Enhancing Your Wedding Images Like a Pro with Frank Salas / Nik collection 2.5 Webinar

[Music] hello and welcome to the webinar my name is Laurie Rubin and I'm very excited to introduce you to one of the top wedding photographers my friends Frank Salas he has a master photographer and a photographic craftsman he's a regular speaker and judge at some of the major national international photo conferences such as W PPI imaging USA and Photoshop world he has many coveted Awards so if you want to learn more about Frank please visit his website at Frank Salas comm brain thank you so much for joining us today we're very excited to see your beautiful images and I know you've been a big fan of Nick for many years so we look forward to seeing your presentation yeah Thank You Lori thank you I'm excited because it's one of been one of my favorite software's as you probably know me for such a long time and so it's glad to see that we get to share it with everybody else that's great we look forward to your presentation thank you hey thank you okay so I guess we're ready to go everybody so I'm hoping you guys are sitting tight I'm and speaking to you from us I would like to say sunny California today but looks like we've got our once a year rain so I guess we're all complaining on this side but thank you for spending the time with me we'll kind of give you a brief overview of what we're gonna present but first of all I just want to share with you a little bit of my work so you can kind of see what I do those of you here oh of course on social media junkies like ourselves Facebook's as Laurie mentioned is one item but of course we're pretty much daily on Instagram so if you want to follow for those that are interested and of course my background you'll notice is that wedding photography so you're certainly gonna see tons of that I'm actually live on my computer screen so you'll see me exit in and out through the different software so you'll get to see that live as I go through that so we'll work together but basically just to show you a little bit of the work I mean again as a wedding photographer we get to photograph in all variety of locations whether it's indoors outdoors being in California of course we get these beautiful ocean views but certainly you know we get to work in all conditions as you know and even if you're a portrait photographer same thing you know whether you're photographing in a home or outdoors at a park again Beach is the same thing we all kind of work in the same way you know we have to kind of be great at our lighting and our posing and and that the technical part but today of course is the part that all of us spend lots of time on right which is the post-production part so hopefully there'll be things that I can share with you some great ideas to help you enhance your images and I know that the word enhancement varies right I mean as myself doing this for so long you know I started when digital came out I think our first weddings in digital were in 2000 2001 that's when the beginning and digital started so you know I've been through this whole journey from film the first 20 years of doing weddings with film to now to this and so one of the things that I always give education on is that having to do my own darkroom work certainly not for the whole wedding but star Darkman work you know this same thing applies some of these techniques today that I'm going to share with you whether it's black and white again color different toning is really brought over from the darkroom days because we kind of had the same concepts than some of the traditional fundamentals but today as you see like an image here you know color correction is in our control how these things are in our control which so we're so spoiled about that like here you see an image that's right out of the camera hasn't been color corrected in certainly as you know they're you know through the software is you know we're able to take control of that so there'll be a few tips I'll kind of show you a couple little lighting things off there on there with you but my main thing is to kind of give you some of these like four or five key things that will help you at least start with your photos and prepping those and getting those correct in the camera first of all so in fact if I can add I'll show you just a couple more photos that I think that's pretty much the number one tip that I share with everybody even when I'm speaking at a conference with ya Photoshop whirl with with a bunch of text and feel that love all the software's is really they'll ask me what is the best preset or the best computer I should build anything to speed up this workflow because if you're again portraits weddings or you know you're looking at hundreds of images and it takes as you we know forever to get through all these and so really the number one thing that I always mentioned is that you've got to get the exposure as perfect as you can in the camera okay so again let's say this picture here straight out of the camera of course at you and I know that afterwards we can do you know whatever we want right just to create an impact of the images through these software's and presets and plugins so I've got some really cool tips to help you with that but if I can give one tip to speed up your workflow and that would be the exposure no matter what you do with the converting and of course processing you know you're gonna have an uphill battle because once again you're looking to hear a raw file but if the background is blown out or the foreground has doesn't have enough details and you're really not up hill battle and you can see we can change these and add some really cool effects after the words but we really want to start out with that perfect perfect exposure and I say perfect exposure real quickly just as that I'm talking about mainly as the the highlight you know that the highlight is wash style you're seeing a picture of the groom there's window light on his face you know if that highlight is washed out it's really hard to recover that and obviously by subversive your shadows are too dark same thing applies but in most cases we're targeting the exposure on the initial photo shoot of the highlight and we want to maintain the detail and as you look at the back of your camera I think that's the confusion is that many times the photographer will see and try to it looks kind of dark in the back of the camera so you try to open up the aperture or shutter just to get a little more light in there but what you're really doing is it's again you'll add more to the shadow side but if you go back finally download the photo you're gonna see that your highlights have been getting out of control so we'll talk about that so so that's kind of key number one it really is when I no matter who I've talked to is I can mention that enough is just to get the exposure perfectly a tip for myself is that you know I use a handheld light meter incident meter I know that most of us and I'm using mirrorless myself so I do like the electronic viewfinder that is you know super cool to be able to make your adjustments but the key thing when I use handheld meters even to this date is I don't think about my exposures i meter at one time meter for the highlight boom once I download all these images into your software's now you're just really tweaking the shadows color temperature and then of course any of the other enhancements that you want to play with so we'll talk a little bit about that so so kind of the quick thing I add here and number two for us is that prepping the file and that goes along with we talked about pre prepping which means the the exposure but when I say prepping and now we're talking about prepping it for you to now play with the image and add these enhancements and so if you see the photo on the right that's straight out of the camera it's a raw file nothing's done to it right so we already talked about the exposure that being key because again you don't want have to repair a photo you want to be able to enhance the photo and of course here's the image once it's been processed you know through whatever your favorites while converting and presets are but here's the key so let's kind of get out of here now obviously you're seeing a before-and-after picture here in a second so this is a before flash on camera off camera illuminating this and so again if you notice I point put this here you see there's detail if I move my mouse around in the dress but that means I've got it the exposures gotta be perfect so we're not washing it out color I can correct later who will talk about that of course any special and this is reality cameras no Photoshop anything but the exposure is keyed so that when we start adding presets you're gonna see in a few minutes why kind of talked about that now as I clone the light out of the picture perhaps get rid of the people in the background