How to Edit In a Light & Airy Style in Lightroom | Facebook Live Replay July 23, 2019

October 7, 2019

– Hey everybody, it’s me
Kirk Mastin at Mastin Labs, and we’ve got a very special
episode for you today. We are gonna be walking through how to get a perfect light
and airy look for your photo. So this is the look that everybody wants, and it can be frustrating if you don’t quite exactly
know what’s going on that’s making it so you’re
not getting that look. So the way I have things
structured for today is that I’m gonna be
using community images submitted by our amazing
Mastin Labs community, and I’m gonna go through images that just hit everything out of the park with you know, being shot exactly the right way to prepare you
for a light and airy look, and then I’m gonna show you some images where there’s a few
elements that are missing that will make it impossible
to get a light and airy look and then at the end, I’m
gonna show you a few images that are almost all the way there that could be improved just a little bit. So again, these are all community images, and I’m really grateful for
our huge Facebook community at Mastin labs, and thank you for sending
in so many good things. All right, let’s get started. So the light and airy look. What is the light and airy look? So some people think of
it as like the definition of fine art photography although fine art photography
covers a lot of things, but in general the light and airy look is very light, pastel look, very light tones, it’s there a light, I mean light and airy says it all, that’s the look that light and airy is, that’s what people want, and I’ve been shooting for 20 years. I did wedding photography
for most of that time. I shot a lot of film, I
still shoot mostly film, and the light and airy look
was something I went to a lot. There are dark and moody photographers, and you know who you are, and that’s a really great look too. It’s just a different
mood for your photos. But today, we’re gonna be
focusing on light and airy only. And for all of the images, I’m gonna be editing with
the Fuji original pack. So this is the second pack
that Mastin Labs ever created and it’s been updated a few times. As I learn more, I make
it better and better, but this is the pack, and it comes from the film
that defines light and airy. So this is where the
light and airy movement and everything started, right here. And I’m gonna walk you through
it from beginning to end. So are you ready? Yes, all right, let’s get started. So I made this light and airy checklist. And, let’s see, who shot this? This is Mikaela Hewins shot
this picture on the right, so thank you for sending it in, but I’ve edited this already
with Fuji-400H from Mastin Labs and I’ve boiled down the
conditions you need to have in order to make a foundation
for a light and airy photo. So here’s the checklist if you want to get a light and airy photo. The lighting needs to be
either backlit or open shade. So backlit means that the light source, the main light source like the sun, is behind the subject somewhere. Open shade means that the light isn’t really coming
from any one direction, it’s just very like diffuse and evenly lighting your subject, so it’s all very, very even. The second part that makes
a photo feel light and airy or the way that we expect a photo to feel light and airy is the location that you’re shooting in. You’re not gonna get a light and airy look shooting outside of a mall. You’re not gonna get a light and airy look shooting inside of a cafeteria or in a busy office
building or in the street, I mean you could get
in the street, I guess, if you had everything just right, but for the most part, you need a location that’s very simple, not cluttered, that is either white, mostly
white, or very neutral meaning like no big, strong colors, no big billboards with big
words or anything on them or some kind of vegetation, so like a forest, maybe an open field, just a setting that is
I guess sophisticated and simple and light. So the setting itself has to be light. The third thing is the wardrobe. So if your subject is wearing
like a really busy shirt like stripes or like huge contrasts between different parts of their clothing or any kind of graphics, that kind of automatically
kills your photo from being truly like a fine
art light and airy photo. So wardrobe is super important. And then the last thing
that’s really important which trips a lot of people up is that we associate a light and airy look with a very shallow depth of field. So when you have a shallow depth of field, meaning your lens is, the
aperture is all the way open or nearly all the way open, you have a lot of fall off from your subject being sharp
to the background being blurry and we associate this
subconsciously, for some reason, with film and in particular
a light and airy look. So if you’re shooting your your lens at, you know, f/4 or 5.6 or f/8, you will not be able to get this part of the light and airy look. You need to be shooting it
at like f/1.2, 1.6, f/2, I shot a lot at like f/2.2, that would be the maximum depth of field that I have for my lens. Anything above that, and you start to kind
