Neon Noir Lightroom Tutorial

Neon Noir Lightroom Tutorial


all right so I’m gonna show you guys how
I’m going to edit this photo it seems to be pretty popular this style so I want
to show you guys how I do it now like what I said last time is I’d like to
find something that is white try to make sure the white balance is correct that’s
usually the first thing I do and by now this could kind of become like an art to
me so it’s pretty quick so I’m gonna increase the contrast all the way decrease
the highlights I’m gonna increase the shadows the whites just until they peak
you see that red that signifies I overdid it something I’ll scale it down
right about there now increase the blacks all the way but that does not mean it’s
gonna stay this way it just means that’s how I like now I like my pictures a
little soft not always too soft but actually I’m gonna eyeball this actually
I like it like that so I mean this is really to your style it doesn’t have to
be exactly the way I do it if you want to have your clarity like there it’s
fine you wanna jack it up that’s fine too so I like my picture soft
people people usually say that I increase the saturation all the way and
shit like that but it’s not that’s not even the case I actually decrease it
there’s no set number it’s just the way I see it if it looks good to me that’s
the way I’d leave it so that’s looking more or less better the way I want it
now I don’t always change the highlights but I think I’ll add a smidgen of purple
just like that barely noticeable there we go so now I like to reduce the noise little
bit to go to luminance and add a vignette something like this, I’m gonna increase the
highlights in the vignette area actually what I would like the way I see this is
I want this to be lit but I want the area around it to be dark but the
vignette’s not cutting up for me so I’m gonna come to the radial filters over
here I’ma lay a filter right over it and Invert it, I’m a decrease
exposure but not too much like I said I’m just gonna eyeball this and however
I see the photo how I envision it that’s what I’m gonna do it
you guys don’t have to copy me exactly I mean if you don’t like something you can
just do it the way you want to do you know I’m just giving you guys like a
base like this is the way I like to do it and you don’t have to like this
completely now I wish I could increase the contrast so what I’m gonna do is I’m
just gonna slowly add more blacks in there there you see not all the way
now I actually maybe maybe I will deal with that vibrant so up a little bit
more okay that looks fine so I want to see
these signs over here in these cables that’s kind of a big point to my picture
and uh I’m gonna go over here and increase the highlights so we can see the brighter parts
starting to come out over here which is what we want
I’m gonna remove this part I’ll do something else right there
increase the highlights there you go it’s time to add more pop to our photo
which is what we want now I’m gonna make another brush this time I’m just gonna
add to the shadows maybe we can change We can change the brush later so it’s fine so like I said this is to each their
their own so however you want to do your photo and that’s up to you but this is
the way I like it and what else can we do
I want more pop in these lights some do yet another brush this time going for
the highlights so you know toss it in there not too much and we want this kind
of wire to shine a little so yeah let’s see how it looks
okay these lights are a little bit too bright so we don’t want that we want
them bright but not too bright and this is basically what you’re doing you’re
gonna paint your picture you know how you see it how you want it this is the
way I envisioned it and actually I envisioned this being a little bit more
but not too much so I’m going to do yet another brush so this is all a process
you know see let’s try 20 okay looks much better so
I’m just adding highlights to places that should have highlights you know
kind of where all this little white sparkle okay that’s good now I don’t
like them being this saturated so I’m gonna actually reduce the saturation a
little bit with you guessed it another brush yeah we don’t want them to look
like tomatoes and like I said there’s no set numbers
to this I mean you do this the way you want to do it and I really really want
to see the top over here because that’s like the main thing for me so the
brushes are not doing it time to increase the exposure a little bit and
some contrast do we have contrast yeah yeah so I’m liking that much better
already you know it’s good but I don’t want the lights to be too bright either
so there you go you have a noealz style photo and I hope you guys are enjoying
this these kinds of tutorials and videos please be sure to subscribe and follow
me on Instagram and if you have any questions or if you want to share your
photo with me be sure to tag me I’ll check it out for sure and I’ll see you
around you

how to ORGANIZE your LIGHTROOM PHOTO collection!

how to ORGANIZE your LIGHTROOM PHOTO collection!


