All language subtitles for Episode 96º Patreon Editing photos

Hello friends, how are you?

How are things going?

Welcome to a new video.

I hope everything goes as well as possible.

I hope that those of you who have

weddings are doing great.

Those of you who are hiring weddings, that

you try to hire them as well as

possible and at the best possible rate.

And well, as always, here we are.

Here we are in front of the computer

because today I want to talk about editing.

And before I start a little bit about

this, I would like to go into details,

since the good thing about Patreon, or I

believe that the good thing about all this,

is always the interaction.

How can I bring up a topic?

How was it to tell you how we

work within a Christian religious ceremony and how

that first post has evolved for the better,

I think.

How someone asked things, how we have been

answering them, then how I contributed a little

more and finally how our friend Alberto Parejo

commented that he would like to see some

of those photos that I have been showing

you in these videos about ceremonies.

He would like to see how I edit

them because I have to introduce you to

Alberto, in addition to being a good photographer

and a good person, and I don't say

it to look good, but whoever knows him

knows that he is crazy about editing.

He has been a little bit for a

year, in fact I owe him a one

-to-one because he wants to know, he

wants to find his color, he wants to

find his workflow in which he finds himself

and see the best, that is, that the

workflow is the one that best adapts to

the tones, colors, temperatures, or whatever, it adapts

to his photography.

Although I owe him a one-to-one

on that particular topic, I would like to

make a video, not only for him, but

for all of you, of editing, in which

I am going to edit some of the

images that I have been showing you.

So this, as I have already talked about

editing, and not once but several, I am

going to assume many things, but of course,

you are going to see the screen completely,

I mean, you are going to see step

by step what I do, but I am

not going to stop at every step because

it can be a little boring, right?

So you just have to look, and as

always, if you have any questions, in the

comments of this post, I am for this.

So what I'm going to disappear now, I'm

going to make the screen that occupies, I

mean, the computer screen, occupy your screen so

you can see how I edit, and having

said that, you are going to see everything,

okay?

And if you have any questions, as I

say, you just have to ask, okay?

Let's go for it!

Very well, friends, as I had told you,

here I have prepared a small gallery with

some of the images that you have seen

in the last videos.

They are all images of ceremony.

Just before, well, to begin with, I would

like you to see just below, here where

I am marking, well, as you can see,

you are going to see, right?

The ISO, as the diaphragms used, speeds and

all this set of stories, okay?

This is a photo of Erika, as you

are seeing, below the photo I put the

name of Eri.

Mine, as you are going to see, appear,

for example, lags, right?

That is, with which you will also know

who has made the images, okay?

Just one thing, one thing, at this point

here that I am marking now, pointing out,

I do not know why, in this bridge,

it does not appear to me, but I

always tend to have, both Erika and I,

in plus 0.3 or something like that,

okay?

I mean, from the camera, the same gain

is plus a third, around there, okay?

I just wanted to explain that.

And what, well, as I want to show

you now, well, you are going to see,

right?

Also the before and after, so that you

understand a little what the visual route is,

right?

Of these images and how we try to

get there.

I mean, believe us, it is very, very

easy, as you are going to see now.

It is a process that I try to

go as fast as possible.

And there are images like this, in which

the light is very poor and I try,

well, that in the end, in post-production,

it is a little better.

Of course, if we are talking about shadows

in the eyes, like the groom's, well, as

it is understandable that no, no.

Here, in none of these images, I have

used flash, in none, okay?

And I have also brought some other image

here, so that you can see more wedding

images from other churches, for example, from Zaragoza,

from my city, so that you can take

a look and see a little more, well,

more results, right?

Without further ado, let's start with what would

be, well, with editing, okay?

I'll just tell you, I'm not going to

use any presets, no actions, no shortcuts on

the keyboard, because I don't think it's appropriate,

right?

If I'm going to give an over-editing

class, if I start using, for example, my

presets, I'm going to finish in a minute

and it's not going to be, it's not

going to be educational.

Just also tell you that regardless of whether

you use Camera Raw or Lightroom, you should

know that it is absolutely the same, okay?

That is, there is no difference, the revelation

engine is the same, okay?

I'm not going to entertain myself anymore and

I'm going to start making the image, okay?

So that you can take a look.

And as I say, I have already told

you that I am not going to use

presets this time, okay?

And I'm going to leave, well, I'm doing

it, trying to match the last revealed, right?

To the editing that you had seen, okay?

And for that, I'm just going to, okay?

I think that, at first, I would leave

a story like this for the image, just

because I would open it already in what

is Camera Raw, okay?

It's a little slow, I'm doing it with

the laptop, okay?

So have a little patience, it's always where

I record all the videos, so it's a

little slow, slow, but calm, okay?

Let's see if it loads, bastard.

