No purchases yet.
Your cart is empty 0 items $0.00 Go to Checkout 0 Login

Tag: Brushes

How to Work with the Forever Thine Workflow in Adobe Lightroom

Hello, today we are going to get into wedding photography, and how to make editing this complex subject easier, using the “Forever Thine Workflow” by Sleeklens.

The best part about this Forever Thine workflow is that it is specifically aimed towards wedding photography, which is extremely helpful for a photographer who has taken hundreds of shots, and then needs to make a ton of quality edits in a short amount of time. Our “Forever Thine Workflow” comes with 112 wedding specific presets which will give you plenty of options to edit with. This workflow also includes 23 brushes, allowing you to make any local or precise adjustments to your photograph.

I have my photo pulled up, so let’s go ahead and get right into it. The first thing that I am going to do is go into the “Forever Thine” presets. We’ll scroll down to the Base presets and click on Base – Warmer. Then we will scroll down some more until we get to the Tone/Tint presets, this time going to Fading Dream. Remember, even though presets are one click edits, you can still go over to the navigation to tweak and adjust as needed.

For my photo I am going into the Basic tab, then changing the Tint to +45 and the Clarity to +40.

Next, we will use a brush to make a small adjustment to the photo. Going into our “Forever Thine” brushes, we will use the Fix Underexpose brush. We’ll apply this brush right in the center, directly on the subjects to bring a bit more light to them.

As you can see, that edit took less than a minute to perform, improving the overall quality of the photograph and added a nice, warm dreamy feel to it.

Moving on to the next photograph. For this one, we will be using the “Forever Thine” Black & White presets. So,let’s scroll down and select the Black & White – Ivory preset.

Once applied, we will tweak this preset a bit by going over to the panel and moving the Whites up to +31.

Next, we’ll go back to the “Forever Thine” brushes to make a few small adjustments. Going into the Wedding brushes, we’ll go with Shiny & Bright. We will use this brush generally on the subjects, doing this three times, clicking New each time. This is just bringing up the shadows a little bit and adds a bit more light.

Now we’ll go back and choose another one of our “Forever Thine” brushes, this time we are going to use the Wedding – Clarity & Detail brush. As its title suggests, this brush is used in areas where you want to enhance the clarity and details. For the photo that I am using, We’ll run this brush mostly over the bride’s veil and dress, which will help bring out the detail of the lace a bit more.

Now that we are done with this one, the before and after shows that after only about a minute or so of work, we have taken a color photo and quickly created a nice black & white photograph with beautiful enhancements.

And now on to our third and final photograph. In this photo, we will start out by using one of the “Forever Thine” Wedding – Film presets, we’ll go with Breakfast at Tiffany’s. This preset adds some contrast and gives this photo a really nice brownish, sepia like tone.

Next, I will go over to the panel and use the Spot Removal Tool to clear up the street in the picture a little.

Now that we have done that, let’s go into our “Forever Thine” brushes. Once again, we are going to use the Wedding – Shiny & Bright brush. We will run that brush over the bride and her veil, then click New to start a fresh brush, this time going with Wedding – Fix Underexpose.

We will use the Fix Underexpose brush on the bride and her bridesmaids in the back, slightly turning up the Exposure as we go, just to add some more light to all of them.

So, now I am going to use one of the custom brushes that comes with Lightroom. We’ll go with the Tint brush, but make some minor adjustments before we apply it. I’m going to set the Tint to 36 and the Temperature at 29. We will use this brush on a couple of the bridesmaids who have a little paler skin, just to make them blend in a bit more.

We can tweak this photo a bit more by going to the Detail tab, then to Sharpening and raise the amount just a bit more.

In the end effect, we have really brought the bride out more and muted the colors some with a nice slight sepia tone. We have also enhanced the contrast and light, giving the photograph a more polished and professional look overall.

As you can see the “Forever Thine Workflow” not only helps make editing wedding photos much easier, but drastically cuts down on processing time as well, while allowing you to create breathtaking photographs, preserving those memories for a lifetime.

I hope this Forever Thine workflow tutorial was helpful. Make sure you check out our other tutorials and hopefully you can try these workflows for yourself soon.

How to work with Grayscale Essentials: Creating Vintage Photographs

Hello all! Today we have another tutorial on how to work with the “Grayscale Essentials” workflow by Sleeklens. Specifically, We’ll be talking about creating vintage photographs using the Matte, Sepia and Film Grain presets that are included with this workflow.

So, let’s get right into it. For my first photograph, I have a picture up of a boy sitting in front of what appears to be a wood paneled building.

Getting started, the first thing that I’m going to do is go into the “Grayscale Essentials” Tone/Tint presets. We are going to use the Tone/Tint – Sepia preset.

Once that has been applied, we will go over to our Basic panel and make some adjustments to that preset, turning the Contrast and Exposure up just a little bit.

Now let’s go back over to the presets, this time we’ll go with the Effects – Film Grain 3 preset, to give the photo an even more vintage feel. This preset will give the photograph kind of a grainy texture.

The last thing that we’ll do to this photograph is use a vignette. Going back into our “Grayscale Essentials” presets, we will scroll down and select Film Grain Vignette 5. When applied, we will get a white vignette, however I want it to be black. We can change this by going over to the panel on the right and going into Effects, then Highlight Priority. From there we will move the Amount Slider back until the vignette is as dark as we want it to be.

What you may find with older photographs is that if they aren’t in black & white or not completely tone sepia, you’ll often find the colors more muted. For that, we can go into the Colors tab and make adjustments. In this photo we are going to turn down the saturation of the colors, to get more muted tones. Next in the Colors tab, we’ll go to Luminance and turn up the Yellow and Aqua.

