Editing the Wedding
Editing the Wedding
21. Editing the Wedding
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 the Wedding
Now, like I told you, I never wanted to be a photo shop genius. If you look at me, I'm clearly not that bright, but what I am it's estimated I want to make things as easy and as quick is an efficient as I possibly can, so there are two things that make me have to make that happen. Number one, I ran into my savior probably about eight, nine years government w p p I conference on I'm walking and I see this guy walking through the gift shop and there was like a halo of light over him. It was amazing I could barely see the face, but I saw that halo and I walk up to him and I'm nervous and I've already been lecturing six years and I say to him, hi, I'm doug gordon and he reaches out his hand and he goes on kevin core voter, I've been waiting for you because he knew we heard my stories of how I was struggling with editing. I didn't know what I was still in on. This man had the ultimate set of actions. He is a genius in every way, shape or form is one the smartest people I've ever I met, I ab...
solutely love him is a person I love him as a creative just wonderful. And he came up with the set of actions and he kept expanding and he was the type of guy I'd say. Doug, what do you need? Maybe I could come up with it, and every time I asked him for something, he made it. He made it into action. So now, rather than sitting in taking five hours to complete one image to make that perfect image, kevin has already come up with it. When I tell you, the man has thought of everything, he thought of everything now to make it even quicker. I wanted to add something to it. So I came up with my own little keyboard it's, a doug kind of speed key thing where I programmed kevin's actions into it or any actions for that matter of anybody, and I press little buttons going on it. So I have buttons there that include my crops. I have buttons there that include every action that I love, and then some I have buttons that include the cone stamp. This that the other thing. More importantly, if you're now editing detroit opening twenty or thirty images at a time and a lackey computer completely down, I opened one an image of the time and I have a button on the keyboard that says, next image of a button it's flat and say, if I have a next button a previous button makes it all happen nice and easy. What makes my image is unique is mostly inside the crop. It's not the technical. Now, in a traditional boring image like this is not much aiken dio, but what I am going to try to do is shop in the image up. And as they said, everything's in here so if you look at my screen, I have my car, a boat, a dashboard, all set everything's right in there. Whatever I want, I can choose by action set. I can choose by type of actions whether it be a creative, whether it be a black and white, whether it be a mocha. All of the stuff that I could imagine is right there in the dashboard. I even of textures and another dashboard. I got album design and another but best part is everything is programmed right into my key. Now, obviously, I have a ridiculous amount of commands that I want to use. We have a much more keep what this is honestly too bulky on most people in my studio, they use the real small arms like twenty two keys. So let's, take a look at what we're creating, and if you have questions, if you expecting technical here, I'm not going to give it to you. Everything I learned from about photo shop I generally learned from using micah botha actions, I learned all of it from looking at the actions and looking what they deal. I have actions in here on what's funny about it is very, very simple. They do like fifty five things of which I know not what one of them is doing. All I know is what it looks like the end and it's all I need to know I look at an image like this, and I know, okay, I have the detail in the depth that I want to get into, so I'm going to start it up. I have my keyboard on my left and one of the first things I'm going to do in an image like this doesn't want to pull it in and take a look you could already see we got great clarity in here, so I'm going to look in and now I'm going to start to work. One of the things that I obsess over is the retouching off the eyes. It drives me nuts in every way, shape or form. So what I'm going to do here is one of the biggest reclamation recommendations I can give you and photo shop is to know your shortcuts, I know that I'm going to go in and use the patch tool here. Now some people choose to work on an alternate layers so I would do is hit apple jay and by making that layer I'm going to go in here and eliminate all of this so I'm patching it I'm grabbing the area, bringing it to a smooth area and now I'm eliminating it completely the reason you work on another layer is because what you could do at that point is just kind of go into the layer and change the capacity to bring his much of it back as you want now I hate it so I go and get rid of them all not a big fan and I look at her eyes there a little bit dead I got to catch right, but I would have liked a little bit more I could open him up with a nice and teeth enhance but what? I am going to open him up with it's what's called digital phil have you ever felt like you just needed a little bit more like in a single spot? So I'm gonna go right in here by using my left bracket? I'm going to just open it up, I'm going to click on the pupil I want to open it up in there and then if I want to click on that individual and now we know it's a curves layer and take a look, I'm going to start to curve it up going right in there and I could do the same thing I've obviously gone a little bit bright so I'm gonna curve it down now I go back to the layer I click on that mask again because I want to get into mr man's eyes here and take a look just opening him up opening him up, opening it up and now in here if I want to do on a total set up I'm gonna wide in a brush with my right bracket open up the face go right in here I'm going to add a little bit of shock nous now let me show you a really crazy shock now which brings it to like a higher each day effect this is called hd aug do you see how much detail just got bored back that's a little too much so I'm going to skip back on the history I'm actually going to use one it's a lot later it's called power it's going to punch my blacks it's going to come out and