Original subtitles

Hello friends, how are you?

Welcome to a new video.

I hope that, as always, everything goes as

well as possible, if you have weddings, that

they go great, and if you are hiring

them too, and if not, to enjoy life.

Wedding photographers are, among many other things, tormented

beings, because we are never satisfied with what

we have, and in addition to all that,

I think we are masochistic beings.

And if I say masochistic, it is for

the simple reason that it is likely that

many of you are, at the moment, editing

the last wedding, editing the last report, whatever,

right?

And I say masochistic because just a month

ago I published a video here on Patreon

about how we edit photos, or how we

retouch the photos, come on, and fuck, it

was one of the videos that I liked

the most and that people asked for more

videos like that.

And I thought, fuck, they are editing in

front of the computer, breaking their eyes, and

they still ask for more photos, there are

more videos about editing.

So this video is designed for that, to

show you a little more how we edit

the photos, but above all, how we edit

the color, how we work the color and

how we get that maximum density, or those

colors so strong and with so much force,

right?

Just before I start with the video as

such, I would like to recommend you a

couple of books so that you understand this

even better, right?

And one is this one, it is by

Eva Heller, it is about the psychology of

color, okay?

It is an interesting book, but in my

opinion sometimes too technical or philosophical, and sometimes

it can be a bit expensive.

Well, not much, not much, but it is

interesting that you take a look at this

book.

But I stay with this one first, for

the simple reason, well, I'm talking about Tino

Soriano, Colors and You, which is a book

that is worked or is written under the

experience of a photographer who is not a

wedding photographer, but if he is a photographer

who works the color of puta madre, and

maybe, well, maybe not, it is more practical

than the one I have shown you, but

it is so fucking great.

You can find this one both on Tino's

website and on Amazon, and this one also,

I think on Amazon and somewhere else.

I think both books are worth about 20

euros, so it is really cheap, and it

would be good and interesting to understand that,

since in this video I want to work

or I want to show you how I

work with images in which the dominant color

is yellow or orange, another photo I want

to show you in which the dominant color

is red, and another photo I want to

show you how it is a blue color,

I mean, it is a cold color, and

how despite the cold temperature, or that blue

is a cold color, I want to show

you how we try to make the blue

a warm or close color for us, or

more pleasant than it can be a priori,

and of course, to finish, I am going

to finish editing a photo in black and

white, because I know that many of you

are lovers of black and white, so so

that no one gets angry with me, I

will also edit a photo in black and

white at last.

So, I don't entertain myself anymore, I share

the screen with all of you, and I

show you how we edit these photos in

color and black and white.

Very well, friends, as I was saying, here

we have the four images that we are

going to start editing a little bit.

As I have already told you so many

times, it does not matter if you do

it with Lightroom or if you do it

with Camera Raw, I simply, as a mania,

I always do it with Camera Raw, it

is the most comfortable way I find, okay?

We are going to start editing this image

very, very quickly, so that you can take

a look at it, and you will see

that I do not usually complicate practically anything

with this, right?

I'm just going to try to get rid

of those yellows, well, as you can see,

it is a photo taken for sunset, in

which the boyfriend is perfectly fit in that

little box, in that little box of light,

in which he looks fucking great.

What I liked was that, I mean, the

blue shadows that I am marking now, in

contrast with what would be the place where

the boyfriend was, which is a golden, it

is a yellow that is quite, quite beautiful.

You also know that as a particular mania,

I usually finish most of my images in

what is Photoshop, only in images in which

they really need this treatment, it does not

mean that I do it in all of

a wedding, I want to make that clear,

okay?

Simply, as you already know, I'm going to

use the 3D light tool.

If you are new to this, if you

have just arrived, please check old chapters in

which you will be able to see, okay?

Whenever I clarify, later I always contrast, that

is, that is something that I always end

up doing, okay?

And I'm just going to darken parts of

the same, of the same image, I mean,

to redirect everything to where I want, okay?

I'm going to darken this inner area.

As you can see, the image is almost

ready, I'm going to darken a little more

around here, okay?

As always, I like to show this, you

see that it is the layer mask that

I do, that is, I never try to

make it perfect, it's just painting, okay?

The function is that.