So, that’s one way to do it. What we have done mutes the colors a bit and given its an old, used photograph feel.

Now let’s move on to our next photograph. We’ll start with this photo by converting it to black & white. To do this, we will scroll down through our “Grayscale Essentials” presets, until we get into Film – Black & White Contrast 3. Once we’ve applied that preset we will scroll back up through our presets and select Exposure – Matte Finish, giving the photograph that vintage matte finish that we often see with older pictures.

Next we will go ahead and tone it with the Tone/Tint – Sepia 3 preset.

Then, like the previous photo, we are going to use a vignette again, but instead of using the vignette preset, this time we are going to go into Effects and make our own.

So, go over to the panel on the right, then go into the Effects and move the Amount slider to lighten it up a bit.

Go back over to the “Grayscale Essentials” presets and find the Base preset. This time we’ll go with Base – Classic, just to add a little bit of a darker tone. After applied, I am going to open up the Basic tab and make adjustments by bringing the Contrast, Highlights and Shadows down just a bit.

Now we want to add that grain back in. To do that, we will go to our Effects presets and select Film Grain 4, really adding a grainy vintage feel to the picture.

That is all we are going to do with this one. We started with a highly saturated, modern photograph and gave it a really nice vintage feel.

Now we will move to our third photograph. For this one, I am going to start with an All in One preset.

Let’s go into our “Grayscale Essentials” presets and click on the All in One – Yogi Bear preset. I like this preset because it does convert the photo to a grayscale, but it also adds a sepia tone to it, which give this photo a nice dark brown tone.

Next we will go to the Base – Clean preset, to bring a little bit of light back into the picture. Then to get that grainy effect, we will use the Effects – Film Grain 3 preset.

Before we finish I want to also add a vignette, so for that I am going to use Film Grain Vignette 3, but like earlier, I would prefer it not to be white. So to fix that, like with the previous photo, we will go into our Effects, the Highlight Priority and move the Amount slider down to give the vignette a much darker tone.

Next, we will go into our “Grayscale Essentials” brushes, then scroll down and select Light – Brighten. I’m going to run this brush all over the subjects, increasing the Exposure some, just to add a little more light and help them stand out a bit.

In the after effect of this photo, you’ll see that we have added the matte effect, the grain and the sepia, all coming together nicely to give this photograph that old fashioned, vintage look.

I hope you all enjoyed this short tutorial and found it helpful. Hopefully you can try it for yourself and create some beautiful images soon !

How to Work with Grayscale Essentials: Working with Tone and Tint

Today we have a short tutorial about how to work with the “Grayscale Essentials” workflow from Sleeklens, specifically, adding tone and tint to your black & white photographs.

Now that I have my photo up that I will be working with, the first thing that we will do is is apply an All in One preset.

First, I’ll apply the All in One – Matted preset, then scroll down through the many other “Grayscale Essentials” presets and apply Tone/Tint – Violet.

Now let’s move over to the Split Toning, this is where I will be able to make the changes that I want. As I look down in the Shadows, it shows that I have a kind of blue tone. Here I can go in and change that, moving it up to a more of a dark purple tone by just dragging the little dropper around to where I want it, then I’ll turn the Saturation all the way up.

For the Highlights we have a light reddish pink color, so we will change that to an actual pink, but way down to the bottom for a pale tone. As we play with the Saturation, you’ll see that it gets really, really pink or back down to a very subtle color. I will also lower the Balance Slider, located in the middle, making the photograph turn more purple. To fix that, we will just decrease the Saturation a bit under Shadows, and slightly increase the Saturation under Highlights.

So, now we have gone through and changed the tone of this photograph. We started with color photographs and changed it to black & white, then we applied a violet tone to it. Remember that, you can use the settings to change your photo any way that you like. Sometimes it’s nice to have a slight color tone to your black & white photographs, they don’t always just have to be grey, black and white.

Now, we will move on the our next photograph of a little girl sitting on a rock, with what appears to be some farmland in the background.

For this one, we will start out by applying the All in One – White Castle preset to convert the photo to black & white.

Then we’ll scroll down and apply POLISH – Sharp as a Tack, then we will also apply the FILM – B&W Contrast 4.

With those presets applied, I have added a lot of contrast and kind of blown out the highlights just a little bit. To fix that, we will go over to our Basic tab and turn down the Highlights some.

Next we’ll go back over to our “Grayscale Essentials” presets, this time scrolling down through the many Tone and Tint presets. For this photo we are going to go with the Green/Red preset, which isn’t really my favorite, but as mentioned before, we can go into the Split Toning and change it to how we like it.

Green and red are opposite each other, but can sometimes be complimentary colors, however we will go ahead and change the Shadows to more of a blue color and lower the Saturation quite a bit.

For the Highlights, I will change the color to a brighter green and decrease the Saturation quite a bit here as well.

So, let’s now move on to our “Grayscale Essentials” brushes and select the Light – Darken brush. We’ll turn the Exposure down and apply this brush to the girl’s white shirt, because it is extremely white and kind of distracting from the rest of the photograph. While applying this brush, I will also turn the Contrast up a little, then the Shadows, Highlights and Whites down.

When it comes to the tone and tint, you can really use whatever color that you like, it’s up to you. For my photo I went with a greenish blue color and added a little detail. This just changes the picture a little and gives a bit more of an artistic feel to it.

So that’s it for this one. I hope this was helpful and that you can go try it for yourself soon.