Okay, just something that I always have are

the actions by default.

If you don't know it, there's a video

dedicated to it, okay?

So calm down.

And as you are already seeing, this is

important.

All photographs go through this.

And here I'm going to stop.

You have to know that the adjustment layer

of contrast, the blending mode is to superimpose.

To lighten is to stretch, and to darken

is to multiply.

Why do I say this?

Because when I give it, for example, to

contrast, I already know for sure that what,

in addition to contrasting, is going to saturate

me a little bit.

Do you understand me?

And then, sorry, I'm going to increase this

density a little more.

And I also know that the darkening tool,

as I am giving it now, is going

to gain not only that darkness that I

need in the background to highlight the couple,

well, the couple, I mean, their son with

his mother, but it's going to give that

density that I need the reds to have

that tone that I'm looking for, okay?

I'm just going to get a little closer,

okay?

I'm going to give it a little light,

a little less, sorry.

I'm going to lower the brush.

I'm going to give it a little less

opacity.

And whenever I lighten, this is important, whenever

I lighten, I contrast later, okay?

Okay.

I've done this, more or less.

I just put together the image.

And I'm going to reframe a little bit,

okay?

There.

Just with the gradient tool or gradient, I

don't know what you call it, I'm going

to give it a little, okay?

And to finish, I have it with a

keyboard shortcut, but I have this, this, like

this.

I always leave it at 20, like a

lot, and then, with these colors, I'm going

to play separately until I have it more

or less.

Do you see what a subtle kick it

has given it?

I can still put a little more.

Okay.

And the image, as you can see, is

practically ready, right?

With this, I wouldn't do anything else, okay?

Let's go for another one.

We're going to go for another one from

another ceremony, from another church, okay?

For example, this one.

Let's take a look at it first.

Here we have it.

Okay.

Well, that's ...

Again, this is the ...

Well, this is the original photo.

35,000 ...

This was taken by me, if I'm not

mistaken, yes.

I'm right behind the altar, as you can

see.

5,000 ISO.

And I'm clearly worried, right?

That the highlights you're seeing are just the

windows, but you see that the histogram ...

I'm worried that if it weren't for the

highlights, it would be perfect on the right

and it's perfect on the left.

That's the most important thing for me.

Once I've done this, as you can see,

I'm going to throw a little bit of

contrast.

A little bit of this.

Erase fog.

Intensity.

Okay.

And simply what I'm going to do is

...

I'm going to make a little bit of

a line so I can avoid that, okay?

Once I've done this more or less, I

just think I'm going to contrast a little

more and I'm going to give it a

go.

But this picture, I've practically already got it

ready.

And this one, there is a complicated light

because it comes from behind, it's on one

side.

You can see that in the bride's eyes,

especially, there's ...

There's a story, right?

There's a ...

Of course, if we get closer, we start

to see all the grain, but I mean,

let's not be so sectarian, so demanding with

all this stuff, okay?

I just start with the degraded tool, for

example, I'm going to do this.

Why do I do this?

Because I want to redirect the viewer's gaze

to the same couple.

Or I could do the same thing as

always, with the actions, with the 3D light,

or if you want, I can skip that

and do it like this.

I select by hand, more or less, you

see that I'm not perfect, nor do I

ever want to be in Photoshop, okay?

A layer of levels adjustment, I'm just going

to give it, I'll contrast here, half tones,

which is what I like a little bit,

and more or less later, I'm just going

to make it fade a little more.

I copy the image and I'm going to

give it what would be the 3D light.

You see that I've done it this time

already with what is the keyboard shortcut, okay?

Because I guess you'll understand everything by now.

Oops, I went over there.

You see it, right?

It's just a little bit over there.

And as you already know how to contrast,

it's going to give you not only the

contrast I need in my images, but I

already know, as I explained to you before

in the previous photo, that the contrast, in

addition to contrasting, saturates a little bit and

that's going to help me find that color

that I like.

And more or less this would look like

this.

I want to put it back so you

can take a look at it.

I already have it.

And the image, as you can see, is

completely finished.

I wouldn't frame it again or anything, okay?

We're going to take it off and we're

going to go for another image.

We're going to go for another one because

I'd like you to see, for example, this

one here.

So you can see a little bit of

this one, how I went through this one

and how I got that shine on the

faces of the boyfriends, on her dress and

such.

We're going to open it again and you're

going to see that it has no mystery.

I'm just going to give it a little

bit of light.

I'm going to remove this top part because

I don't care.

I mean, I don't need to know that

I'm burning if I already know, right?

I give it contrast.

Illuminations, as always, down.

Of course, my Jaribo presets do this directly,

so I would avoid all this time I'm

wasting here, right?

But hey, we're going to give it this,

we're going to reduce the noise a little

bit and we're going to get closer, right?

So you can see it again, okay?