How to Organize Your LIGHTROOM Photo Collection Have you ever got to a point where you feel
like your Lightroom catalog is such a mess that you just want to declare a Lightroom
bankruptcy and just start all over again. Well, what I’m going to do is I’m actually
going to show you how to organize your Lightroom library without having to just ditch everything
and start again. And this is actually coming from a request
I just received, and I won’t say his name, but I’m just saying that he needs to– This
is what he said, “I need to resolve my problems with Lightroom. My problem is I never set up Lightroom as
recommended. My folders are all over the place and I find
images in more than one folder, and bottom line, I need to reload Lightroom and essentially,
start from scratch. How can I accomplish this and not lose my
images?” So this is a common question I actually get. Well, here’s the good news. The good news is you’re not actually going
to lose any of your images because none of your images is stored in Lightroom. Your images are actually stored on your hard
drive and they’re just managed in Lightroom. And, in fact, there’s a few areas I’m going
to show you here which is going to help you just restructure and reorganize all your images. So if we look on the side here, we’re in the
Library module right now, and if you’ll look at the catalogs, the first thing you want
to do is click on All Photos. So this is loading in every single photo right
now that I have loaded into this Lightroom catalog. So, then, you’re going to go to Folders. And then, when you look at Folders, I’m just
going to put the Navigator up so we can see it better. So these are my folders, so you can see, you
know, there’s a lot of different stuff going on here. This is the actual directory structure. You can see this is Macintosh HD, which is
my Macintosh hard driveómy main hard driveóand, you know, there are other drives in here. Here’s my G-RAID, which is my external drive. Okay, so here’s the thing about this. If you’d try to go in here, this is where
they are stored on your computer, and if you’ll look in your Finder or you’ll go into your
File Manager, you’re going to find them stored exactly the same as they are here. Now if you try to move these images around
on your computer, like going in Finder or anything like that, what’s going to happen
is it’s going to mess it up because Lightroom is not going to know where those images are. So if you are going to move them around, what
you want to do is you want to make sure that you do it through Lightroom. So, say for example, I’ve got my MacDrive
here and I can see, you know, I’ve got 19 images on the desktop, I’ve got 12 on the
Pictures folder. Let’s click on pictures, and I can see those
are 12 there that are stored on my hard drive under the Pictures folder, under Mac HD. But if I want to move this to a different
location, what I’m going to do is I’m going to select them here, and I want to move these
or relocate them, Ctrl A or Command A to select them all, and I drag that into Drag Racing. Now, I’m going to move these, I’m going to
click here. Now notice what’s going to happen. Two things are going to happen. One, this Pictures folder, they’re going to
start moving; you’re going to see up here. I’m moving files, you’ll see them move. Notice that number is getting less in there
because it’s actually moving these, relocating them, and if we look down at the drag racing,
notice that number is increasing. So what’s happening right now is we’re moving
the images from that hard drive that’s on my computer to my external hard drive. So if you want to move your images around,
this is the best way to do it. Do it right here. Notice the pictures folder, there’s nothing
there. I can delete this folder now if I want because
there’s no pictures in there, see that? And if we go back over here now, and this
is a G-RAID Studio, which is my external drive, and I go down here to the drag racing, notice
these 12 images, these are the same images; I’ve just relocated them. So what you can do is go through different,
like, say for example, I’ve got two, ones here from Balboa. If I want to put these together, I’m just
going to go in there, Ctrl A or Command A to select them all. There’s 97 images, and, maybe, I just want
to drag them into a Balboa 15, and I’ll just click like that and we can turn that off or
you can just choose Move to confirm it. And notice, right now, I’m moving all of those
out of that Balboa into this Balboa 15 folder now. See that? There we go. That folder is now empty and I can safely
remove that folder now, and those pictures are now living in here with those other ones. So you can start to organize your photos like
that. Now what that is doing is it’s actually cleaning
up what’s on your hard drive. It has organized them into proper folders. Lightroom is still seeing these photos because
you moved them within Lightroom. Once again, I’ll emphasize, do not try to
move these outside of Lightroom. If you try to move these outside of Lightroom,
they’ll not be erased but you’re not going to be able to find them. So there’s the first step is going under the
folders, organizing your folders. The next step you want to do is go into Collections
and collections are great. This is where I organize my individual shoots,
you know, I’ve got one under here, under Places, and you can see, I’m able to create, you know,
harbor, and Laguna, in here, you’ll see I’ve been there multiple times or I’ve been to
Laguna multiple times, and I can click on there and I can see the images. Notice I’ve got everything organized under
Shoots and Locations. Now, in order to do this, it’s really easy. You can do it a couple of ways. One, is you go to a folder, and you want to
actually make a, so like I say, here’s my Osmo. These are my position on Osmo. If I want to create a collection of all my
Osmo works, I could just actually just click and drag that down there, and that will actually
create a collection here. So these collections, all they do is referencing
the images. If you wanted, another way you could do it
is if you’re trying to organize this, maybe you’ve got everything under this Phantom folder
and you want to organize by beach or whatever, you know, you can go down, you can hold the
Shift key, you can select, and then, you can drag these into the collections. Or you can go under a collection here, for
example, and I could select these and I could drag those into other collections. See, that’s how you can organize things by
just dragging them around. So one of the strategies I do is I just create
a collection called Unsorted and I just dump everything into that unsorted collection. And then, you can use things like Filters
here by using text or attributes, maybe, you know, metadata, these different things. Sometimes you go by camera type. So here I can see, you know, hey, if I click
here, there’s the FC300, which is, you know, one of my Phantoms. And if I hit that 350 look, there’s my Inspire
1. So I can use this to go through the different
cameras to organize those. You can go by focal length. You can go by different things to help you
organize. You can use keywords, but the key here is
to put them into collections. Here’s another way you can do things, is if
we create a collection, we’ll just call this one “testing.” And this is another great tip you’re going
to love. So what I’m going to do on this testing one
is I’m just going to right click and I’m going to choose Set as Target Collection. Okay, so that means that this is now a target
collection, so I can into all my photographs now, and anything that I want to add to there,
all I got to do is, see that little circle up there? I click on that little circle and that will
add these into that collection, so if I’d go there and we go down here, and we’d go
back to our collection, and we’d do that testing one, look at this. Those ones that we’ve clicked on are now added
to that collection. So you could always go back there, turn that
off, and then, once you’ve done that, it just goes back to the very top here, which is Quick
Collection or, you know, we can also right click and set it as our target, so we can
do that on any folder. And to remove it, just simply click on there. And then, when we do that, that will be removed. You’re not removing them from Lightroom. Just remember this, everything in your Lightroom
catalog is here. This is the actual location. Now we can make collections. Now these collections don’t move the images,
they don’t duplicate images. All we’re doing is we’re just organizing them
where we could find them. So when I click here, I go, “Oh, wow, here’s
all these photos.” The collections are things that you create
to help you find things. The folders are where they actually live on
your hard drive. So, hopefully, this helps, and you don’t have
to restart, you know, just wipe out Lightroom and start all over again because it’s such
a mess. You can actually go through and you can use
different strategies, and organize this yourself. Now I have a really comprehensive training,
the Lightroom for Digital Photographers Series. Check that out. I’ll put a link to that. It’s a 13-hour video that has everything you
need to know about Lightroom, and to help your organization, and also, adjusting. So, a little tip though. When you’re importing things, maybe you want
to, when we click on Import here, you have the options here to add to a collection when
you’re importing. That’s one of the things I would definitely
recommend doing, and I do that now all the time. And the other thing here is I’ll add some
keywords, just some basic keywords while I’m importing, and that will help me avoid those
big, massive amounts of work at the end. Do me a favor. Hit that Subscribe button right now and you
can become a subscriber and you’ll get my weekly tutorials and different tips that I’m
doing right now. Also, feel free to add a comment, you know,
suggestions. For example, this particular tutorial came
out of a question, so I’m very happy to do that. So, anyway, thanks guys. I hope this was useful and until next time,
I’ll see you at the CAFE.