here I hit flat and save I move on to the next image and again you know what's coming up I know they're looking at each other says no real work I'm gonna open my exposure going shopping it up, I'm going to go to a black of my any image you're done, how long did that take me to d'oh pretty good here. I know the next one, I want to try something different. I'm going go into advantageous with which really bored it. So what I'm gonna do is go into the total vintages folder and just bring it down just a little bit in the next one will be a close up so flattened and save move onto the next one and from here I start to make my things I click one button I'm going into hope bye bye ten I change it out and I'm going to go right in here and I'm going to go right there and now I have a beautiful ten by ten isn't just making life a lot easier, so I'm sharpening up. I'm flattening and now let's look again, I want to get right in here. The reason I don't work with another layer on this retouching is because I don't want to see any of it now. This will all depend because I will have a discussion with the client before I don't really go into him because I'm going to make him look feminine. So here I'm going to add in action called powersoft, and what it does is it ends a beautiful gagosian blur, but the great thing about it is you see how soft it is, it goes into a layer mask, it goes my black brush I could reduce the size and I wipe it away from the areas I don't want to say do you see how on restoring sharpness toe all of the areas that I don't want it like the lips the eyes the brows all of that going to take it off the beard a little bit I'm gonna wipe it off the edges and here just like that I'm gonna wipe it off the neckline and of course look at all the blurring on address do we want that there no we don't so we wipe it away well gone set and take it right off there just reduce that breast size nice and quick and easy now if I want to take a look his suit I'd like to be a little darker so I'm going to use what we call smokeless burn and take a look what happens right in there just keep would really makes things quick doesn't it going right in here so we go up here again squaring it up we're gonna open the exposure up I'm going to go there I'm going to add a little bit of pearl soft on what the pearl soft does it's just really soften up the image and again I'm going to flatten it so that I could go in and do my retouching no one of the other ways we could do this is we could go in and we could use all lightened tool on our cone tool and let me show you what that is when we get to another image that means I work done what this action did was kind of muted and I could find out what each action does on my dashboard if I just type pearl soft it's going to give me a I'm going to click on it and it's going to say it's a rudy to de fresh and fruity not a very accurate description but that's kevin for you so moving here I know the next one she's looking at him so I go right here just like that I'm gonna open exposure up I'm going shopping it up I'm going to go back and white that I'm going to go right in here now they're looking at each other just like that it cut into his head right there go here and now I can make it another black and white now I know she's going to turn her head back looking right here so now let me give you another option so shop in flat opening exposure up now let's take a look rather than cloning what I'm gonna do is hit rather than patch I'm going to hit us and then what I'm gonna deal is changed blending mode and I'm going to go into the light and let's take a look what this does so rather than be so harsh it's just going to come right in and it's going to start to lighten it up just a little bit because we all have these sort of things and obviously working on a layer here would make it a lot easier because it could change my blending mode but you see what happens with that it starts to get patches of skin that's one of the reasons that I'm always going to go in here I want to do it as quick and easy as possible and I have tons of softening so I'm going to show you another one one of my buddies gave me this my boy ryan sh embry from australia another genius him and his wife here so it's an action called cleaning the skin and take a look right in here this is one of those really fashion eastern type sets so what I'm going to do here is you go and and just watch I'm gonna go really heavy duty here I'm just going to invert this layer maskell ghetto heavy this is literally I have painted her into this point but what you could do is start to take it down and of course since it's on a valium esca have beef or brush I'm going right now I'm in a white and I'm going to take it down one hundred percent and look I'm going to start to restore but I'm only a fifty percent I'm going to go right up here and go to one hundred percent but I'm going to start to pull it off of those areas gonna pull it off the eyes, pull it off in here and if you look once it's just on the skin it's not as ridiculous but still borders on ridiculous she see how soft that is. So what would you deal? Because it's on a valium ask you can go in and you could obviously individually control it from your passage of your brush but what you could start to dio just go in and lower the capacity and thickness of it in there ok? If the layer it's a pretty cool action, how often do I use that? I use it if I was working on a high school senior or something otherwise I'm going to smoke mostly stick with I'm going to stick with my powersoft right in here right in here and of course I'm going to use different forms on different areas so I'm going to hit here and I'm going to go and I'm going to add a c p a strong tone looked a beautiful catch right in the eyes now take a look in here we got some work to do here again everybody has things like this my job is to get rid of it could you imagine? Do you think she's ever going to buy this if she sees it in the state? I don't think so she's going to look at me like I look terrible, I have bags under my eyes. I have all these different things going on, so I'm going to do again. I always open up the exposure. It's called it's a fix under exposure action, but this really is an under exposed is it? Excuse me, what I'm doing is using this tow open the whole thing up because it's really just attacking the shadows now I'm going to go into a five by ten take a look right in there