Raw Transcript
we’ll look at an underwater shot now this was another shot from the photo shoot for red paddle board company so like I mentioned in the underwater video there the light falls off quite quickly underwater so I’m fairly deep in this one but you can still make out obviously the board you can make out there it’s paddle here which has a carbon fibre shaft and a wooden effect blade so it’s important that we made out the colors of this and I quite like this one because the Sunburst here and the fact that there’s dark areas and here underneath the board and there’s really bright areas it might be a fun one to tackle because it’s one that you might come across a similar situation this blue obviously straight through the water to the blue sky and then we’ve got the reflection of the greener underwater scene in elements here let’s get into the developments on the wrong section here here we go so first of all white balance with um let’s try Auto it’s not doing a very good job here underwater underwater shots tend to be pretty hard to white balance I’m gonna try my eyedropper that’s not gonna a bad job so if I like selected look part of the white board there to to try and get a nice neutral area that looks a bit more like what we’d expect to see with our eyes if I drank this perhaps a little bit more no way to Pinker a bit more bluey my temperature and then I think that’s pretty good the reason you need to go towards this ready pinkie side on the tint is the water cuts out of the red light so that’s often why you’ll see dive photographers using a red filter so it kind of adds back in that red light that’s lost through the water so I think axis go offer one for their iPhone housings connect I think do you want for their GoPro housings but generally with surf splash housings you’re working on the surface or just below so if you use a red filter to close the surface or above the water then everything just looks ridiculously red so you don’t normally see them in South housing soon and also I mean it’s quite hard to put a filter in with a fisheye you can’t drop it in front of the lens some fish eyes allow you or some specialist lenses like that a light drop you’ll swim behind the lens between the lens and the camera but anyway that’s a bit of an aside what we can do in Lightroom though is kind of roll back in some of those red colors by pulling using the slider here and that’s useful in this case because obviously company has red in their logo they’re red so we got better have a bit of red in there and there are ways of going into if you look at and you saturation luminance / color you can dig into all the different colors and underwater you kind of you know you’re editing colors individually in this case so and the water is actually quite can be quite useful to use this one no I might pull that back pull back the purple because we’ve introduced a bit more purple than we’d ideally like by using this extra by adjusting the white balance like that it’s a little tip for underwater stuff these kind of aqua blue greens are going to show up a lot in waves so if you can’t if you if the colors aren’t quite looking like you remember or like you want them to look if you’re going for a particular look then I’ve opened up this um this HSL /color tab here have a little look-see see I mean we’ve just taken out that purple and I think that makes it a lot more natural um so let’s let’s go from there as a starting point I’m going to click Auto or don’t like that it’s made it really dramatic and it’s made really dark areas down here so I’m going to do control said that’s for undo let’s get it back so I did like a little bit of extra contrast I think we can drop the highlights a little bit just so we’re not this this sunburst isn’t overwhelming the image too much I do you think we want to raise the shadows a little bit you probably find yourself doing this in any sort of and water or over under this is quite like an over-under shop show you one specifically later because it’s got this bright area and it’s got dark area which obviously happens a lot in and over and I don’t think I want to that’s quite nice if I drop them the very bright whites then you get this more of a burst in this style it’s not a sunburst up here so that’s quite good so I think I don’t want to raise things too much under there let’s see clarity you can be a little bit more adventurous with the clarity in underwater shots I find because things are the edges are taken off things underwater anyway because of whatever sediment there is in there and what I had done I think has brought out these that all these could be well f4 so they’re not gonna be deaths just spots on the sensor they’re probably little bits of debris in the water that quite close to the lens so there are focused so I can take care of those with my spot removal tool just because they’re anything that’s lighter than the surroundings and tends to draw your eye so if it’s like this and we we really don’t want to something here and if we really don’t want to draw attention away from our main subject in this case it’s this board and then then it’s a good idea to get rid of those if you can it’s nice and simple if I had 400 photos to area that I wouldn’t be doing that every time but it is something that’s quick and easy if you’re just doing why don’t you so let’s have a look at the composition like the crop actually cool don’t mind it at all the way it is I really want to keep this starburst in sunburst in there rather I’d like the fact that the shadow and the seabeds down here the fact that it’s off-center doesn’t bother me at all because it’s underwater also because this just makes sense to your eyes and the fact that this is kind of almost horizontal even though I mean technically it should be like bilat if we got the perspective right I prefer it like this because we get the sunburst and we get there the seabed in there as well so I think competition wise again this this wasn’t gonna win any awards but it does the job that I set out to do with this on this day and and I think we’ve done a reasonable job of bringing out the the details that we wanted to see and it’s a good example as I said of showing something a bit otherworldly a bit different something you might have to deal with when you’re shooting and water shots so there there’s a few tips on that one and I’ll now move on to the next one
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