Original subtitles

Hey guys, I...

same thing.

I hope all is well.

I hope you guys are doing great.

I hope you had a great long weekend.

So yeah, so I got the last video

out with behind the scenes from Harris and

Mary.

Thanks everyone who left comments, who asked questions.

I hope it helped somewhat to see kind

of like a glimpse into how I shoot

or, you know, what I say and, you

know, the interactions and kind of what I'm

looking for.

So as promised, this is an editing video

of some of the images from the behind

the scenes, the GoPro footage that the last

video had, plus a few images that I

had on the blog from this session.

So we're just going to jump right into

it.

As you guys know, I use, so I

use develop.

I have a preset or a couple of

presets with them.

The one that I've been using really exclusively

over the last year or so, two years,

is my Rome preset.

So that's kind of the basis of how

I start everything is with the Rome preset.

Background in how I shoot, I guess some

of you may know, I don't know if

I've mentioned it before, but I shoot everything

in aperture priority and then auto white balance.

And it just allows me to control obviously

the aperture and not worry about the shutter

speed.

So I'll shoot manual if I'm shooting like

indoor party pics, manual flash, that type of

thing.

But when I'm outside and the lighting conditions

are changing depending on how I'm moving from

left to right or forward or back or

whatever that may be, I find when I'm

shooting aperture priority, it lets the camera do

the thinking of the shutter speed and I

can just focus on what depth of field

I'm after and what I'm looking for.

So that's kind of how I shoot.

So everything is aperture priority, auto white balance,

and then I use Rome to kind of

start my edit.

So let's jump right in it.

So here we go.

So this image here, you know, them walking,

backlit, you know, how I, like I said,

how I start everything is just with a

simple click of Rome.

Okay.

I tend to use black steepen just to

give me obviously deeper blacks.

And then I 90% of the time

use shadows green.

From there, I will always add contrast, just

depending on the image, depending on how much

contrast I'm gonna add, but I usually always

add contrast.

Okay.

And then yeah, we'll up the shadows a

little and play with the color temperature.

And then how I use a brush tool

is so when I use the brush tool,

I always use negative contrast and then positive

shadow.

Okay.

And I know in the very first editing

video I did, I talked about how I

don't pinpoint my brush, like down to here,

because I find that will give halo.

It can give haloing, which to me looks

very unnatural.

So for me, I like to make the

brush quite a bit larger than what I'm

actually brushing in just to give a much

more feathered, more natural look.

So if we go there and adjust again,

this is just, you know, the starting point

is whatever you want it to be.

And I always adjust from there.

So you can see what that's doing when

you go negative contrast, positive shadow.

And again, just play with it, tweak, and

then that would be the edit.

So from raw to edit.

All right.

So let's move on to this.

So you can see, I know in the

video, I mentioned this, this moment.

So the light was coming from, you know,

right of the screen, down into them.

So right to left here.

And I knew that I wanted this part

of Mary lit up.

So you can see how dark the image

is, except for right here.

Okay.

So let's go in here, add Rome.

This, I probably don't need to add more

black or blacks even, simply because it's already

quite dark.

Okay.

So again, skip that, go on the shadow

screen and then adjust from here.

So dropping the highlights on, you can see

you get the cloud.

So if you're already shooting dark and you're

underexposing in camera, you're already getting some of

that cloud detail on here.

Okay.

So when you go to edit then, and

you drop the highlights down a little, it

just gives more of that moody, stormy cloud

look.

Then again, brush in.

And sometimes what I'll do is I know

in the original videos, I'll paint or I'll

punch in some light in the direction of

the light source.

So you can almost, it looks much more

natural than the circle of light right on

the couple.

Okay.

So you can see how that kind of

adds that directional light.

And you can see that the lighting on

her face really hasn't changed even after the

edit.

And again, just adding some contrast and playing

with just tweaking it.

So yeah, the raw to the final edit.

