Processing iPhone Images in Black and White
Lesson 3 from: Create Better Black and White PhotographsChris Orwig
Processing iPhone Images in Black and White
Lesson 3 from: Create Better Black and White PhotographsChris Orwig
Lesson Info
3. Processing iPhone Images in Black and White
Lessons
Understanding the Controls
14:48 2Black and White Travel Photographs
05:23 3Processing iPhone Images in Black and White
07:29 4Skin Tones in Black and White
12:11 5Black and White Portrait Retouching Workflow
23:21 6Black and White Batch Workflow
12:24 7Black and White Presets
02:01 8Black and White HDR Toning
04:53Lesson Info
Processing iPhone Images in Black and White
Now, with all of this, what can happen with our images is that they can fall apart. Let me show you what I mean by that. So before you get too excited about, oh my gosh, I could make my skies is deep and dark is possible. Let me show you the catch on dh this is a knife own photo of my daughter sophie, at our favorite beach in santa barbara, and in the fall you get these lot minus low tides and just beautiful. So we're just playing and she held the surf porn, so I'm like, yes, black and white, dark skies and all the stuff I've just showed you about to show you doesn't always work, so hit the wiki. I say, oh, bummer, like, we're all my, you know, and so I go like this, and then if we zoom in on this one, we see this guy just falls apart and the reason is shot it with my phone, and there just isn't as much data or information there so part of having, you know, working with your capture is trying to make sure you have that when you know that if you know that you're going to need to do some...
thing with the sky, maybe you want to catch a couple exposures and you want to, you know, pull out your big camera versus your small camera t do that, um and I guess big and small isn't the right way to say it because small cameras now are amazing. I mean, I'm shooting a ton with ease sony cameras now, and I love that and they're really small, but either way, the point being is the mohr content we can get, the more we can swing are sliders, right? So this one what we may have to do is brighten it up. We can still do a little bit of work kind of on the image, but the way it was captured is going tio, in a way, maybe limit or direct the type of image that we're able to create and that's okay, you know, that's part of it, and sometimes what happens is you go to black and white like what this image and you say, you know what it's not working like, is it working for you? Which one did you like better let's say one for color, too, for black and white okay, okay. Some black? Yeah, a little bit of bull shift command are resets the whole thing for some reason the color works better for me. The main problem with it. I think it is the logo on the surf board which we could remove their spot healing brush but that's for another course. But anyway, the point of that is just to get you to think about that and also to realize that if we are going to swing stuff pretty hard, like maybe with this image here I didn't think the sky looks great in that image but needs a little more work. But if we're going to do that, do not neglect to get into that area and in the developed module do some of your detail work and in the, uh, see if we can find something where we get a good edge his feet with that what I mean is I'm just going to exaggerate for a second. You can you can bring unwanted noise into an image because what you're doing is you're taking blue content and you're really pushing hard one way or another and whenever you push content hard, something can fall apart. So with that illuminates noise reduction is going to become really important and what strange as well as the color noise and I'll show that my class later today also comes into play so what I'm trying to do is to connect the dots right? So I'm saying yes basic plan amazing don't forget about color temperature use your other sliders grayscale panel amazing use those sliders but then also let's tie it to are the rest of our work flow right because what happens to a lot of my students is they do this with the sky and then the print looks horrible and I say, oh you forgot illuminates noise you know, reduce your noise and so again just remember that keep that mind as far as your overall workload all right let's keep going let's do some skin tones stuff yeah jumping questions for you first of all and let me know if you've got any questions and here grab a mic ok, so first question this came back in the beginning do all these tips and tools working adobe camera that you're showing us a question in labor um let's let's do something on the fly see what happens here give light room a sec, right click showing finder and what I'm gonna do with this baja raw file is, um open it up in camera um in camera rod there's some stuff at least right now that you can do that you can't do in light room you know their camera engine is pretty well connected between the two um and there's also some little things but with with this image are wiki is it going to give us our victory so so we lose some of the shortcuts don't quite translate um but there is ways to get through the tabs most people don't know that remembers command plus the number so in camera its command option plus a number so I'm just holding command option with the thumb and then tapping on my numbers that shortcut maybe an overkill but if you're a high achiever or whatever it's called you know you know that's a good one and we can convert two great skill like we've seen before we can do stuff with our sliders some of things that we can dio a cz well here though is like with a grady int you see something here and let me exaggerate give cut me some slack I realize this doesn't look good but it will be good for a point so I really wanted dark in that sky and a contrast to that unclear you those clouds um and do all that what's happening with this adjustment is it's hitting the truck because the trucks right at the horizon line and that happens mountains you know you don't top your mountain you don't wantto dark but you want that so anyway there's a brush in here um I'll use the minus brush setting the same kind of thing feather flow and what I can do is subtract that adjustment turn on automatic teo, save my my vehicle or the mountaintop or whatever it is, so this is not totally answering the question, but what I'm trying to get at is bull tools or powerful, and what I found is my students, at least in the college level, always asked me, chris, can I just you learn white room? And I said no, because cameras a filter in photo shop, and I'll talk about that image later, because sometimes you go color to photo shop, you do all this work, and then you decide you want to convert to black and white, and you want to take advantage of what we've learned. You can't, you know, it's a good way to to do that, yeah, awesome and that's, similar to another question that a number of people had voted on as well, is it always recommended to do all the adjustments in black and white? Or are there scenarios where we should make adjustment in color and then switch to black and white? Yeah, interesting question and there's a lot of different theories kind of on that. What I find is camera, you know it, you so flexible on all these kind of things and so much data there, so I try to do as much as I can adobe camera or light room pre photoshopped, um, and if I know I'm going black and white, so so, yeah, I think so. But maybe someone out there is going to like, no, you're wrong. But my own workflow, yes, I think I do it, because what I think, what I have to do is it's back to that thing. If I make the sky really weird, I'm going to introduce artifacts in that sky, and I want to take advantage of light rooms, raw engine to deal with the noise, so I might as well do that. They're versus that. A new generation of that photo shop after I've done more to it, and I'm trying to access that v a camera, that makes sense. So, yes, I think so.
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user-11539f
I LOVED this and loved Chris as a teacher! I get frustrated when the teachers jump around and don't explain things thoroughly. But Chris is great! Lots of new helpful ways to do things. Very informative and very helpful. I have purchased countless Creative Live classes and he is a new favorite! Thank you Chris!!
Rebecca George
one of my very favorite teachers -- love this class and found it SO helpful. Chris is so great about repeating the important stuff in a way that makes it stick. This class gave me the tools to be able to edit more quickly and efficiently. Totally worth the money.
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