How to Edit a Wedding in Capture One In Only 2 Hours

September 27, 2019

– Hi, I’m Kirk Mastin from Mastin Labs. In this video, I’m
editing an entire wedding from beginning to end with the Fuji color original style pack for Capture One. This is a real wedding
with over 500 images, fully edited and delivered
in just over an hour. Want to see the final images? Just click the link in the description. Let’s get into it. Okay, so I’ve got 535
images for this edit. I’ve already cold everything down from the initial 2000 images
that I shot for this wedding. And when I imported the images, I applied Fuji 400 H on import. So this saves a lot of time. You basically just on
importing your cold images, you just select Fuji 400 H neutral from the adjustment section. And I’ve let that run
and took a little while. And now all the images have
Fuji 400 H applied to them. And for this speed edit, before
I kind of start the timer I’m just gonna think about. I’m gonna start over. Okay, so I’ve got 535 images cold down from about 2000 images from
the wedding that I shot. On import, I’ve applied
Fuji 400 H neutral. This was the film that
I shot at this wedding and I’m gonna edit all these
raw files in the same style. So on import, when I select Fuji 400 H, I’m applying that style
to all of these images before I even really start editing and this saves a lot of time. All the images right now
already have that applied. So I’m just gonna jump in and show you how I get through a
bunch of images as I go and I’ll just kind of drop
hints and tricks as I can. And I’ll just kinda drop
tips and hints as I go to help you out. So after applying Fuji 400 H,
all that you really need to do is adjust exposure, Kelvin and tint. My advice is not to overthink each image. You should be able to
get a really nice edit in just a few clicks and then
copy and paste those edits to other similar photos. This is by far, the fastest way to work. So what I would do is I
would, with this image, I would just increase the
temperature a little bit with the Kelvin slider. I would look in here and see,
are there any indications that this image is too
magenta or too green? And make any adjustments there. And then I would take these adjustments and copy and paste them to similar photos. On this image, I’m just
gonna adjust temperature. I didn’t even have to touch exposure. I’m also gonna apply lens correction and I’d say, that’s about perfect. Let’s see how it looks with all soft. Okay, that looks perfect. So I’m just going to, with
this button turned on, this toggling between primary
edit and selected variants, with this on, I’m just
gonna hit the up button here to copy all of my adjustments. Scroll down here and
select all similar images and then hit this down button and that’s going to apply that correction that I
did on the original image to all the other images. And now I’m just kind of
scrolling through here seeing, do I need to adjust
the angle of the image? Not the angle, the horizon line. And now I’m gonna see if
I need to rotate the image and fix any of it to make it straight. Really simple stuff. So these look all really nice. That looks pretty good. That one could be a little bit brighter. So it seems a little green to me. I’m gonna add a little bit of magenta. There we go, perfect. These images I shot a little dark so I’m just gonna brighten
them up with exposure. Again, they’ve already
got Fuji 400 H applied and all soft and a few other adjustments. So there’s not much I need to do. I don’t like crooked images at all. So I’m gonna rotate this one and I’m gonna copy that adjustment and apply it to this one. There we go. Moving on. This one needs to be a little brighter and that looks pretty good. Let’s fix the a rotation of this one. And I’m just gonna crank it up and just go as fast as I can through here. This is a speed edit after all. So when I was shooting a lot of weddings, one thing that I look for is trying to get a lot of detail shots along with like shots
of the bride and groom, shots of the family,
formal shots and all that. And I know the details, details are kind of lame because they’re not really
showing you personality or love or even a story. But the thing about detailed
shots is they get you published and that’s not something that’s
gonna change anytime soon for better or for worse. So I kind of made it a rule to get as many detailed shots as I could. At least like, I don’t know, 16 or 17 detailed shots per wedding so that I would have a better
chance of getting published. So these shots are from
like right when I got there and before anything
really kind of kicks off, I’m just cruising
around, seeing everything that’s all set up super nice before guests or anyone
else disturbs them. And I’m just trying to
get a nice quick picture with shallow depth of field. I’m mostly shooting with
a 50 millimeter lens and I’m just trying to get
my 15 or 16 detailed shots before I get carried away, having to work on something else. These are super easy to
do if you have good light. Nothing is moving around. It’s not like people
where you’re just hoping that they’re gonna do
what you want them to do or move in the right spot. Detailed shots like should
be just a piece of cake. That looks good. I’m gonna just copy this
one, apply it to this one. This image needs to be straight. There we go. I’m gonna crop in just a tiny bit and you’ll notice that I’m not spending like a ton of time on every image. I think one place where
a lot of photographers kind of get lost is they just spend an inordinate amount of time trying to make every single
picture absolutely perfect. And I used to do that myself. But then I found that I was spending like three days editing a
wedding and ultimately, the client didn’t even notice. They wouldn’t notice
if one little tiny leaf was erased or not. And basically you have to
kind of sacrifice something in order to get through your edits. If you’re a really busy
wedding photographer and I had about 40 or 50 weddings per year towards kind of the
latter part of my career. I just didn’t have time to make
every single thing perfect. I remember going in and doing a portrait or working on a portrait and taking it into Photoshop afterward and
running all these actions to get like some kind of
skin retouching going, making everything absolutely perfect. And then it would just be
printed if it was printed in a tiny little album,
just like one little picture and it was so much work and not worth it. On the other hand, if I had
a client wanna get a lot, get a very large picture like
print something 40 by 60, then yes, I would absolutely make that picture absolutely perfect. I would take whatever time I needed to make that portrait look amazing because I’m getting big commission for it and the client will look
at it and they will care. So that’s kind of my
decision making process when it came to what
should be worked on a lot and what should be just kinda left alone. All right. Man, working and talking at the same time. Let’s do this. So this image definitely