Simply to finish, I would like to show

you what I'm going to do to lift

the groom that is here, right?

As you can see, here it is appreciated

a little better, this image was taken with

the 45mm still shape, here this area is

appreciated, right?

And now I'm going to apply this mask,

well, adjustment layer, sorry, I explain myself badly.

Okay, and I'm going to put a little

bit there.

The blending mode that I use to work

in these cases is always in luminosity, okay?

And what I'm going to do right now

is just this here to make it something

more like this.

And I'm going to contrast in any case

a little more, I'm going to give it

a little light, a little contrast.

I add image, I notice that his face

is a little dark, so it's very easy

to give it, but in these cases, you

will see that it is only this.

I'm not going to paint more, because more

will mean that, you see, right?

The difference, if I paint more, it will

be worse, sorry.

To finish this image, the only thing I'm

going to do is, as you well know,

and I'm going to do it in steps,

okay?

Adjustment layer in black and white, the blending

mode in soft light.

As always, in soft light it is, as

you can see, very hard.

I'm going to lower it by 25%, I

have this with a keyboard shortcut, as you

all know, and simply with the basic colors

I'm going to play separately.

As you can see, I'm already taking the

reds and the yellows and the blues to

where I want.

Once I've done this, at 22%, I think

it's more than perfect.

I add image and that's it, ball.

This shadow here, I think it's Erika's, but

hey, here we're not going to go into

digital retouching or cloning parts, but to go

a little deeper into how to work with

color, okay?

So having said all this, let's go to

the next one.

Let's edit this image here.

We are talking about that, as an anecdote,

this image is taken, as you are seeing,

with the 20mm.

It is very unusual or practically impossible or

very rare that I get to edit, to

take a portrait with a 20mm.

But if anyone wonders why, it's because when

I use the 20mm, it's to exaggerate everything

else.

Do you understand what this means?

That we were taking the photos in a

palm of the land, in a square meter,

and to exaggerate the veil, which was not

as big as it seems, I assure you,

I used it.

I mean, I use the 20mm for that.

I don't use the 20mm because I don't

have space, but for just the opposite.

I don't know if I'm explaining myself a

little bit well, but I hope you understand

me, that the 20mm is not going to

take, for example, portraits for free, okay?

Just here to take me from the beginning,

the blues to where I want, I'm going

to give them a little bit of saturation,

not much, because otherwise it will be false,

and I'm going to take a little bit

of light.

In the oranges, which will be their skins,

I'm going to give them a little light

and that's it.

Once I've done this, I open the photo

in Photoshop.

The computer, as you see or as you

may hear, is already starting to suffer, since

I'm recording this with the laptop, okay?

And now we're going to, first of all,

CTRL-A, CTRL-T.

Why CTRL-A, CTRL-T?

Because I want the cathedrals to be a

little straight.

With CTRL-A, CTRL-T, what I'm doing

is that, okay?

And, as a consequence, the groom, so that

he doesn't look like an egg, I'm going

to raise it a little more and it's

going to look something like this, okay?

More or less.

Does it load?

Okay.

Now I'm just going to cut again, because

the building on the left is left over,

and so I leave the two cathedrals of

the city in the image, right?

Which is one and the other.

Now I want to lift this veil, I

want to give it strength, right?

There are many ways, but for me the

fastest would be a layer of adjustment, as

you can see, in levels or curves, it

doesn't matter.

And we're going to put it like this,

and we're going to put SA a little

bit around here, and, as always, the blending

mode, luminosity, so that it doesn't gain color

temperature, so that it doesn't gain color intensity,

this veil that I don't want to gain

strength.

As always, you know, just fade out.

We've already done this, and now what I'm

going to do is, as always, to make

my color, to make the blue more powerful

and not so cold, what I'm going to

do is simply with the light, with the

3D light, first with a not very high

opacity, a 13, I'm going to start painting

on what would be the blue as such,

okay?

Whenever I contrast, later I lighten a little,

okay?

And notice that here I'm going to give

it a little bit of darkness, I mean,

I'm going to mix everything, because I already

know that mixing all this, the blue is

still going to become like twice as powerful,

okay?

Once I've more or less done this, I'm

going to get a little closer, okay?

