All language subtitles for Episode 27 Patreon

Hello friends, how are you?

How are things going?

Welcome to another chapter, as always, to thank

everyone for continuing to be there, for your

support.

Here we are one more month and well,

in this chapter or in this video I

don't want to waste your time like in

the previous two, which I think we made

a video of almost 30 minutes, even more.

I know that some of you surely fell

asleep or got bored like a monster, so

what we are going to do is a

super short video this time, well, short this

time, but I assure you that you are

going to see that you are going to

be able to get a lot out of

it and, in fact, this time we are

not going to talk about philosophy, or shooting

style, or anything similar, but I am going

to talk about Photoshop.

But calm down, I'm not going to complicate

your life too much, but I'm going to

talk to you about a preset, no, a

preset of an adjustment or an action, that's

better said, of an action that I use

in 99.9% of all my photos.

It's called soft light and although it's called

that, I assure you that it is not

to create soft lights, but quite the opposite,

to get high contrast images and to get

very dense colors.

First of all, I should tell you that

this action or this adjustment was created or

was invented by Israel Lurie.

I don't know if you know him, surely

if you are from Spain, everyone knows Israel.

Israel, in addition to being a good friend,

could be said, and in addition to being

a partner, because we have a medium-sized

company, but it could be said, well, I'm

not exaggerating, that he is one of the

best teachers that exists, not in Spain, but

around the world, in post-production.

I can also tell you that a large

part of my way of working or my

workflow is thanks to him, although sometimes when

he sees me work he criticizes me a

lot because he tells me that I am

too prehistoric, but well, out of the blue,

what I am going to tell you in

this chapter is how I use that action,

how it is created, although it is very

very simple, but we are going to do

the whole route, and what I have selected,

three images in color, which you are going

to see, which is the before and which

is the after, so that you can see

how I work with this action.

Of course, I say color all the time,

but it can also be used in black

and white, but in black and white, in

my personal case, as you already know, that

I put so much force with what is

the contrast, if I add another micro contrast

like this, it is too much, perhaps, so

that's why I always choose the color, but

hey, here each one after I get the

game they want.

Well, as you are seeing, here I have

the three RAWs that I have prepared to

be able to tell you how I work

with the action that I am going to

show you.

What I have here is what I have

prepared is the result after having worked with

the image, for example, in this case with

Camera Raw, but you can also do it

with Lightroom, of course, or with the program

that you use, but what I want to

tell you is that, for example, this would

be the image after having made all the

adjustments that we give it corresponding, in this

case with Camera Raw, and before saving it,

before saving it and being completely finished, is

then when I am going to perform this

action.

I mean, what I am going to do

now, I always do it as the last

step, as the last thing before converting the

image into 8 bits and then save it.

Of course, I obviously have a shortcut that

I will show you later, but I think

it would be important that I show you

step by step first and then we will

see what the keyboard shortcut is like and

we will do it very quickly.

Simply to get this, the adjustment layer, I

will always do it in black and white.

Notice that it appears right here, this properties.

I'm going to go back a moment so

you can see it.

I always have prepared here both what would

be the layers, with the actions, channels, etc.,

but then right below I have first of

all, to be able to see it, properties.

This is super important because you are going

to see that if I do adjustment layer,

as I said, black and white, these properties

appear with the colors separately, that is, with

the basic primary colors, to be able to

play separately.

What I'm going to do, because of course

we don't want an image in black and

white, we want it in color, I'm going

to do the fusion mode in soft light.

That's where the name of the action comes

from, but like everything in Photoshop, 100%

is not going to look good.

What I recommend is that you always lower

it to 20 or 30%.

In my case, I'm going to leave it

at 30%.

Look at what an interesting kick it is

getting.

And the good thing about this action, and

it is what Israel always told me, is

that it is intelligent, because it will never

burst so much in black.

Of course, if you do it 100%

possibly not, but if you do it 25

% or 35%, the blacks will always keep

them with density and the colors will go

up to a super beautiful tone.

And you see, the thing works quite well.

Of course, now comes the best of all,

when we are going to be able to

play separately with the colors.

For example, do we have reds in the

scene?

Obviously.

We are going to move them and we

are going to take it a little bit

there.

For example, the same with yellows.

Look at the background, the color of the

skin, how it is winning.

Obviously, greens, although we play with them, there

are no greens.

Blues, oceans, sorry.

Look at those blues that I have in

many of the skies, it is thanks to

this.

And the blues, I'm also going to lower

them.

And the magentas, well, surely, I think it

will be for the dress and a little

more.

In other words, it will not really affect.

Notice that you are going to see it

right now, how good the change is, or

the before and after.

Mainly, we are going to zoom in a

bit so that you can see, for example,

what is the difference between the skins.

You see that it gives them a special

shine.

And look at the blues now, how beautiful

they are, with much more density, more strength.

And as I tell you, the image would

already be completely ready and I would already

save it.

It would be simply to couple layers and

save.

We are going to go for one more,

for the second one, sorry.

And we are going to go, as I

tell you, for this one.

As I told you, this is the result

of this one and it is simply how

this would stay after the result of having

edited it with Camera Raw.

We go to this one and what we

are going to do, we are going to

create an action so that you can see

how fast it is with the third image,

when we do it later, I mean.

We are going to call it, for example,

Soft Light.

We are going to save it inside the

folder of José María Mellado, in the one

of his actions, to have both the actions

of 3D light, as Soft Light, how to

raise the color in Lab mode.