now you can see some details so we'll kind of pull some raw images and kind of take you through some of that so if you're ready for that we'll do that but here's another tip and that's kind of close out of here let's move into a Lightroom I'm gonna start into that for you guys so let's move into that folder and and kind of talk about some of these so here's another key thing and I'll go full screen you'll see this live so you'll get to see some tools and stuff so how I actually physically do this and and show you some of the presets that we're using with the Nik collection but here's another major Frank's tips for you guys that's super important super super important because I I'm like you guys you know I buy all the software's I play with them I test them some I like some I don't like right dries is all crazy right we're always talking online and on our Facebook groups and what about this what about that one that presets great well if you're like me I'm like a junkie in regards to I really like to figure out what it's doing why it's doing things what as an instructor teaching Lightroom Photoshop techniques and especially in the portrait and wedding world you know I need to know what's going on I just don't want to click a button I need to know what's gonna be the best to enhance my photos so so quick quick thing here let's very start out with this maybe some skin tones first of all so I'm gonna just click on this one and let's go over to try to develop module now quick thing to is I I like to work on my images in both starting both in either Lightroom or if I'm working on the single image I may just go straight into Photoshop and launch Camera Raw so I might pull a couple images in a minute - Camera Raw to show you how that works that's another great perk flow but if you're you're kind of going through many images our initial Corrections as you probably all do is and you know perhaps in Lightroom right you're just doing your your color and your exposures but many times if I'm correcting four and let's give you a quick tip here is if you're correcting images like this is a straight raw file you know I'm not going to add any crazy enhancements really if this was a one for a client if you look on the right side everything zeroed out so you can see the exposure on this so you can see what I'm talking about this is we'll give you the example what I'm talking about having what I consider a perfect exposure take a look over on the right side you guys see the exposure added yet there's nothing added in there yet so that means that right out of the camera there's the exposure now if I turn on the the items here on the top of left you can see what I did here here's what the shutter speed was the aperture the ISO the lens I use that's exactly how this was captured right so that you can see that with a perfect exposure now when we do the tweaks in the photos you'll notice that those are going to be a lot more successful for you so so that's number one so you notice when I do enhance this for the initial client I'm adding this little extra bonus here for that I don't sit here and add all these presets and really glorify the image because it's just a proof for the client so that's another thing people ask me when do you start adding all the extra colors and so on and so on but realistically if this was just for a client I may do a if you notice start with the color temperature and those of you who are working with Lightroom same thing I know there's another tip that I talked about here and is about white balance I'll throw that little quick tip in there for you too is that you can apply with the eye drop if that's something you prefer the way to have a good balance but if you guys notice sometimes when you look around you start clicking around you ever notice it's sometimes too warm sometimes too cold well here's the tip then if I open this back up if you notice in the bottom of this Target the bottom where it says RGB and it says right now are 80 6.8 G which is green 86 point 1 and then of course blue 84.8 well the thing is that in order for this a white balance tool to work perfectly here's a little thing that they don't tell you is that the reason you're getting different colors all over the place when you're clicking and even if you click on a neutral color we think is neutral I mean I can click back here in the wall but the secret is that the reason some people will use that gray card because it's really looking for a neutral quote unquote neutral which is really like an 18% gray card is really on this planet is like neutral so that means that if anything is neutral that means that those numbers in the bottom the red green blue if you hit a perfect grey card that means that all numbers are the exact same numbers so anytime that you see the red as 10 points more the green vice-versa or the blue is off they're not matching that's why that whatever color picker is looking at it's not exactly a neutral tone it's not an 18% gray so that's the technical part why you're driving yourself nuts not getting the perfect white balance right so that's probably one of my number one thing that people like aha the wonder that thing doesn't work so you can get it close enough and obviously you have the option of going manual and then selecting that accordingly whatever your taste is so so just to give you a tip as I'm prepping the file before it goes into enhancements right so we want to prep that and of course same thing here if I feel I need to recover highlights now before I go any further on this one I got the here's the peers the preset tip because we're gonna talk about mainly here in a couple minutes the enhancement and we're talking about presets plugins whether you using it through Lightroom or you're using through Photoshop I'm gonna kind of show you both you know the main thing here's by the one tip of the day that that you're gonna like is that here let me talk for a couple seconds is that a preset obviously it's already a set of recipes or a set of adjustments that have already been done for you that correct I mean obviously someone's already tweaked a certain amount you come over in this side depending which purchase person or things that you purchase presets you click on them and that's where it comes up with but here's the thing the reason I mentioned earlier when I deliver this to a bride to look at it for the first time again I may have only done exposure adjustment number one number two if I need to recover highlights of course I'm gonna play with that a little bit if I need to recover little shadows I can play with that whites same thing back and forth as needed right a blacks I don't really touch too much unless it's maybe a backlit situation so that's again up to you when you there'll be a certain some pictures in here in a minute we might use that but everything else here below including the rest of the panel's I don't touch on a neutral correction for my client to view it for the first time so remember if I'm this is on complete wedding we're just doing color correction exposure a little bit of highlight recover maybe a little shadow recover and that's it so here's the major tip now let's say that you did do the opposite you went through here you went through the tone curve you said you went a little split toning you added you name it even bumped up extra contrast I know we love it when it the blacks are nice and deep we love all that but here's the problem is that if you take an image to the next step which means we're going to use one of the Nick collections or you use any preset that you love well here's the problem is that most of those recipes in most cases do a couple major things and one of them happens to be is a contrast a major contrast boost so if this image has already let's say we already added black to make this look loud this is a little bit sexier and maybe I want a little more contrast or vice-versa most of the time people are adding more contrast you notice that same thing maybe you either opening shadows or darkening shadows so if you look at it this way if you've already applied in your original photo of if you would all these adjustments now when you start playing with presets you've already pretty much double processing the file so if you ever do take an image and you start adding a certain preset that's happening so and I'm gonna I have a tip for black and white at the end and I'll show you how to getting get the best in the most beautiful black and white and that's and you'll see another tip on that that I share again during these software conferences and so that's the way you do that is that if you stay with a neutral image you doesn't mean you can't come back in the Lightroom and add your other stuff later right but the secret is that you don't want to provide that all in advance so you just have to decide what's better in your workflow but for me you know I