Hi Luke, big fan of the channel and your photography. But honestly I wish you would chose some difficult images to edit with the preset. These were all lit perfect by great photographers, any preset would do fine on these images.
Thanks for choosing my photos (the last 3) Luke! It’s so cool to see your editing style as I can totally see the influence from the film / portra. You really inspire me as I’m also both a film and digital photographer 🙏🙏
Luke, you are quickly becoming a huge inspiration! I would not be hold it against you at all if you kept this preset that you crafted with years of experience to yourself. But, the fact that you are making this available is amazing. Mad respect!
Ah thanks! I really appreciate that! lol I will not lie, it actually took me a while to decide to give out my preset. I did feel very precious about it, but it's been amazing how helpful it's been to people, and that is much better than just keeping to myself! Thanks for watching - I appreciate the support!
Hey Luke, can you someday do a video about Lightroom tints? It’s the one part of Lightroom that I just can’t seem to intuitively understand. I was amazed by how you were able to so easily see when a tint shift was necessary and the results were great. When I play with that same slider it always ends up looking so unnatural, so I just avoid the tint correction most the time.
Hey! So I've actually been thinking about doing a live editing course where I show how I edit my weddings, and yes part of perfecting images is through that white balance and tint balance. I've thought about a course instead of a video because I can't really be showing clients weddings all over the internet (like the good and bad images I mean). And I think the best way to show how to edit tints is to pretty much edit a LOT of a wedding. So look out for that in the coming months! I may add it to a video and try to figure out a way to best teach that, but that's what I'm thinking right now.
Took a break but will continue with some of the other images. The next is the bridal portrait at the dark window so there is not a direction of light from the nighttime window onto the face. The back is nicely done and only one arm is showing which is also nice. Something to watch is having a small portion of a hand showing at the far side of her front body. This happens a lot with people placing hands haphazardly into what is know as the "creepy crawly". It is easiest to pull the hand down out of eye's view. If you pull the arm back, then it will show the elbow at the far waistline which is not attractive. The left hand could be very nice if the bouquet was being held giving the viewer something to see rather than simply an almost straight arm. More bend would be nice and appropriate to the pose. Again, the facial view can be adjusted to either a profile or a 2/3. It is these nuances that raise the images to a more professional level. Image #3 of the CU Bridal is very nice with a great expression. As one can see, even an underexposed image out of the camera can be rescued producing a nicely exposed result. However, nothing can solve the problem of the shoulder being posed straight to the camera with no real shape to the bodice. A 2/3 body position is how to solve this issue. While here let's examine the basic location of the subject. Back when I began, one of Canada's best Wedding/Portrait photographers, Al Gilbert began teaching about "window light" portraiture. Well many people thought that meant to have windows in the photos. Well, as Al would say, "You would not include your studio lights in the photo so unless there are nice windows that are appropriate as a part of a background, use the light coming in through the window but don't show the window. When using this light, which could also come through a doorway or any opening or be outdoors on a covered porch then pose the bride not too close to the window itself so that the contrast is not so strong that parts of the face and gown will be overexposed. If posing the Bride with her body toward the window even more space is required and more of the bouquet showing to help with blown out highlights. Even better is to turn the subject away from the window but then turn the head back to the window and use the resultant modified butterfly lighting and a 2/3 facial view. Lots of poses using flowers, parents, Maid of Honor etc. can be done with this basic pose. Don't forget that when adding more people to move the group a bit more away from the window and use people either beside the bride or maybe coupled up looking on the the Bride or examining the engagement ring, flowers or other things that you might prefer instead of relying on getting just the right candid image.
Enough for now but I will continue with some of the other images. Won't Save ??? Decided to try starting a new comment. Just hope that some viewers will find the info of value.
Hi Luke thank you for selecting our photos for editing! It's valuable to see how you interpret the photo and edit in comparison to us, very similar actually! :)
I’ve only tested it in Lightroom but that’s a good point to try it on other software. I’ll look into affinity - do you know what other main software options people use besides Adobe?
