Saving Back into Lightroom and Finishing the File
Lesson 4 from: Best Workflow Practices for Architectural PhotographyMike Kelley
Saving Back into Lightroom and Finishing the File
Lesson 4 from: Best Workflow Practices for Architectural PhotographyMike Kelley
Lesson Info
4. Saving Back into Lightroom and Finishing the File
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Lesson Info
Saving Back into Lightroom and Finishing the File
I do some final global adjustments in light room I'm goingto boost the shadows a little bit I couldn't listen photoshopped but I think when we don't need to do it very heavily so light and we'll do it just fine and I just kind of want a little bit of detail in this fireplace and as you can see we have it we got a little bit of clipping down here I always at it with the clipping highlight alert on jay is a short cut in light room and we've gotten some detail we can see the brick we could see the glass I'm happy with that uh let's see, I do I don't sharpen but I do want clarity and clarity is just a bit of mid contrast s so I'll just add, you know, maybe about twelve on the clarity flight er like if you go to hide looks ridiculous it looks like dirty and growth but it does kind of give a little you know, a little oomph to it it helps bring out that contrast in the lighting I never really touched the vibrance of saturation again it's one of those things like people are like, well, it's a ...
raw file it's a philodendron limits like you have to add saturation if anything I de saturate going like I don't like over vibrant colors I like soft and inviting and believable and kind of like ethereal I'm not big on contrast and sharpening and vibrant and saturation and then I usually always add a little bit of a vignette um so down at the bottom here, I'd like to do this in light room because it's a post cropping yet whereas in photo shop it's kind of once you say that like it's a total pita, go back and change it so I do that in leg room and it's again it's, I'm not doing it big enough to the point where you know, we're gonna benefit from doing on the raw file, so I just do it a little bit of I haven't been yet to kind of get the eye flowing through and then I'm gonna I'm gonna make it full screen here I'm just going to look out for a minute and I'm gonna look and try to be a big picture kind of guy and see what's annoying me at this point like I'm really happy with it, we have a great range of totality we've got dark toe light, it naturally leads the ai fu to the brightest point of the room which is around the windows with their view is with that great shadows got great contrast, I wish I seem the bed but that's neither here nor there and you know I think everything that's important is shown I don't think like you can look at this and nothing's blown out the pillows on blown out there's no like hayes in it or anything and I mean, it took a while, it took us lighting and it took us a lot of it is only four layers and photoshopped pretty basic, but you know, that is basically what I would consider to be the finished image and I'm quite happy with it, you know, for talking through it and explaining it step by step, but I'm at that point I will see if he's a crop or anything. Sometimes when you adjust the perspective, you get a little bit of funk on the edges, it looks like we're okay, I'm just going around and seeing there's any overlap, sometimes it happens in the corners, but I think we avoided it and that's, when I pull the corners out it kind of, you know, tilson one way or another crop that out of the end, so I think that's it that was kind of very basic overview that covered all of the basics of tools and photoshopped that I used to create one of these interior images. So my question is, when you're doing the clipping when you went back and you were just like checking because you said when you were looking at the shadows and the light in the fireplace if you click on the buttons on the top in the history ram does that show when you slide them these uh yeah, you can you can you can look at the history graham to kind of see where you are in terms of but this I think these are the highlight and shadow alerts yeah, those are the same thing same tool it's a short cut is jay like if I go over here you know way find here's the blown out one um the button's on top of his program to the same thing. So but that's how you get it to show up tio okay, so what j is the shortcut and that turns them both on and yeah, that that answers your question yeah, just simple, but yes, those are the same shortcut there. The question was wondering if you were processing let's say eight images would you still use the same approach to creating that final image? You mean, like if I had eight final let me just to deliver or like images in one pile? Yeah. So for this shop in particular, I think I delivered ten pictures ten you know, wide angle views all live in the style and I probably did, you know, like fifteen or twenty detail shots the shallow ambient light and that was over the course of two days so it's it's you know kind of time consuming but it would be the same approach on dh sometimes like you don't need to like it like this you look at it and it it sze there I was I was thinking at all york's like just because you can doesn't mean you should like if the picture that