Is Lightroom Being Replaced? | Q&A with the Director of Adobe Photography

Is Lightroom Being Replaced? | Q&A with the Director of Adobe Photography


So I’m here with Tom and Sharad And we’re gonna be talking about the new Adobe Lightroom cc as well as Lightroom classic and some of the other features and things of that that you guys have come out with and It’s some exciting stuff so far. Yeah, it’s looking very very nice so the first question I kind of have for you guys is that you know more and more photographers, including myself, were Involved in mobile inside of our photography whether it’s shooting itself with our phones The editing process or posting to things like Instagram and other social media accounts so talk about how Lightroom cc is now kind of identifying that issue and working towards solving some of those stress points as well This is this is a journey we started over three and a half years ago by creating a version of Lightroom that worked on iOS and Android Because we saw how phones are becoming… and tablets were becoming part of the workflow and so we released this Lightroom with a minimal set of editing capabilities and kind of a connection to the desktop that was not all that natural. One of the things we’ve noticed is that you know the Lightroom classic experience is very desktop centric and so we were creating this link to a mobile workflow and helping photographers connect those dots and the big shift his week is that we’re really doubling down on the fact that photographers don’t want to be tied to any one device and Lightroom CC represents that next final piece in the puzzle that says whether you’re going to a tablet a phone or a desktop all of your images and all your edits are just synched seamlessly across devices and that helps those scenarios where I’m on a desktop, but I want to post something to Instagram so there it’s already on my phone and Lightroom. Or I don’t want to take a laptop in the field. I want to use a Tablet, but I don’t want to have to try and reconcile things later with some kind of you know export and then import I just want it to all be in my one library. Very nice. So part of this system is is cloud-based And so we are including 20 gigs of storage as a part of the basic photography package which is $9.99 And so and then you have an additional options for bumping up storage? Yes. So what we wanted to do is we knew because we’re introducing another version of Lightroom on the desktop there would be some Concern and maybe a little confusion given the overlap So the current Creative Cloud photography plan remains as is. We’re just adding more There’s a brand new version of Lightroom classic and we’re adding Lightroom cc. The 20 gigs is to say you know If you want to give this a try give it a go. See what it’s like to sync between the phone and the desktop But if you really want to go all-in on a cloud based photo library You know a terabyte at $10 a month more can be easily added. Ok, so from a naming convention We’ve actually replaced our old version of Lightroom, which is now Lightroom classic with a new Lightroom cc So is Lightroom being replaced There’s a lot of differences inside of the software and that’s kind of the biggest question going Going forward for here is what’s happening to all those features and is all that version with the powerhouse and being able to you know rename files and all kinds of stuff like that is that going anywhere? So part of the decision to rename the existing Lightroom product to Lightroom classic was the fact that it The new version of Lightroom is really making good on our Creative Cloud promise so we thought it deserved the Lightroom Creative Cloud brand Lightroom classic as a traditional desktop workflow Is is different from that then What we do on iOS Android web or Lightroom cc on the desktop, so that’s why we changed that name We don’t want it to be perceived as a lack of investment or a lack of effort with that product It is very good at what it was designed to do which is manage files and folders on disk rename files All of those desktop local workflows that photographers told us during the first life in public beta back in 2006 We’re absolutely going to continue investing in It’s a different team and we have another team that’s building a Lightroom cc that is purely cloud focused And so that’s where you’ll see the difference in investments, but they’re both moving forward So tell me about some of those things that are a part of the new Lightroom classic that were not there before feature number one and feature number two in Lightroom classic are probably performance. That was a heavily requested feature over the last few years, so That’s a subjective topic for a lot of people so we want Customers to give it a try and tell us what’s fast enough for them now and what they want to be faster Fast enough usually never happens, so that’s okay But then editing fidelity the ability to select certain parts of an image and make an adjustment Before was limited to you know a pretty broad Filter that goes across the image or an oval that goes on part of the image Or you could even brush in parts of the image now. We can actually select regions of the image based on the luminosity so saying this I want this lightness value to to be adjusted and no other part of the image or a More common example would be color range masking, which is you know I’ve got an uneven skyline and mountains and trees and I just want the this blue sky to be affected by de-haze and Saturation and so you can select the color range of the sky, and it will automatically create that mask along the uneven edge So it’s really powerful and something customers been asking for for a while I think the great thing is that both are included as a part of the subscription plan so the old version isn’t going anywhere basically just adding a new piece of software But let’s talk about if there’s any integration between the two so if I have some images in Lightroom classic now How do I go about getting those into the other system or going back and forth between those. Is there any Continuity between the edits that I’ve done between of those pieces on? So one thing I would caution is the way we’ve designed the two products Lightroom classic and Lightroom CC is that really you should pick one or the other So me personally I have all my images in Lightroom cc they’re all syncing wonderfully to the cloud I occasionally use Lightroom classic, but I’ve got sync turned off Because I just don’t want it to interact with cloud anymore. I use it for a photo book creation or contact sheet printing But that being said we did know that Some photographers would try Lightroom cc and say hmm. This is interesting, but it’s not ready for me And so those images that have synced up to Creative Cloud when they go back to Lightroom classic will just appear with all the edits So that’s taking care of them for them automatically. If I could just add one thing to that so One of the questions that you had asked are on