Black & White Long Exposures
Lesson 7 from: Black & White Photography Post-Processing in Lightroom CCSerge Ramelli
Black & White Long Exposures
Lesson 7 from: Black & White Photography Post-Processing in Lightroom CCSerge Ramelli
Lessons
Establishing Black & White Tones & Processing
06:14 2How to Make a Simple Black & White Conversion
04:06 3How to Leverage Local Tools for Black & White Conversion
11:32 4How to Make a Black & White Panorama
16:03 5How to Master Presets
01:32 6Landscapes in Black & White
05:12 7Black & White Long Exposures
06:08 8How to Add Haze in B&W
10:13Lesson Info
Black & White Long Exposures
I'm gonna go back to Paris and in Paris. Um, one thing that works really well is known exposure for the referee. Whenever you see, like a boring blue sky with some nice clouds. You know, that's when you gotta put you in the 1000 meter and get this load off like stretchy clouds. This was Ah, I believe a 32nd exposure F 13. This is a sensory peace church in Paris. That's the one that you see in the DaVinci code. The original book, That's they. It's funny cause in Paris, it's the book made it so popular that they have the DaVinci toward people actually go in there. I talked to some of the priest. They were like everybody asked, Where is the definite she code? And with So it's there, we need the David She code church. But the original, you know, name from 580 years ago by the A B of blah, blah, blah was sensible piece. Anyways, it's a cool place and lonely She the clouds are a little stretchy and here days of fountains. So the funny is very silky. That can only be always known exposure. Bu...
t we need to take it to the next level. It's black and white, so let's see how appreciates are doing on this. So I'm going to basic black and white. Well, look at this. There's even like hellos all over, So that's not gonna work. Two is doing a good job. I mean, as a starting point. Don't get me wrong. Basic to lean original A little over the top. But some people could say This is art Ah, three. So it's just like, you know, by going through the pre sexual Oh, yeah, I could be interesting. Wonder looks one for you. Yes, a little bit right there. Let's see this one, this one. So I think I think I like that there's something or maybe that. So this is much brighter in the center. This is much darker, but somehow like I don't know, there's something about this that tells me this is the way to go and I've never done. It's so dark. But why not? Uh, okay, Big sensor dust. That's the problem with Indy factories and only exposure something then. So that tool, by default, would try to you know you something here and bringing their now when I use that tool, especially is black and one that will love nd filters. I like to put it on never. It's the only time I do it. So meaning when I click here and I raise the spot I click It goes away advances because, like when you start seeing a whole bunch of circle like this like if I could be back on Oto, it's like, OK, where is the spots? Where is a circle that gets confusing by going to never. That's the only time I use that setting. Then you're much more free to do that now. I don't like the way I like the whole drama here. And you know, I like that. And honestly, without presets, I wouldn't even thought of doing it dark. But I'm thinking it works. I think it works at least and without appreciate, I would have never guessed that it works like that. So I'm gonna keep going down, and I'm gonna go here to the trends from panel and here. I'm gonna try auto photo sometimes. Does a great job check this out. Really good photo made everything's trade and ah did a great job. You have a new option which is called Guider, which I really like when you click here. Uh, you have two lines that only two lions. So I usually take something that's completely like on the side. Click here and click and drag and it makes a line. And I'm saying, OK, that's supposed to be straight and then a key here. I'm saying that's supposed to be straight and I Soon as I let go from the second line, it does its magic. So sometimes I go, Yeah, we like that. I think it's a little too much. You can correct it by going like this, you can move one side so I wouldn't get the one way or this way you can bring back sometimes a little bit of the of the issue there. Yeah, yeah, exactly. So I can bring back a little bit of that. You know something? Having everything's trade can look like, you know, whatever is pleasing for you, let me see here. Or how is the crop factor? That's why I thought the perfect there's really bad. Ah, because as you do that you get a weird crops issues. Um, I'm liking it like this. So, uh, that's cold drama, drama, drama, drama. Love it. Okay, uh, now you don't You don't have to go that crazy. You know, you can go much brighter. I could, you know, it could make this whole photo much brighter if I want to. I think I like this idea. It's looking on your screen, but use a little more, right? So I'm going to keep it on the dark side of the force. So I'm happy with that. Let me show you what the backslash key. So let's see if we can see at after before and the after Quite something. Let's watch it in a full screen mode and ah, I like it. I'm liking it. Is it to Darfur? You were. You think it's you, like this kind of contrast. So it's over the top a little dark, but I would say it's a little dark for me, too. Okay, Like it? It's moody. Okay, but if it's a little blurry, you're one slide away from, you know, making it less. I could even boost the highlights, and that's a good thing. You know, I do it for my taste, but you know, for example, on the preset that that you'll get with the course. You have, like light, middle, dark, different, very suggestions Which one fits your thing, but I like this kind of over the top dark thing.
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