don't wanna the the couple hasn't paid me the bragging hasn't paid me to give all this custom enhancements yet if they want that that's when I produce with whether it's on a wedding album or a wall portrait then I come back and do my favorite tweak so so that's a major thing I just need to share is that when you start doing this is don't over enhance this because when you start adding presets that's where they start going down the hill on you because you've already added too much contrast and it just looks a little muddy right and I know we've all had that we're like wow I really bought this so anyway so that's a good tip so let's talk about the skin portion now and show you in the nick collection which is our favorite so this is probably the best one of my favorite features is the skin portion so if you're working with children portraits family portraits you know any of these works for this so let's go back to just I'm gonna reset this for a second because I just click on the corner and once again I'm just going to just exposure when I just exposure as i zoom in I'm making sure that there's details here in the highlight section and again that helps with in-camera exposures I always wanted you know same thing make sure I'm not blown out anywhere here you can see in your histogram on the top that helps as you notice if you see you hover to the top right of here you can drag left and right even in the histogram and pick whether you work in mid-tones or down to the far ride the highlights so there's a little shortcut if you love that so I always like to work with shortcuts too but so shadow same thing here I think the shadow looks great I'll to work with that whites and they same with blacks I can almost stay neutral for right now now now that you're ready to add a preset to here you can basically right click and not you can either export into to export out once it's completed but in this case we want to edit so do we want to edit directly in Photoshop or do we want to go right to the Nik software a lot of times I'm gonna take you through a step is a smart object if you notice that in Photoshop and the reason I open as a smart object in Photoshop you'll see a couple reasons why I can either keep the adjustments which it will still save the adjustments there and it looks like it screwed over on my screen here there we go it's kept those adjustments but this will allow me to and here's a tip if you if you're not familiar with Smart Objects in Photoshop if you right click on here or in this case you double click it first of all it'll bring you back into the Camera Raw so you can still make adjustments here okay you can still make adjustments on that image that you brought directly from Lightroom or if you want to maybe let's say we want to darken this area here a little bit maybe let's say we want a dark in here what you do is you don't want to hit ctrl J right if you hit ctrl or command J that's the normal way of making a copy but if I do that with a smart object you see the little full if I do that with a smart object what will happen is that it's just it's just duplicating so if I make any adjustments on this top file it's gonna affect the bottom file so the way to avoid that is if you right click here and go up here and say new smart object via copy so that means that it gives me this brand-new copy so whatever adjustment I do here won't affect the bottom here so now you double click here and again if you want to do a little extra processing here you want to darken just the flowers okay before we add our little cool effects you can hit OK and then in this case I may add a mask so I'll be holding on the Alt key or depending on Mac do the opposite so you can add that and then I'll just paint that in so this is just a couple I'm just still prepping this file let me soften the brush here real quick so it's not so harsh there we go and so and if I make fits a little bit too much I can just adjust same thing with the keys so this is just prepping that file just no minor stuff and people ask me how I kind of tweaked a little stubby I get to the main thing so once I'm done here and I'm ready now to add a filter to this many times is I will set up on a separate layer above that next preset effect so many times if I want to keep what's here I'll do a shift command couldn't command or control et and that'll bring me up on a whole new layer right shift control alt e' as an Edward or shift control command II that's a shortcut a long shortcut right that'll add a whole new layer with all these adjustments there but won't affect this now if you are in Photoshop these come over to your filters your Nik collection the first one will be the color effects Pro 4 and that's usually probably the favorite one that I'll use for doing whether it's adding contrast writing details on these photographs and so you'll notice some of the tips there let's come back and Center this on the screen so you'll notice it's on top of all these windows here right so I'll make the floor so doesn't confuse you but if you notice on this top corner those are basically the tools are the adjustments of whatever you're going to add on this side so let's click on all these are all the presets that are included with the color effects Pro and you can usually choose whether you like if there's some section that they've created for us whether you're into weddings if you're into architecture landscape nature they've given you a set of presets that they have used that work very successful so what I've done is I've hit all many times and I might pick out the top four five six that I like so let me click on their favorites you notice these little stars have highlights that all you have to do is as you go through some of these is just click may be the star and then you don't have to fish through every one in from case that's something you want to do but either way it's great to I've literally clicked on every single one of these before and just test them just to see what they do what's the effect they have and as I mentioned that's how I figured out how presets are more successful is by not over processing that file from the get-go right so if I keep it neutral like you have here now if you notice here on the right it says tonal contrast chances are that's the last filter I used when I left this software so if I X out of there now it's back to the neutral section okay so let's do a little skin enhancement here for you because I have to say there's one my secret tool that I've always used for the skin has been in the in this Nick color effects Pro for I mean this has always been the go-to you know you don't hear about it but I'm thinking okay this is my go-to it just puts this buttery looking skin softening that I don't think I've found anywhere else I think any of us have used this we've like you're right this is it we love this tool so here you go so I haven't listed under my favorites the dynamic skin softener now if you notice this little kind of what looks like a little multiple folders you know they've given you a couple different presets so if you want something that's that's obviously the default maybe something stronger it says here or the entire image but it's pretty simple when you go back to that the original one is that if you click here it says you start with the skin color this is amazing I think that I haven't seen this on any other type where depending on the skin color of the subject really this is how this technology works which is just amazing it's just not taking a generic set of numbers and the algorithms just doing it generically it's really fixed in that for it so if you click on here and you'll notice sometimes you'll have like there's makeup section on here there's a highlight here obviously shadows you can call that but if you click here you're gonna get one set of filters this kind of approach to that if you sometimes go in between the middle you can kind of just click around you'll notice sometimes it's a little softer than others well they have basically an adjustment for that so if you come over here and give you the color reach which technically for me it seems like it expands between these two different tones so whether it's a dark tone color or this one you can adjust this now I always like to joke around and what I say is that I always take my sliders all the way to the right and all the way to the left and my joke is that I always go all the way to the right and Maxim out so I kind of get my money's worth I know it's a joke that I do and even if Lightroom right doesn't max everything else so that can really get an idea what that slider is doing so don't be afraid to experiment with that same with whether you're working in small detail right you can click on that sometimes there's that which are the smaller pores if you feel you have medium details same thing I'm kind of going back and forth adjusting that to your