Let's flatten this image again, command, option, command, shift, E. And I will go darker now, so levels and I'm looking at her face where I want it to be somewhere there. I don't care around outside her face. The eye is gonna go to the face. Once I've achieved that, it's ready in color, but let's command, option, shift, E and let's add noise to it. So in the Yervant actions, you go to, I'm learning this myself also because I've perfected for you so I don't know where it is now, but I will find it. Noise, it's in the red. And click noise and it will add a nice five percent noise. If you want to increase, of course you can change, but five percent is quite good. It's not very visual on a picture, but it adds a bit of texture. The skin comes vague and it looks good. Now that I've done that, I always thought this was gonna be a black and white picture. I will add one of my black and white actions. I'm gonna add the Yervant PJ black and white, which is it will add a lot of grain. It will ad...

d nice vignetting on the edges and it will look like one of those old photographics. So what happened in the darkroom, we used to burn the edges, take off from the face and make the eye go straight to the subject. So I will click that action. Hold on, this didn't work because this action works. Let's go back, that's all right. It needs to be flat, so let's go back to the history. There it is. Okay so now the eye goes straight to the thing. This action works better if it is flat. You flatten the file and you apply it. Because this is a filter. So you flatten, go to jpeg, save it as jpeg, then apply the action, and then save as. Okay let's save this picture. It's ready to print. Okay. Save as. Jpeg. And the good thing about this action, the black and white, it's beautiful because it's quite contrasty and it's a true black and white because it gets rid of all the color information from the file and converts it to a nice perfect black and white. And if you want to add more noise to it, you can go to the noise and this time, hold on I'm going to, let's flatten it. Flatten it and add noise. And this time instead of. I've selected monochromatic because it's black and white. I select the monochromatic and the five percent there or make it about 11 percent there, something quite grainy and that's it. So it's quite strong and grainy. Now when I look at the picture, I still need to vignette a little bit. On the left side, the picture of the veil, it's still too white. So what I'm gonna do is I'm gonna make a selection around the girl maybe have this hand in it or just a selection like this and I have a cool vignetting action there, so what I'll do is I click the vignetting action. Always make a selection before you start. I changed the feathering because I want. The bigger the feathering, the bigger it travel. Feathering, 300 feathering. It automatically inverses and you darken the outside. Darken the outside, so look what happened to the picture. Before and after. You see your eye goes even more toward the girls. All the movement of the veil, that makes it quite a perfect beautiful black and white picture. And I love to do this to many pictures in my designing album. But like I said, I do these actions, the filters, the color, black and white color filter when it's in an album layout. So I don't know what picture's gonna become black and white until I decide which one is gonna go where. So I'm gonna share that with you later. Yup. Do you have a certain time period that you make, 'cause you're all about trying to do things in production because you're making this album it's gonna take some time. Approximately how much time do you spend on each photograph to do all this? Okay, let me explain. When I do 50 albums a year, that's one album a week. But sometimes you have, you travel and things like that so I have to do two albums at least a week. So I have a week to design two albums, so maybe in two, three days. Two, three days or one and a half day for each album. Or give two days for each album. Because the faster you get, the quicker you're gonna do. Even I can finish an album in about four, five hours. Because I have the actions to (clicks with his mouth) I'm explaining to you, but if I don't explain it to you, it takes a minute. You know, because the (makes sound effects with his mouth) done, next, next, next, and do the layout, apply filters to the final layout, flatten it and go to printing to the album. So it's that only there will be about maybe 10 pictures that I work harder when I want to create a hero picture. The rest, good finishing, but general. But it still, it's beautiful finishing. I'm not short cutting. I'm just running it faster to achieve what I want. Especially if I have four of this picture on a page, I want the same action to run all four so they all look the same. So it's important. So let's save this. I have one question. When or why do you decide to change from 16 to eight bits? Okay, the reason I change to eight this image was because I wanted the glow filter applied to it. The glow filter is a PhotoShop filter. Although PhotoShop is saying they're gonna convert everything to 16 bit, but at the moment, all the PhotoShop filters are not 16 bit, so until they fix that, I have to convert it to eight bit. Okay, so that's the only reason. But when it goes to print and when I convert it to jpeg, it's becoming eight bit already. So if it's go for album, I simplify. Eight bit is fine, just ready for album layout. Because my album layouts are all eight bit jpegs.

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Yervant's Photoshop Actions

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Yervant

Yervant (Zanazanian) is an internationally recognized wedding and portrait photographer based out of Melbourne, Australia. He is a member of AIPP, the <a href=" http://www.aipp.com.au" target="_blank">Australian Institute of Professional Photography</a> where he has established himself as one of the most awarded photographers in Australia.

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topics covered in this class

Wedding Photography Business Portrait Photography

Ratings and Reviews

a Creativelive Student

I am SO grateful to CreativeLive as well as Yervant for taking the time to put on this class. So many times while sitting in this class I thought to myself "what have I been thinking?!" I have so much to learn! I loved hearing about Yervant's process for creating images, but what inspired me even more was his advice on how to view, and treat yourself as a professional. I completely agree when he said photographers are creative but we are "terrible business people." But I aim to change this in my business from this point forward, thanks to this class! Yervant's advice on how to value, protect, and sell your art is priceless. I have always valued printing and creating products clients can hold, but I don't think I understood the real emotional value in it until this class. When he pulls those images we just watched him create for the last two days, off of that printer, and they are there before our eyes, I had an emotional reaction to it. I want my clients to experience the same, so I must value it and create opportunities to educate my clients. Thanks for the kick in the pants that we all needed Yervant! And I hope this will not be the last time I get to experience your education in my life. I said this many times to other students during the class, but I will say it again here, I want to carry a mini Yervant with me every where I go! Thank you Creative Live and thank you Yervant!

Claudia Montero-Kubli

I love it!!!!!! I am so inspired, I learned a lot! thank you Yervant for sharing your Talent with us this two amazing days! Thank you to all the CREATIVE LIVE staff you are awesome!!!! best time! I want to come again!

a Creativelive Student

Yervant’s ardent love for wedding photography and capturing his brides in their best light is unquestionable. His love for this photography community and his regard for our respect in the world hierarchy is without reservation. Yervant’s willingness to share his knowledge and skill for all these things to come together is beyond generous. These are some of the things that help Yervant to effortlessly stand out as a photography master and this is exactly what this class is about… plain and simple.

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Black & White Edit in Photoshop®

Black & White Edit in Photoshop®

Lesson Info

35. Black & White Edit in Photoshop®

Lessons

Class Introduction

Client Focused Wedding Business

Marketing for the Wedding Business

Pricing & Sales Strategies

Wedding Client Interaction

Find Your Photographic Style

Gear, Lighting & Camera Settings

Capture the Bride Getting Ready

Bride with Dress

Connection with Family

Bride Dressed with Bridesmaids

Detail Shots with the Bride

Putting the Veil on the Bride

Bride with Family & Bridesmaids

Leaving the House for the Ceremony

Arriving at the Ceremony

Capture the Ceremony

Formal Pictures After the Ceremony

Detail Shots at the Location

Bride & Groom with Bridal Party at Location

Bride & Groom on Location

Street Location Shoot with Bride & Groom

Demo: Bride Interaction

Shoot: How to Pose Your Brides

Capture the Wedding Reception

Shoot: Capture Reception Look

Equipment & Accessories for Post Production

Lightroom® Workflow

Client Image Proofing Online

Retouch Images in Lightroom®

Photoshop® Editing Overview

Photoshop® Workflow

Color Correction in Photoshop®

Soften Image & Retouch Skin in Photoshop®