pick him later sometimes I pick him in the moment you know, like if I'm going through and I'm like yeah I don't know if that one should be a black and white that's kind of nice and color but yeah, sometimes I just do it here as a prerogative like I'll go well, you know, uh yeah, maybe maybe we don't need both these to be in color and I'll just go ahead and do it and usually when I do it all market with this number six so that we have it mark down his red and black and white and then later we can figure out if we need this many black and whites but yeah, normally they're selected out ahead of time and I'll be doing them here and actually you know what? I don't do them if they have been all selected if there's like twenty or thirty you know images marked with the red symbol I could just go in let's just let's just pretend okay, so we got this one mark read listen, margaret okay, so I have this on my right and we'll make this right over here. We'll do a few of these. Okay? So then I can go library, or I could do it right there. I could hit the red ones. We got him all right here. Lined up. Just a select all or well, I guess I'm kind of doing this out of order, but so we turn this one in black white, but hitting created black and white. This setting that I have select all of them sink because I want the same things saint that were singing earlier when I created that action that pre sent not white balance, not exposure because these images were shot at different exposures. But I'm gonna leave the rest of these selected because this is part of the pre set clarity tone curve. Yes, I do some clarity on. Well, maybe he didn't. But sharpening. I definitely do a little bit of sharpening on the black and whites just cause I can you can get away with it a little bit more color, obviously for sure. And the noise reduction. Sometimes I bring up the noise reduction of my actions. No, this other stuff needs to be done, so we're gonna leave all the rest this out sink, um it will go ahead and do that if I was a ton of them, then I'll go back out to library and I will select all of them or they'll already be selected, and I'll build the previews for them so that I can then go through quickly. These have already been built wash another building really quickly because I just did it, but then, you know, then I can just go through the black and whites separately from everything else and make sure that the exposure is where it needs to be and do anything else that I need to do just to those and then those will be done ahead of time before I go in and color correct some of the other images I'm not super consistent with that. Sometimes it'll happen after or sometimes just happen is part of it, but I typically like to do the black and whites ahead of time so that I can see how the images flow because, you know, having black and white images in with color images does affect the flow of the event when the clients looking at them one after the other. So we'll just go ahead and do these right now because we have the moment you do have been yet I'm going to bring it down it's a way too much, so I'm going to reduce it and then you get just a little bit of actually that's kind of a little bit so I know is the wrong one here? Yeah, there you go so you get a little bit of a vignette of her coming down the aisle and then we got this one I could use that little edge, that rim of the vignette so we're going to go ahead and rim this and maybe she's a little bit too far out so we'll bring her back a little bit with this breast whenever it decides to load hurts it is so fascinating to see you work you're working so efficiently quickly and you're extremely consistent like especially seeing the one image from you know you had edited yesterday today and it was like a spot on it was really impressive to see you your master at your craft awesome very much well, I have one last question for you what we are seeing from the way you post process all your work and how you're editing it's very clean it's very truthful, very simplistic and true to the moment you're not over processing are adding crazy presets on top of presets and then tweaking it so as stylized like with a specific tone that's your own you're keeping a very truthful is that something that is specific to photojournalism? I think it's specific to photography myself I think that the images should look like photographs, if they start going to the moon or to mars or something or a super cb et or I mean even see peotone is an artifact of a photograph that's been left out for years. I don't we don't. We don't ever do see via to our images because these air digital, they've been shot last month. So to me, doing like a cb atone, super action, high contrast, I mean, if it's requested, sure, but but the reason they hired joe is because they want photography. They want the images to represent the moments, not necessarily to be over the top extreme. Um, so, yeah, that's, that's, kind of our I am on it, it's like this. We wantto represent the images as they were shot. And you know, that just means that we got to shoot him, right? Because, you know, they have to look good to begin with in order to make him into this kind of a simple adjustment set up.

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