needs a little bit of masking. You can’t really see the dress. So I’m gonna go in and, and really like work on
getting this dress to show up. All right and have my mask turned on. Great. There we go. I basically just selected
the dress with the mask and I’m working to get the temperature and the exposure correct for it. Cool. All right, moving on. Man, it helps so much to have
everything already applied. One thing that I love about Capture One is that once you have your images in it, and you have kind of
a basic edit in place, so like I imported with 400 H. It is just like the snappiest
program and I love that. It’s really, really fast. All right. So this image could use a little
bit of perspective control or Keystone Correction. So what I’m gonna do is I’m gonna grab the full on Keystone tool here. So this is where you can
correct everything at once and I’m finding lines that are straight or that should be correct to each other. So in this case, this
picture frame is perfect. It makes it really easy. There we go. So now that image is perfectly corrected. Looks great. I come down in the
exposure just a tiny bit. This image needs to be
a lot warmer, brighter, means lens correction on. Maybe that’s a little too much and I’m going to crop this in quite a bit. That was very crooked. I probably just walked into
the room and saw her expression and just was like, just took the picture without making sure anything
was straight at all. So a little bit magenta,
make it a little bit warmer. Great. And not to toot my own horn or anything, but Fuji 400 H for Capture
One, the way we’ve made it, it just really protects the highlights, gives you really nice
colors, a lot of pop. But at the same time
it’s a very gentle look. just by increasing the
exposure just a little bit, you kind of impact the image
and make it really film like, and it looks really, really good. And I’m spending probably, I don’t know, like less than 15 seconds on each image. There we go. I made that easy. All right. This image has got some
issues because Eric’s face is like in this super bright light. So I’m gonna bring down
the exposure a little bit. I’m gonna do highlight soft to protect the highlights
a little bit more. In fact, I’m gonna do all soft, bring out a little detail in the shadow, more detail in the highlights and I’m gonna see what I can do to save the side of his face. This is one of those images where I don’t think that the information was saved on his nose. It’s like pure white. So I don’t know if I can
get any of that really back, but I think it can look okay. There we go. Just gonna crank up the
highlight dynamic range slider just a little bit. It’s not within our styles,
but in this case I needed it. All right, a little magenta. A little bit warm. Let’s do all soft, perfect. Why did I include this image? I think I included this just because I didn’t have very many
details of the grooms, the groomsmen getting ready. So we’ve got this in here and frankly, I would make
these black and white but I’m working within
the Fuji original pack. So we’re just gonna be using Fuji 400 H for this whole wedding. At the end when I’ve
gotten everything adjusted and totally edited, I’m gonna
show you the final results and you can see kind of
how it all turned out. I’ve done this edit
once before in Lightroom and it was one of our most popular videos. So I thought it’d be
really cool to do it again, the exact same wedding,
but do it in Capture One. So you can see what the workflow is like. A lot of people are
intimidated by Capture One if they use Lightroom currently, because it just looks different. It seems complicated,
but it’s really not hard, especially with the custom
workspace that we’ve created, which is over here on the left, I’ve only put the tools
that you need into it. There’s no extra fluff, there’s no junk. So you’re just getting exactly
what you need to get it done. And it makes it just a little bit easier. All right. Let’s copy that and we’re
gonna try it on this one, a little too bright. She’s facing right out the window. That’s really bright light
coming in from the side. If I was to take the exposure slider and go all the way to
negative like negative four, you can see over here there’s
no information in the photo. This bridesmaid looking out the window. There’s no information from
the sensor to actually recover. So I’m not gonna be too
concerned about that, that I can’t get it back. All soft is gonna help a little bit and just dialing in the
temperature as best I can is gonna help too. But this image is a tricky one because of this extreme contrast. This would be a good candidate
for black and white also. Okay. And if I wasn’t talking so much, the speed edit would be
even more of a speed edit. But I’m afraid it wouldn’t
be quite as exciting. All right. I think it’s funny too, like only photographers
would be able to sit here and watch someone edit for an hour, just to see how they do it. It’s kind of like watching
someone knit for an hour. But I remember when I was a beginner and I was trying to
figure all this stuff out, and this is a long time ago, but people just didn’t really share. It was really, really hard to find anyone who would share any information and I would just have killed just to watch how someone edited. And I probably would
have sat there all day just watching him. There we go. So I wanna do that for you. I want you to see how I edit. I want you to see that
it’s not rocket science. You don’t need to pay for
a ton of courses, classes, workshops, all that stuff. It can help if you find the right teacher, it is totally worth it. But I also think that if you
just see how someone does it, like how they actually edit, you’ll see that you can do the same and you’ll pick up your
own lessons with it. So in this like again, you’re seeing I’m not like kind of going
overboard with anything. These are just super quick edits and in fact, if I was to get
too much into the fine details, that’s actually how you would
make it look, not like film. If you over edit, if you just go crazy, trying to make everything
super sharp and super perfect. Film is a little bit imperfect,
it’s a little bit organic. And I find, I mean that’s
one really nice thing about what we’ve made at Mastin Labs is we’ve retained that organic feeling and created a system
where you don’t need to do like hyper vigilant editing where you’re running all
these actions and things on your image to get something nice. I love the timeless look of film and that’s exactly the point of this. This looks a little bit magenta. There we go. This also could use highlight soft. And let’s copy this and apply it to all three of these images. There we go, cool. Let’s move on. All right, coming down the stairs. Amy looks kinda surprised in this photo. This wedding was actually
quite a few years ago now. What I love about it, is Amy and Eric had such awesome details
