Raw Transcript
we’ve got an example of our close-up photo now so if you’ve seen the close-up video in the course then you’ll have seen this one I’m going to show you how I got to my end result from here so it’s quite a close-up shot naturally it shot at one hundred and eighty eight mil I wasn’t very far away this is the f4 is the widest aperture that lens goes to mr. Canon seventy-two hundred thousands per second to freeze the action and so I say five hundred not too bad there’s a bit of light around this day so I’m pretty happy with I say five hundred and any time I can get it that’s going to develop and see what’s happening so I think because of this curve no distracting green color partly and the feet color and things I initially put this on straight in black and white what I think what strikes me straight we want to look at it is this tiny bit of arm and finger in the corners and the site so I’m going to just get rid of that by doing a quick crop I’m not too worried about making sure it’s level because obviously there’s no horizon in the shop not gonna be distracting so for black and white if you’ve if you’re kind of committed to going black and white which I think I like because I like just it’s kind of about the water isn’t it though repeating patterns of water in this one one two three through odd numbers are good for you get a group of things in a photo then an order number of things apparently is more pleasing to the eye I think it’s I think where you can test this by just doing a few crops or take a picture of a bunch of birds or something and then cut out some of them so there’s an odd number and then do the same but for an even and see which one you prefer but there is a kind of rule of thumb that says odd numbers are better so I like these kind of jets of water almost coming off of this longer board and it makes a bit more abstract I think if you’re going color you kind of okay feet and that’s probably he’s standing on something’s it’s probably a surfboard and knee pad but if you hit black and white takes a little bit longer to figure out what’s going on if you can figure out a tool because there’s quite unorthodox stance I think helps if it was just two two legs poking down then you you you’d be able to instantly recognize it as two legs but because whatever was happening in the background of this shot which you can’t see it’s like a crouched position so I think I quite like this more abstract look to it so I think because it’s black and white and you’re already kind of just kind of departed from showing what actually happened because you know well very few people see in black and white even if you’re color blind or anything you see colors and I think there are a few people you just see black and white but it’s very rare but anyway usually people see in color and if you’ve got a black/white photo you’re already like I say you’re seeing something you’re not expecting so you’re not trying to recreate exactly what you see so I think you can really go to town you can get away with a lots more experimentation a lot more extreme ends of these sliders than you can in color image because what I’ll show you in a moment I’ll I’ll get it to quite like what I want to see I want to be able to make out when someone concentrates on this image I want them to be able to see this shape of this water and obviously the shape of the background but I I want them to immediately kind understand that there are water splashes but I want there to be details here that are very visible when you look look for them not necessary when you first see the image so kind of play around quite a bit with all that I normally do with with these sliders on black and white images and I want to make make it like I say a bit more interesting more abstract if you look at say Mickey Smith’s work you he makes everything really dark which sometimes works really well like that could work but I want to say I want to bring out all their different elements of this one I think like that that’s quite cool let’s see what we can do some clarity again I think you’re free to do a lot more experimentation with a black-white image so instead of our HSL slash color section if we if we’ve set it up as black and white up here that’s that’s the best way just transfer it to black and white by the way you don’t don’t kind of you could go color let’s let’s see that skin tone just looks really orange and unnatural but it doesn’t matter because we’re gonna we’re not going to see the color you could drop the saturation right down to get black and white but if you click on black and white you get all these extra options here which are black and white focus on the black of my thing so we haven’t got much as you can see the only kind of parts the image that’s changing is the instep of the foot that’s the only bit that kind of show that was red so we can do things like darken that orange again mean step is that bit but like I say you could if we wanted to make that’s kind of dark this is cut almost like feels pretty magical when you mess around with it here we go so the board it’s all pretty much this aqua color so I can almost make the board invisible by tweaking this now so this is just a creative choice at this stage I whether I go for super bright board that almost looks like it’s disappearing into something but I think I don’t really like that obviously I could go somewhere in the middle but I’m gonna go a bit brighter to really exaggerate what’s happening so some colors you’re not going to really see in the image at all so they go that there’s a little bit it doesn’t really make much difference same with Jennifer nothing really going on bang that’s why they’re only doesn’t matter we set it blue as I said blues of you obviously with with us dealing with water a lot of time Blues are pretty prevalent you can tweaking this tweak this slider makes quite a bit difference so I quite like that and you’re probably hearing the fan noise from my computer because they’re obviously making all the adjustments in real time it takes a little bit of processing power so it’s just kicking in so sorry about that but be aware that if you’ve got a lower powered computer or you’re working on a laptop maybe that some of these might not work as smooth as you’d hope them to but it’s normally not too bad especially the more recent versions of Lightroom and that’s one of the reasons that you might want to upgrade from an older version of Lightroom if you don’t if you’re working on an older one the performance issues are probably the main reason to upgrade I think if you not dealing with the web and the mobile app side of things but I’m going to touch that in this course this is purely surftographer stuff so that’s all good I don’t there’s no I don’t want to do I can show you what I’ve been yet would look like but I don’t really like them I used to like them a lot and I think a lot of people when they discover them tend to bang her like a vignette on all their photos they have this kind of dark corner effect and I certainly used to do it a fair bit when I first like editing photos but I quickly grew tired of it and now I don’t I hardly ever use it at all any kind of style photo that I’d probably use it on would be this type of extreme thing let’s get back okay so I think that’s pretty cool I like it let’s just see what it like originally fairly I don’t know if his average is still quite a cool shot I like it either way really but I think that kind of sets it off a bit more and like I say I like the abstract shapes I like the splash and ego that was a bit more of an abstract shot an example of a black and white edit or a mass effort
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