I mean, let's see if we have them

here, right?

The focus is perfect.

We can see even the hair, right?

Of course there's grain, of course there's grain,

but this image is going to be printed

in a museum in two meters by two

meters?

I don't think so, right?

But don't get so overwhelmed with the ISO,

okay?

As I said, I prefer to leave it

perfect.

I don't know what to say.

The exposure, leave it correct and the ISO,

if necessary, take it to 5,000 without

any kind of problems.

Once we've done this, I think you can

imagine what I'm going to do.

Sorry, the computer is going a little slow.

What we're going to do is, as always,

start with the 3D light and I'm going

to give it, of course, contrast to vary.

You see that I don't try to be

perfect, so that you can understand me.

Look what I'm doing.

Do you see how I paint?

I never try to be perfect, because in

Photoshop, at least for me, or in the

world we live in, I only use it

a little bit to give it a little

bit of strength and nothing else.

As long as you clarify, contrast.

Okay?

I've done this.

Let's go over here.

A little more.

I'm going to darken her face a little

bit, okay?

And a little more over here.

And the dress, too.

And this area below, which has to be

dark, to redirect the gaze to the area

where we want the action to be.

In this case, as you know, in my

boyfriend friends, you see, right?

In a moment, as I've already eliminated it,

I'm going to add a little bit of

red and, simply, as you already know, to

enhance those reds, the adjustment layer in black

and white, the blending mode in soft light,

and, as always in Photoshop, at 100%

it doesn't work, but at 20%, as you

can see, it gives it that micro kick,

and here we'll play with the reds separately.

The reds are going to bring you skins,

as you can see, and the blues can

be for shadows, as you can see, it

affects a little bit, but I would leave

it like that.

And I would leave it like that, and

I would get rid of everything, right?

And we're going to zoom in again so

you can see that the process is not

so destructive, right?

The grain is a little bit appreciated, but

nobody would say that it's 5mm.

Well, I don't do skin retouching, okay?

For that, a good makeup artist is already

there, or a good makeup artist, and the

image is already ready.

We are going to edit another from another

completely different church to see what this could

be.

This is the moment of entry, so we

are going to take a look and then

to finish we will do this, which is

with a slightly fucked up light.

Let's open it.

Here we have the moment of the arrival

of the beloved bride.

It's here with the 85mm, just this, another

one, as always, you know.

As you know, most of the time I

usually finish in Photoshop.

Of course, if it's a family photo, maybe

the camera roll is already ready, but in

this case not.

As you well know, 3D light, clarify, a

little bit for the boyfriend, to give him

strength.

Whenever I clarify, I contrast, okay?

That always has to go by hand, okay?

And we are going to darken a little

bit on the sides, the back of the

bride, a little bit of the bride's father's

back and that area there.

Notice again what I've done.

Paint a little dot and a couple of

dots.

I don't do anything else.

I don't complicate my life with more.

I never try to be perfect, okay?

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

do this, the dotted line.

And as you already know, the adjustment layer

in black and white, the blending mode is

very soft.

As always, 100% does not work.

We put it like this.

Now, there are yellows, right?

They are all golden.

Let's play with the yellows.

You see how I'm giving them strength and

they're going down and they keep saving that

color.

The reds are for the skins, almost sure,

you see?

Very good.

There are blues for some other dress, right?

Let's see.

There it is.

And the father's suit of the bride.

There, perfect.

That's it.

The image is ready.

Have you seen?

And the image, I mean, this tool has

a pretty nice packaging, okay?

So let's go for the last one and

I don't entertain myself much more.

Let's go there.

We continue, we continue.

You see that this time it's the same,

right?

That's why we're going to be there.

Here I have to give a little bit

of green, maybe there.

I'm going to leave it.

I have corrected the nuance, okay?

Intensity a little bit, as always.

And here we have done this, this, this,

open, okay?

Okay.

I'm just going to do a little bit

of this here.

A little more.

And as you may already know, a lot

of green lights so you hate me.

And you see that this process, once you

have it taken, once you control it, the

thing is that it starts to be fast.

Although you see it a little tedious, right?

And the truth is that, of course, when

you've been with it for several years, in

the end, you usually work with the keyboard

shortcuts and then it's twice as fast, okay?

Not all photos go through this elaborate process,

but there are images that sometimes, for example,

if you have only one, with the direct

camera row settings, everything is ready, okay?

So, having said that, as you already know,

adjustment layer to give it the packaging that

my photos need.

Adjustment layer there.

Soft light.

As always, Photoshop, all at 20%.

And I'm going to give the little reds

for the skins, yellows for those backgrounds that

are there, so golden, and here and here,

okay?

I'm already seeing it and that's it.

So far, friends, I hope you have understood

it or I hope you liked all this

you have seen, okay?