But again, you can see when we started

already exposing for her face and seeing this

light in here is what we were after.

Okay.

And you can see it really never changed

when we went to edit.

So let's go to this scene.

This is probably one of my favorite moments

of the entire shoot.

This sniffing moment where it created this laughter

and ended in this beautiful, you know, intimate

moment.

So for images like this, you can really

see that the exposure is essentially the same

start to finish.

Okay.

So selecting them all.

Rome.

Black steepen.

Shadows green.

Going up here.

Adjusting the contrast.

Playing with the color temperature just a bit.

And then using just a bit of a

brush tool in here.

Just to give a bit more pop of

light in between them.

And same thing in here.

And so you have consistent exposure in the

moment, same light, same exposure.

And then really now the ease of applying

the edit to give you the same look

across the board.

So again, raw into the edit.

But if you guys know, like if you

look, go into this shoot, you know, if

you go into moments like this.

So for me, I knew when I was

looking for this pocket or when I saw

this pocket of light, I knew that it

was going to be backlit.

I knew that you're going to get some,

you know, you can use skin obviously as

a reflector because you can see skin bounce

there, the light bouncing off Mary back up

into Harris's face.

Right?

So you are getting kind of this pop

of light into him and you get this

beautiful side light around their face.

Right?

Same thing here.

So again, raw edited.

All right,

so we'll move on to here.

Again, I think I mentioned this or we

talked about this in the video is this

looking for these unique light, light that's interesting

to me, this is interesting light.

So it's kind of like this tunnel of

light that came down and just getting them

to walk this way, getting low, different perspective,

and then shooting directly, directly into the light.

And again, this to me is the focus

point of this photo.

So we'll go into preset, black steepen, shadows

green, adjust the contrast, color temperature,

play with the shadows a little just to

bring up the detail in here.

And then using the brush tool, just to

throw some light onto where we want the

viewer's eye to go.

And for us to for me, what's the

focus of this image on there.

So again, what we did is just add

the preset, adjust contrast, adjust color temperature, and

then just brush in a bit of light

into what we want the viewer's eye to

go to.

And so for me, when I was shooting,

like I said, this was what I was

focusing on.

So this is what I want to highlight

in the, when I go to brush in

some light.

Okay.

But again, raw, edit, raw, edit.

All right.

So same thing here.

Pretty simple, not as much directional, like not

as bright light as we had here.

Okay.

But the same idea, again, shooting in here.

So to get this flare, even when, you

know, as the light's low and even as

it gets lower, if you shoot, if you

shoot Canon and you shoot live view wide

open at one, two, and point the lens

into the light, you can start to see

this red, beautiful flare.

To me, I love this flare.

It's one of the reasons why I actually

switched back to Canon from Nikon, was to

get this, the flare, the flare that L

series lenses give you.

For me, I don't ever want to use

it as a crutch, but I definitely want

to use it as an addition to something

that was already there.

Right.

You know, it's just, it adds a little

bit more creativity to an image personally.

That's what I feel.

Okay.

So again, so we go into Rome, click

green, shadows, green, black steepen, and then just

start to play with exposure and color temperature

and add some contrast into here.

And then use the brush tool just to

pop some light right into here.

And then again, just so we kind of

got the basis.

So you can see like the basic or

the base, the basis, I guess the base

level is, you know, add the preset, the

black steepen, shadows, green, adjust the contrast.

And then you really, everything's just really, you

know, tweaky, I guess, tweaky from there.

Right.

It's not huge swings and, you know, white

balance or tint or, you know, highlights or

shadows or anything like that.

It's really just very minute, very quick, um,

adjustments to the image to kind of give

you like that final finish that you guys

are after.

Okay.

So again, just really tweaking it.

Sometimes when I get like this red, uh,

halo up here, I'll sometimes use, you know,

just some brush just to exaggerate it just

a little, just

add some clarity to it.

And yeah, that would be the edit.