your vision your eye to see which one you prefer right so that's really how that's adjusted right there just amazing if I can do like a before and after and kind of scroll through that you can kind of see the difference now here's the other part that's been what we've and this was this software has been really have to say advance this was if I understand and I do remember this has been built way before Lightroom right this is this was just a way ahead of its time i I can't believe that this has been around and a lot of people hadn't or wasn't aware of it but this technology has been around and was so great before its time it's amazing so what you would do here is that lets say it's almost giving you a global I'm gonna back out softening here but you don't want all this softening you just maybe want to stick to a certain area well if you notice down this corner let me kind of click back out of here and so I can see the bottom portion of that cuz I've got a lot of windows going here if you notice here down below if I want to use this and I'm okay with the way it looks I've made the adjustments here I'll talk about control points in a minute but you have an option of either just hitting okay with that when you hit OK it'll take it back into Photoshop with this global filter okay so everything is saw number two if I hit brush which is my preference I can go and either remove and subtract after the fact right I can do that prior so you have the option of using these notice a minus or plus you can click on one of these and select an area that so I'm going to go ahead and just move this around and right here whatever areas within this circle I can change the enhancement so right now I've removed that softening in this whatever it's in this area here see whatever isn't listed now move this around it's also detecting the skin this color is affecting anything else because I just identified so you have an option the in this technology to go if you just want a specifically you don't want to go brush it later and Photoshop you just want to get in and out spit it out of Lightroom and back up for a second if I were coming out of Lightroom and I'm using a raw file this feature down here brush is not available to you so just FYI in case you download a trial which I invite you to do so this way this option lets you I guess if you want to say it's like a brush it allows you just to select its area of this in this within this circle right so that's how you're making the adjustment so here is the opacity so I can make this adjustment here now if I prefer not to do that I'm gonna hit delete it's still global now remember I can minus that so if I just want to remove it from a certain area same thing here so whatever's within that circle is still on her face but I have an option of let's say down below I don't want it in this area they've got a lot her skin to look so soft in there I can remove it again based on that opacity so that's the cool part if you do if you want to go straight out of Lightroom you're working on a rough file and you don't really want to brush it you want to be quick so this is fast this is very fast and convenient so let's remove this because my favorite way to do this you're seeing this global is I'll hit brush and now it'll see here working it's gonna add and here a mask for you this is all working behind the scenes and it's gonna open a new image or the same image but with applying those effects and you'll notice you've got a little extra window here on the side and let this process here adding to this this is a raw file I'm working on a raw file so it's it's not a JPEG you can apply this to a JPEG so by the way there's no effect on that it still works on both files but on this side I can do a couple of things obviously you have a mask but this one I mean zoom into this because right now it has not apply just hit brush but it has not applied anything yet okay so I have a brush and you can choose whether you're at a hundred percent and your choices remember you're gonna add this accordingly so leave it at 100% but what you have choices are is this whatever you filter you just used you're either gonna paint it in so if I click paint then I'm gonna paint where I want or number two I'm gonna just hit fill which user I just hit fill and then I'll come back and hit erase so let's hit fill and there is added it to the whole image okay and then we have a couple options now I prefer if you're using a Wacom tablet because I like to draw and I like to kind of paint so I'll usually click the erase tool and then if I want to come back and remove maybe this is a little bit too soft for me and I'm at a hundred percent above as you guys know the shortcuts on on your keyboard and Photoshop you hit the number five you're 50% number two twenty percent number eight eighty percent so at about maybe your choice forty percent I may erase it in certain areas sometimes if her skin tone is so kind of light complected almost matching the dress sometimes they may pick up on that so I may remove it maybe at 40 percent or so this is so it so my dress remains a little sharp sometimes there's a little spill in there which most the case it's not but just remains here even in the eye sometimes I'll come back at a hundred percent hit tapping the zero zero key and then my brush and just to make sure that there's no spill in that area so if I hit the backspace on your keyboard there's your mask okay so that's showing you where I just erased and where the rest of the filter has been applied she doesn't look too good there but remove that by hitting that backspace key so there you go so there's the softening so for me very easy to use very easy to in quickly to use whether you're in Lightroom or Photoshop but inferior Photoshop user and you like layers that's kind of the method I go to now if this was not sitting this raw file in Lightroom I could just directly drag or or obviously open as I could say either way a photo in Photoshop it'll launch Camera Raw where we're at and then I can obviously access my filters right there right so I'm a net-net collection there so that's the quick way to do that and then obviously go accordingly now as far as retouching yes I mean I can still grab clones of stuff I can retouch blemishes and so on in here I can do that Lightroom if I want to but this is just giving you what I would do normally if I'm processing it that way okay so easy stuff for the light like images when you're adding softness and whatever you click on that original filter it's picking up on those tones so anyway so okay like that part so let's go back and grab another image let's work on some kind of more of a coloring effects so let's hit discard because I don't need to save this for now and so let's go back into Lightroom because there will be a test and and I even got a couple portraits in here so let's I'm gonna show you let's work on two different images real quickly meaning color wise boosting color and by the way even on an image like this same thing once I would have selected the skintone easily but if you notice the highlight again if you look on the right look at the exposure that's gonna really help you both in your presets and processing that you're not having to recover stuff I can always open shadows I can add a reflector I can add a fill light but it really trying to keep the highlight that's a major thing so so let's pick on another em I've got it maybe an engagement picture of God obviously I've also have a couple fashion pictures so I think if you guys don't mind hanging out with me all day today we'll kind of go through them all which of course I'm just kidding so alright so let's pick on this image here this is again straight out of camera I'm going to click up here in the top right this will show you it's a raw file I was shot at two hundred and second five six one hundred so there you go so you'll know that that's exactly what we're doing so before we add any other enhancements to this again we're gonna prep the file so in this case color correction if you want to do a quick color correction here sometimes like I said if you look at the numbers or not perfect pretty close right sometimes they're pretty close sometimes they're like what are they thinking right you can still tweak that so we did that number one number two if I want to open up some shadows here because remember I'm prepping this to take this in there and the secret is I want to make sure there's some detail most cases I can add that there same with the whites but I feel there's enough detail here so let's make sure we kind of bring that down take a look at the sky as you you can see that's bringing that down but again blacks remember I may add a nice preset tones to this so sometimes I'll go the opposite I'll either open up contrast you can see it kind of flattens that or same thing here I'll go the opposite with the blacks