continuity of edits And so they’re all actually built on the same Camera Raw. I’m branded today. The technology and so the edits that you’re doing and either Camera Raw has a plug-in in Photoshop and Lightroom classic Lightroom cc Lightroom on your iOS or Android It’s the same edits so the same image that you edit in one if you Import it in any other system all those edits will transfer and carry over. Okay, so it’s the same Technology it’s the same camera RAW pipeline. Okay. We tend… you know we can nerd out on that topic for days because that Editing pipeline was started in 2003 by Thomas Knoll. It’s part of the Camera Raw plugin And over the last fourteen years. It’s just grown in power and sophistication and quality And to me it’s it’s one of another one of those moments when to see it work on a phone to see it work on A tablet and a web browser and on the desktop It’s really exciting. Now for photographers that have any presets of select styles that they’ve been using for a while in Lightroom How… is there any way of making those available for mobile? Not yet, so I mean that’s something that we’ve heard as a highly requested feature It’s something that we’re working on. We don’t have a timetable for when it’s going to come out But we know it’s something that people care about and we’re working on it. Do we have any options for Creating our own presets or possibly downloading other people’s presets for that I know the ones from lightroom classic don’t exactly import in but are there some options for that as well Yeah, so you can create your own presets You can actually copy your presets from Lightroom classic on disk to the preset folder and Lightroom cc So you can bring those over and we’re looking at ways to make downloadable presets and kind of make that experience a lot easier So that’s something that we’re still building out, and you know we’re continuing to invest in It’s one of the most requested features when we introduce Lightroom on iOS and Android years ago was presets available synced across all platforms And I still hear that every day, so that should give you an indication of how important we think it is. Okay And I know that lightroom classic does support video files to a certain degree as well is there any availability for video Inside of Lightroom cc It’s pretty similar inside of Lightroom cc in terms of you can import your videos you can play your videos But that’s pretty much the limit of what you can do with them so I want to talk a little bit about A.I. It’s something that’s been discussed a little bit here. You know your sensei That’s a big part of this some of those features are kind of translating into automatic tagging and things like that so Talk about kind of the machine learning aspects of this and how that integrates into the new lightroom cc and some of the power that we’re able to get From from a lot of that. Sure. I mean I think this is probably one of the most exciting areas of Lightroom cc and so One of the benefits of having your photos up in the cloud is that we can do things like machine learning And you know we’re calling that Adobe sensei So right now. We’re doing auto tagging that’s kind of the first manifestation of Sensei inside of Lightroom. We’ve got a long list of things that we want to do We’re basically looking at all aspects of the photography experience whether it’s capture Organizing editing sharing and trying to find ways to help you become a better photographer through you know smarter ways of doing things and so One of the things that we’re doing on our website so lightroom.adobe.com is we have a tech preview Around best photos so the general concept is that you come back from a shoot or from a trip, but you’ve got hundreds of photos Sometimes it’s hard to figure out which ones are the best ones right so we’re gonna We’re leveraging Adobe sensei to help people identify the best photos And you know you can quickly share them out or edit them at that point and so It’s kind of the first of many other features in the same vein that are kind of Designed to make you and help you become a better photographer, and this is just going to be a part of Lightroom cc Just part of Lightroom cc right now. Yep. Okay, let’s talk I wanted to get into a little bit of storage because this is this is always something that we’re dealing with both local storage on a computer and then cloud storage requirements, so Locally and know that you have some features built into Lightroom cc to help us kind of manage that actually way more Effectively than it was before with sliders. so so run me by some of those kind of interesting features on that Well when I look at the difference between Lightroom classic and Lightroom cc The classic was about managing files folders on disk and putting them wherever you explicitly wanted them Lightroom cc Is more about managing how much storage your photo solution is taking up on your hard drive and trying to be as efficient as possible So when I look at it, I see you know you tell Lightroom cc How much of your hard drive you wanted to use up? if you say very little will use things like smart previews which are Representations of the original that it’s in the cloud Or I can go the other way and say you know what I want this whole group of images to always be available Locally because I’m gonna hop on a plane for eight hours And I need to have the full res original available to me and so the innovation are in file management managing disk space Is going to be really interesting with Lightroom cc and this applies to the phone as well because again phones Limited storage space, so what do you want to keep locally how much cache do you want it to use? Giving you know by default being very efficient, but also giving customers control when they want it And part of that too is cloud storage, so Data limits and things like that are kind of something that we’re continually dealing with Most people have them to some degree that we’re Exposed to and then most of our cameras are now extremely high-resolution. If we’re shooting RAW files and working in Lightroom How is that transfer being taking place. For every image is that potentially a 40mb raw file That’s being transferred back and forth from the desktop to the mobile? So that that’s what I love about this system And the fact that we’ve built it as this Common editing platform. Once the original is uploaded from the phone the tablet the desktop to the cloud We can be as efficient as possible. We’re not pushing 40 megabyte files back and forth between these devices Will default to a smart preview, which is one megabyte And then once a smart preview happens to be on a device Any edits made to it. We’re not saving a copy and then uploading another version of it. It’s just Text information about the edits that flows seamlessly across all clients so syncing happens very efficiently and very fast Thank you very much for talking with me It’s been a pleasure and can’t wait to see some of the new stuff that you guys have been doing Thank you