of lose that film look. And part of that lens thing too is it’s in general, a lot
of light and airy photos are shot with a normal lens meaning like a 50 millimeter
lens to a telephoto lens. So anything, any lens length that’s longer than 50, like saying 85, that’s a
very classic portrait lens or 135, you get that
really nice separation from sharp to blurry in the background, and also the compression, so the lens compression meaning
that things aren’t distorted when you have those elements
you’ve set the stage for a photo, right out of the gate, that’s gonna look light and
airy without any preset. So you’ve noticed that I have
not talked about two things. I’ve not talked about
how you expose the image, so I haven’t said anything about like underexpose or overexpose. That will not make your
image light and airy. In fact, I recommend just
shooting normal exposure, and the second thing that I have not talked about are presets. You should be able to get,
and this is just sacrilege, you should be able to get
a light and airy edit, a perfect light and airy edit
without any presets at all. If your photo cannot look light
and airy without any preset, it is just was not shot
correctly to get that look. That being said, Mastin Labs
will give you a true film look on top of that nice edit, and
that’s what we’re here for. We’re not a magic bullet that will transform any
photo into any photo. No, there’s no good preset
in the world that can do that that’s worth your time or money. But if you get the image right as a skilled photographer, and you remember this checklist, you’re setting yourself up for success and you will get a light and airy image. So I’m gonna go through
a bunch of images now and go to the checklist and show you where things
hit and where they miss and diagnose things and then I’ll also do a bunch of edits with community images. So if that sounds good, let’s get started. Okay so this first image, it’s an open shade and
it’s slightly backlit. So if you look behind the couple, the light is probably
coming through diffused like overhead clouds but it’s not harsh like
straight down on top of them, it’s coming from a little
bit off to the side. So you don’t have like
any kind of harsh light. They’re wearing, or they’re in a very neutral location. If you look at the location they’re in, it’s not busy, there’s
no busyness in the photo, it’s very neutral, like
the colors behind them, you know, these are very neutral colors like gray, green, tan,
white, very important. Their wardrobe is very neutral. I mean she is wearing a very
bright kind of pink dress, but it all works, there’s
nothing garish about this, and all the colors really flow together. This is like a fine art
photography color palette in a photo. You’ve got like peach,
sage green, light yellow, her dress is a little bit, you know, the most different
thing in the photo, but everything works. And the lens is, this
is an 85 millimeter lens shot at 1.6 so aperture is 1.6 so it’s very shallow depth of field. So this hits everything on the checklist. All right, here’s another photo. This is by Daniel Usenko. I picked this photo because it’s not shot in front of a forest or anything, this is just in a city, but it works. This is shot in France, maybe
’cause it’s France it works? I know, France is so
light and airy in itself. But they are in open shade,
so the lighting is open shade, the location is very neutral, there’s nothing in this location, there’s no big red
blotches or colorful things or like a taxi passing
behind them or anything, it’s all very neutral, their
wardrobe is very neutral, she’s wearing kind of a
champagne-colored dress, he’s wearing like a gray-brown suit, and the lens used was a 58
millimeter lens shot at 1.4. Now if this image were shot
at f/8, it would be too busy, and would really lose that effect, but as you can see, it’s a very nice, perfect
example of a light and airy look. Okay, so here is another photo, this is by yes, Valerio Costilla. I love all of Valerio’s
work, it’s really nice, so thank you for sending this in. I picked this image
because it’s shot inside. This is not even outside, this is inside with I’m
assuming window light, but it’s nice, clean window light. This isn’t backlit or open shade, but it still works because
it’s fairly evenly lit, there’s detail throughout the whole thing, and what makes this work despite the lighting not being softer is that it has essentially
a white background, she’s wearing neutral colors, and it’s shot completely wide open, an 85 millimeter lens at 1.6, so this image has all the ingredients of a light and airy photo. Now if she was against like
some dark red bricks inside with like a yellow dress on, and like a shelf behind her
with some pictures on it, it would not feel light and airy anymore because it no longer
satisfies this checklist. And then here’s a photo of
mine from a long time ago. So this is in front of vegetation, but you can see that
they’re backlit from behind, and they’re in open shade, so it’s kind of the one-two combo like you know, this is the