I’m not sure as that’s the only one I use. I think Capture One is another one. I use Davinci Resolve for video. I like your editing style and tips you provide. Great channel! 👍
good thing I saw this vid, I bought the preset but when using it I thought it just made everything super green, now I seeyou're supposed to add magenta every time, gonna try it!
@@lukewtcleland That’s even more wonderful to hear. I bought one in 2010 and it broke down in 2020. It now sits on my computer desk. I did buy another d7000 body in 2021 cause I wanted one in working order. Cheers.
We all clearly have our style, which is why we can all coexist and work together. I like the preset, but then I wouldn’t brighten quite as much overall. I’d brush and mask more. Thanks!!
while I understand you are offering instruction of doing some basic image editing, the basics of good posing and composition of images is lacking in almost all of the images. Having been retired as a Pro wedding photographer in the GTA for 33 years and now retired for 25 my background up to MPA plus teaching at Sheridan College influences my interest in passing on some tips related to images before exposure. While I like many images using the "light & airy" concept, it is basically a high key style of image. Nice on some images but using more of the natural color of the image or some BW is likely a route that would be nice on a large story of the wedding day. Any, let's get to some of the individual images. Keep in mind this info will hopefully be helpful in basic posing and composition etc. and not editing as each program that is available functions differently from the one used by Luke. The first image of the couple done in 3/4 length. The background is the first thing that the photographer needs to consider. In this image there is a white area behind both the Bride and the Groom and is quite distracting. However, when examining the background area, there is a nice consistent wooded background available still allowing for a nice direction of light from L to R. Keeping backgrounds simple can help direct the viewer's eye to the subject of the image. Something to be aware of is that when posing the couple, generally it is better to position people using what I call the "dirty dozen" or The Pose. Body 2/3 to camera. One foot forward Weight on back foot. Because it is preferred to place the Bride (or even other females) to the R of the Groom (Male) pose the Groom and then bring the Bride toward and to the R of the Groom. The positioning of the couple can start with what is known as the "dance pose" so her body will turn toward the Groom and the gown/train will be position from the back of the Bride toward her right. Once that is created, then the hands and arms can be posed. A number of typical options in posing are useful for most images of singles and couple. Try to avoid straight arms. Avoid arms that are bent in 90 degree angles. Use angles on either side of the 90 degree line. "If it Bends, Bend It". Note that above it is mentioned to put the weight on the back foot? Well, now the forward leg will have a bend at the knee. Bend hands at the wrist but for the female, show the edge of the hand and be sure that the hand closest to the camera will be the "Show Hand: Also, spend time learning to pose fingers of the female so that they are long and tall and soft. Avoid showing just the back or palm of the hand. Avoid having the Bride or other female subjects using a "fisted" hand. Leave the strong hands to male subjects. Cropping -- use cropping either in camera or in PP to draw attention to the subject. Often more cropping may be desired in a candid image simply because time is a factor at the moment of exposure and it is better capture the image and edit later than be moving or adjusting the focal length of the multi-focal lens and miss the shot. The first image could had been cropped tighter as could many others in the series shown. There is an image shown tighter as it shows the expression and joy of the couple looking at one another. The problem that exists is based upon the concept of good facial views. There are 5 facial views that give the best undistorted view of the human face. First is the Full Face. While the body is 2/3 to the camera, the face is divided equally by the nose and often both ears will show. Try not to show both ears of the male subject so thus one can see the value of the second and 2 facial views -- 2/3 view. This view can be either seem from the Broad side or the Short side of the face which relates as to how one views the face from camera position. A key to this facial view is to be sure that the nose which divides the face into a 2/3 part and a 1/3 part does not cross into the far eye nor is there a cutout created in the side portion of the far eye's orbit. The last 2 facial views are the profile. While there are 2 profile facial views, in reality there can be 4 profile views based upon the view of the body when creating the pose. The first two can be created when the subject is shown in profile with the front of the body being the base of the subject. Create "the pose" with the subject having his L foot forward so the body is turned to the R and the weight is on the R foot. Move the camera if using a tripod