My “ULTIMATE” CANON EF Full Frame Lens Kit

My “ULTIMATE” CANON EF Full Frame Lens Kit


Jared Polin: Right before we jump into this
video, if you haven’t signed up for the froknowsphoto email list, just look for this orange box
over on the website. Put your name, e-mail address in it, hit send
it and I will send you a free guide to capturing motion in low light situations. Jared Polin, froknowsphoto.com and if I shot
Canon, this would be my ultimate full frame lens kit. I want to preface that I’m missing just
a couple of lenses and I’ll talk about those closer to the end. But let’s start down at this side and work
our way all the way down. Here we have a 50 mm 1.2 that’s going to
come handy in low light situations, as well as when you are shooting portraits, it’s
going to be super tack sharp and moving up, you also have the 85 1.2, I would love to
have those lenses in my bag. I do not have a 24 1.4 or the 35 1.4, those
would make it into my ultimate Canon full frame lens kit if I had them, but I don’t. Now, again these are not mine. I do not own these because I do not shoot
the Canon cameras all the time. Then we move up to the 8-15 fisheye. I think that belongs in your bag even though
I’m not a big fan of fisheye, especially circular fisheye at 8 mm, but I think this
is a super tack sharp and a super colorful lens when you shoot it out at 15 mm, it looks
really nice. Even though it’s an f/4, I think it’s
worthy of being in your ultimate lens kit as well. Moving down the list, we have a 24-105 version
1. Now that they have come out with the version
2, I would probably add that here. Let me tell you why that makes it into the
kit. If you are a run and gun video shooter, this
lens is going to be a great one to have. You’ve got the 24 mm. You’ve got the 105 and you have the IS for
the stability that is a great lens. Now, we are moving closer to the Hebrew Trinity
on the Canon side. We have the 24-72.8 version 2, which is an
absolute tremendous in a suite lens. I love this bad boy and for those of you who
want to shoot macro, this is a 100 mm macro 2.8. That is awesome to have in your bag as well. Then we have the 11-24 f/4. It’s a $3000 piece of glass. But if you are putting together a Hebrew Trinity
on the Canon side, this must be there. Some of you may say why isn’t the 16-35
there? Honestly, because I think the 11-24 is better. I would go from the 11-24 to the 24-70 and
the 16-35 isn’t really needed and if you have a 5D Mark IV, you have to remember that
that video in 4K has that 1.74 time crop factor, so you are going to need a much wider lens
if you own that bad boy to shoot wider video. And rounding up the Hebrew Trinity for the
Canon, we have the 70-200 2.8 version 2. That lens sharp as can be I think it’s sharper
than the Nikon version. I absolutely love this. And what other lenses would be in my ultimate
Canon full frame lens kit, we would have something like a 200 f/2, maybe a 200 to 400 or 400
2.8, a 500, I don’t need the 500 f/4, we’ll go with the 600 f/4 and definitely not an
800 5.6, because that would be more expensive than almost all of these lenses combined. But this is really what would consist of my
ultimate Canon full frame lens kit. I want to know what would consist in your
ultimate Canon lens kit. Leave some comments down below. Don’t forget to subscribe here on YouTube. Give it a thumbs-up if you like Canon glass. And if you don’t like Canon glass, just
hit the thumbs-up for me. That’s all I have to say. The thumbs-up absolutely helps. And if you want to check out my ultimate Nikon
lens kit, go ahead click up on the screen right now. It’s going to take you over to that video. So, you can see the lenses that I think would
be great on the Nikon side. So, that is it guys. That’s where I’ll leave it Jared Polin,
froknowsphoto.com. See you.