and attention to detail. And they also have just
such great personalities that it was just one of my
all time favorite weddings. So I really enjoy looking
at these images again. It’s so nice. And Eric McVeigh is now like, he’s like one of the top photographers in the world probably. So it’s totally an honor that I was his wedding photographer. I will forever be grateful. Oh boy, this one’s really tilted. I am not a fan of the Dutch
angle or whatever it’s called, where you like intentionally
tilt your image. I hate it. So I’m trying to fix that. It’s called the Dutch tilt. The Dutch angle, I don’t know. Someone in the comments will correct me. I’m not a fan of it. It feels very 90s to me. Kinda like a spot color where
you just make the bouquet like one color and then everything
else is black and white. I don’t like that at all. If you like that, I hope
I haven’t offended you. So this Keystone tool’s is pretty cool. In this mode, you’re just
trying to find four points that make a square. And if you find those points, and you place those
little circles on them, you get a corrected image,
which is really nice. This image is a little bit diffused, like the contrast is really low. So I’m gonna do shadow hard. There we go. And I’m gonna apply this
to the next few images. The same edit. Okay, here’s Amy walking outside. Do highlight soft. The green in this photo is like nuclear and that’s because it’s
like super bright sunlight and the yellow gets really
picked up in the green when it’s like this. So I’m actually going to go
into my built-in styles here and I’m going to use Fuji 400 H blue. So I’m gonna roll over
it and you can see that it just like knocks those greens down and that’s exactly why
it exists is to do that. Let’s bring the exposure
down a little bit. Perfect. And I’m gonna apply that
to the next like 12 images. And since my camera, I was not shooting in
complete manual mode, my exposure is kind of all over the place, so I’m gonna come back
and get the exposure dialed in for these images. But as far as like color balance
goes and everything else, they should all fall into line. There we go. And this one could you use
a Keystone Correction also. So when you do vertical keystoning, you don’t need to find a square. You can just find like two straight lines or two lines that you think
are straight next to each other and hit apply and that
should fix it for you. I don’t have the tilt quite right. I can fix that. But as far as the keystoning, the keystoning is now corrected. Hope that makes sense. All right, let’s bring that
down just a little bit. And just as a reminder, I’m
using Fuji 400 H blue right now for these edits because she’s
on that super bright grass. Fuji 400 H blue is the
only thing that we make. It’s not actually a real film. There’s no such thing as Fuji 400 H blue. It does not exist. The reason that I created it
is that we had so many people want those beautiful sage green colors, even if they were shooting
on a golf course at noon. And so I went and made a
variation of Fuji 400 H just so you can get those
beautiful colors that you want, even in the wrong conditions. It’s the only time I’ve ever done that, or I’ve made something that’s not real. So it’s mostly real. It’s like a idealized
version of Fuji 400 H. All right, we’re back to normal Fuji 400 H ’cause I never applied the
blue version to this image. This could use all soft. Needs to be rotated just a little bit. There we go. And maybe a little bit warmer. Let’s see, maybe Fuji 400
H blue would be better. Yeah, all right. So we’re gonna copy this. We’re gonna go to the next
20 images and apply it. All right, it looks like my
exposure was a little bit high. So I’m gonna bring that down. Maybe there, and I’m
gonna do it one more time. Yeah, okay. It’s still a little bit hot or it’s still a little bit varied between the images that are really bright and the ones that are dark. And this was during that time when I thought tilt shift
lenses were really, really cool. They were kind of a trend. I still think they’re really cool and I knew like deep in my
heart that it was a trend, but I just had to try it. It was just so much fun. But my little piece of advice is if you feel that something
is a trend, don’t do it. It’s really hard ’cause you’re gonna have everyone around you doing it
and it’s gonna seem really fun, but at the end of the
day, you want to make work that is timeless, and I don’t
believe that a tilt shift look is timeless at all. I think it’s really fun, but
I don’t think it’s timeless. All right, this needs a huge crop. That looks good. That looks good. That looks great. That looks good. That looks perfect. That one needs to be rotated. Otherwise he’s like falling backwards. This one could be cropped
in just a little bit. Yeah, like right about there. A little bit brighter. I know the sky is like
totally blowing out. There’s nothing I can do about that, but it’s really about what’s
happening in the frame with the couple. I don’t really care that much
if the sky is blowing out. I could have done a little
better job exposing for this. I could have underexposed more
and then brought it back up. It’s one of those rare times where I would say it actually matters that you do underexpose. If you’re in a condition where the sky is really, really bright. Oh, come on. What’s going on here? There we go. Need another coffee. All right, it’s gonna be
like 19 minutes of me editing and then an hour of me rotating
this photo incorrectly. Okay, that one looks good. That one’s great. What a cool moment. What a cool moment. I love it. Look at this. Super sweet. That’s good. This one’s crooked as hell. They’re like falling into the abyss. There we go. All right. So this one just needs
to be a little brighter. It’s already got all soft on it. I’m gonna turn lens correction off. That didn’t really help. All right. It’s as good as that one can be. Still pretty good. There we go. That’s nice. And body language is everything. Great photographer once taught me that the best way to get a photo
with a lot of meaning in it is to have your couples hands
touching and faces touching and as much touching as possible. And the way that their heads are aligned, like are they leaning
towards each other or away? If they’re pulling their
heads away from each other or pulling their heads back, it kind of signals that
they don’t like each other. But when they’re leaned
into each other like that, it’s just a subconscious thing where you know that they love each other. It seems like a duh. Like everyone should know that. But you would be surprised at how couples, when they feel nervous,
will just subconsciously kind of pull their heads
away from each other. And so I would tell them like
tilt your heads to each other, like towards each other
and kind of get them back in the right position. That’s really important. Oh, that’s great. Yeah, that old tilt shift lens,
I just was crazy about it. I think I use it on a total
