All language subtitles for Episodio nº 10 Patreon Black White

Hello, hello friends, how's it going?

Episode number 10, my goodness, how time flies,

right?

Well, we still had something pending with you

and we wanted to show you in one

of our chapters how we edit our photos

in black and white, so better than number

10, to show you how we work and

let's go for it, right?

As in the previous chapter when we talked

about color, in this chapter we want to

show you practically the same, how we work

with our presets, with the Develop presets and

also later how we work without them, so

that you can see what steps we follow

when we work with these presets and what

steps we follow when we do it in

a manual way, ok?

So, well, let's get almost everything, sorry, something

that I must make very, very clear, like

in color, I am going to work clearly

the highlights, especially here in black and white

and I am also going to work in

depth the shadows and the blacks, I mean,

something that I can't stand and something that

I don't like is that the whites in

digital do not have definition and the blacks

do not have them either, so I am

going to work a lot in a pictorial

way in many of the cases so that

the white and black is a dynamic black

and white so that it is a black

and white with a lot of force and

what I am going to deal with is

that, as in color I play by areas,

here too, okay?

So I don't get distracted anymore and I'm

going to start with the first image of

all, which is the one you are seeing

here now, I would like to show you

a little bit of the other lights, how

they were and you see that, well, in

addition to the bride going up, we have

there, well, in which she holds the dress

and all this, we have an intrusive light

at the upper right end, so that is

one of the main problems, okay?

When I turn it white and black, you

are going to see that there are several

types of presets, for example, it can be

levante or it could be poniente, this already

depends on you, okay?

Personally, I like a little more levante because

it gives it a little more contrast, maybe,

so I'm going to give it to him,

okay?

And Levante's mission is to try to leave

the image as neutral as possible so that

later you can put the strength you need,

okay?

In my case, as you will always see,

I will always pull contrast up and I

will lower a little white and even the

blacks, I will raise them a little more

and they will look like something like that.

First of all, I am going to give

it a little vignetting so that it has

a little more packaging and now I am

going to get into what it is by

areas.

As I did in color, in white and

black I am also going to play with

brushes, okay?

And I want to show you how I

work with the brushes, as in the previous

post in which I played with the tools,

contrast and multiply, here it is absolutely the

same.

In the case, for example, of multiplying, as

you well know, I am going to darken

parts, okay?

More or less, I am going to leave

them there a little more strongly, okay?

I'm going to keep darkening down here and

I'm also going to take a little darker

to the area of the dress that I

want to leave it more or less like

this, okay?

You see that it is gaining a lot

of strength.

Once I have more or less darkened certain

parts a little more, I am going to

clarify others.

Others that I want to clarify is the

face of the bride and the two paintings,

both those on the right and on the

left of the bride, so I am going

to add in the contrasting areas, I am

going to lower the brush a little there

and I am going to give it a

little lighting there, okay?

Let's see how it looks, okay?

You see that it starts to look pretty

good.

We have another one here, perfect, and you

can still give it a little more, okay?

Even lift a little more.

Okay, this is how the image would practically

be seen.

I'm just going to open it in Photoshop

to tell you a couple of pretty important

things and we can see how to darken

a specific point that bothered me, okay?

Okay, we already have it, I'm just going

to minimize, okay?

And I'm going to Ctrl-A, Ctrl-T

to correct the lines, okay?

And I'm going to move it around here

until it has more or less the lines

there.

You see, right?

You see that the lines have already been

quite straight, I'm going to raise them a

little more up so that the bride is

not so flat and we have it there.

Once we've done this, what I'm going to

do is, with the Gradient tool, I'm going

to darken certain parts, okay?

In the top right end, which I had

told you that I didn't like at all,

okay?

I'm even going to give it a little

more opacity, maybe, to give it a little

more strength, although I see that I should

apply the black because otherwise it was painting

in gray.

Error that you have seen quite common.

Okay, once I've done this, what I'm going

to do is, notice that something that bothers

me too is this perch, it is clearly

overexposed, right?

What I'm going to do is, with the

pointer tool, I'm going to select, for example,

this part here and I'm going to tell

it that I want it to paint black

on this, okay?