that I'm going advantageous and advantageous now it's over exposing it, isn't it? So what would I do? I go to wreck into the folder and then I'm going to start to pull it down just enough because I want just enough to soften it up. Great image. Now I know my next them it from here it is going to come in here so many different ways. I could do this. I go ten by ten. Open it up right there. Just like that. Black and white. I got my image now if I want, I could start to create secondary images. That's completely different image now, isn't it every image I should have it. Least be able to crop one two possibly three different crops I'd look at every image and find a way to make it least three crops out of it from that standpoint if I was going to save this which I wouldn't save like this I would go in here and then I'd go here before that then I would make it a pearl soft and now rather than save it through here I'm gonna flatten it and I'm going to go in I don't miss save this as an a that's all I'm going to do at this point this even as an a and then I'm going to move on to the next image way already got not there so looking right in here black and white again I know my crop and now from here on cropping I'm shopping and black and white done pretty quick and easy how much we get to these I'm looking at it a little bit different because I'm looking and thinking outside the box in terms of the crop again everything idea was right in here so if you look I'm a good abroad on this side of the light and I could really open this up can I? So I'm going to use in action called digital film watch me go there I went a little too heavy dinner tonight so I'm gonna streak it back and just bring the capacity down until it matches from there and now I'm liking what I'm seeing, but this image is a hole is kind of boring to me. So now from here I'm going to go into a five by ten crop the best part about having this programmed into my keys just like that take a look and I'm going to add something you haven't seen me use yet it's called isis so the icing is really soft and fifty percent could you imagine what it's going to be? I'm going to start you tone it down I'm going to go right in that eighteen to twenty three generally bright and here take a look right here look at this crop looking at tight this is again opening the exposure and getting all of this out does this seem really complicated to you? Not really and if it does seem too complicated, guess what call pilot don't do it for you you can't really beat that, so he has my peril soft look at what it does again it's light it's fruity it's duty ok going right in here just like this right in here take a set. I know they're gonna open it up. I know that I'm gonna go in here and I'm going to go black and white and then I'm going to put that to the foodie peril soft on top, that image took me how long to d'oh five seconds pretty good so it all starts with what having a good exposure now I'm going to be exposed perfect on exposure every time it would be inhuman to be perfect on every time but again you can leave the image like this and leave this here and that's the difference between sellable and not sellable so looking at how easy this is going right here and now I could change I look at the color how does that look it's not working for me so you know what? One of the things I like his cross processing so I'm gonna look at it here go is there any chorus process I just course we'll look at all these course processing actions so let me open the exposure and then when we try when I think I like ten sixties and it gives it that warm color people say all the time oh don't use muted colors don't use that the most popular photographers in a world of female photographers and a few look at what's going on right now most of their images have a little bit of flair to him a little bit of warmth a little bit of that tooty fruity and a little bit of that course process look I'm here to please the client that's what they want that's what I'm going to dio looking right in here so the first one I went with course processing shop and ban image dunn will get out quick and simple. This is so let's. Take a look right here. No, I got the lamp and I don't know what's gonna happen when I'm doing it. But the lamp does nothing for me but what? It distracts me. So I'm going to call it out real quick, make sure that it doesn't look too obvious that I did it. I have my problem right in there so again, I just want to get rid of everything I don't want to see. I get lazy sometimes on basically go in and used to bigger brush. So now we're all set. Now let me show you another one here. I could try and use the ten sixties again. That's a pretty nice color for it, isn't it? But I could go on. I really want to pump up the saturation. There's great action called radiant landscape going right through the dashboard now, let's, take a look. He's got a little issue here. What do I deal with? It is two different ways to go. I could obviously go with my clone and just bring it right over and go right in here. But I'm in light mode, so I got to get out of lightning and go into normal, so grab a right here. Or the other way to do it if you don't want a corn in his hair because it's a little big is what you could do is go in and smokeless burn it so you take that small selective area and just talking it down now in most cases I'm probably not going to do that I'm probably going to go right in here and I'm gonna use that corn tool because that's why they invented it for us bolding guys lookin right in here shopping it up now we know where heads turned out just like that looking right here so opening up the exposure and then again I'm going to try this in a black and white and I really want to push it up watch the blacks want to click on radiant landscape do you see the difference right and here take a look from there to there as a heck of a lot stronger flatten the image but don't forget we got that little bad haircut parts were going to get right rid of that and nobody will ever notice we don't need to let him know look at this right in here look at the crop right there that's a nice soft image isn't it let's try a different tone let's go blue tone nice and soft images now I know that I'm gonna go five ten because this image is right here remember us do I see the story happening before what do you think? Do I see it? I know exactly what's coming up next I know what I want to create I'm