of like four weddings. Got it out of my system. All right, let’s keep moving here. That looks good. Could use a little bit of green. Just a tiny bit. There we go, perfect. Let’s copy that edit, put it on here. It’s all about batch editing. So fastest way to go is just batch it, copy and paste. I want you to notice that at no point have I left Capture One. I’m not taking these
images into Photoshop. I’m not doing anything else. You can if you want, if that’s your thing. But again, like I said, the
very beginning of the video, your clients are not gonna
know or care if you go in and just fix like a
stray hair or something. They’re just not gonna know or care. Copy that one, let’s apply it to this, apply it to this one, that one. That one, that’s a cool moment. See if it works with this one, totally different scene but no, this one needs a few more adjustments. So this is a hop farm. So hops are I’m not an expert in this, but they’re part of the
process of making beer and those are hop vines growing
up these poles behind them. So I just kind of spaced
them all out in there and gave it my best. That one’s fine. Alright. This one needs to be a little warmer. Copy, select a few more. Maybe down to there. Paste all those. How did that turn out? Come on render, there we go. Good, good, good. That looks nice. That looks super nice. That one looks good. That looks good. All those look really good. That’s a fun picture. I like this one a lot. I just had everybody link
arms and walk towards me and I just said like, just
talk to your neighbor, make fun of them, tease them, whatever. You get a lot of cool little interactions. Okay, here they are in the forest. I really love bridal party
photos and formal photos. Maybe I’m a weirdo. This is something that I
learned from Jonathan Canlas who’s like the master of it. I love taking a little extra
time and setting this up, making them look really cool. So I would get like a chair
or something from the wedding and bring it out so I could create layers. It was different every
time how I set this up. But I was just looking for ways to make it a little more fun and interesting. And I would think of like a movie poster. For this I was just thinking
of some kind of movie that takes place in Italy or something with like a big family and
just picturing them all an extended family like out in the woods where you’ve got the matriarch
and patriarch in the front. I know that’s kind of weird
because it’s a wedding and none of these people are related. I mean, maybe a few of them. But that was kind of
the concept in my head when I went to take that photo. And they turned out really nice. And you can always when you
get a really nice setup, instead of like moving
people around a lot, you can just like go
in and just get closer and get different shots
just by getting in closer, which is cool. See, let’s apply it to all those. Good, good, good, good. All right, now let’s pay
a little attention here to these bridal party photos. Portraits are super important to me, so I’m gonna give these
like 20 seconds of attention instead of 15. Still not a lot of time, but once I get one of them how I want, the rest should just fall in line. There we go. So I added all soft, got
the temperature dialed in. The green’s a little bit strong for me. So I’m gonna do Fuji 400 H blue, and now that looks perfect. So I’m gonna grab that edit and I’m just gonna go all the way to the bottom of these
portraits out in the woods and apply to all of them. Being a much more
experienced photographer now, now that I’m like 41, what I would change if I was shooting this all over again is I would try to get it as
perfect as possible in camera. Meaning I wouldn’t let
anything be automatic. I would, always, you have the luxury of looking at the back of your camera. There’s like really no excuse if you’re doing a portrait series to not get it perfectly dialed in. You can see it live. I mean there’s no excuse. Doing this on film, which
actually is something I do also, I meter and I meter and
I try to get it perfect but I can’t actually see what
I’m doing until weeks later. So if you have the time,
get it right in camera because when you go to edit, especially all those portraits, if I had gotten it perfect in
camera, all I would have to do is just edit one photo and
apply it to all the rest and I’d be totally, totally done. So in this case, there’s
just a little variation in exposure between the
frames and that sucks. Because now I got to like kind stop down and do tiny little micro adjustments all the way through here. All right, let’s see how this is going. Render, that looks good, looks good, looks good, these all look good. Let me drop the exposure
a little bit on that one, drop it on this one, drop it a lot on this one. I’m going to add a little magenta ’cause there’s so much
green ground reflection. Okay, that looks good. Apply it to this photo. It looks good. Alright, let’s get this
dialed in a little warmer. Take the exposure down just a bit. Lens correction is already
on and that looks good. So I’m gonna grab that,
apply it to all of these. All right, let’s look. These all good. Contrast difference is quite a bit between them in the background, but that’s just not something
I can change right now. Good, good. Not sure what’s happening here. It looks fine though. Oh yeah, yeah. He’s making them dance like a puppet. That’s what it was, so cool. These all look fine. And this is all shot
under like a tree canopy in the middle of the day. So back behind them, it’s like full noon. It’s just blazing hot and I moved ’em underneath this open shade because it was the best spot
I could find to do all these where they weren’t like
sweating and squinting. And where I would have like
as even light as possible. Often I only have like maybe at a wedding and when I’m shooting this many people, I’ve got maybe 30 seconds per portrait that probably not even, I’d say probably 15 seconds per portrait. So I’m talking to them, joking with them, asking them questions, getting the shot and then getting the shot after the shot. Sometimes you get some really
cool interactions that way and just making the best out of it. Unless you’re shooting a styled shoot, you don’t have all the time in
the world to get good photos. And to me that’s what defines
you as a professional. I think anybody can get a really
nice photo at a style shoot and I’m not saying like styled shoots are not worth anything. I think they’re really good practice, but I think it’s really important that you learn how to shoot under pressure where you don’t have any time. Things go wrong, the timing slips up. People are late. It rains, it snows. People don’t show up. That’s when you have to
make it happen anyway. And the only way you can do that is to make the most out of
whatever situation you’re in. Just keep going, but also to
preplan as much as you can. So when I got here, I
mean the first thing I did after shooting those