because remember I can add that later on but I'm gonna zoom in I just want to watch the highlights especially on the face sometimes I'll even come down just a little bit darker I just pulled down the exposure even though it's perfect exposure according to that I'll pull it down a little bit and then the same thing with the shadows I'll open those up a little bit more because now if I add any presets I've got a pretty good neutral image and it's not gonna really block whether it's the highlights or shadows or I should say clip the shadows and vice versa of highlights so you gotta be careful so now here's one that if you went directly from here I'm going to show you directly from here into the color effects Pro for once again so you have options here and in this case since I've already made adjustments the default is gonna say edit a copy with your Lightroom adjustment which is yes so you hit edit what it's gonna do in your Lightroom down below it's gonna make a virtual copy so you don't panic it's not gonna affect your raw file it'll make a virtual copy so when I come back in here you'll notice it'll be a tiff file which is basically still a none flattened image you can still go back and correct that so now it'll take me into direct car fax Pro for directly we're not going to Photoshop it'll open the application direct so what I notice it I think I mentioned earlier before if you notice here where it says in the bottom right where says save and cancel you now you says you can't a brush in this one y notice that with the raw files but that's okay because any extra painting or effects I need to do like I'm gonna go back to Lightroom and I can use adjustment brushes so those options are available and I like our Photoshop or Lightroom never use the term layers in Lightroom obviously because they don't want us to leave and go to Photoshop but you know they have all the adjustments so we can kind of tweak here but now we want to just kind of add a little contrast maybe a lot of beautiful contrast to the scene but you notice I'm kind of flat so let's play around with for a second so if I click on let's click on here so my favorite let's click on dark contrast let's click on that so you notice that's just a global it's added this whole global effect and you have always will have adjustments of the opacity so that's too much as an overall you can kind of go back and forth there same thing and see what your preference is is right that's an overall but when you select one of these presets you have to remember when you have the the beauty of brushing and and so on I find myself that not too many images I do Global filters the global presets everything that I'm doing is like up I have a visual visualization of am I gonna just use this dark contrast and I just chose for the wedding couple or am I gonna use it for the sky or am I gonna use it for the rock so you got to kind of think ahead of time because I don't need to use it for this whole thing remember back here we have these points so let's adjust this kind of like we can still tweak that but let's say I just want this detail for the bride's dress okay I just wanted to two things for the bride's dress here's the before you see it's kind of bright I've got detail but maybe it's a little bit too bright it's overpowering for me but maybe I want and I want to add detail so right now let me just target this for this dark contrast and I can adjust that so let's go back here and hit a plus here okay and so now everything that's sitting within that as I click plus we're just picking the dress always make sure just a dress is in play for the most part right for the most part just the white right in there so you notice it eliminated that from the sky and everywhere else so now I have an option of either doing the opacity of that just where you like if I still want to tweak up on the top right just notice here your top right you can still tweak this section whether it's your work in the colors right the detail its try this is stuff that you can have already still tweak that adjustment you don't have to worry about it here so there you go I can just target that so I don't need to brush it anywhere I can just go quickly there now let's say the sky we want to do the same thing I can kind of click around even in here and add these presets accordingly now if I want to I can even add a secondary right so let's add now I want do the sky another favorite of this tonal contrast I wanted to add a little extra the sky the other one was adding darkness but I just want to add contrast maybe I don't want to add darkness I'll hit this tonal contrast once again it's doing an overall thing so if I don't want the overall she looks good like that right I mean that we could say gray I'm done it's beautiful but in this case you have options of same thing protecting highlights so that's not overblown probably one my favorite filters as well the mid-tones you can see adjust the mid-tones now guys these two filters the three filters I showed you if I bought anything else I could I could leave now this is it this is this is probably the reason a lot of us said no we need this software we can't leave it because of this reason and I think those that are there are these Nik software junkies if I can say you know we're always mad at Photoshop because we said no you guys better make sure they that you let them continue you know allowing Nik to be used through Lightroom and Photoshop because we need this these are some really cool tools that are like wow look at the image just here I did a global one but look it I went from that one and just the whole thing is gorgeous but if I just want to select a sky same thing here notice here when you click on contrast type they have their presets with built in here as well so you need to go through here and see which one you prefer there's a lot of cool options within just not just those sliders not just what the recipe here but also here and so the sky right now the whole thing has this tonal contrast let's come over here and just select the sky and same thing I want to kind of remove this here now if you're gonna let's say you notice that the the round might hit everything else what's okay sometimes I have to maybe make two of these adjustments and it's easy way if you just hit a control D or command D but well let's first fix this one let's come here apply the opacity on that on this section because remember it's only gonna hit here I don't want to apply the whole image but I'm gonna make sure the iPads are here that I can do a command or control D add another point and just kind of slowly go through here see and kind of overlap that again control D because I don't want to go full circle right because I go full circle I'm back where I started so sometimes I can drop a couple of these control points and then be real creative so it's kind of crazy and this is gorgeous how you can kind of go through here and then do your tweaks accordingly here your opacity again you have an option of coming back in here and adding and playing see that I can just still let's see which one I prefer got like a high pass look there so that's kind of your adjustments overall so you can keep building on here without having to go back into Photoshop you it so those of you don't even want to mess with that or don't even own it not a problem at all in fact if you know if you don't know in Lightroom you can kind of go direct so this is how cool this is within that and can you guys believe this is the technology that was way before all that I mean not before Photoshop before Lightroom and it's just amazing that's what makes the Nik collection really cool because you're not only be able to add these presets so I mean I can go on and on and keep adding filters but one other thing is if I want to add like a white neutralizer to say the dress I'm gonna in a ballroom and the dress is a little bit too too yellowish I can click this and you can see with one click the algorithms already picked like the white points and so if I go to compare mode the dress has a little yellow in it okay so if you're look at it as a warm tone in it so there you go it's kind of clean that out I don't want it in the overall area same thing I'll come back here keep it within that same area that I did earlier it's not affecting your other section because you know obviously it'll it can keep building now what I forgot to do earlier that it just I noticed it right now just so you'll notice that I'm just showing you one filter at a time but if I want to keep those filters which I was layering a few minutes ago you need to click add filter so then each one of those that I keep adding you notice your on the right hand side each filters that I keep working on will keep stacking up so that's a step that by just talking to fans I forgot to do but if you want to keep adding that which now we've added that white