This is an intelligent tool and it will

only paint the parts that are below the

part that I selected.

I mean, look, you see?

It's just painting this, it's just painting the

perch absolutely, which works quite well.

So, under that brightness, okay?

And the gaze goes directly to the bride

and that's it, okay?

To finish, as in all images, Ctrl-L,

I give it a little, a little kick,

simply in the midtones too, and the image,

as you are seeing, is completely ready, okay?

Well, once we have this image, we are

going to go to the next image, okay?

You see that the result was this and

the original we are with this image, okay?

So let's open it, let's show you in

a super simple way how to get to

the end, okay?

Let's cut it first, since we have in

the lower right corner something that is bothering

us and it will look like this, okay?

Little things that I see that bother me

a little.

The area where the hair is, okay?

We are seeing that, of course, due to

the white dress, we are seeing how the

light reflects much more and it does not

finish working for me and I would like

to direct all the force towards the face

of the bride and the hand of the

makeup artist, okay?

And the part now that is very, very

bright, well, I'm going to lower it.

In addition, we can see in the upper

right part a little bit the face of

the makeup artist, I also want to darken

that and the upper left part is also

perhaps, there is some shine that I am

going to load, okay?

Super simple, you will see, I am going

to give, for example, what is the lift

tool, you see that it leaves it very,

very, very, very neutral, simply as I had

told you before, I am going to apply

a little contrast, I am going to raise

it here too, I am going to lower

the whites a little and I am going

to put it there, okay?

Once I have done this, I am even

going to lower the light a little and

I am going to raise the contrast a

little more , in the same way I

am going to apply the brush in multiply

mode and what we are going to do

is simply darken this part that we have

here, okay?

That it does not finish me, perhaps because

of convincing a lot, I am going to

put it in too, I am going to

lower it a little more, there is still

a little more, sorry, there, okay?

And in the same way around here, okay?

I'm going to darken it at the end,

okay?

And then, more or less, I think the

thing has turned out well, okay?

The area of the hair, I'm going to

put a little bit too, okay?

So that it has a little more strength

and especially this part here, okay?

I think I've gone a little too far,

so I'm going to raise it a little

bit and this part, especially, I'm also going

to darken it, okay?

Now I'm just going to play with his

face, I'm going to add one in contrast,

as you already know, remember that the tool

of the contrast brush, in addition to clarifying

contrast, okay?

We are going to put a little bit

in the area of his face, let's see

what happens, super interesting, okay?

And now, in his girlfriend's fingers, in the

makeup artist's fingers, we have also put a

little bit, okay?

I'm just going to add one more and

I'm going to give it in this part

here, I'm going to give it a little

more, let's see, let's see, let's see, there,

perfect, and in the makeup artist's fingers too.

I see that I have gone a little

too far, okay?

Well, I'm going to erase a little bit

here, okay?

I just stay there.

Now yes, okay, as you are seeing, the

image is practically ready, I'm just going to

do a vignetting, okay?

I think it could, sorry, it could stay

there and you see, I'm not going to

open this image in Photoshop or anything like

that, because I already consider it to be

completely finished, okay?

Remember that in the previous chapter there were

also people who asked me if I invested

as much time in all images as I

am showing you now.

Of course, first think that I am explaining

step by step, in my house I go

twice as fast and second, there are images

that are going to need more time and

there are other images that practically with the

preset and with a couple of more adjustments,

the image will be ready.

Okay, let's go now for the next image

and like in the previous ones, I had

already explained how to work with these presets,

we are going to do it now without

them, okay?

And what better than using one of my

favorite images, okay?

First of all, let's go for the original.

I must tell you, we are going to

open the RAW, okay?

Remember that you can use both Lightroom and

Camera Raw, for me it is absolutely the

same.

First I wanted to explain, right?

The place where I placed the grooms, notice

that mainly here, in this brightness that we

have here, to understand how the light worked.

The light worked from left to right, it

was a very, very faint light, very, very

weak and notice that I already placed the

groom in a shadow situation so that when

I apply the contrast later in the edition,

it will be practically faceless, okay?