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace


Hi everybody welcome to another episode of Exploring Photography right here on AdoramaTV, I’m Mark Wallace and in this episode we’re going to revisit some post-production I did in an episode a few weeks ago, because I sort of got into a little bit of trouble because I didn’t show what I did. So I made this, ah really interesting video about emotional portraiture but because we didn’t have enough time, I didn’t show all of the post-production and instead I just smashed it all together and showed this really quick video clip and a lot of people have written and said “hey what the heck? Can you slow that down and show us what you did step-by-step?” And so first let me just show you this clip that got me into all the trouble. These images look great, straight out of the camera but they look even better with a few Lightroom adjustments, I took them to the next level by jumping over to Photoshop and doing some skin retouching and then I took them over to the Nik software collection specifically Analog Efex Pro 2, to add some texture. Now while I was in Analog Efex Pro 2, I discovered that the images, because of the color contrast, well they just lend themselves to all kinds of fun and so once you shoot your images like this, try some post-production to see the different effects you can get by just using the presets in Analog Efex Pro 2, you can get some startling results and it’s free software so why not play. I created my own Custom Preset and here are my results. Alright well I sort of liked the clip because it was fast based and it had some groovy music but so many people have written to me and asked me to slow it down and show the steps. Now the steps involve Lightroom, Photoshop and Nik software, specifically Nik software’s where a lot of people wanted to know a little bit more because one of the issues with Nik software is its destructive. Once you make changes to an image it sticks and then you can’t go back and change it, except there is a way to make it non-destructive, where you can make changes to see if you like them or not and if not, to go back, reverse it and make small minor changes, but that requires a jump through Photoshop and so that’s what I’m going to show you. I’m going to go back and revisit all the retouching that I did on those images but I’m going to show you the step by step process, so you can apply this to your post-production. So let’s hop in, right now we’re going to be using a technique called round-tripping and this is going to allow us to repeat our process, so if we have future photo shoots who want to do this all over again. We can repeat everything we did in the past. It’s also going to allow us to do non-destructive editing, so if we change our mind about how we’ve done something, we can always go back and change things to the original file without doing any damage. This is a four step process. We will begin in Lightroom, we’ll do our color and tonality changes, then we’ll hop over into Photoshop. In Photoshop we’ll do some basic skin retouching and then take our image into Analog Efex Pro 2. In Analog Efex Pro we’ll use a preset that we can use over and over. We’ll do some custom tweaking, then we’ll go back into Photoshop to save our image, which will then take us back into Lightroom where we can do our final Tonal Corrections, Color Corrections, Cropping and adding advent yet. So let me show you how all of these steps work together, you’ll notice in our final edited images they start out as .DNG files, this is what comes out of my camera, but they end up as Photoshop files. That’s one of the by-products of the round-tripping that we’re going to go from Lightroom over to Photoshop, to Nik back to Photoshop and then back into Lightroom. So they start out as one file form, at the end as a different file format, but because of the way we’re doing this, that’s okay, it’s still non-destructive. We can go back in the future and fix everything up or change things if we want without damaging anything, so what I’m going to do here is; I’ve selected two images and these haven’t been retouched at all, so we’re going to take this first image, we’re going to do all of our processes, all of our four steps and we’re going to do that a little bit slowly, so you can see exactly what’s going on and then really, really rapidly, what we’re going to do is, we’re going to apply all that stuff to the second image, so you can see how we can repeat our process and once we have it set up once, we can do it over and over again very, very quickly. So let’s start with step one. We’re going to go into Lightroom’s develop module. Remember we need to do our Color and Tonality changes and so I’ve already spent a lot of time figuring out all the values that I’m going to be plugging in here, so I’m going to be going through this to save time pretty rapidly, but normally you would take some time to adjust things. The first thing we want to do is we want to change our Color Temperature and our Tonality. Remember we want this blue background to really play with the warm colors, the oranges and the yellows and the reds in Nikki’s hair and clothes. So what I’m going to do here is just to take this Color Temperature down to 3000 Kelvin and then I also know that there is a shift here in our tint and so I’m going to make that 24. Again this took me a little while to figure this out but there we have that blue, really starting to pop. Now what we need to do is, we need to fix our Tonality, so the exposure here, I’m going to take that down by a just over 1/3 stop so -0.35 then I’m going to adjust the blacks down to about 44. I usually start with the exposure and the blacks just to start getting contrast, to know where I need to fix things. Now that the blacks are down this far, we’re going to start to see our shadows becoming blocked up so I’m going to open up those shadows to about 34 which is just about opposite of what we did with the blacks, then our highlights need to be fixed just a little bit so we’re going to take those highlights up to about 31. Remember I’ve played with this over time, so normally I would take some time, to sort of, fiddle with this and see exactly what I want to do. The other thing I want to do is take the Clarity Slider, I’m going to bump that up to about 16, just a little bit more clarity something I wouldn’t normally do with the portrait, but these will you want them to be gritty and really sort of clear, so we’re going to do that here. My default Vibrance is set to plus 15 for this camera so normally you might have to increase that, but that’s nice and vibrant. The other thing we want to do, remember there’s a background here, this blue background, we really want to play with that. The nice thing is in our Saturation Slider here on the HSL we can take that and we can just take this blue slider, take it left or right and you can see, we’re just affecting that blue background, so I’m going to take that up to +38 to really make this blue background punchy. Okay we have done all we need to do in Lightroom. We have done our Color and Tonality fixes. Now we want to do some effects. We want to add some grain and some grit and even more clarity to this, so to do this, what we want to do is do it in a way that we can recreate it and make it non-destructive, so instead of going straight over into Analog Efex Pro 2, we’re going to go into Adobe Photoshop CC 2018, so I’m going to click on that and then this is going to open up in Photoshop. We’re going to give that a second to do that, okay now we’re in Photoshop here, what we can do here, so I’m going to fill this frame, I’m going to duplicate this background layer, so we can do our skin retouching, so I’m going to do command or control J. I’m going to rename this layer to Skin Retouch, okay, now I’m going to go in here, go into full size, normally I would take, you know, as much time as I needed to do all the skin retouching but we’re just going to do a few quick fixes here. I’m using my Healing Brush tool, maybe I’ll get rid of Nikki’s little nose ringy, thingy here just to show you some things. We’re not going to spend any time doing some real skin retouching but this is where you would do that. Okay let’s say that our skin retouching is finished. We’ve got that done, if we need to go back and change anything we’ve got a layer just for our skin retouching. What we need to do next is duplicate this Skin Retouch Layer, so I’m going to do again command or control J, rename this layer to Analog Efex. You can name this whatever you want but this is where Analog Efex Pro effects are going to be applied. So what we’re going to do now, make sure you have this layer selected, we’re going to go to step 3. We’re going to click on filter. We’re going to go to Nik collection Analog Efex Pro, so we’ll click on that. That is now going to open Analog Efex Pro and apply your last used effects or camera or whatever you have, so it’s not going to be exactly what we want, right off the bat. We’re going to have to do some changes and good for us because this doesn’t look great. I need to give you a warning really quickly. If you’re using Adobe Photoshop CC 2018 there is a glitch with Analog Efex Pro and the Nik collection and Adobe Photoshop CC 2018 where things don’t work the way they used to, so go down to your settings in Analog Efex Pro and you need to go here and change one thing and that is, after clicking okay, make sure you have this set to; “apply the flter effect to the current layer. That’s not the default but if you don’t do that, you might have a crash in your editing. You don’t want that, so make sure you go to settings after clicking okay, apply the filtered effect to the current layer, that’s why we duplicated the layer. That should fix that little glitch. Okay after you do that once, you’re all set, forever hopefully. Okay now, what we need to do now is we need to create a Preset that we can use over and over, and over again for all of the photos we want to look the same way, so what we’re going to do here is, we’re to go to cameras. We’re going to go click this little right arrow here and we’re going to go to camera kit. Now we’re going to get