light I was always looking for when I was shooting outside for a wedding like in the forest. I’d always try to get opposite the light so that I could shoot back at my subjects with the light behind them, and then I knew that in post or on film, I could get all the detail
back and overexpose it, and get that light and airy look. But this is backlit with open shade, the location is vegetation, and it’s fairly neutral
except for these flowers, but I want the flowers to stand out. Their wardrobe is fairly neutral,
it’s all blues and white, and it shot pretty much wide open, so this is shot with a 50 millimeter lens, that was my favorite lens
throughout my whole career, and was shot at 2.2 and that
was kind of my go-to aperture because it gave me a
little bit of wiggle room if I didn’t get my focus completely right, but it was also wide open enough that I could get that
really nice separation between my subject and the background. So there you go, there’s my photo. All right, so here are a few photos sent in by the community, and I’m gonna do an edit, and show you how they cannot, even though they’re nice photos, they cannot get to a light and airy look for different reasons. So this is shot, this is a Nikon file, so
I’m gonna go to Nikon, where is it? Here it is. 400H, I applied it, I’m gonna do cloudy for the white, ugh, yeah cloudy for the white balance, I’m gonna take away a little
bit of the magenta cast here by sliding the green or the
tint slider towards green, and I’m gonna increase
exposure and do All Soft. Okay, and I’m gonna crop
it a little bit differently so that you can see it, or actually, I’m gonna
go to to a full screen. Okay, so this is as close as I can get to a light and airy, a light and airy edit for this image, but it doesn’t look like this. Now there are few reasons why this image, I mean it’s a really nice
image, it’s really great edit, I would be happy to send
my client this image, but it’s not quite the light
and airy look that people want, and let’s go to the
checklist to find out why. First of all, the lighting. This is lit from the side, so you can see the side light coming in, on the left side of the
woman here and the baby, and then it gets much darker
on his face on this side. So already we’ve got side light. It’s not super harsh, but
it’s enough to kind of start taking away the softness
of the whole image. I would say the biggest
issue with this image is the location and the wardrobe. So the location is very, very busy. You can see there’s these guardrails, there are marks on the street,
there are these leaves, and then if you look at their wardrobe, she’s got polka dots, he’s got green, you know, I would actually
say it’s mostly her dress, these polka dots and this
blue kind of throw me off. And then, I don’t know, like, in general, like light and airy photos, people really like to stylize them with like, I don’t know,
flowy dresses and linen and peach colors and things like that. So their wardrobe isn’t cohesive in a light and airy fine art style, even though it’s a wonderful family photo. And then if you look at the
lens, it’s a 50 millimeter lens, but it was shot at 4.5,
so the aperture is 4.5. One thing that could, two things that would improve this image to make it more light and airy would be to find a part of the road that doesn’t have these marks on it, and then to shoot more wide open, so shoot it at like f/2.2 and then to wait for a time of day when the light isn’t coming from the side, but it’s still a really nice photo. So this photo is from Siarhei Sarachuk, and it’s a really cool action shot, but I picked this image because this is a kind of image
I would see in the community where people are frustrated
they’re not getting, again, like this look or this look or this look, and they assume that it’s possible to get that look for any photo,
and this is a great photo, but they try to edit it
and it’s just not possible. And I’ll show you why. And this is unedited, I’ll
do my best to edit it. So here’s Fuji-eutral,
I’ll do full screen. Okay, so here’s Fuji-eutral, I gonna increase the exposure. I’m gonna use All Soft to kind
of balance out that contrast and, oh man, I’m gonna do cloudy white balance and that’s
about as close as I can get, and it’s not quite satisfying, it doesn’t feel like a
light and airy image. And the reason for this is that, first of all, the
lighting is very harsh. We’re in a split lighting
condition where we’ve got like I would say near sunset light coming in straight from the left, really harsh compared to the shadows on the right side of the image. So that immediately takes
away any possibility of this image being light and airy. The location is super, super busy. There’s a lot of lines coming through it. The wardrobe is not
neutral, peach or white, it’s very bold and vibrant, and the way that it’s shot, it’s shot with a wide-angle lens at f/4. So basically, it’s a great photo, and I don’t want this person
take it the wrong way, but it doesn’t pass any
part of the checklist to be a light and airy photo. It just will not work. What’s interesting is that