or just move yourself to be viewing the chest from the side with the subject looking with his face straight forward. Position the camera so that only ONE half of the face is seen making sure nothing of the far eye shows. One last thing to do to complete the use of the profile image. Stand in front of the subject and ask him to look a bit to his R so that you see the fullness of the eye. Just don't move it too far. Use your fingers to have the subject look at. Ah, Ha! what happens when you need your hand? Of course there are no more fingers to be seen and the subject is confused as to what his options now are. Ok, before moving you hand have the subject look between your fingers to something the background area which will allow you to use your fingers and his eyes will stay nicely open due to where he is looking -- another reason to watch the background so that it is not too bright and be a bother to the eye. Next, simply reverse the body position so that the front leg is now the R leg and the back leg that is bearing the weight is the L leg. The body otherwise is not moved at all. So how do we have the other two Profile views. Well in the two discussed, the R side of the face was done in each shot with either the chest or the back of the subject being the support for the head. Next simply go to the other side but be sure that the lighting you need is available and a suitable background can be selected. Repeat both shots to get a body from the front side with head/neck in profile and one with the back of the subject and the backside of the head/neck in profile. Be sure that however you do the profile -- only one eye shows and that is the one closest to the camera. From these facial views, one can then move on to lighting patterns -- Butterfly, Modified Butterfly, Rembrandt and Split. Facial views and Patterns of light all fit to individuals and couples and even groups once "The Pose" has been created for each subject. Now lets examine why originally I started with moving the Bride to the R of the Groom. 3 major reasons. 1. Brides are dressed in White for most weddings. Grooms are dressed in either Black or a darker color than white most of the time. Thus because our eyes are attracted to the lightest and brightest object in the image we can direct the eye from the Bride to the Groom where the eye will stop. 2. Almost all the time Grooms are taller than Brides. I think that in my 33 years as a Pro Wedding Photographer MPA I only photographed one wedding out of thousands in which the Bride was taller than the Groom. For FL I lived with the natural formation of things but for CU I either sat the Groom or the Bride or made used of anything that kind of created a natural stair so that the Bride became shorter when the Groom stood on the raised area. This same idea can be used if couple are the same height or the Groom is only slightly shorter or quite a bit shorter. Why might we do that? Well, compositionallywise it is a good idea to pose the groom with his lips at the level of the Bride's eyes. 3. Brides, most of the time have a gown with a long train and maybe a longer veil. With the body in "The Pose", (keep in mind when doing phots of the Bride alone, she can be posed in either direction) the gown can be posed either to the rear or to the side where it flows into or away from the direction the Bride faces into the frame of the image. Generally, when posing the couple it is desirable to allow the train to lead the eye from the L of the frame up the train, across from the Bride up the natural movement of the eye from the shorter Bride to the diagonal created finishing at the head of the Groom. The majority of any posed images of male and females will be posed in this fashion. Not all. If you have a composition where there is a natural block such as a building, limo etc. the cake cutting if you pose this and still would be a good idea even if it is meant to be candid. What has been shown for the couple, also holds for groups or other couples such as portrait images of Parents, Groomsmen, Wedding Party etc. Candid images -- go with the flow and adjust just when necessary to improve either the composition or location. Here is a lot of info of one image but can be used for others in the video. Eg. Look for facial views. Look for body positioning etc. Hopefully the information can be of value. The info has been gathered from many fine photographers in both the US and Canada from 1966 to 2000. It would have been fun to have worked in this Century also.
I just discovered masking on Lightroom and I’m trying not to use 500 masks on each photo now 😂😮💨
hahha gotta pin this.
Hi Luke, big fan of the channel and your photography. But honestly I wish you would chose some difficult images to edit with the preset. These were all lit perfect by great photographers, any preset would do fine on these images.
Hey! Yeah I just selected photos that photographers sent in to me - and unfortunately they were all great photographers. haha.
Thanks for choosing my photos (the last 3) Luke!
It’s so cool to see your editing style as I can totally see the influence from the film / portra.
You really inspire me as I’m also both a film and digital photographer 🙏🙏
Of course! Thanks for sending them in. I'm so glad!