neutralizer let's go back here keep it within this area which I just did here make sure it's within there and then of course same thing here you can work that pasty now I'm gonna head add filter go back and add that dark contrast which we did earlier okay and then the same thing it looks a little bit more than I want but I'm gonna come back here click it on here so now it's still just remaining in or the opacity so that's how you build it keep stacking it now of course we never call the layers because that's not what it is but you notice here that's where we kept stacking it here whatever filters so there you go you don't forget that now lastly in this one you see here it's a say recipe so you can technically whatever you've done here you really like what you've done you can click Save recipe and let's call this Franks Franks whoops here we go my Mike's in the way Franks wedding pic there we go I always type two DS I don't know why but it's fun so then I'll click OK now if you notice I build one for today from scratch so if you ever come back here in your filter library and you want to click any recipes that you saved there it is right there so even if I came back let's go back here that on the top right hand corner let's just say we want to eliminate these filters all together and we just eliminate them they're just back from scratch I can come back here hit the rest of these click that one time now the only thing is that remember it may or may not remember if you're doing some of these control points you see what it says here currently apply it's gonna do a global chances are global so you have to go back and kind of start readjust so that's what I've noticed I started doing so specific points because remember I may be using this recipe on another image that's okay but it'll remember what a filters presets I've use and so it's kind of cool that way so once you're done with this once you've made all these adjustments if you hit save you'll notice now that it's gonna come back into Lightroom you'll be noted as a TIF file and in a virtual copy so you can now still have your original see right here next to each other this is the virtual copy that was straight out of the preset and on the right obviously is the original one so you're not really losing or messing with the integrity of your raw file but you have a copy then you can still now adjust accordingly with your Lightroom adjustments oh man there's a lot of great great options so love that love that so let's do black and white black and white if there's one thing today and another one thing that you want to take with you today is I know look I get that from the audience all the time and so say Frank how do I get I could Groo great black and white no one's really explain to me how I get great black and white sand and the Nik collection has just an amazing what's called the sewer effects Pro we're gonna show you it just amazing I can spend an hour just on black and whites but I'm gonna make it simple so you don't have to worry about that so let's pick a good image for black and white something that has black and white in it because that's typically what you want to show and I pulled a handful of these and they all look great so let's go to I might have time for tulips if you do like fashion or other men I just wanted to pick a portrait in here so let's kind of let's pick on this one then I'll maybe show you another wedding one but but on this one cuz we'll do time to time with its content photos branding editorial stuff during the week we're shooting portraits of anytime again whether it's an engagement session or in this case an editorial for a men's fashion thing but same thing applies when they want black and white so here's the keys to black and white remember we're gonna start with the prepping mode first which is the key and then we'll go and add our black and white toning so when you think of it don't worry about turning this to black and white yet the number one steps are this is you've got to prep the file so that there's detail so here's the thing you notice you every software most case you'll see a contrast slider how many of you admit that when you've ever added contrast it's either a good thing but most cases it's a bad thing well let me give it a looks quick explanation contrast what the word contrast does I'll give you the explanation here contrast will accelerate the darks and will accelerate the whites so what that means is that if this is already white is already blown out and you add contrast to it you're just going to exaggerate that you notice that that's what that does okay so that's you're already starting out on the bad foot if you're trying to do black and white black and white on it works great and the number one trick to the black and white is you've got to have detail in the highlights and detail in the blacks once you prep the file with those two things you're ready to go so that's your secret there if there's no detail on either one of those you're going no matter what filter precess kind of like our color because by the way color has its own color contrast there's color contrast so when your colors are like remember earlier if you're adjusting here on the right hand side you've added extra saturation to a color photo extra vibrance to a color photo or even an extra color temperature in a photo and now you add contrast you will destroy the color portion of the image because it's same thing there's called color contrast and you've just killed it so you keep everything neutral before you start making that final enhancement so that's what I find in the technical behind the scenes to help you get the successful image so let's do this black and white Frank just said hey let's add let's add detail in there and obviously some I'm gonna exaggerate some of this because we can always pull out images now remember you guys notice any time you do exposure adjustment for example let's go clear back to zero you do your exposure I'm just looking at his face okay so let's just start there for one second color temperature same thing you want to make sure color temperature is accordingly usually I don't like to over saturate faces I like to be a little more neutral so it looks more natural looks more like film films more neutral and natural vs. me really adding too much color but number too many times I will take this into the software and watch and before I go there I'm going to just go and add the the actual details in both of these by if I want if I do too much highlight by its gonna bring down his face so I'm just very little but I can add shadows here open the shadows but I can also do that via contrast see that so even your contrast but if it's doing that overall that's why I will take this into the other software we use it's super cool it's the Vevey so because that if you're not using Lightroom let's say you're not even Lightroom you're in Photoshop right you want to target certain areas the Vevey so software this is kind of the same control point technology that we used earlier so this is set up just to do the tonal adjustments with that you point technology right so you can actually just add a control point by clicking here so remember that white but I don't want to affect this face so let's watch that circle so remember I mean just working in that area I'm even the drew here it kind of area here and I can also just remove some but I'm just shouldn't affect the face because it's only picking the white tone and then here's even right directly here I can work on the on that image see but they just hit the tie there you go let's go back to the light and then just bring down the white see I can just bring down that I can work directly there now if I want to add another point and you can either do ctrl command D and then go back to the darks and same thing here I can open up the shadows directly to that you've got contrasts which I'm Lee that alone for lasso just hang in there with me keep that 0 sorry saturation don't need to work with structures another amazing thing that's also in our in our black and white our silver effects so I can just come in and just tweak this okay if I didn't have again the option in Lightroom or Photoshop I don't want to do masking cuz a little bit to complicate for some people okay and just hit save right I can just work on just tones depending where I'm coming from right very quick very easy you don't have to brush it you don't need a Wacom tab because this technology already figured it out the last step here is now let's do the black and white so I'm gonna right click and go into my silver effects Pro - it's gonna keep the copy with the adjustments right we don't need to do a copy because we're gonna start from scratch and the edit the original would be again in this case the original but we want to keep whatever adjustments hit edit it'll bring us back into the color effects in this case