on my channel.
I've talked quite a lot about street photography cameras and I've also shown like photography trips and the final
images, but I haven't really got over my editing process.
So today I'm going to show you two styles I edit with at the moment.
The first one I kind of nicknamed burnt orange and the second one,
just for the purposes of this video, we're gonna nickname it clean and contrast
E.
Straight into Lightroom.
I've got a couple of different sample images here.
We've got A couple of shots from my limits, Alex one
100 that I've taken recently.
This
one has got the burnt orange style sort of applied and then
this one
is straight out of camera and then over here we have the Sony A 7C image from
venice.
This is kind of a clean and contrast E and then this is another one that is currently without that
style.
So I'm gonna show you how I get to this style point in terms of the
Lightroom
editing process.
And pretty much all this editing is done using just the curves panel.
I used to be very heavy on the basic
exposure panel, juggling
shadows and blacks and highlights and whites.
I do that a little bit at the end.
But for the most part on these, we're going to be using the curves panel.
So we got our first burnt orange image here for
The Limits Alex 100.
I'm just gonna reset this back to where it
was when I opened the file, literally straight away.
I'm going to go down to the curves panel here and what I like to
do I always have the clipping shown for highlights and shadows
and I just lift up the shadows a little bit just to get that sort
of lifted shadow sort of muted tone going on.
Same for the highlights, I'll bring that
down a little bit.
Then again we're just juggling exposure
at the moment, we're not into
the R.
G.
B.
S.
Bring down the shadows like quite a lot.
Yeah and then bring up the highlights
quite a lot for
this image specifically.
This is kind of what I'm feeling and then mids
boost them a little bit and just see what's there.
Yeah
and then
when they go straight into the reds
and what I like to
do here is treat the
RGB kind of like mixing paints at school.
I wasn't good at art school but you sort of imagine taking a red paint in the green paint, you
get that horrible
brown on lightroom, you can kind of do this digitally and kind of more
mathematically and it's a bit easier to get it right
so just taking the sort
of black point of the red here and then pushing up the output so
you can see
the output number going up
bring
It up to like seven.
That looks kind of nice and then the same on the Greens I'm gonna bring that up
Just like one below, I'll bring it up site six.
I'm just gonna
boost that, read a little bit
More to 10 and then for adding a
bit more to these, I'm just going to bring the blue
highlight down towards yellow just to make the highlights on our
figures here turn a bit more sunlight
like cartoonishly yellow a little bit and then saying down at the bottom as well, I'm just
gonna bring that blue point down
towards
yellow again, but really
not by much input
like three.
Then back to our reds, I'm just gonna put the mid tones, a tiny bit
red like that and then same
principle go to the green and just pull it back towards the reds again for the mid
tones.
Then already you can just see this is our tone curve
with all the effects applied,
This is
what it looked like before.
So we've done all that so far
just with the tone curves, I try not to do too much to an image in terms of like
making it to HDR.
I definitely used
to be guilty of like shoving shadows up highlights down and just
trying to like
HDR and like clarity everything
forever.
But now I don't really touch that at all.
The only thing I really touch
up here now is
I'll put clarity to plus 20 plus 30 just
to sort of smooth things out a little bit.
So there is that's literally, you know, a few little clicks, really not doing an awful lot.
That's my white S curve
and then we've got a little bit on that, read a little bit on that green and then sort of just
pushing those blue points towards the yellow in the highlight and in the black here you
could
go down and start messing with HS cells and a little bit with color grading.
And if I were
to, I would probably go to luminescence, grab the red
on this one.
Yeah,
and just make like that brake light in the foreground, pop a little
bit, bring down the orange just to sort of retain some
detail in his skin and then just go down to buy
grain, put up to like
30 ish size quite big
and then I quite like that as I'm sort of experimenting more with street
photography, I'm starting to find
stuff that I do like,
turns out harsh light shadow, color, color reflections,
that sort of
stuff.
I did that.
So with those seconds copied, I'm just gonna apply them over to this image, We might get something beautiful, we might get
something like, get away
from me.
It's alright, it's alright, okay, cool.
So I do quite like that style in general.
So just looking at before I
pasted this, this is kind of straight out of the blue mix.
Got a little bit clipped shadows
there in that bin or
whatever that is.
This guy just with the light
hitting him from the back,
I'm just
gonna put that back on also if you've been following my channel,
you know, my street photography is very much beginning phase.
But this is one of my favorite shots I've done, especially because
I had just got my camera in my bag in this little square.