Luke, you are quickly becoming a huge inspiration! I would not be hold it against you at all if you kept this preset that you crafted with years of experience to yourself. But, the fact that you are making this available is amazing. Mad respect!
Ah thanks! I really appreciate that! lol I will not lie, it actually took me a while to decide to give out my preset. I did feel very precious about it, but it's been amazing how helpful it's been to people, and that is much better than just keeping to myself! Thanks for watching - I appreciate the support!
Thank you Luke, for picking my photos. I really appreciate your work!
Totally!! You have some great work keep going! Thanks for sending them in!
Loved your work! Your couples were also very attractive so that always helps haha
Hey Luke, can you someday do a video about Lightroom tints? It’s the one part of Lightroom that I just can’t seem to intuitively understand. I was amazed by how you were able to so easily see when a tint shift was necessary and the results were great.
When I play with that same slider it always ends up looking so unnatural, so I just avoid the tint correction most the time.
Hey! So I've actually been thinking about doing a live editing course where I show how I edit my weddings, and yes part of perfecting images is through that white balance and tint balance. I've thought about a course instead of a video because I can't really be showing clients weddings all over the internet (like the good and bad images I mean). And I think the best way to show how to edit tints is to pretty much edit a LOT of a wedding. So look out for that in the coming months! I may add it to a video and try to figure out a way to best teach that, but that's what I'm thinking right now.
Looks like i will need your presets . How, where, how much…???
YES PLZ ❤
You can find them on my website store: Lukecleland.ca
@
Thx .
After i posted that question, i went to your website and found them . Thx
I love your style… got my sub!
Thanks for watching! And subscribing!! :)
Took a break but will continue with some of the other images.
The next is the bridal portrait at the dark window so there is not a direction of light from the nighttime window onto the face. The back is nicely done and only one arm is showing which is also nice. Something to watch is having a small portion of a hand showing at the far side of her front body. This happens a lot with people placing hands haphazardly into what is know as the "creepy crawly". It is easiest to pull the hand down out of eye's view. If you pull the arm back, then it will show the elbow at the far waistline which is not attractive.
The left hand could be very nice if the bouquet was being held giving the viewer something to see rather than simply an almost straight arm. More bend would be nice and appropriate to the pose. Again, the facial view can be adjusted to either a profile or a 2/3. It is these nuances that raise the images to a more professional level.
Image #3 of the CU Bridal is very nice with a great expression. As one can see, even an underexposed image out of the camera can be rescued producing a nicely exposed result. However, nothing can solve the problem of the shoulder being posed straight to the camera with no real shape to the bodice. A 2/3 body position is how to solve this issue.
While here let's examine the basic location of the subject. Back when I began, one of Canada's best Wedding/Portrait photographers, Al Gilbert began teaching about "window light" portraiture. Well many people thought that meant to have windows in the photos. Well, as Al would say, "You would not include your studio lights in the photo so unless there are nice windows that are appropriate as a part of a background, use the light coming in through the window but don't show the window.
When using this light, which could also come through a doorway or any opening or be outdoors on a covered porch then pose the bride not too close to the window itself so that the contrast is not so strong that parts of the face and gown will be overexposed. If posing the Bride with her body toward the window even more space is required and more of the bouquet showing to help with blown out highlights.
Even better is to turn the subject away from the window but then turn the head back to the window and use the resultant modified butterfly lighting and a 2/3 facial view. Lots of poses using flowers, parents, Maid of Honor etc. can be done with this basic pose. Don't forget that when adding more people to move the group a bit more away from the window and use people either beside the bride or maybe coupled up looking on the the Bride or examining the engagement ring, flowers or other things that you might prefer instead of relying on getting just the right candid image.
Enough for now but I will continue with some of the other images. Won't Save ??? Decided to try starting a new comment. Just hope that some viewers will find the info of value.
Loving this Luke 😎📸
Thanks man! Glad you like it!
Hi Luke thank you for selecting our photos for editing! It's valuable to see how you interpret the photo and edit in comparison to us, very similar actually! :)
Awesome! Thanks for sending them in it was fun to do!