details was walk around and scope out where I was gonna shoot formals and family photos and know that no matter
what the light was like, I could get a good photo. So I found this treed area
and that’s where I did it all. The moment I had everybody rounded up, I knew exactly where to go. Again, that’s not rocket science. I’m sure many people
watching this already do that and you’re like duh. But for those that are fairly new to this, things that may seem
obvious are not obvious because maybe you’ve never
shot a wedding, never done it. And I don’t mind pointing
out everything I’ve learned. Okay, so it’s pretty bright. There we go. These all look good. Look good. As good as they can be. Let me grab this one. There we go. There we go. There we go. Making these a little bit
brighter just a tiny bit. That was a little bit too much. Yeah, perfect. All right, Here we are at the venue. It just needs to be
warmed up a little bit. Copy that edit and put it here. Perfect. All right, let’s see where we’re at. Can we paste it onto here? Yes, it looks great. Paste it onto here. Yes. Let’s copy that one. A little bit too much. Let’s bring it down. That looks good. Put it on here. These folks look a little bit magenta. There we go. And it can be a little bit warmer. Great. Copy that one, paste it. A little bit too bright. I know that there’s gonna
be some people watching who are maybe new to the bright
or the light and airy look who are gonna be going,
those are all blown out. They look terrible. They’re not blown out. It’s just a light and airy style. It’s a way of shooting or
a way of editing images that actually comes from shooting film. Overexposing your film,
overexposing your Fuji 400 H and then also while scanning,
making the image extra bright and that’s where it comes from. Some of these images, yes,
they will have blown out skies. They will, but all I care about is, is the image beautiful and does it have the right feeling? And that is not about
getting maximum dynamic range or detail in a high overcast sky. To me, that’s not the point. That’s not art. No one, honestly, unless
you’re a fellow pixel paper, no one really gives a crap
about getting detail up here in the very top of the sky. Using all soft or highlights soft, you will recover some of it. So if I hover over it, we will
recover as much as we can. But just due to the nature
of a digital sensor, sometimes things are lost
and it’s totally okay. It does not mean you have
to throw the image out or you can’t deliver it. The client does not care. They just want to see something beautiful that makes them feel something. That’s it. However, you are free to disagree with me and many, many people do. That’s totally fine. If you wanted to get detail
in everything all the time, you would probably cart around some kind of off camera flash
system and get it set up and worry about balancing
that with sunlight and all this stuff and meanwhile, you’ve missed like everything. You can’t react to the moment. In my opinion it’s very
hard to react to the moment and get both like candid photos
and even editorial photos ’cause you’ve just got too
much gear, too much going on. some people can do that
and that’s totally cool. Again, you do you. You do it how you want. All right. Let’s see here. Let’s do all soft. Bring the exposure down just a bit. We need lens correction on for this one. I’m spending a little time on this one because I know that if
I get it just right, this is gonna be a great one
to apply to all the others. That looks perfect. Okay, there we go. And now we’ve got like a
million ceremony photos, pretty much the whole ceremony
I can now use that with. That saves a lot of time. All right. Come on, render. Here we go. Fist bump. We’ll fist bump. That’s cool. Little fist bump. This one’s a little blown out. Let’s bring that back down to earth. That one’s a little blown out. All right, this one’s a little crooked and it can be cropped in a tiny bit. I think I just like swiveled and I saw them coming down the
aisle and I was like, okay, I definitely need to get
that photo just for them. It’s not like the best photo
I’ve ever taken in my life. This was eight years ago or something, but I knew that it would
be important to them. All right. Here we go. Okay, copy that one. Paste it, paste it. Let’s do, no that’s about perfect. Alright. Paste it again. All right, we’re just
cruising through this. This could be a little bit brighter. It can be a little bit brighter. Too bright, way too bright. Let’s bring that down. Crooked is all get out. All right, there we go. Let’s copy that one. Okay, this sounds a little far away. I’m gonna just go in even more. Good. All right, way too bright. Way, way, way too bright. Warm it up a tiny bit. I’m always amazed at how
much detail you can get out of a raw image even
if you’re shooting, like I’m just spinning around this couple, sometimes shooting into the light, sometimes shooting away from it, and sometimes I’m getting
a lot of lens flare or other problems like overexposure because I’m just working too fast. And yet you still have a usable image if you’re shooting raw, which
is really, really great. I mean, look at the lens flare in this. It’s crazy. It was so bright out and yet it works. All right, let’s copy that one. Let’s apply it to all
of them down to here. All right, cool. That saved a lot of time. Great. That one looks good. That one looks beautiful. It looks beautiful there. They both look great here. They look great here. They look great here. I think they were easily one of the best looking
couples I’ve ever shot. All right, let’s copy that edit. It’s kind of fun also to
show everybody who’s watching a full wedding of mine. I’m letting you look under the
Komono and see my good work, my bad work, all of my work
as a working photographer. I’m not just showing you like
some style shoot that I did in some beautiful place. This is just real life for me. And I also have to mention
that I shoot everything solo. I have no assistant. So this is just me with
a 50-millimeter lens, a 35-millimeter lens, a
flash, and at the time a contact 645 and about 15 rolls of film and I’m doing everything myself, which some people would
say is like totally crazy. But it worked for me. It was great. The main reason that I
did everything myself was that I could be absolutely certain that certain things were covered, how I wanted them to be covered. So I knew that I would
get a shot no matter what. And the second thing is that
I would also be in control of the final look. So I wasn’t gonna be having like my style and then my assistant’s style. And I always thought, I don’t know, I could be totally wrong about this, but I always thought like
if you get to be really good at what you do and you’re
charging your client a lot of money, how do you justify saying that your assistant’s photos
are worth the same as yours? So it’d be like hiring like Van Gogh and then like the guy
that sweeps the floor in Van Gogh’s studio. Well maybe not that, but like maybe some