So from raw to finish, raw to finish.

And then in Photoshop, when I open up

stuff in Photoshop, I will take out, you

know, the little flies here.

Um, but that is really hit, but again,

looking for, you know, beautiful backlight, you know,

nice rim light on her hair here, a

connection, the shooting wide open with the 50,

getting this beautiful flare up here.

And then really the edits are super simple,

super fast, super easy.

So you're not spending hours or 20 minutes.

Or I know when I started shooting years

ago, I would spend, well, I guess years

ago it was on film.

I'm super old, but, uh, when I started

moving the digital and started editing my work,

I would spend, you know, 25, 35, 45

minutes on a single image because I was

trying to make up for what I was

lacking or what I wasn't doing in camera.

So for now, when I, for me now,

when I'm shooting, I know how I'm going

to edit the photo as I'm taking it

or before I'm taking, I know this will

edit this way when I throw it into

Photoshop.

Okay.

So it's super simple when I get the

raw file looks like this and I can

turn out something this like this, you know,

quick, easy, um, and not spending, you know,

tons of time on it.

Okay.

So again, hands, uh, shooting hands, you can

see I'm shooting 50, you know, 50 mil

1.2. I focus directly on their hands

and I'm letting the light come through and

just highlight the hands.

So then when I go into, again, when

I go to edit again, image like this,

we'd probably don't have to do because it's

already pretty dark.

Okay.

Um, bringing in here, shadows, green, just adjusting

exposure here, playing with the temperature and then

adding some contrast.

And for me, I'll probably up the shadows

a bit here just so I can get

some detail here back in their face.

So first I'll brush in just a pop

of light back here just so we can

see kind of there.

You can see by shooting at one, two,

it's there.

It's not in focus.

All right.

So it almost, it doesn't distract the viewer

from what I want them to be focusing

on, which is their hands here, but just

throwing in that extra pop of light just

allows the viewer to see some detail in

their face without being distracting to what we're

after in the photo.

And then I will just brush in just

a pop of light into their hands here

and then adjust

the color temperature.

So yeah, so super fast.

So the raw, you can see the hand

doesn't change.

You can see like the line on her

fingers here, the lighting, it doesn't change much

from the raw to the actual final edit.

Everything else though is what I can, you

know, by doing that, by focusing on this

part, knowing that this is the focus of

the image.

I know then when I go onto Photoshop

and I go to edit everything that really

this is going to be the focus.

It's going to stay pretty similar, but I'm

just going to bring up some detail and

add some coloring to the rest of the

photo.

So again, raw, edited.

And then finally we'll go with the, you

know, how I ended in the video, the

big epic photo, the shot that really everyone

wants at Moraine, right?

Like the mountains, the epicness, the lake, everything

here.

So this is the raw, so we're just

going to go again, always starting with Rome.

Let's go into here and then let's start

just quickly.

So for me, I know the sky is

just as important to the overall effect and

the feel of the photo.

If I want to get like that big

epic moody image.

So I know when I'm shooting that I'm

already shooting quite dark.

I'm already kind of exposing for the sky.

So when I go to edit, I can

still get that moodiness in the sky.

Okay.

And then we'll throw a brush on here

and just

adjust.

And then for me on this, I'll probably

actually add in just a little more anger,

I guess.

I don't know.

Some moody, more mood into this guy here.

So it's already there, but I can see

it just like a little more.

So what I'll do is I'll take the

brush and just kind of run it straight

across here and then just drop this down

and maybe just add a bit of clarity

in here and then just adjust ever so

slightly the color temperature.

Yeah, that's

right here.

So again, so I have the raw and

then the edit, so you can see the

sky, you know, it didn't change much for

me.

It was more, you know, it's again, these

big shots.

When I have cloud cover, when I have

something that's a little stormy underexposing a little

in camera in the raw allows you then

to go in.

When you go to edit allows you to

keep that sky, keep that moodiness cameras have

such great dynamic range.