if you let go of the idea of this being a light and airy photo, what it really is is a
vibrant, fun, active photo, and I would use, and personally, I would do
something like Ektar on it, and just lean in to the
fact that it’s contrasty and that it’s shot towards
the end of the day. So with Ektar, you get
that beautiful sunlight, you’re actually embracing and playing with the
contrast in the image, and you can see her expression and their movement even better. So like this image was never meant to be light and airy ever. In fact, it works really well as like a colorful,
vibrant, summertime image. So I just applied Ektar, I would maybe increase exposure tiny bit, and then call it a day. And in this last photo, this
last photo is beautiful. Abul Shah sent it in, and when I saw it my
immediate reaction was man, this is gonna make a really
nice light and airy image, and then I started editing it. So this is a Nikon file,
let’s do 400H again. So I applied 400H, going to increase the exposure. I think it needs to be maybe
a little bit more magenta. Yeah, like there, and I’ll
try to do all All Soft, I’m gonna do my best to
make this light and airy. So there’s All Soft, and
increase the exposure again. Now this image is very close to being
a light and airy image but it’s not, it is what it is. It’s a beautiful image, but
it’s not really that fine art really light feeling. And that’s mostly because of the, not even the aperture it was shot at, but just the busyness of the frame and that there’s no separation between her and her background. So this is mostly open
shade, she’s in the doorway, so it passes that, the location
is vegetation, that’s fine. The wardrobe is not exactly neutral, if she was in like a peach or white or champagne-colored dress, then it would drift more
towards the light and airy look that people expect. And here’s the crazy little technicality. So on the lens part, it’s a
50 millimeter lens shot at 1.8 so it shot like all the way open, and yet, it doesn’t work on the lens part because she’s in the same plane of focus as the vegetation around her. So if you moved her way out in front, it would blur out that, you know, it would blur out
the vegetation around her a little bit and separator her. Even if you found a doorway
that was a little bit wider so she wasn’t touching the
vegetation, that might help, but the fact that so much
is in focus in that plane, kind of negates the fact
that it was shot at 1.8. You can shoot this at the f/8, and it will look identical
to this, or f/11. So in those cases, it doesn’t work, but it’s still a beautiful photo. Okay, I’ve got two questions. – [Man] The first one
is from Raymond Limbers who asks when is the best
time to do a backlit image? – Okay, so Raymond is
asking when is the best time to do back with image? So I think the best time
to do a backlit image is, when, I would say anytime
that the sun is low enough that it’s at least, in general, 45 degrees behind your subject. So any higher in the sky than 45 degrees, then you get a really hot sky, like a completely blown out sky, and the lighting starts
to get kind of hazy and harsh on the subject. – [Man] And Ginger Briller asks how do you shoot a family of four at f/2.2 and have everybody in focus? – Okay, so ginger asks how
would you shoot a family of four at a wide-open aperture like 2.2 and keep everyone in focus? Great question. Let me see, I don’t have
an example in this group, but what I would do is I would
shoot with a longer lens. So if you shoot with a 50
millimeter lens at 2.2, you create a certain amount of separation between your subject and the background. Another way to get that separation
is to use a longer lens. So when you’re shooting at say 135, if you had a lens that was
you know, 135 millimeters, you could shoot it at like
f/4 and get everybody in focus as long as they’re in
the same plane of focus and still have a very blurry background, and that’s what I would do. One little trick that I
learned when I was shooting a lot of families and things like that is that I made sure to get everybody as lined up on the plane
of focus as I could before I started. So I’m gonna turn my hand this way, so imagine you’re looking
straight down on people. If this is a person and this is a person and I’m standing up here, this person’s gonna be in focus and this person is gonna be out of focus. If you can move them into
the same plane of focus, you could shoot at f/2 and
everyone would be in focus. If you’re careful enough about
getting everybody aligned on that plane of focus. If you have a very large group of people and there are people standing
in front and some in back, say like rows of people,
like a giant family, then my suggestion is to
get a longer lens like an 85 and shoot at a higher
aperture like f/4 or 5.6 and then you’re getting everybody in focus from front to back but everything before the group of people and everything after the group
of people are gonna be blurry and that’s what people
associate with fine art. I hope the helps. All right, one more question. – [Man] Kyana asks what