a silver effects Pro and give you your black and white so you guys ready it's like a candy store here okay it's like wait a minute do I have enough time in the day to shop and look at all this cool stuff so let's click here so right now as you come in here it's giving you when you click all it's clean giving you all their presets okay these are all the presets and this is where you look at the image and right now you can notice it's giving you an a global adjustment sometimes I'll close these out so you don't get confused yet to close this out obviously it's starting with brightness and contrast and structure so right now I don't want to do anything with this one yet if I if I want to click on what the rest of these are the thing adjustment said in May you can click on some and some will be to your liking and some won't but the point is that if I want to make the adjustment because I have detail in the whites and the darks now when you add the contrast you're going to still have details okay you're still gonna have details in there now in this case it even gives you a tonal protection so if you want to make sure that it's not affecting you notice how it opens that up this will give you another option so in same with your highlights it's not affecting that but the trick is that if you've already kept detailing the whites and the darks prior to this and let's go before-and-after here even though I've added the contrast it has to be four and I bumped up contrast it's still detail in that and then that's what it looks so great it's not affecting the highlight or the shadow because there's a real detail and so right there alone that's what creates a really beautiful black and white when I can have details in both right so let me pull up a wedding image real quick too so let's I can hit save if I want to save that remember it saves it as a virtual copy and if I need to make more tweaks and anywhere else I can do that there but you basically went from that let's reset this raw file so see how there would be like almost hardly any detail and then my black and white right there when you go to compare mode there you go see that you can see that here you know of course I can add more but in this case even my black and white is still nice and contrast II but I still have details so that's kind of your secret into a black and white so anytime you work on black and white that's what you want to look at right so let me do one more example of that let's see let's pick on again I got tons of cool ones here there was a bride here in the staircase here we go I think it's on the right side there it goes so just oh my one word for it okay so one more like that so in this case same thing here if I go back to make my prep work here if you would I just want to make sure there's details in this area so same thing the exposure as you can see is zero it out let's look at the aperture and all that for you guys so here it's with a 200 second shutter I'm at at for 800 ISO I'll give you a tip about iso's people ask me Frank what's the best is oh dude so I've got a good technical scientific answer for you so do the way we are when we as I study photography formerly you know what we've always said is that we use the lowest ISO based on the shutter of course shutter speed everything we're gonna hand hold or the apertures we have available to us but you always want to use those look slowest or the lowest ISO you can to to introduce less noise and if it was a grain with the film and that's what you do so if you can hand hold this here at 200 then F 4 then 8 800 it is but if I could have done this at 400 ISO and maybe you wanted to shoot wide open at 2 a then you could I could have been down to 400 200 so we always say the rule of thumb is to use the the lowest ISO to introduce less noise it's possible let's use it the rule of thumb ok so getting back out of that let's go back into our software remote so same thing here I want to add any exposure I think the exposure in this highlights is good I may want to add a little extra here in a few minutes but if I want to if there's any highlights to remove same thing like if I do a global here that's one way if I want to open up shadow same thing I usually will open up shadows because I want to see detail in the darks I'll exaggerate this a little bit blacks remember in my presets I'll have plenty of blacks to work with but I may want to add details and so that one I think I'm just looking at her for right now I'm just working in this particular image because what many times the first thing you look at is the the person's face number one and then as you start adjusting you notice that wait a minute it blows everything else out because everything's done global but in this case I'll show you one of my favorite filters it's kind of a single without doing multiple processing it's a single click here but I'll make sure ever all the details here obviously I've got a little brightness here which I can do with the control point so let's basically take this I'm gonna take this over and to Photoshop as a smart object and the reason I do smart object the same thing is if I want to go back and tweak one extra step I can still do that I can I have an option of using my layers our options of using the camera raw I mean there's so many options for me in an advanced level that's why I was a habit just always stick with that right so let's go back in here turn off this pixel grid we don't need that and that's now we have a choice of what we want to do so in this case same thing I'm gonna make a copy that's it's my my copy so if I do want to add adjust anything here I can many times I'll make a I'll do another copy I'll do a control J because that one I'm gonna work separate but because I want to be able to brush this you notice I've made this a smart object which means it's considered basically a raw file in this file when it rasterize it because little happens when I come back in I want to be I have the option of brushing in whatever I need if I leave this as a camera raw file that feature brushing in through the Nick is not have able to do that but of course I can add a mask so is a ways of working around all this so so this one a same thing let's go in and add color effects Pro for here's one of my favorite things to do it's adding you know most of us like to do like a vignette II you know many of us would take either like a circle or you know most vignetting is like a round thing but when people say well how do you get like an overall darkening of it well here you go here's one of my secrets of some of the images now you may prefer your images bright like this so that's your preference you may want to come here with your control points like Malaysia the Malaysia and select the window dark in just the window so you can kind of go back and forth and fine-tune this but just to make it quick for us I will use what's called midnight for my vignette II now again if I have more time of course I'm going to probably start you know darkening the windows and so on separately way either by the base I can just select it but in this case I'm gonna use this and I'm gonna use this one it says neutral which is fine means it's not introducing any colors it does add a little blur so if you notice the softness if that's your preference if you don't want Bruer you can take that down but this is what I'll do sometimes I may take this down this obviously works probably better on a night shot but I'm just doing here just for sake of the vignetting portion for you so I will take this so I have an option of either brushing it in which I like to brush if I'm using a tablet or the control points I'll hit brush and then basic it'll see this is the way I'll do my vignette it'll darken the whole image but instead of just putting a circle like maybe light room we'll just make like a circle around it no matter what feathering you do it just not to my liking is and I will basically use a brush you notice here I'll hit fill and then I'll hit erase and so and many times is I will come with a brush and I may even start out depending at 50% and then I'll just fine-tune or whatever I want see with the brush and leave an overall darkness of that right so then I can kind of highlight that accordingly see so that's the cool part is I'm able to brush out and you still got this overall darkness on this now especially at night times let me show you a nighttime one I should because I usually do these more in a nighttime shot without doing all these adjustments so I'm gonna cancel this one one more that I just did i fact I just did one I just post it so that's why I remembered it so let's go pick this one right here I'm gonna pick on this guy right here I'm gonna do a color correction here I'm gonna select maybe the wall now by the way one last photo tip most of the time when you're as you know outdoors the outdoor color temperature