Is your L&A preset able to work on other software as well? e.g. Affinity photo
I’ve only tested it in Lightroom but that’s a good point to try it on other software. I’ll look into affinity - do you know what other main software options people use besides Adobe?
I’m not sure as that’s the only one I use. I think Capture One is another one. I use Davinci Resolve for video.
I like your editing style and tips you provide. Great channel! 👍
good thing I saw this vid, I bought the preset but when using it I thought it just made everything super green, now I seeyou're supposed to add magenta every time, gonna try it!
Wonderful. Is that a D700 mounted on a 50mm on your little wall-shelf...
It's a D7000 actually! One of my early cameras I used probably 8-9 years ago. Hold a lot of good memories! :)
@@lukewtcleland That’s even more wonderful to hear. I bought one in 2010 and it broke down in 2020. It now sits on my computer desk. I did buy another d7000 body in 2021 cause I wanted one in working order. Cheers.
We all clearly have our style, which is why we can all coexist and work together. I like the preset, but then I wouldn’t brighten quite as much overall. I’d brush and mask more. Thanks!!
while I understand you are offering instruction of doing some basic image editing, the basics of good posing and composition of images is lacking in almost all of the images. Having been retired as a Pro wedding photographer in the GTA for 33 years and now retired for 25 my background up to MPA plus teaching at Sheridan College influences my interest in passing on some tips related to images before exposure.
While I like many images using the "light & airy" concept, it is basically a high key style of image. Nice on some images but using more of the natural color of the image or some BW is likely a route that would be nice on a large story of the wedding day.
Any, let's get to some of the individual images. Keep in mind this info will hopefully be helpful in basic posing and composition etc. and not editing as each program that is available functions differently from the one used by Luke.
The first image of the couple done in 3/4 length. The background is the first thing that the photographer needs to consider. In this image there is a white area behind both the Bride and the Groom and is quite distracting. However, when examining the background area, there is a nice consistent wooded background available still allowing for a nice direction of light from L to R. Keeping backgrounds simple can help direct the viewer's eye to the subject of the image.
Something to be aware of is that when posing the couple, generally it is better to position people using what I call the "dirty dozen" or The Pose.
Body 2/3 to camera. One foot forward Weight on back foot.
Because it is preferred to place the Bride (or even other females) to the R of the Groom (Male) pose the Groom and then bring the Bride toward and to the R of the Groom. The positioning of the couple can start with what is known as the "dance pose" so her body will turn toward the Groom and the gown/train will be position from the back of the Bride toward her right.
Once that is created, then the hands and arms can be posed. A number of typical options in posing are useful for most images of singles and couple. Try to avoid straight arms. Avoid arms that are bent in 90 degree angles. Use angles on either side of the 90 degree line. "If it Bends, Bend It". Note that above it is mentioned to put the weight on the back foot? Well, now the forward leg will have a bend at the knee. Bend hands at the wrist but for the female, show the edge of the hand and be sure that the hand closest to the camera will be the "Show Hand: Also, spend time learning to pose fingers of the female so that they are long and tall and soft. Avoid showing just the back or palm of the hand. Avoid having the Bride or other female subjects using a "fisted" hand. Leave the strong hands to male subjects.
Cropping -- use cropping either in camera or in PP to draw attention to the subject. Often more cropping may be desired in a candid image simply because time is a factor at the moment of exposure and it is better capture the image and edit later than be moving or adjusting the focal length of the multi-focal lens and miss the shot.
The first image could had been cropped tighter as could many others in the series shown.
There is an image shown tighter as it shows the expression and joy of the couple looking at one another. The problem that exists is based upon the concept of good facial views. There are 5 facial views that give the best undistorted view of the human face.
First is the Full Face. While the body is 2/3 to the camera, the face is divided equally by the nose and often both ears will show. Try not to show both ears of the male subject so thus one can see the value of the second and 2 facial views -- 2/3 view. This view can be either seem from the Broad side or the Short side of the face which relates as to how one views the face from camera position.