apprentice man or woman that’s like studying with Van Gogh, although Van Gogh is crazy. He probably wouldn’t
have anyone helping him. But anyway, some painter that would. They’re not gonna do as good a job and that’s just because they’re newer. They haven’t put on all the time yet. So I just learned to do it all myself and it was a little bit hard at first, a little bit nerve wracking ’cause I didn’t have support. Sometimes it’s really nice to have another person with you at a wedding. You have someone that you can talk to. If things are going wrong,
they can help lift you up, they can help you solve creative problems, they can do all kinds of stuff. But there got to be a point
where I needed to know, absolutely know that something
was shot the way I wanted it. So I was solo for a long time, probably of the 20 years that I shot, I would say I was probably
solo 10 of those years. 10 of those years I shot at the end I shot by myself all over the world. Totally doable. I know a few people that shoot
that way, that work that way. All right. I think I definitely overexposed quite a bit on this wedding. Still, it turned out really nice. And I am excited to show you
the final results at the end. See what it all looks
like when it’s all done, then you’ll understand that
it doesn’t make any sense to spend a super long amount
of time on any one photo because when you see
everything completely done, it’s the sum of it. It’s the sum of it that makes it good when you see all the images together. All right, let’s cruise through this. Boom. That image is too bright. This is a sweet image. Looks great. Beautiful. That is so nice. I forgot about this image. Really liked that one. All right. Just cruising along here. Detailed shot of the hops, detailed shot of a dog. A dog can be a detail. Here they are standing in
front of like I don’t know, where you get plants started like a little nursery thing and that looks just about perfect with just on import, which is great. So I’m just gonna apply that to the next, I don’t know, 20 images. See how that turns out. That looks good, looks good, looks good. I just could not get enough
of that damn tilt shift lens. Oh, how I regret it. I don’t regret it. These turned out nice, but man, it’s just so easy to get stuck on a trend. The only trend I ever got stuck on, I guess for real is shooting
film, like actual real film and I don’t know if that’s a trend or not, but it’s something I have always done and will continue to do. And these are just my digital shots. So in addition to these, I
also shot something like, I don’t know, 600 film shots or so. Beautiful. There’s Eric looking good. Let’s apply that to this photo here. Good, good. Good. Good. I love layers. I try to do layers on ever I can. There are some photographers like you should Google
this guy’s Zalmy Berkowitz. His website is Z-A-L-M-Y, B as in boy, I don’t know, whatever. Anyway, That guy is just like the master of layers and I love his work. He is like studied real photojournalists and incorporated it into
his wedding photography and I just think it’s fantastic. There’s also my friend
Jonathan Kohn, down in Alabama who I haven’t talked to for a while. It’s kind of a shame
’cause I really like him. He’s really cool. He just shoots wonderful
documentary type photography. Lots of really good layers. And his work is really
worth checking out too. And his last name is K-O-H-N. Jonathan Kohn. Yeah, he’s kind of in that group of documentary photographers
that really like pulls from the whole history of
photography, which I love. ‘Cause I was originally a
photojournalist a long time ago, like super long time ago. I’ve kind of switched over
to a more editorial style, but you’ll see like
photojournalism type shots sneaking into my work as I go. All right, here’s some
Robbins eggs we found. Cool, very cool looking. This just needs to be a little bit warmer. Great detailed shot. Has nothing to do with their wedding, but one of my favorite
detail shots of their wedding is just some Robin eggs that I walked past while I was shooting with them. All right, that looks good. Let’s apply that to the next few images. Boom. All right, a little overexposed. Let’s bring that down again. A little bit warm. We’ll do all soft. Still a little bit warm. Perfect. All right, keep that, apply it to these. It looks good. Why I shot so many similar images here? I’m not sure, but I just couldn’t decide and that’s a bad thing. Actually, you should decide. You should just be like, in this scene, these are my favorite images
and then delete the others or just never deliver them. But these guys were looking so good that I just couldn’t help myself. I’m sure that happens to everybody. Could just start getting
some really nice photos and you’re like I can’t decide. They all look really good. All right, this could be warmed up a bit. How warm shall I go? Maybe about there. About there. It’s a little too magenta. Let’s go towards green. Too far, right about there. Looks perfect. That looks perfect. Okay, let’s copy that. Copy it one more time just for good luck. This one needs to come down, fine. Okay. That looks good. A little crooked. Cool. Why on earth I didn’t have
my exposure locked down? I don’t know. I can’t imagine doing that these days where I would have to adjust the exposure between similar shots. The only excuse I can find
is that I was shooting on, I don’t know, aperture
priority mode or something, and my exposure was changing
a little bit between shots. Don’t do that. Just shoot all in manual. So much better. Okay, all soft. Looking good. This needs to be straighter. There we go. Copy that. Boom, boom. Oh, that’s really nice. I like that one. Really nice. But I’m gonna copy that edit for this one. That lens flare takes
away a lot of contrast, but it just makes it look dreamy. So I’m just gonna leave it. I like it. That’s a little too warm. See how this looks with
lens correction on. That’s a little too much. Let me just dial that
back just a little bit. There, that’s perfect. So the way lens correction works is it corrects the vignetting and the distortion around
the edges of the lens. Sometimes it can be too much. So you go into, whoops, grab that again. You go into this tab here,
this circle, this lens section. And if you go down to
sharpness distortion, light fall off, et cetera, you can go down from 100%
correction of light fall off, down to something that’s less. If you wanna keep the edges from getting to light
after being corrected. You can play with it and figure it out. Not too complicated. Okay. These look like beautiful little flowers and they’re actually green onion and we were standing out in that field and it was just like, it just smelled like you’re standing in
a bunch of cut onions the whole time, but totally worth it. It’s beautiful. These are some indoor shots. You can see the Fuji
works just fine indoors. Looks great in fact. The only thing that we’re