is your recommendation for shooting in harsh light? – What is my, so Kyana asks– – [Man] What is your recommendation for shooting in harsh light? – Kyana asks what is my recommendation for shooting in harsh light. Don’t. Don’t, I mean you can’t make
harsh light into soft light. My recommendation is if
you have harsh light, move your subject into a doorway or under some kind of open shade facing, facing towards the light. So what does that mean? It means like an awning or roof or foliage that doesn’t let dappled light through, put your subject under that so that it diffuses the light
and it’s even on your subject and then have them face
out towards the light not like back towards the house
or the tree trunk, but out. And then if you stand in front of them, you’re gonna be shooting
them under diffused light and that’ll soften it and
give you that light you want. All right, so I hope
that helps set the stage for the ingredients for
a light and airy photo. And let’s move on now to the edit. Now that you have, now that you’ve followed
the rules or the checklist, and you’ve got this photo
that can be light and airy without any preset at all, how do you make a perfect with presets? All right. So this photo is by Howard Treeby, and I’ve condensed the tips
for a light and airy edit down to six things, a
few of them are optional. And this is the best workflow. Again, I want you to remember
that the starting exposure that you’re working at,
doesn’t even factor into this. Get that out of your head
that it even matters, it doesn’t matter. I mean it matters if you’re trying to capture a super wide range of contrast, then yes, if you have a
Nikon D810 or something, yeah sure, shoot it like way underexposed so you save the sky, but it is not the magic bullet. So don’t worry about that part. And I’m gonna show you images that are like way underexposed, and overexposed, and perfectly exposed, and they’re all gonna get there just fine. So Howard sent this in, and the workflow that I recommend is that you apply the preset first, so we’re gonna do Fuji-400H Neutral, and then we’re going to
apply lens correction. If you are shooting your images according to the first
checklist aka wide open, you’re gonna need to almost
always apply lens correction because when you shoot a lens wide open, you get vignetting and
distortion around the corners, and that can really
throw off your exposure later when you edit, so you don’t want to do that at the end you want to do it up front. So I applied the preset, I’m
gonna do lens correction on, and you can see the image
changed a little bit. I’ll go back and forth to show you. So this is before, and this is after. Now we’ve got the preset
applied, lens correction, and then you need to adjust exposure, and for most people,
especially in this day and age when everyone is super
underexposing for who knows why, it’s just kind of a trend these days, you’re gonna have to
increase the exposure. So in general, most of the time you’re gonna have to
increase the exposure. So I’m gonna increase it. And you can see that this
image that you started with that seemed really dark
and like, you know, it didn’t look like a
light and airy image, it has all the ingredients already and I’ve barely done anything. So I’ve increased the exposure, now I’m gonna adjust the
white balance and tint. So let’s see here. I think daylight looks really good, and then we can select a
tone profile if we want. A tone profile is a special tool that we’ve added to
all of our preset packs which lets you get more detail
out of highlights or shadows or increase the contrast
in highlights and shadows for different effects. So originally, it came
from our film scanner, the Fuji Frontier, and
it was a way to solve for blown-out skies, you
could bring that detail back without affecting everything else. But you can use it in different photos to slightly adjust them without
changing them completely. So in this case I would use Highlight Soft which is gonna bring back
a little bit of detail in their dress and in the sky. So there’s Highlight Soft. I’ll show you before and after. So this is before, and that’s after. And with it applied, I
can even go up in exposure just a little bit more because
it’s retained all that detail just like film would. So there’s an example of
an edit for this photo. Here is another photo that we received, actually yeah, from Siarhei Sarachuk. I actually put this in the
impossible to edit category when I first saw it, and
then later I played with it, and found that even
though it doesn’t satisfy hardly any of the requirements
for a light and airy photo, it still can get there. I’m actually quite amazed. So, let me straighten it real quick. Now I’m gonna apply Fuji-400H and I’m gonna do Fuji-400H
for every photo just, for every photo in this edit
just to keep it consistent. So there’s 400H, I’m gonna apply lens correction on, going to adjust the exposure up, and then I’m gonna adjust
the temperature and tint till everything looks as
good as I can make it. So they’re a little bit magenta,
I’m gonna go towards green, and a little bit warmer. And now looking at it, I’m gonna increase