And we are going to tell him that

I am going to use it, for example,

in F4.

That is up to you.

And if you want, you can choose a

color or whatever you want.

I say yes to this, I tell him

that also.

And simply, what we are going to do,

as I had told you before, Adjustment Layer

in Black and White, Fusion Mode in Soft

Light.

And as always, I have already told you

that 100% is usually a little hard,

but we are going to leave it at

28 or a little more, in this case,

to save the action.

What I'm going to do later, in actions,

is just stop it and save it.

And have it there for the next few

times, I mean, so that in the future

we only have to give it to F4

and the action would stay.

For example, in my case, what I do,

I give it to F4 and I already

have it with the tool that I have

explained to you and to F5 to save.

So it's really easy, right?

And of course, since we open Photoshop and

since it's going to be a little more

cumbersome, we're going to do it fast, right?

We were just here and we're going to

play, right?

As I said, with the colors.

I want to give it to red, unless

it's more dense, okay?

To yellow a little more force, which is

where the couple is going to be.

And blue, well, again, greens, you see how

there are no greens, well, it will not

affect.

Blues, as you are seeing, like a lot,

sorry, in the shirt or in the groom's

jacket.

And the blues, as you are seeing again,

in the Tejano pants, right?

And it would stay.

You see that I have done it at

29% and you already see the change,

right?

You see how the photo seems to take

strength, right?

And the good thing is that, right?

That the blacks never end up breaking, the

reds have a vibrance, well, they have a

very, very interesting strength.

And if you want, we could even raise

it, I think, a little more, right?

Until we leave it there.

And you can see it, the one before

and the one after.

And the good thing is that, for example,

the issue of skins is never going to

end up really destroying us, right?

You see how it was, for example, the

original, so that you understand me, or the

photo after Camera Raw, and how it looks

once, right?

You see that the blacks get a little

more dense, the reds work great, the blues,

I won't even tell you, and the skins

never end up breaking.

And they also gain a little more brightness,

I don't know, how more beautiful, right?

Because I'm sure it has happened to you,

right?

When sometimes we pull with the contrast tool

or when we pass a brush, sometimes the

skin turns a little orange and, I don't

know, a little ugly tones that don't end

up working, right?

So, up to here we would have for

the image this.

You see that, well, it was very, very

fast, right?

And we simply say yes, and although I'm

not going to say that I don't want

to save it, because I already have it

in the gallery, right?

But we are going to go for the

last one and you are going to see

how fast and how simple it is, right?

For example, it is quickly to put it,

for example, F4.

I mean, you see that I have here

the adjustment layer in black and white.

You see that in this case it is

at 29%, which is how I had created

the action, right?

But in this case it is going to

tolerate a little more, okay?

And now we are going to play with

the colors separately, right?

You see how much it affects the face,

so I don't finish, I mean, I want

it to have a little more brightness, I'm

going to lower it.

Yellow is possibly also affects, you see, a

little bit on the face and especially in

the plants.

The greens, as is obvious, well in the

greens, right?

Well, in the herbs or flowers that we

have around there, in the bouquet of the

bride.

And blue is, it is possible that it

affects almost always, or the cyan in this

case does not affect, but both cyan and

blue tend to affect the areas of shadow,

since the shadows, as you well know, have

a cold color temperature.

Therefore, it usually affects a little more.

In this case, as you have seen, it

stays here, okay?

I had done it, you see, as you

see, an opacity of 55%, but look for

a moment, right?

In what would be, for example, the face

of the bride, right?

How good this blow is, right?

And you see how, in reality, it does

not crush the skin, but makes it very,

very interesting.

And let's see, right?

How the rest of the colors and little

things look very good.

And you see that, as Israel said, right?

It is an intelligent contrast that is going

to work like hell.

The only point I see, here there is

a, well, like a stream of light that

is too powerful, so I'm going to do

it, as I already explained in the video

in which I explain how to reveal color,

okay?

There you have, yes, that is, you perfectly

have as, as, as, sorry, you have, where

is it now?

Well, the only thing I'm going to do

is darken this a little, okay?

So you can see, okay,

a little lighten here on the skin so

that, oops, no, no, no, sorry, I said

lighten, not contrast, you see, right?

What I was telling you about, that the

skins turn a little, well, orange, even when

applying contrast, you see that also there, when

applying darkening, it has also turned orange and

that is something that I try to avoid

constantly, right?

So you see it, this is the action,

well, this is the Plus 3D action, but

you see, right?

How, how, well, because a large part of

the photos, or if it is not the

vast majority of photos in color, I usually

always use this action and I wanted to

share it with you because yes, in previous

videos I had not spoken directly about this,

so I may have used it, but I

had not explained it in conditions and there

are colleagues who have been asking me, hey,

those colors of yours, how do you get

them, please, could you tell us, could you

tell us?

And well, this is all, right?

So nothing else, friends, I hope you liked

it, I'm sure it's going to help you

a lot, and you'll see, right?

Although Photoshop may seem like a hassle and

sometimes, sorry, include it in our workflow, when

maybe with Lightroom you already have everything finished,

but yes, that little kick, that little blow,

well, you see that it will appear or

it will have a very, very interesting result

and you will see, right?

How those reds, how those blues, or how

the rest of the colors, well, they get

a pretty interesting force, right?

So nothing else, friends, I promise I won't

steal a second more, I hope you liked

it, until next time.

Take care!