And just as I came around the corner, I thought, okay, this square looks good,
get my camera out turned.
And there was this guy like literally, this is like nine
15 in the morning.
Clearly
he had just started work.
I just got home from somewhere and was having quite a bad time, but perfect subject for
me at the right time of day with the right light.
So that's our burnt orange colored and we're gonna move on to our clean and contrast.
E so now taking this image from venice when I did
edit it, I did use a little bit of the basic exposure, but the majority of this was still done
with the tone curves.
So we're gonna reset this
back to how it came out of
camera.
This again, this was urban to venice, it's really crowded streets
and this was just over a little bridge as you go down some stairs.
So this, this crowd of people, they're just coming out from the staircase
and luckily this
harsh diagonal
line, I saw it
and I was like, I want it.
So I shot
it and this was a batch of a few photos.
I think I was shooting high burst and this particular one was just quite nice because we have this woman looking up
here,
there's a guy that you'll see as we play the exposure looking up a little bit as well.
And then we have this slightly lit guy with his shirt and his hat.
So we're gonna
bring this white black point
up a little bit just to
flatten out these shadows.
Same with the
highlight.
I actually just wanna see, let's push this this way a little bit.
So I do have my highlight clipping turned on.
So if I go all the way
over here, everything will turn red.
You don't need to use clipping I feel, but I have recently found it's kind of
good.
Otherwise I might push things a bit too much.
Then going straight into our
red.
Of course we are.
Look at
mixing bit of red mid tone,
just a little bit with some yellow mid tone.
This might be an interesting mixing of paints
so like,
I don't want to go too far that becomes like kind of like
muddy orange, wanted to still be
quite yellow.
So looking over here, bringing down the white point of the blue
towards the yellow as well
that should help
tie it together.
Then I don't want to add any color
to the shadow here like at all, I really want to
keep the shadows just black, gray, black.
So I'm not interested in mixing any color into the
shadows.
Just gonna bring down my
clarity while I'm thinking about it
and I'm not gonna lie,
this is getting pretty close to done for me and all we've done if
we look at our white curve,
a red curve and our blue curve,
we've done very very little, but it's doing what I want really,
I'm just going to go quick
before, so this is what the image was out of camera
and after.
So I really don't try and
do an awful lot to images.
I'm trying to move away from going,
oh it's fine, we'll edit, it will look better
because too often, especially when you do video getting it right on camera is always the
best way.
Um and if you haven't exposed
properly and then you try and save it,
it can be good like in a pinch, but you don't want to be shooting
just an image that you don't like
in camera
and then getting it back and then trying to bend it as much as we can to get something half
usable.
I've definitely done that a lot in
the past.
I'm just trying to move away from doing that.
So here,
The only thing I'm thinking is I might drop the saturation by like 10
just because I like where the colors are.
I just think that there
like globally
popping a bit too much.
Then just
play with sl maybe just dropping down that orange
again,
that's pretty much it.
Again, not
doing an awful lot, really not doing an awful lot, dropping a
sharpening all the way I have got profile corrections
already on this image and then grains.
Just throw it up just for just for
lulls and then we're gonna copy
this
style and see what it looks like
over
the top
of this image here.
I think I edited this image with a completely different preset actually,
but
it's quite nice, pretty minimal.
Just lifted a little bit, a little bit of color, hasn't
done too much.
I believe when I did edit this photo originally, I might have used this preset.
Yeah, I think I did.
I think I probably use one of these presets and just play with the exposure.
I think when I originally edited this image, I used my drenched
plaza preset.
The only thing I would do here is we've got
some
shadow clipping on the back of this lovely gentleman's head.
So I'm just gonna bring
up that black point a little bit.
That's
actually helped with our,
some of our
exposure.
I might bring down that contrast a tiny bit, just some contrast going on colors out of the
A seven C on this particular photo was a little bit blue
actually, surprisingly.
So this is just
warmed it up, flatten it a little bit, drop the detail,
but it still feels
pretty out of camera, especially that saturation.
Drop down.
It actually looks a little bit nicer.
I'm gonna leave these edits here, so thank you very much for watching.
And also thank you to everyone that has recently subscribed to my channel.
I've had a recent influx of subscribers and I would like to welcome everyone to the channel.
We're gonna have lots more street photography videos along the way.
A bit of video as well.
If you have any specific questions about
cameras editing any of that
sort of stuff, drop them in the comments below.
I'd love to chat with you, and I'll see you
In the next one.