rid of all the stuff that’s over here already, so I’m going to get rid of Dirt and Scratches in Lens Vignette and Film Type, whatever you have selected just get rid of it, so all you have are the Basic Adjustments. Now for the look that I want to use for Nikki and this stuff what we’re using is Basic Adjustments and we’re going to be using some light leaks, so I’ll add that and we’re going to be using a Photo Plate okay, that is, those are the three things that we’re going to be using to make the effect that I want. so what we’re going to do here is, I’m going to turn off light leaks and Photo Plate. I’m going to go into our Basic Adjustments and I’m just going to set these to what I’ve already figured out here so detail extraction we’re going to have that at 16. Again you’re going to spend some time doing this to make it look exactly like you want it, so this might take you in reality an hour or more. So I’ve already done that, I’m just going to type in the values that I already have and so our saturation is at 9, you can see exactly what I’ve done here so that’s the Basic Adjustments that we’re going to use on this. Now I’m going to go into my Light Leaks and I am going to use this really dynamic Light Leak, this guy right here and we don’t want it to be so powerful, so we’re going to take that strength down to about 15% and then the other thing I’m going to do with this Light Leak is, I’m going to move it up over here, so it’s just very very subtle that looks good and then the last thing I’ve done here is, I’ve added a Photo Plate and the Photo Plate that I’m going to be using is a corroded Photo Plate, this guy right here and we’re going to set that string to about 53, that’s what gives us that really grungy look. Alright so now we can go, zoom this in 200%, you can see we’ve started getting that really grunge cool effect that we like, now that the basics are set up, I need to save this as a Preset and so over here on the right hand side you’ll see this little button that says Save. I’m going to click that and then I need to name this something so I’m going to name this Nikki Grungy, Nikki Grungy. You can name it whatever you want, then I’m going to click okay. Now all of these settings are set you can use them over and over, and over in the future and they’ll show up in our Custom Area over here and so you see now we have all these different things that I’ve named in the past. The one that is selected is this guy right here; Nikki Grungy and that’s all good, okay. We’re going to use Nikki Grungy on our, all of our future edits of this but one of the things I don’t like about this, is if we go into 100% you can see that this Photo Plate is on her face and so we’ve got texture on her face, I don’t want that and so what I can do here is go into the Photo Plate or whatever different effect that you’ve added and you can click this, this little Disclosure Triangle here to open up the control points, now I can add a control point so I’m going to click on that and go over here right on her face, click and so what I can do is the top slider, I can set the size of this so about that size and then I can say the texture strength so I want that to be zero so I want this to have none of that Photo Plate so I don’t want that texture on her face. If we zoom in you can see that it’s removed it from here. We still have a lot of it over on the edges, so what I need to do is add a bunch of different control points. That’s very, very simple to do. Once you have your first control point set let me go back out here. You can click alt or option right on the control point, drag it over and it copies it so you can just do this really very quickly. Maybe you can make one down here, that’s a little bit larger so I’ll increase the size of that, however take some time to put these all over and we’re not going to save these as part of the preset because your subject is not going to be in the same place or size in the frame and so you want to do this later on. Okay. we’re going to call that good, if we zoom in you can see that now the texture is not on her face but it is blending in on the side. That is great now all we need to do is click on OK and we have just successfully finished step 3. So we’ve gone from Lightroom to Photoshop, into the Nik collection now we’re round-tripping back into Photoshop. Now you see we have this Analog Efex Pro layer right here that we created. All we need to do now is save this, so command S, ctrl S to save. What that’s going to do is save our new Photoshop file into Lightroom and now we can do our 4th step. We can do our final color, and color and cropping, and all of that stuf, so once this is saved we’ll get right on that. Okay this is saved, I’m going to close this out of Photoshop, hop back over here into Lightroom and now you can see here is that file, so here’s the edit PSD. It creates that automatically, we want to do some final tonality changes, you can see here we’ve got all of our grungy effects and everything, I’m going to go into the develop module hit D, to get into the develop module and we’re going to do just our final fixes here, so the things that I want to do here is I want to first fix our, our tonality here, so the blacks we lost a little bit of that juiciness that I like, so I’m going to take that down to about -37, I’m going to take the Exposure up by about a third stop, just to make this a little bit punchier so that’s starting to be exactly where we want to go. I’m going to go back down here to our Hue Saturation and Luminance panel, I’m going to take the orange down just a little bit because we got a little bit orangie, when we did that processing and we’re going to take the yellow, we’re going to take that up, way up, we want that atomic blond kind of look which I really like, so you can play with this. That’s the fun of this kind of imagery, you can make it anything you want. The other thing we need to do, this was a Photoshop file and so it needs to have a little bit of sharpening, so what I’m going to do here is, I’m going to zoom in to 100% just so we can see exactly what we’re doing and then I’m going to sharpen this up to about 39. Again this is stuff that, I’ve already played with, so when you’re doing yours, you might take you a little bit longer to do it, and that looks pretty good, I think when we zoom out that looks pretty good. The other thing that we’re going to do here is we want to add a vignette, so I’m just going to go down here to my Effects panel. I’m going to take this vignette down to about -23, something like that, just burn in the edges a little bit. I’m going to leave everything else, all the defaults set to normal and there you go, we just went from start to finish and now what we want to do, is we want to repeat this process. Well the good thing is we’ve set everything up to be repeatable, so how do we do that? So here is our first file that we started with, this is our DNG file, so I’ll make these a little bit larger so you can see this. What we wanted to do is we want to take the Lightroom step 1, Tonality and Color changes and if, and copy and paste those over to this other .DNG file, so I just click on this, then command click that, then go down to the right hand side, sync settings, I’m going to check everything click synchronize, boom now that’s done, now I can right click, go over here to say edit in Photoshop CC 2018, that’s going to take us to our second step and jump us over now that we’re in Photoshop here, we’ll go and make this really nice. We’ll duplicate this, we will rename the skin “retouch”. Then we would normally go in and do all of our skin retouching. I don’t want to take too much time here, so I’ll just do one little skin retouch right there, okay, let’s call that done. Then what we’ll do is we will copy this layer, we’re going to call it Analog Efex Pro, great now what we’re going to do here is we’re going to go filter Nik collection Analog Efex Pro 2, we don’t have to do all the stuff that we did before because remember, we saved this as a Custom Preset, it’s a little recipe that we can use over and over, so what we’ll do is as soon as this loads in on our custom cameras over here, we’re going to go find Niki, Niki Grungy, there we go, BAM there’s our Niki Grungy Preset, so all that stuff we did before, it’s already there, all we need to do is we need to go into this Photo Plate, now she’s not in the same place that she was before and add our control point, we’re going to add this control point, take this down, make this a little bit larger, there it is and then we can go through very quickly and spend the time to get this right, so we take all that stuff off. I’m not going to spend all the time to do that but you can see where we’re going with this. Once we have that done you can click OK. That’s going to take us back into Photoshop. Now that we’re in Photoshop, I’ll double click this so it fits, all I do is click Save. That’s going to take us back over into Lightroom, that’s all saved, so when it closed that out, zip over here to Lightroom, here’s our Photoshop file from this, so what we’re going to do is we’re going to take this Photoshop file click on that command or ctrl click, then second, sync our settings. We’re going to say check all synchronize blam! Everything we did with that is done, so you can see that this is very, very quick. The other thing that I would normally do here is add a crop, so in the video I think I crop these to 16X9 to make them cinematic, so I might do that as well. There you go I want to apply that to this guy over here, command click, sync settings, synchronize BAM. Now they are synced. There you go. Those are two final processed images. Well I hope you’ve learned a few things in this episode, I think you’ll agree that it’s beneficial to have Lightroom and Photoshop because you can do some things that you can’t do when you have Lightroom all by itself. Thanks so much for joining me, I want to remind you to subscribe to AdoramaTV it’s absolutely free, that way you won’t miss a single episode, also check out the Adorama Learning Center and follow me on Instagram. Here’s my Instagram for you right here. Thanks so much and I will see you again next time.

