Editing Part 2
Editing Part 2
22. Editing Part 2
Course Explanation and Inspiration39:43 2
Emotional Engagement35:30 3
Finding the Light and Exposure1:06:15 4
The Engagement Session31:24 5
Engagement Session Part 218:47 6
The Bride Alone Posing1:02:01 7
Bride Alone Outside18:50
Introduction of the Wedding Day14:27 9
Brides House Pre-Wedding Prep and Family Posing40:28 10
Mother and Bride38:40 11
Groom and Groom's Family49:46 12
Groom and His Daughter20:55 13
The Ceremony35:38 14
Post Wedding Photos46:35 16
Extended Family Photos, Wedding Party12:02 17
Bride and Groom Flow Posing57:43 18
Bride and Groom Flow Posing Part 221:54 19
The Reception37:49 20
Reception Attendees23:57 21
Editing the Wedding51:44 22
Editing Part 219:42 23
The After Sale49:17
Editing Part 2
Let's take a look look at this this works doesn't it it's a great story it's a great foundation the reason this worked I shut two different images of it in order to get the sky to get the couple dog what did I need to d'oh I needed to meet her on the sky this is where my fourteen to twenty for what it came in green I love that lens because I would have got both hands and yes I'm conscious up this is anybody it's the bride and groom going to pick on it I wish I had both hands no but I'm gonna open it up and now look at what I'm going to do I'm going to add an action called radiant landscape which is going to kick that baby up and just really talking to scotty see the concentration of saturation and take a look but different isn't a flattened safe so the next one I know that I'm needed on them notice how they opened up because in the sky became lighter so go right in here and then advantageous blow out the sky makes it look completely different doesn't it do I care that I'm shooting up t...
he nose now take a look at this can you tell it's a nice little story, isn't it so right and here I'm going to shopping it up with an h dog that I'm gonna add a reading at landscape I'm gonna open the exposure off and to make it look a little bit more unique. I'm going to go in where to tend sixties and that's going to give it that course process look beautiful deep and then I'm going to take this. I'm going to smoke us, burn the sky down on bring that's guy down look, I got flair. I hate flair, but I know the bride's like it because I see it all over the place if they give you a pinterest photo, what are they giving you? They're giving you a photo would flare that people most people did by accident, okay, I'm doing it on purpose here, right in here now he can't lift her up. He's got a bad back, she's a plus size. Can I fake it? I can can I can you tell that he's not lifting her up? And if somebody sitting home saying yes, I could tell I could tell that state that looks fake to me. It doesn't look great to them. They don't know and that's what matters? I'm not shooting for you. I'm not shooting for an international print judge. I'm shooting for a client who they just want a fairy tale they want to believe that this really happened and it's a great image do I like my background selection? Not really it's what I had I should've shot into an open sky but this is what I had I deal with it and the fact that it's the top of the building makes it look even more real so now I flatten it I'm done just like that so let's look at where we get she spinning around now all she's doing or I have to do with this point of shopping that I'm gonna course process and take a look right? And there she spins all I need to get is this detail right in here now this becomes a concern and this is a concern believe it or not, most of this is happening okay from that action. So what does that mean? I got to get rid of that action. This may be something if we have the arms what it is, I may try and go in and do this, but let me ask you, is it worth it to try and create and do all this work on our arm for this type of image? I don't think so it's just way too much and nothing's happening because I'm still back here so I'm going to take that back right in here, pull it up just like that pull it up and I realized I don't need the action that bad so what I may use at this point take a look I'll go in here and again I'll do a little bit of sharpness then I'll advantageous and not all just start to blow things out just a little bit tune it down and now her arm doesn't look anywhere near is bad okay, right there flattened save done now looking right in here flattened save black and white strength there with an hd aug look, the background pull up separation between then going up right in here just like that shopping it up and then done with that now she's walking away with him this doesn't look good, but I'm not seeing it that life. What I am saying is this and now shopping it up, softening it up with a nice thing coming right there just like that beautiful soft image got a little bit of a back take a look right in here remember us about the vignettes so let's, take a look starbucks right in here I'm going to click on starburst I'm gonna crop it in just like that, right in here I'm gonna paint it down I'm looking right here and I'm seeing it and saying, ok, let me make sure you click on that monsieur de biking change is about what I need to d'oh is not open to it and I got to be careful. I want to go back on that layer mask this way the area that I missed, I could kind of painted in teo even it out and then from here pull it up make sure like what I'm getting that's pretty good clarity, isn't it? That's pretty chris without even shopping at this point now I'm going to shop in it and then on top of it, I'm going to add a reading it landscape from watch what the radiant landscape does to the bricks. Now I'm going to show you something I haven't shown you before and this is kind of a toy it's a cool torrey it's called the board tex on what it is is the board text dash board palate? How many of you into textures? It's kind of a gimmicky thing, but people used them. I told you he thought of everything, so what I'm going to do is go grab my dirty shoe that's my dirty shoe texture that goes over, I hit enter, I'll admit it, I don't use it too often, but look at what it does it goes right in here and it added the texture and now it's even great is he's so smart he built a layer mask and voila, I wipe it away just like that I take it off of him even in there because now what does it look like? It looks like the texture of the wall so I just take it off of them make sure I see what I want to see keep it clean in here and now looking back you know what I need to put it back under the veil so