you see looks really good you don't need to go do all this crazy lighting stuff and sometimes you know we can overdo it very easily in photo shop but yeah, I generally approach everything with the same mindset in the same kind of you know get all waiters in the photo shop and work with it and see what we come up with so yeah uh got a couple questions first of all from kobe want for five couple and a couple other people also want to know this when you're talking about removing details fixing issues how do you know what details clients would be okay with? You were moving in photo shop as far as your workflow goes do you tend to just do that? You tend to talk to them about it ahead of time what you're what you're like hopefully I'll get the clients input on location and sometimes you know an architect will say like you've got to take out those exit signs in the fire sprinklers because I didn't design them in their hideous I'm like no problem, of course on dh then interior designers sometimes like the owner has bad art or whatever and I'll say put something nice in there if you have a picture of yours, you can you can ski one or something or obvious I mean, I've never really met a client that has not wanted me to take out things like exit signs and sprinklers and electrical outlets and that sort of thing I don't really look at it as doesn't detract from the picture or the design like not only the picture but doesn't detract from the interior design of the architecture if the answer is yes, it comes out and most of the time the answer's yes, I look at every object in the picture even when I'm setting up the picture, I'd like to add to the pictures or take away from the picture you know, can we take this out? So we added in, but generally a conversation with your client itjust gets quick ask us ok, do you want the exit signs left in? Do you want the outlets left in if not taken out? Great? So we have a question that a few different people were kind of adamant about, and I usually don't like to take these kind of questions because it's one of those like photoshopped has fifty billion ways to do everything but I think this was an interesting one alfred meyers and then twenty four p films and a few other people were wondering, is there a reason you don't make more frames bracketed at different exposures and emerged them into a thirty two bit tiff using photograph photo shops emerge to hdr and then do local adjustments using a cr for creating a base image? My experience is that this approach lessens the need for those layers dealing with windows, etcetera so basically the idea do you why don't you just take a whole bunch of pictures hd arm and then do specific local adjustments isn't well, I as you probably have learned by watching this I hate when the computer thinks for me in any way number one and number two is that when you I just like the control and I love what you could do with lighting, you can really control the scene and create a mood, whereas if you're just shooting with natural light, you can't create a mood like I can shape the light in the room using, you know, my handheld flash and walking around and I can say like, look, I want more shadow, I want more contrast, I want more texture and that, you know, you could do so much more with a light than you can with with just pushing pixels and you'll never get the same like you can't replicate shadow I mean being pedantic yes, you could if you wanted to work up a whole cd I thing but you can't replicates shadows in photo shop without the light originally there and like the light adds texture and as contrast as interested as step so like there's just it's just I mean you don't have to I'm not saying you have to use light, but if you want complete control over the image like it's just one more tool do you have in your toolbox one I use it so I mean if you want to get involved like the sixteen bit pissed personally I'm not like super techie and into the whole like, you know what? The dynamic women his point o two four stops better on the eight hundred kind of thing that some people are into that like, I'm not like I just I want to use the light of the year I have to make a great picture of the techniques you know I'll pull out these techniques rather than get all super involved with like the sixteen but tiff in this file format and go to that program and come back and forth and do this and that I just like to use you know get it right on the sensor on then put that those pieces together rather than trying to push pixels around post again something very verbose but that was perfect I love it
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Andres Gomez Salazar
This was perfect for me because I have a lot of experience with the shooting of the files to start the postproduction with, but My skills on doing the retouching after the shoot is not so strong. This was good, clear information. He talks of the workflow, the tools, how to do things in more than just one way, connecting the shooting, the editing and the retouching all together, putting information in a context. This was so far the best class I have bought from Creative Live. Thumbs up for Creative Live and Micke Kelley on this one.
Rachelle R. Vetter
It's a course by Mike Kelley, and so of course, it's awesome!
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