Now you can almost, you know, look at

if you look at how dark everything is

besides the sky and to be able to

pull that detail out of the frame while

maintaining the detail in the sky.

To me, that adds to the photo.

It adds to the moodiness.

It's how I get, you know, those super

storm clouds and some of my work is

by underexposing, keeping the detail in the sky.

And then when you go to edit, it

keeps there and you can then pull up

the shadow detail where your couple is.

Okay, so again, the raw photo and then

the edit.

And then, yeah, it's really just, you know,

everything's there in the photo.

I'm trying not to spend a ton of

time on each individual photo.

To me, I'm not, I'll be honest, I'm

not a huge fan of editing.

I'm not, it's not something that, you know,

I want to spend a lot of time

on.

I want my photos to be similar or

to be close to what I want in

camera.

So then when I go to edit, it's

just as simple as you guys see, you

know, a couple of clicks, some minor adjustments,

and it allows me to really rifle through

a session quite quick.

It allows me to focus on what it

is I want here, right?

You know, it's, again, I'm looking at light

on skin.

I'm looking at light and background and how

a rim rim rim lights my couple.

Okay, and just focusing on that.

So when you guys bring it into Photoshop

or Lightroom or Adobe Camera Raw, the editing

process isn't as daunting.

It's not as time consuming as it might

be for you now.

Okay, so just if you guys focus in

on what it is you want afterwards, if

you're looking ahead and planning ahead for what

you want the final image to look like,

and then shooting in the moment for that

for future editing, it will save you guys

so much time in your editing process for

Instagram or blog or delivering full galleries to

your clients.

Okay, I don't know this video is, you

know, 20 minutes we edited, but 24689 pictures

in 20 minutes with explanation, you know, so

again, you can see how fast it is,

is if you guys are pre planning your

shooting while you're shooting for how you're going

to edit it.

So I hope that helps guys.

I hope you know it gives you an

idea again of how I'm editing, you know,

the processes which I'm looking for when I'm

shooting so I can help my editing because

I feel like to get those rich dark

colors that has that has to start in

camera, it's very hard to shoot super bright

and then get dark or get contrast or

get rich colors.

So for me, I find when I'm shooting

a little darker, it allows the colors to

become much more much richer.

It allows me to keep detail in the

sky as you can see in the photo.

And it really, if you guys focus in

for me again, shooting aperture priority allows me

to focus in on specific parts of the

photo.

And what I want that to look like,

in terms of what the viewer sees first,

right?

What the viewer what I want the viewer

to see, then everything else kind of falls

back in like a almost like a paintingly

feel to it.

Okay, so again, you know, this is 24

at 1.4, you know, you can see

35 at 1.4, 35 at 1.4,

50 at 1.2, 50 at 1.2,

and even my wide 24 at 1.4.

Okay, so for me, I love the wide

open feeling.

I love the effect it gives.

I love the fact that it doesn't let

my couples get lost in the environment, but

the environment's still there.

So again, guys, I hope that helps.

I hope that gives you guys some insight

into how I'm shooting, how I'm editing.

Again, always questions, feel free to leave them

in the comment section below.

I do my best to answer everybody as

quick as I can.

I also want some more ideas.

I'm hoping to get out again shooting this

month with an actual videographer to record some

of the stuff like an actual session.

But again, I want to know what you

guys want to see from me.

I wanted, like I've always said since day

one, I am an open book.

I am completely transparent.

I want you guys to ask me whatever

it is you need from me.

So again, guys, I hope that helps.

I hope you guys are all staying safe

and healthy.

I hope next year looks incredible for you

guys.

And yeah, please, please, keep in touch.

Send me comments and let me know what

you guys want to see from me.

All right, guys, I hope you guys have

a wonderful day, week, night, morning, wherever you're

watching this.

And we will talk soon.

Thanks again so much for being here, guys.

Take care.

Bye.