gonna add icing here and I have a beautiful image let me ask you anything that I've done whether it's shooting whether it's editing is there anything really technical to what I'm doing? Stop thinking did you see the guy sitting at the table who had no idea about photography? He was able to figure out that I needed to move forward to the light how many of you was sitting there wondering what you should because you're overthinking every part of the process you're overthinking it and just ignoring the simple part it's what we d'oh it's our nature to do it so now I know her eyes are down what would be a logical toe happen next the eyes to come up and now I change my cropping I go right in here and even if I don't have his chin I could go here or I could go here and just leave this tie could tonight I could do it either way or I could make a couple of different images out of it so let's go in again and let's get rid of it now here's the thing I should have noticed the stray hairs I should take my own advice I didn't see them I should have seen them but now I have to go in and fix those annoying little buggers because I did not pay attention. Now I'm going to try the patch tool, probably not going to work because I'm gonna have all of that that's pretty obvious, isn't it? So now this is one point I could try another method that may work it's called content aware, so I go and I basically have my magnetic, which isn't the one I want, but doesn't matter. It might make not a glass o, and what I'm gonna do from here is hit shift elite and watch this it's going to automatically go in and fill it in, and if I'm lucky getting there but lucky seal of those edges right there around it, I don't need that, so I want to make sure you get rid of that and now I'm creating more work because I got to go here and patch still here and start to blend everything and wouldn't it have been a whole hell of a lot easier if I just got it right on camera and noticed the strands? So now the ideal tool to use here is actually the brush remember the name calm brush right in here, just like that, it would have been a hell of a lot easier just to get it right pearl soft image done moving on he has my extreme close ups ten by ten well I did it wrong now could you imagine having to hit escape go back in and type it and why not just hit a button so everything's right here on my button bam there shopping there bam they're good flattened done terrific now we know that the nose is going to crop in here I'm going to cut into the bridge of the nose that I'm gonna shopping it up just a little bit I'm going to add a little bit of tooty fruity but it's starting to make him look a little tooty fruity so we're gonna go black and white a little bit of strength right there push it open just attack to make it stronger go there now they're looking at each other right in here take a look remember we talked about the chin this area right here if I leave this in his chin looks fuller but if I pull right into the edge there now we got it but don't forget you got to go in here and clean out the junk everything's about cleaning out the job getting rid of the little things that we don't want to see take a look right here I could go in and now I add advantageous does that work they looked like that night of the living dead that two white I could try and tone it down and now I gotta warm skin tone that's what everybody wants so let's see, do you remember what poses next she's going to turn her head in? And we're going to go right in here just like that stay there and look, does that work now? Let's try and get up here. I need to go a little bit more so I can get into his eye and I'm realizing, you know what? I'm not loving it, so let me try and make something out of nothing here. I should have had him a little bit lower so what I need to dio is pulling here, pull back to the edge and let's see what I get now I'm starting to get something and I'm a little bit more comfortable with I went here what's called a modern antique, which is a cross between a color and a black and white, and from here I'm going at that soft tone icing. I know people don't like certain people for times like I don't like muted colors, muted colors are terrible, brides and grooms don't know what muted colors are terrible. They know what they like shooting for them, not for myself now looking right in here just like this, so look like to the edge of the goatee and from here, down, down soft got damaged or have any questions from anybody inside here or out there because as you can tell there's not a lot of thought put into this. Anybody have questions that are coming up regarding cropping. And I know you've talked about the fact that you crop specifically to be able to sell prints. So prince and self rains, cell prince and sell frames. Thank you. So I guess the question is even grow. Photography had said he's cropping images before the client chooses a size. How does he change a five by seven to a larger size if they wanted. What do you think I don't really offer? I think you offer on lee the prince that I want to orphan the sizes I want. Thank you. Because who's, the professional you are dug. Yeah, well, the people here's the thing. Can you buy a five by seven? Eight by ten of them by fourteen. Those retail stores to give the prints away for a dollar fifty. Can you buy a frame of the stores if my client is? Oh, but I have a five by seven frames. Well, I'd be happy to go and crop this toe what you want and then show them how bad it looks. Again if you walk into a home are you expecting to see five by seventeen eight by ten's and on by fourteen you are are you expecting to see squares and extreme rectangles my job isn't to blend in my job is to get noticed so oddity is going to do it and guess what? Squares and rectangles are not oddities if you were shooting in the forties and fifties eso sixties and seventies you were using a square format camera you were using you sheikha matter we're using your house so bats which we're all square images so any other questions follow up from ursula does doug create his albums of photos he chooses or does he allow his clients to pick the photos? Well this has long been debated everybody thinks that I'm going to go and choose my clients images I don't work that way with two biggest studio to do it and deal with it I let my clients do pick their images and I'm going to explain to you during the sale session next how we get them to pick