I revealed it in black and white due

to the fact that there are more than

three colors that are not complementary, I mean,

blue, greens, oranges, even reds, notice that it

was so cold that the poor bride's nose

turned red, notice that the hair or the

veil was up, right?

Okay, very well, let's go for it.

In this case, remember, I'm not going to

use presets and I'm going to do it

step by step, it's going to be a

more tedious process, something more complex, but I'm

going to try to explain it, okay?

I'm just not going to use anything other

than turning it white and black, I'm going

to use the contrast as always to the

maximum, one of the main problems I had

was that I want to leave this sky

so bright and lower and I'm going to

leave it more or less like this and

I'm going to lower the highlights, I'm going

to raise the shadows up, okay?

I'm going to lower whites and I'm going

to raise blacks up, okay?

And then texture more or less to an

8 and clarity if I'm going to put

it at 20-25%, okay?

I'm going to give it a little light,

okay?

And more or less I would like to

leave it like this because I was not

looking at the grooms yet, much less at

the bride, I was only looking at the

environment and now I'm going to go work

with the grooms, okay?

Notice that I am going to open it

in an intelligent object, I don't know if

you have worked with intelligent objects, but YouTube

is full of tutorials, okay?

Once I have done this, I am going

to duplicate the intelligent object and I am

going to create a mask, okay?

In any of them, I have created it

directly in the one above, okay?

I'm just going to open the row that

I have below and I'm now going to

reveal only the bride, okay?

To edit only her and I'm going to

apply even more contrast, okay?

Once I have done this, look at what

I'm going to do, right?

I'm going to be painting on the bride

at all times, now yes, the blending mode

should be normal, okay?

And I'm going to paint ...

Okay, here we have it, I'm going to

give it a little opacity, okay, okay, okay,

okay, okay.

You see that I am painting over the

bride, here I think it had happened to

me before, so I am interested that that

is not seen, okay?

And I'm going to paint on the elbow

and on everything, on everything, on everything, on

her face, okay?

Important, her hands have a very large size

and now, if I have gone too far,

I am going to go to the bride's

face and I am simply going to erase

if I had painted on top of it,

okay?

Okay, once I have more or less done

this, notice that the image begins to gain

a little strength, okay?

Now yes, I put the image together and

I am going to select by hand, not

in a perfect way, okay?

But selecting simply what would be the bride,

I am going to apply a layer of

adjustment in levels and notice how the thing

is already starting to gain a lot of

strength.

We are going to give it just a

little bit, we are not going to try,

above all, you see, in the contrast tool,

to put a kick like that, no, no,

no, no, no, you just have to accompany

it as far as the limit of the

histogram and the midtones reaches and that we

can play a little more, but always to

the limit, okay?

Once I have done this, I am simply

going to apply this here that you are

seeing fade, okay?

And now, more or less, I would have

almost everything and now, as I told you

in the previous chapter, sorry, I am going

to darken, lighten or contrast with the 3D

light tool of our friend José María Mellado,

okay?

We are simply going to lower the opacity

a little and we are going to start

darkening parts that we do not want to

be so clear, okay?

And parts that are a little dark, we

are going to raise them a little, as

you are seeing here, a little bit here.

In addition, we are going to apply contrast

through the areas as we want, okay?

Notice that we are there, I am going

to apply it here, I am going to

get a little closer to them, okay?

Let's see how they are looking, you are

already seeing it, I am going to give

the bride another touch, okay?

A little thing like that, more or less,

another little bit, another little bit, boom, boom,

boom, here and now the groom, I am

simply going to contrast a little more all

his face so that it is as dark

as possible, okay?

And darken too, I am going to darken

a little, okay?

And I more or less have the groom

without a face.

Notice that this scene has part of its

strength because of that, because we see the

peace, for example, of the bride and we

can hardly see, well, what the groom is

feeling or his face, right?

Once I have done this, notice quickly what

I have done, okay?

I am going to copy images so that

the computer does not go through the air,

I am simply going to make a gradient

tool, here, here, this I have already passed

because I always have it at 10 and

not at 17, it is important, okay?