exposure a little bit again to about here. Now this is just totally shocking to me that this photo can get to a
somewhat light and airy look considering that it was shot
indoors, in mixed lighting. I think the reason that it can get there is because it satisfies two
things out of this list. The location is like totally neutral. Everything is either white or
champagne-colored or green. And then their wardrobe
is completely neutral. She’s wearing a champagne-colored dress, he’s wearing kind of brownish yellow vest and he’s bald like me, so there’s no hair to kind of
make things more complicated and all things considered, yeah, it’s a wide-angle
lens but it’s shot at f/2, so there’s a little bit of separation between them and the background, and even though it doesn’t satisfy that much of the checklist, it’s not that bad for being shot indoors and getting to a light and airy look. Okay, actually, I’ll
show you before and after ’cause it’s really wild. Here’s some before and after this photo, so thank you for sending it in. All right, so back to a photo that’s a little more
traditionally light and airy. So this is by Amber Renea Dalholt, and this is a Canon file, so here is Fuji-400H, lens correction on, increasing exposure. I’m going to adjust the, the temperature looks about right to me, I’m gonna just adjust tint towards green, just a tiny bit, why? Because I see a little bit
of magenta in her face. I’m also looking at her shirt and a little bit of this tree trunk, and there’s a little bit
of a global magenta to it, so I’m going to go towards
green, just a tiny bit, and then I’m gonna do All Soft. All Soft brings back
detail in the highlights, and brings out of the
shadows just a little bit, and that is like just the
simple light and airy look. It satisfies all the requirements, it’s shot with a 50
millimeter lens at 1.8. Really nice background blur, she’s wearing very neutral colors, and the background is very
neutral and beautiful, so that’s an easy light and airy edit. This photo was also by Amber,
this was in my category of this is gonna be really hard to edit, and it surprisingly wasn’t. So I’m gonna do Fuji-400H Neutral, apply the lens correction
although it doesn’t really need it ’cause it was shot at f/5, but I’m gonna increase the exposure, and then do white balance
a little bit warmer, and a little bit towards magenta. Why magenta? ‘Cause if I look at this guy’s butt, it looks a little bit green to me. And that is a nice light and airy look. It could be better if it was shot a little bit later in the day where we don’t have such a bright sky, and if it was shot a
little shallower aperture, so like it at f/2.2, it would be more of a
light and airy photo, but it’s really not bad
considering you started with this. Super underexposed. So that’s really cool and
my tips for making it better would be later in the day
and a shallower aperture. All right, so this is,
yes we have a question. – [Man] Just, it lines
up, Claudia wants to know, she says how to I know the
limit of increasing exposure? – Oh, that’s a good question– – [Man] With that photo
that you were just using, how do you know how far you go? – Okay, with the photo I just did? So Claudia asks how far
can you increase exposure or what’s the limit? So let’s focus on that for a second. There’s a few ways you
can figure this out, two ways in particular, and it depends on what you want. Now if you’re a purist who can’t stand the thought of there being anything pure white in your
photo, then you should, I don’t know, the light and airy look might not even be for you in particular, it might not be something you like. If you’re okay with the sky
being just totally white which I am, and if you look
at a lot of fashion magazines, it happens all the time and it
doesn’t make it a bad photo. You don’t have to have detail
all the way through the photo. But if you can accept those
things, here is what I look for. I look for the bulk, I look for the bulk of the
image like the midtones to be exposed correctly. So I’m looking at his back
and her back and her back and when those look correct to me, if my subjects look correct, that’s perfect, that’s
where I want it to be. I don’t really care if there’s sky detail nor do a lot of fine art
photographers, they do not care. Now, if you get really hung up on that, and everything has to have detail in it, you could add like a sky
overlay or something like that or you could try to do some
really fancy lighting setup with a soft box and try to balance it out, but in general, I just let the
sky go where it needs to go and to me, that is the perfect exposure. The second choice you have
is you can get the J key, and you can actually see where things are becoming pure white, and you can adjust to that. So if you don’t want anything
to be absolutely pure white, then that’s where your limit is. So in this photo, I’ve
already applied All Soft which maximizes the highlight
retention in the photo. If that’s still not enough, then I would just bump the exposure down to where we’re just