extra images just based on taking the right images and of course applying just a touch of pressure to them I allow the clients to pick why should I pick for them it's unfair if you are spending thousands of dollars why would you want someone to pick for you yes I'm a professional and you do I will pick but again I don't want to be involved in that process. I stay as far away, I'll make recommendations if they asked, but I'm not going to go on pre produce all those albums because the majority of people may not buy them. Ok, frankie, I noticed that a lot of your crops are super zoomed into their faces, which I love, but what I was wondering is if that's your personal preference or that's what clients were geared towards and so you just started well, remember that you are seeing what I'm dealing at the moment you're forgetting what I did after this there's a very big balance, there are a lot of full length images coming up, you're just forgetting it because right now I'm focused on it, so get clients prefer it clients prefer to look beautiful. The human face is one of the most beautiful things in the world. People's eyes you can look in people's eyes and know who they are you can feel it looks deep into the soul and knowing and looking at someone I liked the close ups on my clients like them and the fact is I can build pages with many images on it. Okay, so here I'm looking at it is a five by ten again. Just like that and I'm cropping out but notice the cut because I'm right in here it's starting to make it now you're going to see something why is he cutting so deep into a chin? I did go a little deeper there so I'm going to come down just a tad but I want again I'd rather cut the top of the head opening exposure up just a little bit just like this here we go and now black and white and I'm gonna pull a little power out of strength and that baby up I don't want this image I don't I think her face is too full I should have turned it to the left to be honest with you I'd probably kill it but this one I like a little bit better because I know that I want a crop right and here I'm going to go here just like that and then I'm going to pull up go into apparel soft images done notice not in here now I'm looking here when I don't like an image might as well get rid of it her expression board is on terrible all right so I could try and make something out of it I can try and do this and be like, you know what? Let me try this let me go here on a five by ten and see if I could see this image and I could have eliminated her eyes which weren't working some of you may look at it and hate this, but I look at it and say that's gotta be candid nobody in their right mind would ever pose an image like that nobody would ever crop it like that when it was done what day it can't have happened that can't be posed but it is and that's where I get the story from going in here just like this cropping to the ear cropping to the eyes and mrs part of that first stand sequence just like that in the back and cropping right here now will you know when I plugged this in it's not part of the first dance not when I go with the oda white balance correcting action going in right in here looking here, opening the exposure up shopping and going here no everybody is a different routes do I care that the back I is going out of focus no that's why I have shot from one side of the face to the next again it's all about the way you perceive it to be on the story too big and again if you don't want to take this all out of the bride doesn't want it all out during her engagement session I'm going to figure that out watch how much emotion is in the next image but notice it's about cropping out the year cropping out the ears? What makes that image strong? Okay, pulling out to the side here just like that? You know what that doesn't work is a square. Why don't we try going right in here going here? I don't need to make that a black and white delight because of profits or tight go right in there, but I will make it a black and white because I wanted to fit in with the theme now take a look, right? They're cutting off his face, this additional regular pose, and now I'm going to add something that you haven't seen me use this called blue doing the you need us. This is a very heavy action, one of more recent ones that's really heavy duty, all I'm going to do is take down the hole thing because I just want that you did look right in there now, you know, the next one she's going to be looking up at me so I could go in here and just go like this don't worry about the hands cropping up, and now I'm going to do a little less shopping because I'm using something called clarifying media, which works in here, and if you look, how long do you think it takes me to aditya wedding when it's all said and done, I could have a whole wedding and about hour and fifteen hour and a half because I didn't take any doubles, so the only calling I'm doing his images I don't like because I have so many poses in the end doesn't matter check out this one. This is called one of the rings every day, there's a couple of one of the rings that kevin did, and basically he gets a lot of his information, okay or ideas, I should say from movies like he has something called three hundred asking as the water the rings is all these different actions today built from things he saw in the movies. Now I look in here and I love what I'm seeing if I want to just tone this back area down or air, I'm using smokeless burn and I'm toning right in there and that works pretty well, but notice the clarity and adept right in here again, this is one of those situations where I probably should've got rid of it, so let's, try it now, let's, go out let's go into a regular lasso tool and I'm going to use again content aware, which is shift elite now here's the thing, sometimes it works great sometimes you're gonna have someone's head pop up in there, okay like that, so but at this point it doesn't really matter, so I'm going to de select I'm gonna hit us again I'm gonna move over right in here just like that and I'm going to get rid of all this make sure you get rid of all of this coming here. I'm gonna have to reduce the size of a brush knowing your brackets known your short cuts all of this and here obviously I got a little big in there you got a notice all of that make sure that you try to keep it smooth and if I can't then I'm just going to go right in here with the patch it'll and