struggling with here is mixed lighting. So you can see on Amy and Eric’s face, it’s a lot warmer than out here. And that’s because there’s
tungsten light on their face, which is a different
color than outdoor light. So you can see on his face,
it’s kind of yellow, orange. I could correct that out. But then if I correct it too much, the rest of the image becomes really blue. So you of got to find like a happy medium. All right, that looks good. That looks good. Great little candid moment. Let’s just paste that to
the next and to the next. So yes, I am a photo journalist, I have photo journalism background and so that’s why I’m looking
for moments like that. It’s not staged or anything
and I didn’t invent it. I’m not gonna say that I’m like, a master photo journalist
wedding photographer but I do like to mix that
in with what I’m doing. It’s nice for you and me. It makes it more interesting
for you doing your job and it’s just nice for your
clients to have a mix of those, like really set up editorial shots and then those photojournalism shots. And if you get bored working
on one aspect of photography, like you get bored doing just
that perfectly post stuff, you can make it a point to
focus on photojournalism for your next few events,
for your next few weddings. It’s good practice. All right, very few adjustments. Mostly just some slight exposure and color balance adjustments. No preset or style worth its salt can do temperature, tint
or exposure for you. It just does not exist. If you own something where
you’re not adjusting exposure in temperature intent
either you’re just like the flipping Grandmaster
of getting it perfect in camera no matter what or you’re using some product
that is just so heavy handed that it doesn’t even
matter what the photo is or how it looks or if you even
got anything right in camera and those looks, my friends will never look good in the future. They are junk. It’s a thing that everybody goes through where you put some kind of
preset or style on your photo that’s like super heavy handed, but if you’re a beginner, you’re like, oh man, that looks so cool. Like my boring photo is now interesting. That will not last. That is not timeless. You will hate it. I promise you. As your skill improves, you’ll
look back on those photos and you’ll just like either
take them off your website or just like kick yourself
that you dove so deep into a style that is not timeless. It’s not gonna last. So anyway, that’s my little sermon on it. And that actually is why I really wanted to
shoot film for weddings. So in the very early part of my career, I was 100% digital in my weddings and in my personal work I was 100% film. And in my personal work,
I loved how it looked like I didn’t have that
much control over the look because the film stock
has control over that. And my work was super consistent
and beautiful and timeless and I still look at it today
and go, man, that’s awesome. Like my early film work. My digital work though, man, I went through every
style you could imagine and very little of that
work is worth anything now. Like I can’t even look at it. So when I started shooting
film and digital together and coined the term hybrid photography, which used to mean shooting
digital and video together, which no one does anymore, the whole point of it was
can I get that beautiful, timeless look with my digital? And that is actually
where Mastin Labs started is I had a Fuji frontier scanner shooting as much digital or shooting as much film
as I could at weddings. And I could only do that
because I drove the cost down by having my own scanner. And then slowly over time understanding what went into making film look like film and making my own presets
for Lightroom originally and then sharing those
with other photographers. And this is years and years ago and I did all of this just
to get a timeless look that I wouldn’t absolutely
hate later in my life. And that’s why you should shoot film. And that’s why you should find a style or a preset that drives with
you that you feel is timeless and stick with it. And let trends just roll off your back. Just let them come and go. Don’t feel like you’re
losing out or anything. Because as you get more experienced, you’ll just realize
that trends are garbage. They really are. They’re just, they’re an easy way out that makes you feel popular
and cool for like a year and then you’re just chasing
everybody again and never ends. On the other hand, if you
make a stand and you go, I want, I don’t know. For me it was, I want beautiful skin tones and I want a look that is
like film or that is film. Because film has been around forever. It still looks really good. It never goes out of style. When you find whatever look that is, whether it be film or something else, you can then focus on a content
like a moment like this. Such a great moment. And this photo isn’t made because of it being heavily
stylized by a preset or look. It’s made because it’s clean and timeless and there’s really cool movement and their hands are touching and they’ve got great expressions. It’ll never, never grow old. You’ll never look at this
photo and go, oh yeah, I know when that was taken. That was taken in 2019 when that one look was really popular. No one’s ever gonna say that. You’re never gonna say that. This is so much editing. I am proud of you if you’ve
stuck with me this long. I’m proud of myself. We’re doing it. We’re getting through this. We’re getting through
what used to take days. We’re gonna do it in one sitting ’cause that is how you win. You just get through your edits, go back to your family, your friends. You have like a real life ’cause you’re not sitting
behind a computer for days. I wanna help you with that. All right. In fact, if I wasn’t just
going on and on and on about everything, I would
probably already have this wedding completely done. But I’m trying to stop and
share stuff that I know with everybody while I can. Okay, come on render. These, I’m like just correcting
to like perfect Kelvin. You could go a little bit warmer if you wanted to maintain
the look of being in a tent. I think I’m going to, even though I could correct them to being like pure white
light that they’re sitting in. I take that back. I kinda like it corrected. Well, I love her. That’s so good. Cool. All right. And I’m just going through these now. I mean, I can see in the little thumbnails that they’re mostly correct. I’m just going through
them just a little bit, just to see if there’s any
like little tweak I can do, but they all look pretty good. I think I overcorrected them. Cool. It’s a real fine line. Let’s try that. Perfect, okay. I found my white balance. I had gone a little bit too cool. Now I’m going back just the other way just a little bit warmer and let’s see if they’ve
got the right mood once I’ve done that. Yes. Yeah, these look good. So nice. I love these expressions. Just really super nice. That’s sweet. And this entire wedding so far has been done with Fuji 400 H. In some cases I would jump