avoiding that red stuff, and that would be my new
exposure right there. I personally don’t care if
the sky goes completely white. I’d rather have my subject look like that if I’m going for a light and airy look. So I hope that helps. All right, I’ve got just
a few more images to edit, and then we’ll wrap it up. If you have any more
questions, please ask them. I’ll take two more
questions before we end. Okay, this is by Niki Crews. Let’s see how this one goes, so, Fuji-400H, lens correction on, it was shot of that 1.8 with an 85, so I recommend lens correction. We’re gonna increase the exposure, and now I’m gonna do, I don’t
know, cloudy white balance or maybe open shade. Open shade’s perfect, okay. These white balance settings on the side, they’re just a shortcut, sometimes you have to
just adjust it manually, which is totally fine too. So I’m gonna actually gonna go a little bit warmer than open shade, it’s right about there. This photo is interesting
because it’s not your traditional light and airy photo, it’s
not like a flowy dress in Tuscany in Italy, it’s just
like a girl at a skate park with a jean jacket, but
it’s still kind of works because it’s really out of focus, or the separation of the subject from the background is perfect, it’s fairly neutral, the background. It’s a little bit busy, I
would’ve tried to have moved away from these banners or whatever they are in the background, but she’s wearing very
simple outfit, so it works. And that’s not bad, so thanks
for sending it in, Niki. This is by Christopher Thomas. I’m going to apply, let’s
see, this is a Fuji file. So I’m gonna do Fuji-400H, lens correction on, exposure up, this needs to be warmer, and maybe a little bit more magenta. This is a tough image,
because I can actually see her skin that well through the
veil, but it still works. And then I’m gonna do,
no, All Soft is too much. I’m gonna just do Highlight Soft. Yeah, Highlight Soft brings
back the detail in her veil. So here’s the before
and after of this photo. This is a photo where you would see it, and my bias in my mind would be of course this is a light and airy photo, it’s a woman with a veil over face in front of a green forest. It’s a beautiful photo and it would be, I don’t know, more light and airy if she was separated
from the background more. So if she took just, I don’t
know, four or five steps to her left away from those bushes, those bushes would be out of focus, and more focus will be on her, and it would feel more light and airy. I would also try to
avoid having these things in the top of the frame
that are super in focus ’cause they’re kind of competing with her, but it’s still a great photo. Here is another photo,
this is by Abul Shah. I like this one because we get, you know, a really nice
wide range of skin tones. This is something people
are always interested in, so I added this one in here. If I do my edit, I’ll show you how close I can get to a light and airy look. So this is a Nikon file. Where are you Nikon? Right here, okay Fuji-400H, lens correction on. Hmm, didn’t need it, strange. This might be a third-party lens that doesn’t have a correction on it yet. Let me see here. Okay, there is no profile for this lens so that means we need to
fix the vignetting by hand which is kind of annoying, but whatever. Okay, so I took a little
of the vignetting away, and I’m going to increase the exposure. Now looking at them, I think
that this would benefit from being a little bit more green, and the reason I say
that is I look at his face, and he’s got a little redness
in the shadows of his face. Just a small thing, but it
needs to be little more green, there we go, and a little
warmer, just a tiny bit. Fuji is a cool look so it
shouldn’t go super warm. That looks about perfect. And I think I overdid it on
the vignetting correction, let me pull that back. There we go, all right perfect. So, this almost nails
everything perfectly. What I would do to get a little bit better light and airy look would be moving them a little bit closer to the camera and away from the background so you can blur that out
just a little bit more, and the wardrobe is great,
the background is great. If the sun was behind the couple, like see where the tip of
this castle is or whatever, if the sun was like right up here, kind of going through the
trees, and backlighting them, then it would be just like a knockout perfect light and airy photo. Those are my little quibbles with it, but it fits most of the checklist. Awesome photo. We got two more and then
I’ll take two questions, and then we’re done. This is by Kristen Hansen. I picked this one because
it’s in the desert, we don’t have any desert photos yet. This is a Nikon file, so we’ll
do, oh it’s like, all right. Let’s do Nikon 400H, lens correction on. This image is really super cool so I think we’re gonna go with open shade. Ah, perfect. And this is kind of crazy
but I’m gonna do All Hard. I think it needs a little more punch So All Hard, and then I
increase the exposure a bit. And it needs just a little bit of magenta. All right, there we go. I’m gonna do one more thing, I’m gonna crop it in a little