get rid of all that junk and try to make it a little less standout open up right there, pearl soft right there. Image done could clean the eyes, but I want to get to some other images right in there. Here we go just like that black and white now her eyes they're gonna open up just like that here looking right there, look at how tight that is. Tight, tight, pro soft, beautiful done each image. I know exactly what I want to accomplish and now we get to some coolants five by ten right in here notice my cropping again I'm goingto open out exposure up and now from here I'm going to go to the course processing so I know I want to use ten sixties okay, so right there there it is and look at that beautiful soft, muted look right in there now somebody saying why is he leaving all that open space? You've been here three days now why am I leaving all the open space it's an album it's an album peach just like that would go in right in there we're gonna go five by ten I could crop in here pulled a one side just like that I'm gonna tighten it up when an hd that I'm going to go to a black and white and again keeping its soft simple easy now the other one I know is going to come right in here so let's take a look again five by ten yes, I'm doing it a lot right in here beautiful a little bit of anti gis love it now you're going to look at it. This is one time I did keep the mouth open I kept them out the open. I know some people like well, I don't like it with the mouth closed. Okay, I d'oh you have to make that personal choice. Okay from in here take a look. Does that work? That could be an image, couldn't it? I could flip it over and make it into an image this whoops I can flip it over and make it into an image this way too just like that. And I think I like that a little bit better as long as I see that come in there. Beautiful. I love the thumb and again, let's, try it with that ten sixties little t strong little to contrast e so let me try to get when we make it a little bit different. Maybe I'm thinking mint agius I do like that. Questions, ladies, I was wondering your thoughts on bin yet ng I noticed that a lot of them well on all of them haven't. But I understand on the close of ones that would make their faces look weird, but on kind of the farther backward when I get to the further back ones. Guess what, you're going to see me down. Okay, then yet. Okay, look right here. Here's a situation where I can use been yachting. Let me shop in this baby up. I told you, kevin, cambodia thought of everything. So watch this. My favorite vignette ing tool is something called starburst vignette go right in here just like that. Here we go, we're going to bring it over. We're going to wrap it around, we're going to pull it down to get it off the feet just a little bit and again I could always move it, I'm going to hit enter I'm going to hit enter and now the georgian blurry see those rigid lines just going to soften it right up on now from here I hit enter and now look at it I have it in here and I could start you just click on here and I couldn't drag it over that's too much but I can bring it in a little bit bringing in as much as I want creative been yet I want and then from here I could add a little bit of radiance to it so I'm gonna add a radiant landscape ceo it warms it up completely then I'm going to add icing just to soften up the total blend of it and not added way too much contrast so what I can do is two things I don't have a layer mask on this I could obviously add it and then just go be like you know what I'm going to take my brush him already at fifty percent it's a white lay a mask it x and I wipe it off if I want to take it one hundred percent off the dress to restore my sharpness but what it does is by adding that softness it takes it and takes a leg down just a little bit then she's looking off to the side just like that go to but emotion and I bought that last one down so what should I do to make it look different I should bring it up and if I wanted been yet, I got my smokeless burn so I could just go in here and grab right in here and grab right in here and just take down what I want to take down that's what makes it so great? So here now I know I'm going to back her head up the next one's going to be right in here so let me go into a ten by ten and I want to go right into the edge of the hand so I could get rid of it I'm going to sharpen up, bring it down, soften up image done now she's going to look at may and I'm gonna change it completely. I can make life a lot easier just go to the tip of his most that's a nice little shot there, isn't it? So I've done is crop out and remember, when I look at an image, it changes all the time. If you have my app where you have my core dex, you'll see for opposing isn't really the same every time because I change it according to the totality of the whole image all right in here just like that got it there looking here now look, this looks as crazy as it can possibly look, but when you go into your cropping, do it looking here you take out as much of the faces you can and now it's a completely different images and completely different this one the most popular selling images we have probably by almost rita one people love it now we'll hear I under exposed him is it ok? You bet it's okay because I don't need him I we need to know he's there so watch right in here and now from here we'll contagious work that works pretty good doesn't it? And then I hide him by bringing him in going to whips and I want a ten five by ten I want a ten by ten looking right in here going to a black and white strong done I added to the entire flow posing and what words that twenty minutes and I was talking through it. What questions do we have? The people in the chat room are saying, what is going on here? Sabrina and the lounge says love how fast he is editing I spend so much time post shooting on edits so people are yeah to keyboard it's typing I'm not saying you know not everybody is going to love kevin's actions not everybody's going to love ryan chambers actions or there's so many different ones that's why the keyboard doesn't come program with the action that's the couple biggest things that helped me inside or the next button because I don't have to open up forty images at a time and slow down my processor, the flattened and safe on a previous button and of course the cropping cropping how much easier is that? Yeah, just a couple of clarification things