A key to this facial view is to be sure that the nose which divides the face into a 2/3 part and a 1/3 part does not cross into the far eye nor is there a cutout created in the side portion of the far eye's orbit.
The last 2 facial views are the profile. While there are 2 profile facial views, in reality there can be 4 profile views based upon the view of the body when creating the pose.
The first two can be created when the subject is shown in profile with the front of the body being the base of the subject. Create "the pose" with the subject having his L foot forward so the body is turned to the R and the weight is on the R foot. Move the camera if using a tripod or just move yourself to be viewing the chest from the side with the subject looking with his face straight forward. Position the camera so that only ONE half of the face is seen making sure nothing of the far eye shows. One last thing to do to complete the use of the profile image. Stand in front of the subject and ask him to look a bit to his R so that you see the fullness of the eye. Just don't move it too far. Use your fingers to have the subject look at. Ah, Ha! what happens when you need your hand? Of course there are no more fingers to be seen and the subject is confused as to what his options now are. Ok, before moving you hand have the subject look between your fingers to something the background area which will allow you to use your fingers and his eyes will stay nicely open due to where he is looking -- another reason to watch the background so that it is not too bright and be a bother to the eye.
Next, simply reverse the body position so that the front leg is now the R leg and the back leg that is bearing the weight is the L leg. The body otherwise is not moved at all.
So how do we have the other two Profile views. Well in the two discussed, the R side of the face was done in each shot with either the chest or the back of the subject being the support for the head. Next simply go to the other side but be sure that the lighting you need is available and a suitable background can be selected. Repeat both shots to get a body from the front side with head/neck in profile and one with the back of the subject and the backside of the head/neck in profile. Be sure that however you do the profile -- only one eye shows and that is the one closest to the camera.
From these facial views, one can then move on to lighting patterns -- Butterfly, Modified Butterfly, Rembrandt and Split. Facial views and Patterns of light all fit to individuals and couples and even groups once "The Pose" has been created for each subject.
Now lets examine why originally I started with moving the Bride to the R of the Groom.
3 major reasons.
1. Brides are dressed in White for most weddings.
Grooms are dressed in either Black or a darker color than white most of the time.
Thus because our eyes are attracted to the lightest and brightest object in the image we can direct the eye from the Bride to the Groom where the eye will stop.
2. Almost all the time Grooms are taller than Brides. I think that in my 33 years as a Pro Wedding Photographer MPA I only photographed one wedding out of thousands in which the Bride was taller than the Groom. For FL I lived with the natural formation of things but for CU I either sat the Groom or the Bride or made used of anything that kind of created a natural stair so that the Bride became shorter when the Groom stood on the raised area. This same idea can be used if couple are the same height or the Groom is only slightly shorter or quite a bit shorter.
Why might we do that? Well, compositionallywise it is a good idea to pose the groom with his lips at the level of the Bride's eyes.
3. Brides, most of the time have a gown with a long train and maybe a longer veil. With the body in "The Pose", (keep in mind when doing phots of the Bride alone, she can be posed in either direction) the gown can be posed either to the rear or to the side where it flows into or away from the direction the Bride faces into the frame of the image.
Generally, when posing the couple it is desirable to allow the train to lead the eye from the L of the frame up the train, across from the Bride up the natural movement of the eye from the shorter Bride to the diagonal created finishing at the head of the Groom.
The majority of any posed images of male and females will be posed in this fashion. Not all. If you have a composition where there is a natural block such as a building, limo etc. the cake cutting if you pose this and still would be a good idea even if it is meant to be candid.
What has been shown for the couple, also holds for groups or other couples such as portrait images of Parents, Groomsmen, Wedding Party etc. Candid images -- go with the flow and adjust just when necessary to improve either the composition or location.
Here is a lot of info of one image but can be used for others in the video. Eg. Look for facial views. Look for body positioning etc.
Hopefully the information can be of value. The info has been gathered from many fine photographers in both the US and Canada from 1966 to 2000. It would have been fun to have worked in this Century also.
To get the grooms suit black, why dont you just use the W B dropper on the suit or the white shirt?
It's not the white balance that changes the suit colour.