I hit x put it right in here and now let's take a look that looks pretty unique doesn't it with the texture on it highlighting out beautiful darkness been yet ing you'd never know you were in day like there just like that going here take a look side to side right so five by ten just like that and I'm going to go of course and then I'm going to go here and then I'm going to kick up the radiant landscape that I added yeah I I did and I'm realizing you know what I may want to add it again now we go now I'm getting to get that saturation and that push push that open and I don't like it when I push it open so I'm going to go back bright and narrows we gotta load selection gonna go right here and I'm better there I went a little strong and then from here I'm going to add the icing on top beautiful flattened save done just like that look at this opening exposure up going to fix the eyes there was something very crucial that I did hear does anybody know what I did to make this really work? Because it's actually really important I'm shooting with a wider lens on dh what's gonna happen on the bottom of it it's going to tend to do what distort so how did I avoid that distortion do you know I avoided the distortion by one simple thing I lean them forward to be on the same plane as the tilts it was our man going up here I lean them here so that they were angled up take a look right and take a look little digital phil and look at his hands just his man hands let's soften up baby up ok look the difference in his hands after powersoft is right see it becomes a little bit more natural so the only thing I need is the shop in arranging shop on the edge of a coat shop in the mouth right in here right in here right in here damn ban bam on let's just take that down with a little smokers burn we are done with that take a look right in here beautiful all set hd aug on let's try something a little different let's go back into ten sixties again okay let's see what we got right there is it too strong a little bit right so let's tone it down there open it up beautiful done and guess what we finished almost all of the bride and groom pitchers here is our last one there it is contagious just like that remember said it's about remembering if I'm right next pictures should be the next picture should pay someone in the cocktail hour pretty simple so we just added it all those bride and groom pictures it's pretty simple pretty quick it's pretty easy if you don't know how to do what I'm doing will make the investment think of it this way you could buy the actions you could buy the keyboard and then you could start doing it yourself that total investment between actions and keyboards could cost you probably around eight hundred to two thousand dollars how many jobs would that get you edited at a post processing place I know we all want to get better and be creative but if you go to pilot at that point you could probably get fifteen jobs done or more for that price think about it ladies all right doug a lot of people a lot of people had questions when we start talking about printing our digital files little empty said what do you tell customers that want the files I'll tell the files recently we're going to cover that next oh perfect we're gonna cover it in sales so they got a nice segue way okay all right all right so maybe we'll do say that a final question well, I it's it's kind of more of a comment than a question, but I just want to tell you how much you blue my mind with this I I thought I was in a box with cropping I totally am in that box of it has to be this is, but when you took just a little portion of it, I was like, oh my gosh, I don't know why I didn't think of that and it's, I want to go back on every shoot, redo it all because I was like, oh, I see the picture now, the way that I had it in my head, but I didn't think I could do it too good exercise for you to go and take images you've done and find when I teach a student, you know, most people know I have a very, very fame student. The first thing I taught him, which made him exceptional was the fact I said you need to find three ways the crop, every single image. If I if you do that, you're going to be a great shape and he became a master at it because he clearing to do it camera and rather than having to crop a three way, she'd look at the image three different ways and camera you do that it's gonna make photography so much fun for you that's really cool, and I could just hear it in your voice how exciting that is, but also just how freeing that is really well question about cropping. A lot of questions had come about losing quality when cropping. Well, if you have a good image, you had a good image. I had this debate with kevin could vote because he said to me, you need to shoot or files because kevin is the king of war files as we know, and then he looked at my files, and the fact is, if the exposure is good, if the lighting's good, it doesn't matter, because here's the thing I'm cropping and into temperate, and I'd be lying to you if I was one of those speaks of you, I sell sixty by sixty I may sell a sixty by sixty two three times a year, tops I'm usually selling twenty by twenty and thirty by thirties, even if the ten by ten crop it's very easy because the quality of the image is good on it by crop it and I have to go back for a big print. What could I go right back to the master image and poet that's all and remember, I'm shooting with a thief or in a d eight hundred on a large fine? Do you know how big the file is out of the t hunt? D eight hundred it's bigger than most people's were all files coming out of j peg the vilest so tremendous doesn't really matter question I hope this hasn't come across completely ignorant but I I noticed when you're shooting you shoot at a very high iess so and I was always told not to shoot like above six hundred and then you're cropping and that's blowing my mind that you're not getting any grain after the fact so light so it's all areas all night if you learned anything anything much is deposing school and it's fun the lighting I simplified I made it lighting for idiot I really did you just need to understand direction of light look at may the lights clean but I know because I feel it that I'm hitting hit hard right here now we have two thirds lighting there, seeing me in my face looks then our authority was but now I can't even get out good just like that it's good light it's good light I'm not thinking about it you know why? Because it's it's technical what do I need to think technical on my shooting at four