if you could tell folks again what that key part is that you're using because some people missing doug keyboard it's on our site wave a couple of different things for you on it since you're asking unfortunately, since its hardware I can't really since I have a partner on it with the key company, I can't really offer a discount, but what I can do is I'm so confident that you're going to like it. You can go on my site under doug's keys doug speed keys you can go and click on it and I will give it to you you don't even have to pay shipping for three months for free you could take it home for three months for free and if you don't like it, just send it back wow that's a competent and you like it and you have two options could either by it or what you could do if you don't want to buy it is you could lease it because you don't have the money to pay for it up front, so for nineteen dollars a month you have it and use it as long as you have it but I'm so confident that you're going to like it it's gonna work out pretty good it's ingenious to software can do anything. And it's basically it's a small little keyboard about this big and it's right on our store. All right, tell your amazing question over here enough way we've seen several folks saying you mentioned earlier that you can kind of explain what a particular action is incorporating is using and so if there's maybe one or two that you could explain wanted you to your favorites as so what element? Well, I have a whole bunch of favorites and to be honest with you, it's not a fair judgment because what happens is my favorites change on a daily basis, like right now I'm using blue darnley anita's next time I may switch to modern antique, but some of my favorite actions that I use believe it or not, or the simple ones I love the shopping right now I'm in across processing the mood storm, using that as much as I possibly can and from there I changed all the time. I love deep forrest, I love powersoft, I love ice and all of that changes based on the mood based on the image, but I have all of them, and if you get my keys whips if you get my keys guess what you get you get a list of what I'm using on each one all right? Because some people want to know we have that program down if you happen to have the cambodia actions so essentially what elements say what was one? I think that ok, so it is I think one of the elements what is it just the thing I don't know oh, I thought you were saying I don't know, I know I like it if you buy actions from someone don't read the book don't look at their averages look at what they do to yours I know icing is crazy, there are so many things going on in that action that I have no idea what they are I don't understand it, but guess what? That's why I paid kevin could voter because I didn't need to understand what he was doing I just needed him to do it think about kevin. Cambodia puts on this awesome boot camp where people come and spend a week for him and for most people that would be great for someone like may I would flip out, I couldn't do it it's just too much be bouncing off the wall so I could pay all that money for the boot camp or I could buy the actions and let him do all the work what's a better business investment for someone like me by the freakin actions, it's going to work that much better. So from that standpoint, it changes all the time. There are things that I can understand it. I have to admit my photo shop knowledge has improved dramatically, but I promise you you will never see me teaching photoshopped photo shop world. Okay, it's not gonna happen on who I am. Ok? Because that's not what I'm about but there's so much you can do in terms of more questions, ladies, because this one's going to get complicated. All right, one more question. This is an overview question from snap. Turtle. Do you ever have concerns about the consistency of the images when doing different edits for an album? Uh, do I have concerns about the consistency lara's using different presets and not because people say all the time don't you want all the images on a page to match? Not all the time. Sometimes ideo and if I have to for the album, I will adjust. I give myself that freedom to do that, but most cases, I'm not worried about it because I have no idea what anybody is going to pick. So if I sit now that the whole idea is for me to entice them by editing not by letting and letting them decide so money dealing and guess what your job is to create the story. Does every image work on a page? I know what I'm doing because I'm I'm setting him up to have some in a panoramic print. I know those want to be long to be double pages and then work completely off of that and go from there. So now I don't really have concerns. I try not to concern myself with too much. I don't want to worry about things that I can't control, and I can't control that because I'm not picking the images. So again kind of working off that softening up the one thing I get concerned about of these wines in here, I'd probably go in and fix them a little bit deeper, but I want to get to some of the full length images and if I want to get rid of lying something's I use black and white, black and white is a great toner something we go look it's all blown out in here. I don't care it's also out of focus because my depth of field is very shallow because of how close I am to the subject, take a look right in here, look at this here. Just like that watch here here's an action you didn't see me use this action here is called deep forest this is about his glorious it can get its a real deep tone and I get moody with this one because look at all these things it's got a saturation it's got a deep snap it's got a shadow glow do any of you know what any of that stuff is? I'm looking here and I wouldn't begin to understand what he's doing in this you saturation everything set for zero I don't know what he's doing so he's probably in here playing with all these things I can barely pronounce sayin oh type more or less work with it I don't even and I don't need teo I don't care kevin's the smart one I'm just a guy who presses a button but on this action here I go right in here I wipe off just a little bit I know that I'm said it a hundred percent and I take off the hair just a little bit all right in here flattened save done now I'd look in here and I say, oh my goodness I don't like our expression why use it? I go in here I got both their faces there good just