Working with Travel Photographs
Lesson 4 from: Bring Out the Best in Every Image with PhotoshopChris Orwig
Working with Travel Photographs
Lesson 4 from: Bring Out the Best in Every Image with PhotoshopChris Orwig
Lessons
Lesson Info
Working with Travel Photographs
All right, let's, go to travel, trying to throw in a few stories to to keep this stuff interesting as well. I got a call by someone who said, can you come and photograph the channel islands? Because we're going to rename one of the mountains after a donor, and I was like, of course, and I said, you know, it's, like, you have to pay to do it, so he flew me out in the helicopter and I was we're on this helicopter, and what was amazing is as we're flying around and I was doing photos for this organization, the guys, the helicopter like, yeah, we should go land on that beach, I was like, can we just do that, you know? And they're like, yeah, of course, and so we went down there and landed on the beach and was taking photographs and there's a helicopter, like, on the beach, you know? And I was like, oh, my god, people do this on, and they were like, why are you taking pictures of helicopter? I'm like you guys don't get it like, normal people don't do this kind of thing, and so, anyhow, but ...
and then I got to the near the end of it and I've been taking some pictures of it, but they didn't feel like an island it felt like could have in malibu or santa barbara so I said, is there any way you can get up in a way higher in a way and finally I got to this point open the door of the helicopter and they're like we got to go chris took my shot and then we went back and we landed and they said, yeah, we really had to get back only had six gallons of gas left well, you know, and this is sound like a lot to me, you know, at least in helicopter language. Either way, the point was I had to push it, you know? You have to be that photography all the time, but come on, let's go a little higher a little higher because it just looked like land it didn't look like island, so this to me is a shot, but what's funny is this is how this is how it captured it, right? And so the question is, when I when that helicopter doors open and the winds blowing and you're like camp, you're strapped in you're like, yeah, you get the image you're like, oh, what happened to the guy, you know? And but then it's, I'm not giving up on this one you know I'm going to bring out the best so how do we do that it's not that complicated don't think but it takes resilience and fight this one we could use our low crop trip right like drag along the rise and that you know first things first we got to get this this bad boy straighten up and it just looks so kind of I don't know kind of dis interesting I think there's so much atmosphere something so we do that then maybe we're like well there's there's dust of my lines I can see that somewhere you know appearing in the sky the ocean depths I don't care about but up there I had something on my lens that just happens how do we turn visualize spots on and off the key? Because that one's awesome because it just gives us insight the stuff that we might not have seen it looks like there's a few others troops are but that do not want to make a book out of that I want to rescue key and well that's fine on dh so I'm going to leave it at that and say ok, what did I do what I press here? I mean yes soft briefings on I hit the s key is that when I hit the aereo thank you it's like the backgrounds white I was so excited about my image anyway um and what I'm trying to get out too I think is one of my students said the reason why photography is so painful is because it matters so much and there's times and I've come back from a shooting I've wept and and I've tried tio look at post production is saying well how can I get through that dark time and try to find an image that I'm making? This is really basic stuff as the basic panel implies not not huge things here yet and but that's okay it's already I think a lot better if we look at kind of our before and then then are after us faras where where we're doing len's corrections is huge, which we'll talk about later with correcting distortion but almost every image to get it to be better you're going to want to do that in this case you can see how it's dealing with a little bit of the distortion issue I had and then also brightening up those edges and just clarifying the voice of the image it just it's almost like an iron you know it just gets the wrinkles out so you don't even notice him and there's lots of ways to do that we'll hit that um next thing I want to do is hs l and I want to do it yourself or my blues thiss image not luminous blues but saturation believes this image I wanted to be almost I don't really imaginative and because it is like this, this idea of dropping my yellows down a little bit, this idea of the island, this is a beautiful island off the santa barbara coast, and I want the beauty of this island to really shine through other things. We could do great in filter, and you guys are probably already predicting this, which is that which happens a lot with my students were like, I know where you're going with this, chris, you know, and I see that little bright spot over there to I'm gonna try to drop this highlights down on that side just a touch, maybe get a little bit more in the sky. Is it completely finished? No, but close. Is it better? Yeah, and what you and I need to d'oh is to be ask yourself, how can we bring out the best in this photograph? There's. There is the best there sometimes. It's excavation sometimes it's a lot of steps sometimes it's simple.
Class Materials
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Ratings and Reviews
Steve61861
Chris Orwig has long been near the top of my most admired photographers list. I own his books, have watched almost all his courses, and naturally purchased this course from CreativeLive. As always, in a short time Chris covers new and unique material in his wonderful professorial manner that is always easy to understand. Great material, great class, great Orwig, and highly recommended. But I must add a short addendum for other Orwig followers who may be considering this course. Chris is easily the most philosophical, metaphysical, feeling photographer I know. He is a poet with words and images, and he teaches that you should produce images that resonate with your own higher self. Great! But I almost fell off my chair when this class started and Chris now has a very long beard. Okay Chris, I am a follower! You are not only my favorite instructor, but my guru of all things photographic!
Noemi Rav
Great class as usual by Chris Orwig, a gentle mix of useful teachings (it goes fast, be prepared to take notes or rewatch video) and wise guidance. I particularly appreciated how practical the course is, you get to learn things you can apply right away versus a general Lightroom or Photoshop class. If - like me - you know your way around a little bit the editing tools but want real life exemples on improving the edit of your images, plus appreciate it coming from a great teacher, definitely watch this course.
creativelive student
Chris is brilliant in the depth of his knowledge as well as his teaching skill. He can talk sliders and deep emotions in the same sentence. So many photo teachers are "self-taught" with giant holes in what they know, or they think that 7 years of experience is a lot. Chris is one of those pros that just gets better and better, with skill and with heart. This particular course goes fast and you have to pay attention to the arrows to see what he is doing. But listen up - it's Chris - what he says can go deep instantly, or be a big terrific new skill.