I'm never going to get closer, or I'm

never going to try to be perfect, I

mean, I mean, what I'm not going to

do is this, get as close as possible

to paint the arm, no.

The only thing I'm going to do is,

as you can see, lighten a little here,

and as you can see, lighten a little

here, and I'm not going to complicate myself

anymore.

And on his face the same, lighten a

little, nothing more.

I'm not going to try to be perfect

to see what happens there, no, no, no,

no, no.

And finally, well, I want you to see

a little bit, right?

It's the little kick I've given him, very,

very subtle.

And finally, what I'm going to do is,

sorry, the adjustment layer in black and white,

the blending mode, the blending mode in soft

light, I almost have it, but as always

remember, 100% is not going to look

good.

Notice that the blue is already becoming something

very interesting, and now even more.

You see, right?

How I've already given him a kick and

only the blue, okay?

And now I want to work only on

the skins, so I'm going to give a

little bit to both the yellows and the

reds.

Okay.

And now, the green, as is logical, is

not going to affect him and nothing like

that.

What am I going to do now again?

This veil does not finish convincing me yet,

and I'm going to put a little more

gradient here, okay?

And finally, to finish the image CTRL L,

let's see what happens, if I can give

it there, to the limit, very well, and

contrast a little more there to the limit,

a little less.

And in the midtones always a little more.

And you're already seeing, right?

Perfect.

The image is ready.

Okay?

Let's go for another one.

And let's go for this of the reds,

and although it is an image that is

old, I wanted to select it for the

fact that the reds is a color that

I love to work with.

Many of my images have, for example, this

color, and I would like you to see,

right?

It's like an image with a color apparently

not so strong, not so powerful, because remember

that RAW does not usually do justice, or

does not capture the reality that our eyes

see, but then those photos need a little

more of us, right?

I mean, for our part.

So that's why I think this image can

help you understand a little bit how I

edit, okay?

Or why all this.

As you can see, it's already starting to

gain strength.

As always, I know that the images could

be finished with the brushes we have here,

we could go play and we could do

everything we wanted, or almost everything, okay?

Almost everything, remember.

Not everything, but I would finish here, because

here in Camera Raw or Lightroom there is

no adjustment layer, or there is no 3D

light, there is no adjustment layer in black

and white, that's why I have to finish

in Photoshop, okay?

So once I've done this, I'm going to

open it, first of all, of course.

Let's wait for the computer to open.

Perfect.

And I'm not going to complicate my life

too much, I'm just going to do this,

and I'm just going to paint, I mean,

apply an adjustment layer on the girl's face,

to start with, so that the color is

twice as powerful, right?

And we're going to fade it out, and

we're also going to paint here, something like

this.

You see that I'm not perfect at all,

but it's about editing by masses of color

that are in the same image, or by

parts, okay?

Let's never try to be perfect because it's

not going to work.

Once I've done this, okay?

I guess you all already know, I'm going

to make a soft light adjustment layer, oh,

3D light, I'm messing up, sorry.

Okay?

And I'm just going to lighten up little

parts like this, I'm going to raise the

opacity a little bit, 20, no more.

I mean, I prefer to give several passes

through the image, than to give it a

very large opacity, okay?

Once I've done this, I'm going to start

contrasting a little more, I mean, remember that

in the areas that I have clarified, later

I have to contrast, or vice versa, okay?

And now we're starting there.

Now, let's give it a little more here,

a little more there, a little more there,

and now, once I've done this, it works

great, okay?

Just look how fast I've changed all the

force, or all the direction I want to

direct the viewer, okay?

I'm just going to, in the face, right?

Because it's almost burned.

Important, sorry, this is important.

Why didn't I select his face?

You see it, right?

You see it, right in the selection.

I didn't select his face, why?

Because it's at the limit.

It's already at the limit, it's white, I

mean, it's about to be burned.

If I now make a layer of adjustment

there, that's going to end up burning, so

I just get here, I raise a little

bit, notice that if I press Alt, Photoshop

is already telling me, be careful, those parts,

you're burning them, just to the limit there,

this, and it's all over.

Who's the smartass or the smartass who tells

me what comes next?

That's it, you got it right.

Adjustment layer, in black and white, in blending

mode, in soft light.