like that we're doing terrific in here wonderful so I'm going to open it up good just like that working right in here and now I'm going to take it out here I'm gonna flatten gonna pull it of course we'll go in here just like that going to get rid of these lines and notice I'm going right to the good patch of skin all of that sort of stuff and now from here all I'm going to do is add my powersoft I'm adding my powersoft here now yes, someone is sitting at home saying he really lightens his images up too much I don't like him up too much I liked him up just enough for may I like him off just enough to make sure that I get rid of the details I don't want to say I'm not going to sit there and stare at this for two hours and like whoa, let me check this out oh that's bad let me do it I will know it is something like this because it was obvious to make, but I'm not going to look a distance colorization and go here I feel like oh he's got plaque on his right mohler let me go in and fix this little piece right here why, unless they're blowing this up to be an eight football who cares right in here just like that so right here you're doing terrific good just like that stay right in there so let's talk about what's going on right now the whole approach to this is I'm editing to create a story I'm editing to create an album if I do this I'm going to be in really good shape I want to create a story and make things function is quickly impossible. It is possible as quickly and as a cz quickly as possible and it's functionally as I can now one of the things you look at if you've noticed I've had a couple of things happen here this week when being on stage it's only my second creative life but I've had things where my tether didn't work with something didn't work and here's the thing you don't seal of this going on the reason you don't see it going on unless you're here is because I have wonderful professionals like will and the other ones who know when something goes wrong happens I need to be able to detect us a photographer the same things when my camera breaks I don't shake it like oh my god my camera broke when something happens here I see well I move around and I adjust myself to it that's the sign of a professional you move around, you talk your way through it and you get yourself to that point and at all involves caring yes that's awesome thank you well, we might as well ask you some questions perfect squalor up and so the question from p ck two to eight is when he flattens and saves are you overriding the original image and sammy it with another file? Yes, because when I do it, I have two sets of images I'm going to have my mask, the files, which is saved in one area, and then I call the seat my corrected files, my master files go into the vole, god forbid on my corrected files, move into another place. Do I let my clients know that I have master files? I try to stay away from it because I don't want them to go. Can I see it this week? And I see it that way. I do photo shop, I know what it looks like, and I just it don't. They came out of camera looking this good that's what I let them think no need to go. Yes. So when you're constantly thinking about photo books and three different sizes, is that because those are the things that make you the most money in sales? Or is that I'm thinking about it? It's not just about sales. If you really want to know, you can get me off on a tangent right now about what's killed this industry it's very simple the thing that's killed this industry today is that we forgot what a photographer wise and I say what's a photographer was a glorified paper sales person. You were someone who had one job. You were supposed to sell a print. We've done it for god knows how many years, but we forgot that the great photographers that, you know, people like ansel adams. He never intended for his work to be a screen saver. Diddy he never intended to see it on an iphone or an ipad on these things. He intended it to be a beautiful print on a wall, in a museum or in a home. Years ago, when I started, one thing happened. I used to walk into people's homes, and I saw a beautiful prints all over the war that told the story of who that family wass today I walk in, and I see chair molding and empty walks. We did that. Our industry is dying because we get it. How did we do it? We gave them files as a photographer who shut filmed giving negative negatives with sac religious, and we gave it up. We gave it up. Why you're going now in pest. Ok, because the fact is very, very simple. We gave up everything we had. And now here's why a ceo of a billion dollar corporation is saying this that we are not worthy because everybody takes my prints, your prints we're not mine because I'm not letting the files out there, taking the files and printing where they want cheaply incorrectly, and they're showing them off and we don't look professional any more. We blew it, we gave it away, we gave away our entire industry on now, if you said, well, what can I do? I can't change it now you can change it, you don't give the files and give nothing else. You say I'm happy to give you your files. You can have them after your albums are done, but in order to get files, you need to let me make your prince. I'm going to charge you next to nothing for them because I want them to represent me and who I am. This here is made. This is my personality every time I press the button every time a staff member presses the button, it's a reflection of me who I am, what I do, what I'm about, but I'm not going to give you that control to go and print it, jack it up? Why would I do that? We gave the damn files. Why? And I don't care if I'm offending people at home. I've been doing it too along, but I can tell you in sales, you're going to see me get around it. You're going to see me get around it, if you want to give you files. It's fine, but why be happy making a little bit of money when you can make a lot, you could sell one print. You saw an incredible new born photographer last week, she's out of this world, she's not giving biles she's selling a print for two thousand dollars. Ah, pet photographer is selling a print for two thousand dollars. You take a picture of a dog and sold for two thousand dollars. Some of us are charging five to eight hundred for weddings, and we're giving the files the most important day in someone's life. You better told me down.
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!