around between presets or styles. Like for example, I would probably add in like Triax from the Kodak everyday pack for a lot of these indoor photos. It would look really nice, like a little bit of black and white. But again, like I said at the beginning, this is just about the Fuji original pack. So just sticking in a very narrow slice of what is possible. So I can get through fast. We are almost done. Looking good, looking good. Outdoor theater, super fun. That’s where they showed
their wedding film. It was like outside on the sheet. Really cool. Look at that. The projector, all these
big trees around them. Not the easiest conditions
to shoot in, granted. I think I’m shooting at
like nine billion ISO here, so it’s a little bit cranny. I mean not nine billion,
but I think I was shooting with the 5-D Mac-2 at probably,
I don’t know, 12,800 ISO, something like that. Still turned out okay. All right, we got some
indoor cake details. Those look cool. Let me capture that edit and
apply it to the next few. All right. That looks good. I think for a lot of these shots indoors, I was, I’ll tell you about
a little trick I was doing. So when you’re in a white tent like this and you have an opportunity to do so, you can take your flash,
your on camera flash and just point it straight
up at the ceiling. And if you’re shooting
Nikon, it would be like TTL and if it was Canon, I don’t know what Canon’s one is called. I don’t ever remember. If you just use their
automatic flash mode, you just bounce it off the ceiling and blend it with your ambient exposure and you can get some really nice light. Like the ceiling acts like a soft box, especially a white ceiling. So this ceiling up here is just pretend that you had this immense white
thing next to your subject and you’re just bouncing a flash off of it and bouncing that white
light back onto them. You just get really nice light. Really, really easy trick to learn. And I think I remember
learning that originally from there’s a photographer, again, I’ve never even been to Alabama. But there’s a photographer named, oh, what’s his name? Well Bryan, but it was A Bryan Photo. A Bryan photo. Check out his work. It’s like, I think the website and you can probably
Google it, but it’s like A like the letter A and
then Bryan, but B-R-Y-A-N and then photo P-H-O-T-O. He shoots a lot of film or mostly film and I love his stuff. Always been a huge fan. I’m gonna give as many
shout outs as I can. Those are the people that influenced me. Okay. Copy that one, let’s put it on here. This is cute. And kids just have no fear. They just don’t care. Kids are amazing. They’re like adults without all the hangups and insecurities. Let’s see here. And imagination. Although I guess with enough alcohol, you can become kind of like a kid again or lose your inhibitions. Does cut a rug. All right, grabbing some guests photos. That’s always really fun. I find that a lot of people are so focused on the bride and groom as like the main attraction that they don’t get enough guests photos. And I think guests photos
are super, super important. Hopefully you’re only married once and the people that you
invite to your wedding, you want pictures of them. Like that’s the main reason. You don’t want like 9,000
pictures of yourself. I mean, of course you
want pictures of yourself ’cause you’re getting married, but don’t sacrifice images
of the people you love, just so you can have
like another photo of you in your wedding attire. You’ll regret it, I promise you. And I mean, I never
thought of it this way, but as a bonus, like if
you ever get divorced, which has happened to me, the guest photos are the ones
that you can keep enjoying. You don’t have to put them away. You can enjoy them the rest of your life. Hopefully, that never happens to you, but just a little side
bonus I just thought of. Okay. That looks good. Looks good. Great moments. Cool moments. That bounce flash off the
ceiling or off the tent ceiling, man, that is the reason you
can get pretty nice color even at the end of the
night with almost no light. I swear. Whoops, a little bit too bright. All right, here, oops. Here we are to the sparkler exit. This part was always really, really fun and a little bit stressful because you only get one shot at it. Let’s see how I did. So I’m gonna just apply
these to the next few photos. I don’t wanna over-correct. I don’t want to like correct
out all of the yellow and the weird colors from the sparklers because then you just
kind of lose the mood. So I’m just trying to
find something in between. So I’m leaving a little bit of the color of being at night and the sparklers. I’m leaving a little bit of that in. I’m not correcting it
out to like pure white. Here they go. They’re on their way out. My flash fired or someone’s flash fired. I don’t think it was mine. I was just using ambient and now they are like this
crazy color, super easy to fix. I just increased the white balance or the Kelvin temperature. That looks really good and here they are in their cool car about to leave. Let me grab that edit. Boom, there we go. That is how you edit a wedding. That is a lot of photos. And here we are, the final product. Everything. 535 photos. Edited quickly, efficiently. I just used one look across everything and the final collection of
photos is gonna look beautiful. The couple’s gonna absolutely love it. Well, they did love it. Eric and Amy loved these photos. So I’m really happy that I could show you an edit in Capture One and
if you’re new to Capture One, you can see that it is actually
a very easy program to use. I didn’t even dive into all the
crazy cool stuff you can do. There is so much more
than what I showed you. But that’s how you edit with Mastin Labs. You are just applying the
look that you want on import and then you’re using the batch features to apply like one master
edit to similar photos. So you get the temperature
exposure tint correct and then you apply it to the rest. And you occasionally
add like a tone profile or green if you need it. But that’s it. I hope you enjoyed it. It was really fun to go through it again. And if you want, like for a bonus, you can go look at the
Lightroom addition of this edit and see how that looks for you. If you’re coming from Capture
One and wanna see Lightroom, there’s the Lightroom edit. If you’re in Lightroom and you want to see the Capture One edit, this is it. Thanks for joining us and
if you found this helpful, please join our Facebook community. The Mastin Labs Facebook community and you can meet a lot
of really great people. If you wanna see how
our presets and styles look on your images, you can
just drop them in the group with a Dropbox link and you’ll
have like a million people edit them for you and show you. So thanks for joining us
and join us again soon on YouTube or Facebook. Have a good day.

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