Here and here.

Once I have done this, guys, we are

going to cut, always think that if you

can cut something more, always, okay?

And once we have done this, notice that

what I am going to do is select

this part of here that does not convince

me at all and I am going to

fill it, okay?

Edit, edit, edit, fill, okay?

Because, notice that I want a pattern that

is repeated both on the left and on

the right, okay?

And notice that I did not like that

pillar to be there with the extension of

the lake, right?

So I'm going to fill it, okay?

We already have it, perfect.

And just to hide a little, if I

have not timed it well, we are going

to darken a little more and we are

going to darken a little more and now,

yes, the image would be ready.

Okay, let's go for the last image and

we are going to stop for a moment

in this one, I want us to take

a look at how it was later revealed,

okay?

Notice that what I always try is to

leave the images as neutral as possible for

later post-production, okay?

As an anecdote or well, for example, as

a note, notice how well the neutral backgrounds

work here.

Tell you that this room was full of

paintings and full of little things, so we

cleaned it, right?

Also notice that there is a window on

the right and, as I was saying, we

quite like not to show the sources of

light, right?

That is, to remove it and only see

the element, for example, illuminated as it is,

for example, in this case.

Okay, first of all, what I'm going to

do and so as not to roll up

more, I'm going to reframe it well because,

as you can see, the lines went a

little bit of mother, okay?

And we are going to leave it a

little bit like that, right?

I think, okay?

And now, as I had shown you in

the previous one, we are going to reveal

it in black and white like this, we

simply convert it, we contrast more or less

almost to the maximum, we are going to

take the shadows, the whites over there, the

whites to the other side and the blacks

here, okay?

And once I have more or less done

it, I will even reapply the lighting and

contrast 100% .

Okay, once I have more or less done

this, I'm going to open it in Photoshop,

okay?

Remember that we could have done it with

preset and surely we would have been much

faster , I assure you, possibly in a

minute or two we would have already removed

it, but I'm going to do it like

this so you can see a little bit

what the whole process is.

I'm going to go a little bit with

the gradient tool, darkening, okay?

To make more or less the lighting come

here, okay?

Now what I'm going to do, look, I'm

going to select, like this, directly, adjustment layer

in levels and I'm going to put a

touch first there, quite interesting, you see?

I don't want anything to burn, so by

pressing the Alt key I can know what

happens.

And again in the midtones.

We go there, okay?

And I'm going to fade so that this

stays more or less there.

A little more, still.

Okay, and now, as you already know, to

finish off almost everything, I'm going to use

the 3D light tool, okay?

And it's as simple as what you're going

to see now, right?

I enlarge it a little bit and I'm

going to put cane first of all to

our girlfriend, to our friend Lucy, okay?

We go there, I'm going to paint, pum

pum, you're already seeing, okay?

And at the same time I clarify, remember

contrast.

And there are even areas like this that

have been very clear and applying darkness they

will really gain a lot more packaging, okay?

I'm going to put it in, I'm going

to put it in here a little bit

of light, okay?

Pum pum.

There, and a little more contrast too, so

that it gains a little more body.

And the girls too, okay?

I'm going to apply them here a little

bit, I'm going to apply them here another

contrast, okay?

And the girl too, that we have around

here, right?

And at the same time we apply to

clarify, we have to apply contrast, remember, okay?

More or less, I think the image would

be practically ready.

I'm going to give it a little more,

maybe, strength or lighting to the girlfriend, but

a little more, okay?

Okay, just look at what we've done, right?

To give it a little cane.

I'm going to give a little contrast to

the area of the wall to give it

more strength, okay?

You are seeing.

And above all, also to this one here,

I would like to load this here, okay?

That there would not be so much brightness

and we are going to give a little

darkness, a fairly lower opacity.

I'm going to put it here, there, there,

okay?

And a little more there.

Well, I think that's enough, right guys?

Image ready.

So nothing else friends, so far everything.

I hope you liked it, I hope I

have explained it well, because sometimes when I

start talking about editing I do it quite

badly.

And see you very soon with another super

interesting chapter, friends.

Be good, bye bye.