bit, it’s just so much sky, I want you to be able to see the couple. Let me get rid of that
little column, there we go. Ah. All right. All right, so let’s break
this photo down real quick. It has a really nice
separation from the background, so it got that right, the background is like a nice
neutral color, it’s not busy ’cause it’s blurry and it looks
like a watercolor painting. Their wardrobe, so the
ways this could be better is their wardrobe could be more, I don’t know, classic. Like it’s a very contemporary
wardrobe right now. He’s wearing jeans and like hiking boots. If he was in like a white suit or like a light gray suit
or something like that or maybe a white shirt and like chinos, or something like that, it would make it feel more of that sophisticated light
and airy fine art look. However, I think these
clients look amazing and this photo looks great, I
would love to give it to them. That’s just my little quibble, and the other thing is that
it’s shot at a time of the day where there’s no detail at all in the sky, and if you would just
wait until like blue hour which is right around sunset or it’s the hour after sunset, you would probably get some
nice sky detail in there, and still get that light and airy look, but it’s a great photo. And then here is our last photo. Let me bring up our
checklist one more time. I’m gonna do both checklists. So, just to kind of wrap things up. The foundation is perfect for this photo. It’s backlit a little bit, you can see on edge of her hair, and it’s an open shade. Her location is vegetation and neutral, there’s no like big red
blotches or anything or signs or anything. Her wardrobe is neutral, it’s literally white and peach, perfect. And it’s shot wide open with
a 135 millimeter lens at 1.8. Everything is here. This is your classic fine art photo that you’re trying to get to. I’m gonna edit it with
no preset real quick to show you that it’s just ready to rock, like there we go, simple edit, two clicks, it’s a super nice photo. So keep that in mind
while you’re shooting, the ingredients have to be right. Now let’s do the light
and airy edit checklist. Oh, this is by Siarhei Sarachuk again, thank you for sending it in. You are a busy bee, you
send us a lot of stuff. So let’s do Fuji-400H. Let’s see, we’ll do cloudy for the white balance, oh, I forgot to do lens
correction, lens correction on, I’m going to increase the exposure and then do All Soft. Boom, and a little bit of
magenta, just a tiny bit. Look at that. That is awesome, perfect. It passed all of my checklist. This is how you get to
a light and airy photo with no struggle. So I hope that this has been
really, really helpful for you. I’m excited to kind of break things down into very specific topics and this is something
that comes up all the time so I hope this is helpful. If you have any questions, please leave them in the comments here, and we will be broadcasting this. I’ll take two more questions
and then we’ll wrap it up. Do we have any more questions? – [Man] Jozuel, I’m
trying to say his name, asks if you use sharpening
and noise reduction. – So Jozuel asks if I use
sharpening or noise reduction when getting photos like this. So noise reduction, no. I don’t hardly ever use it anymore. That was like way back in the
day, I’ll use noise reduction. My favorite solution to noise is just try not to
shoot at super high ISO, and not really works with
a light and airy look. You shouldn’t be shooting
a super high ISO anyway. So you’ll never have to worry about that. And then as far as sharpening goes, everyone’s got their recipe, I don’t touch sharpening in Lightroom. I think if you over sharpen a photo, it looks super digital so I just leave it. When I do go to export, I
export for screen at low. No, I do screen, the medium setting, and then print, the low setting. That’s what I do so your mileage may vary. But anyway, okay, well
thank you for joining us. I hope that helps you in
your light and airy pursuits. If you’re new to Mastin Labs,
join our Facebook group. Just go to Facebook and type
in Mastin Labs Community. We’d love to have you even if
you don’t own anything yet, and you can go there, and just put in a link
to a Dropbox raw file, like put it in Dropbox,
a raw file of yours that you want to see
edited with Mastin Labs, and you’ll have like 25
people edit it for you so you can see. We love answering questions, there’s a lot of good info in there on all kinds of photography topics, and we’re a very friendly community. So it’s the least you can do
for yourself is join the group and see if we can’t convince you to become a full tribe
member of Mastin Labs. But for those of you who are familiar with me and Mastin Labs, please keep sending any more photos. We’re gonna be doing a
live edit every two weeks on different subjects. Just stay tuned in the group, when you see the link go up, put your photo in with your
name and the preset you want and you might be in the next live edit. So thank you very much and
can’t wait to see you next time.

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