If someone wonders why I don't do it

with a keyboard shortcut, it's because if not,

someone may not understand it, but in my,

I mean, I do it with F4, okay?

You see that as with the reds, I'm

going to play separately, so I'm going to

give a little bit of cane.

The yellow, which is the yo-yo, I

want to give it a cane, and then

the blues are going to go for the

groom's jackets, in this case, okay?

What I'm not going to entertain in this

image, as is obvious, because everyone I think

you already know, is to clone these cracks,

right?

This that we have here, which is completely

broken, or like this here, that you are

seeing that it is broken, that already means,

here is not a video for us to

invest half an hour in the cloning, right?

Because there are boring places, okay?

The image is ready, I would not invest

more, and now we are going to go

for the last image of black and white.

I don't know if I'm running too much,

but as I have already explained several times

throughout, well, Patreon, how I edit, I don't

think it was necessary to invest so much

time, we just go for the image, for

example, of black and white, you see that,

oh well, I don't use my presets, as

I always say, because this is a training

class, if in an editing class, I click

and I give it what it is, I

mean, I'm done with the photo, I don't

see it ethical or didactic, okay?

So then, you just see that both in

color and black and white, my editing mode

is practically the same, okay?

I'm just going to put a little bit

here, I'm going to focus a little more,

okay?

And once I've done this, as you well

know, I'm going to give a little light,

maybe, not much more, because I prefer the

image to stay so a little bit neutral,

for me to put a little more of

the back cane, I mean, I mean with

this, the mission of editing the RAW is

always to try first take it from the

sub-exposition of 1.2, as you have

seen, then leave it neutral with Camera Raw

to give it the last kick in what

would be Photoshop, okay?

I'm just going to select it, there, okay?

I'm going to give it a layer of

adjustment in levels, more or less, a little

thing like this, as you already know, fade,

I'm going to give it a little more,

a little thing like this, okay?

That was like the fattest of all I

wanted to do, I'm going to get a

little closer to their faces, uff, the photo

is a little bit moved, so I see,

error, there was a photographer who said like

something like this, that it is better, I

mean, a blurred photo than a blurry concept,

I don't know if I'm explaining myself, but

I think I was right, I think that

although the photo is a little bit out

of focus, it is understood perfectly and it

works very well, although it is a little

bit, a little bit moved, okay?

Just to finish, to finish, I mean, I'm

going to put this, the 3D light, as

you all well know, I'm going to paint

a little bit here, a little bit more

there, if I give it, if I give

it, if I give it to clarify, later,

as you well know, is contrast, okay?

That is something fundamental.

Here too, I'm going to darken this area

here a little bit, I don't care if

it has so much texture and much less

that, okay?

Notice that there is a problem that cannot

be recovered and I'm going to show you

a little trick very quickly, I'm even going

to darken the dress before I show you

that trick and the trick is the following,

I'm going to match it, okay?

Notice, and with this I finish this photo,

notice that there is a point, several points,

one is this one, which is very high

in light and another is this one, which

is very high in light.

I want the highest point of light or

the focus to go to her face, do

you understand me?

So, what I'm going to tell you is

that I would like both this gray and

this to become a gray like this and

for that, I paint with the brush and

the blending mode has to be darken.

Why darken?

I mean, darken is because it will only

darken the parts that are lower of the

point that I have marked, I mean, here

it will not affect, you see how it

does not affect but here for sure it

does, you are seeing it and in the

hair not, you understand?

It's a little bit like if it were

an intelligent brush, so then I worry to

pick up or down or to put better

the areas that I want that do not

have so much light, okay?

I hope you liked that little tip.

I will also give it in the area

this one here, here you are seeing, pam

pam and here too and that's it.

And gentlemen, this was, oh, sorry, sorry, sorry,

sorry, I forget, I forget, oops, wait, I

forget something important, let's reframe, right?

Let's leave it here, right?

Very good friends, that's all for today, I

hope, oh, sorry, sorry, sorry, no, no, no,

I want to darken this, you have to

leave it well, if not, surely someone will

point me out, okay?

We are going to darken that, we are

going to darken with the same brush that

we already had, okay?

Now yes.

Very good friends, I hope you liked it,

so far everything, be good and as always

keep hiring weddings, bastards!