thousand? No, I don't think I went over twenty five hundred I don't even know if I got the twenty five hundred did I I shot at sixteen hundred I promise you can and nikon all these camera companies never made a camera that goes to five thousand just so you don't use it they made it so you use it another one? I just lost it. Sorry. Okay, I have another one patrick robinson and we talked about during the last night saying what you mentioned in certain albums you put two hundred images in an album patrick roberts robinson said how many images you normally put into an album just a basic common package. I know there are millions of options, but what is the ideal number of images for an album? And if you could also tell us watch the next segment I see I'm gonna have to hold back here right that god got only forty five minutes that's what may I think so many no one of that one. That all right, so when you tell us in the next segment how maney images you put in your arm we also talk about the rest of the people in your on your team it's how I never used in the next segment. I want to talk about it that I present thank you so much. So just before we kind of close out this editing section, can you talk a little bit there's a lot of folks in here who use light room instead of photo shop do are there converted tools that worked for light room? Of course, because you some they are the co botha presets, right? No obviously light rumors photo shop is its preference I prefer photo shot I don't think kevin, I'll make it a secret that you can do mohr in photoshopped then you could do even with the new advanced version that just came out. However you know this things that I'm doing now, I think they just stand at the colon tool to light room dead today in the new version, I believe that again they they added the clone tool to the new version of light right belief so that would be a big help, but the fact is, any time we've edited his job in light room in our studio, I don't think I've ever gotten people don't look at it the same they really don't. Kevin has the most amazing light room presets from softeners two different tone ings the chorus processing is all of it in there, but my preferences in photo shop can you crop like that, right? You bet and light room when I use it, which because some of the guys will use light one for the receptions and the ceremonies thinking it's going to speed this up, but we found to keep what made me so quick it didn't really matter you know what I mean? And that was kind of where it was going as well was people were wondering if the keyboard works it works in light room and it works and photoshopped on do we have this thousands of commands already built into the software for you to use it if they look on our web site they see it I remember you need to weigh it out right now the biggest thing you should've learned obviously is my cropping but I want you to look at and say wait a minute it's taking me five hours to edit a job ok how much am I getting paid an hour to do this? Because you're not equating that if you're spending five hours to do a job and edit it you should be thinking wait a minute time is money if I'm a really average editor I'm going to make twenty five dollars an hour which means it's costing me one hundred twenty five dollars I could send it the pirate for a lot less why do it take those five hours spending with your family or do marketing figure out of the market go make an animal to slide show go do something to market yourself get away out the two options because time is money uh w d photo who's wesley from vegas do you ever use a graphics tablet? Do you always use the mouse welcome nothing I used them house and I added everything on a laptop you're looking at my entire work station right here. My mouth's is controlled is heard at what this's that I don't I don't have it on a desktop. I edit on my laptop. I have everything built in on dh perfect. One more question you can't stop. Are you calibrated? Is your monitor calibrated to the printer or you know you know why? How many color changes did you color adjustments? Did you see me make didn't make any color adjustment you cannot calibrate to your printer. I know this for a fact I own a very big printer inside I grew up around labs I was able to print in a dark room all of that you can not calibrate to a printer because here's, what happens every time, every time something goes on attention when you change from five inch paper two eight inch paper, the calibration changes when you change one part of the chemicals it changes as the machines temperature goes up and down, the calibration changes over changes, you're never going to be accurate. So what do you need to dio just need to try to shoot it right, get good white balance, get good color and you'll be in good shape on occasional you're under overexpose. And that might affect your color. And if it's not a family picture, what would be the best thing to do there, rather than figure out for twenty five minutes? How to get good color. Just use that action. I talked about making a black and white.
Ratings and Reviews
a Creativelive Student
Doug is one of those teachers who combines the right blend of humor with knowledge to keep the learning process inviting. Doug's heart is what draws me in...his passion for photography as an industry not to mention his personal desire to see those around him excel in their new-found skills. I have witnessed first-hand Doug's ability to transform an ordinary environment into an extra-ordinary work of art. Don't miss an opportunity to learn from someone who studied with the great Monty Zucker and who offers a system for integrating posing with an understanding of classical lighting. Don't miss a wonderful opportunity to learn from one of the best!
a Creativelive Student
Highly recommend to any wedding photographer, be you experienced or new. Although based in the Uk, most of what doug taught is relevant and has helped boost my confidence when posing and making adjustments to peoples pose. amazing depth to the way an image is created and lovely to see the images then used in an album to tie everything up from start to finish.
Loved and bought Dougs first Creative live workshop and learned so much from it that I intend to watch and learn from this one as well! Just from watching the first creative live workshop I can see a big improvement in my work, so I am looking forward to this workshop and learning more from Doug. This one looks very interesting and more real to what us as wedding photographer encounter in real life. Cant wait!