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer


– Pinterest is a place that people go to discover, to be inspired. And if you’re the type of photographer that creates inspiring images, well, then it’s kind of where you need to be. A lot of people think that Pinterest is only for mommy bloggers
and DIY craft experts. However, it’s incredibly misunderstood. 250 million people use the
platform every single month to create mood boards and to curate ideas for their next photoshoot. For a lot of photographers,
what’s blocking them is that they don’t understand
how marketing on this channel could help them grow their business. The secret of Pinterest is
that you’re using images you’ve already created. It’s only gonna take you
a couple of hours a month, once you set up your strategy. And that’s what we’re gonna teach you, how to market your
business with the platform. First, we’ll sit down with
a commercial photographer. We’ll show you how to take
your existing content, and show you how to connect
it to your target market to what they’re looking for
when they go on Pinterest. We will also sit down
with an event photographer and talk to them about the
successes that they’ve had on Pinterest over the last year. We’ll define all the confusing terms. We’ll talk abut how to
use a scheduling tool so that you don’t have to
be pinning every single day. Pinterest was made for photographers. It rewards imagery at its core. For you to gain more
visibility for your brand, more traffic to your website, to continue to grow and
expand your presence. I encourage you to take advantage of the step-by-step process
we put together for you.

How I select my best images

How I select my best images


You might have noticed that I shoot a lot. I mean, I take a lot of pictures. and if you are anything like me, you know that going through hundreds or even thousands of pictures from a trip to select the best ones can be a very daunting task but fear not, because over time I’ve developed a process that is relatively fast and painless to select my best images and I wanted to share it with you in this video I use Lightroom CC for this but you can use any software that allows you to organize your photos in albums or folders or anything like that you can even use regular folders in your hard drive The idea is very, very simple. But before I even start going through the images I like to wait. Some times it’s just a few days, sometimes it’s a much longer time. For example, I only recently went through the images that I made well over a year ago in South Dakota at the Badlands National Park The reason why I wait is because images take some effort and time to make And some of them require a lot of time and a lot of effort Maybe we had to drive really far away, maybe we had to go on a hard hike Things like that that might trick us into thinking that the images are better than they really are The goal here is to look at our own images the way a stranger would look at them as much as we can, of course the reason is because everyone is going to look at them that way if we are lucky enough to have anyone looking at them, but if we do have someone looking at them they are going to look at them that way only you know what it took to make that image, the effort and the time that it took I believe that if we can look at our images that way we are going to be better at selecting the best ones ok, so once we are not attached to them anymore, it’s time to start selecting the photographs the way I do this is, instead of making a selection from the huge, very big set of original images, I like to narrow them down in a series of steps, and after each of those steps I have fewer and fewer images until I end up having just a handful of images hopefully the best ones I have several folders that represent each of those steps. I call them #0, #1, #2, #3… you get the idea I have 4, but you can have as many as you need let me show how this would work with a quick example of some images that I took at the Great Sand Dunes Ntl Park in Colorado as you can see I have these 7 that are very similar to each other the reason why I have so many of the same composition is because the light kept changing if you watched the video you might remember there were some clouds that were moving really quick and that were creating a lot of patterns on the sand so I kept taking more photos because I liked this composition a lot and it was changing really quick all of them are in the folder called #0, that’s the first step I’ve already made the selection here but what I’d do I would look at them, as you can see they already have flags, rejected and picked I’ve already gone through these ones, but that’s what I’d do From these 7, I chose 4 those are the ones that I like the most I select them and move them to the next step that is folder #1 I remove them from folder #0 and the ones that I don’t like, I just delete them, so they are gone those 4 go to the next step in the next step, I’ll narrow those 4 down even further hopefully getting 3, 2, or even just 1 to the next step and this is not always an easy decision to make I don’t dwell on this, I don’t spend a lot of time at least in the first steps of the process I’m very quick and if I have to move 4 or 5 or 6 images that are very similar to each other to the next step, I will because I’ll have more time and many fewer images to select from in the next few steps the goal here is to move quickly and narrow those photographs down from hundreds to just dozens or even fewer than that as you can see the final step of the process is a folder that I call “to publish” every image that makes it that far is going to make it to my website, I consider my website to be the main repository for my work, it’s where I publish all of them I post images on Instagram, Twitter and here on YouTube but most of those haven’t gone through this whole process, it’s just a quick selection that I do just to share more in real time my work I work further on those images, I edit them a little bit more some of them will never make it to my website My website is the final goal here. And the prints, of course. This is basically it, how I go from a lot of photographs… for example this most recent road trip I don’t have the exact number but it was somewhere between 2,000 and 2,500 photos that I took I’m down now to 1,000 photos, that will go down to probably 100 or 200 in the next step and hopefully I’ll end up with 50-60 images from 3 weeks of shooting across the Southwest and that’s how I do it, how I go from a lot of pictures to just a handful of them without going crazy I’d love to hear from you, if you shoot a lot, how do handle that? How do you select the best images? Do you do something similar? You just go insane every time you have to do it? This is it, I hope you found this video helpful Thank you so much for watching, and see you in the next one!

5 Tips To Make Your Photos Look More Like Film In Lightroom

5 Tips To Make Your Photos Look More Like Film In Lightroom


Hey guys, Ryan here at Signature Edits
and today we’re going to look at how you can make your images look more like film
inside of Lightroom. Let’s do it! Ookay so we are here and we are editing.
First off I’m going to make some basic adjustments to this image and then I’m
going to show you some things you can do to make your photos look more like film.
Tip number one take your clarity down. Older film cameras actually have less
sharp optics. That means when you’re shooting with them you’re not gonna see
these super sharp detailed edges. You’ll tend to see a little bit more of that
weird hazy look going on. Now obviously we don’t want to push this too far, but
taking it down by seven eight nine ten you can actually help you get that film
look. Next we’re going to jump into our tone curve. This is tip number two. Play
with your tone curve. You can take your blacks up and your whites down for more
vintage faded film look. Tip number three: HSL panel. Film and digital are known for
having very different tones. Certain films have very specific color tones to
them and so one thing we can do is change the tones within our HSL panel to
emulate film. How do we do this? Well primarily by desaturating our yellows
and our greens. When we do this we’ll tend to get a more film-like effect. Tip
number four: camera calibration. This is very similar to your HSL panel in that
it allows you to change the tones within your image simply by dragging your
shadow tones your reds your greens and your blues you can get a combination of
tones that looks more pleasing than the original Lightroom image and gives you
more of that warm vintage organic look. And lastly we have film grain. Obviously
older film stocks have lots of grain in them so we can take our grain put the
amount the size up and add some texture to our image so that our photos look
more like they were captured on film. So there’s five quick tips to making
your photos look more film like inside of Lightroom.
So to recap: Take your clarity down, use the tone curve, bring up your blacks
bring down your whites. Play with the tones and bring your saturation in the
yellows and the Greens down. Make sure to apply a nice film grain and use the
camera calibration to artistically dial in your photos. If this was helpful
please hit that like button, don’t forget to subscribe and if you are looking for
some great film-like Presets, head his signatureedits.com
today and download a free sample pack. Alright I’ll see you next time!