usually defaults most outdoors and bright sunny days if you look over in the color temperature on the right using defaults at about 5500 that's using by default but even without even looking and this is outdoors using like these overhead canisters if I type in 3300 or 3200 either one it's closer to because that's more of what those incandescent stars so really you can tweak it according from that so remember the exposure on her face you can see I don't need to add much here maybe I had a little highlights here if I want to do that and then same thing let's open this back up and do the same thing we just did color effects Pro 4 it's gonna open up now this one I'm going directly to that I'm going directly through there so I'm gonna use a control point so remember if you're not having if you don't want to deal with the Photoshop stuff I can use the control points so there I'm gonna add as you saw I remember the last filter I used and so here we go I'm gonna - and wherever I'm at here wherever it's within whether I'm on the face it's right wherever you're at it's gonna remove that so that's kind of the way you wouldn't remove it in the control points right because if I go all the way out obviously that's what it's doing there right so if you want to be more specific like I did earlier then I'm gonna come over and open that as a smart object told you lots of ways to get in and out lots of ways to get in now so it's your preference will you prefer some people that talk to you I mean use Photoshop they're not familiar objects so it drives them crazy so let's go last but not least hold on let's bring this image in because I got dual screens so that's why it's acting crazy and I'm gonna make my copy remember I'm rasterizing layer on this particular one because when I am able to brush that once I use this filter go back in here Nick color fix Pro it's gonna bring in midnight sometimes I'll actually mask this out if I'm if this very specific image I may mask it in for show it just depends on how critical it is so there's your overall so in this case see where it says brush now then I'll choose to use that brush for some reason because I'm using a tablet and it's sensitive you know pressure I just like the paint with that then I'm able to use that technology and so I love that as well as one of my favorite things to do is use the tablet because it's pressure sensitive as well you know as the brush so let's click OK here hit fill and then use your race so now without the you point you see it's gonna kind of be a little bit more depending what my brushes and you can get in super close if you want you usually again with using a tool or a pen tool you know I can just paint in real lightly if I want to sometimes I'll line them and you notice I'm a just starting with the face and I'm doing this kind of quick here so forgive me if I'm going out the lines but I may not need to do the whole thing so yeah just looks looks like a spotlight so those filters and then again if I needed to add more I can go back in and add more fill in it again do a little bit of in this section here I'm gonna maybe get 50% I want to open up see that you have the painting capabilities so that's what's cool about this is that you can customize quickly you don't have to reinvent the wheel so I don't know I love it it gives me lots of opportunities I always invite everybody to again if you haven't used it yet download the trial play with it play with all the adjustments I mean you'll notice that whether you're a Lightroom user Photoshop user or stand alone these options are endless you don't have to be a wizard to use this but I always say is again just make your image neutral to start and by the way you can use just JPEGs so don't worry you don't have to raw process every time but if you want to you can so lots of choices so maybe if there's any questions I can answer Laurie can you ask chime away fantastic I love working watching you work it's just great so much fun I hope you folks enjoyed it as well there are a couple questions Frank one is there was a question about HDR do you ever shoot an HDR or is always a good question well well the thing that the thing about HDR I think and those of us who started in the beginning day that's almost like language like wow where do we hear that from before it's because back then we were relying if I go back to let's close this for a second go to Lightroom you know back then let's say we picked on an image here you know obviously we would shoot multiple images and let that that particular HDR software a third-party software or even Photoshop introduce an HDR would let us layer in right it would it would mask in all those images but it really they got to the point where the software when it was merging three or four whatever X number of shots together none of us are really happy it was just the over exaggerate everything so now if I am gonna do what quote unquote an HDR thing is let's say this these are right on the camera so clearly you know in photography you know we're using the lighting right like you saw earlier and and one of that we're using the lighting to get the the image perfected in the camera so we're not in s let me zero this so I'm gonna reset this out there I just reset that let me go back see that's a little after the adjustment but just resetting it so HDR if you get in most of it correct in the camera you know I would either shoot us only maybe two images and just come back and and and I can do it here in Photoshop or Lightroom or anything and I can just hand pain in areas that I want I don't need the HDR to try to figure that out for me just because it and for me it never came out as good it was either too contrasty it didn't blend well so I'd rather litter I can even take dude as much work here or I can do even if I want to cheat and create a virtual copy and make adjustments and merged or I could do those things but what I find myself doing is let's say this shot here let's say it was already hypothetically to two dark lips let me go back here let me reset then let's say this would have been way too dark in the initial photo I would have taken a second photo with it bright and then just blend it and just paint in the bright area so I think most of us and even if you're a real estate photographer or landscape photographer that's what we're doing now is we'd rather just take two or three bracket it and just come back and in pain and just Auto align Auto align it here or in Photoshop and is pane in accordingly great a couple people are asking if you use great cards to inter choose that's a great question because as you know if you're shooting a wedding it's kind of hard to do that so if I'm shooting stuff like this that's made me more critical this was for a jet company and I know it's just a portrait session I'm shooting and I know that I can get it right then I can I mean I can't shoot those only takes two seconds to shoot a great card because then when I do use this white balancing tool I can come and do that right I can kind of select that but in most cases you know you can if you understand the balancing of this like I kind of tried to explain earlier when you're looking for neutral points it was really I think it was really confusing the way they named this I think that's what happened right when we when the word came in white balance that kind of messed up everybody's vision of that right when they said that's white balance well you know you're really neutral balancing because you want the image neutral when it leans towards like clicking over here at a different color that's why I started introducing too many tones but if you have that option of gray card in it absolutely that it's like using a light meter takes two seconds and then you're done okay great and then let's see I might take one more question and it was about using blending modes do you ever use blend or luminosity masks in Photoshop when applying the filters you can you can if you feel that if I mean I I'll be honest I don't think I've ever had to in most cases because I'm able to get and this is a your choice you get the result that you that you want meaning from already what Nick is provided with those control points if you if you learn the control points in there you know you've already added the effect you wanted so luminosity stuff that I would do would be because I'm in Photoshop only and so obviously that's a tool I'm gonna use there so most cases I don't need a blending mask unless I do bring it in as a layer and I said oh you know let's try a darkening or lightening or or a multiply or whatever the blending options sure I'm like I say with all those because sometimes I might get a better effect on it that maybe I hadn't thought about so yes I use them but with this Nick I don't have to because with those control points I'm able to get it to what do you I think I'm looking for perfect okay I think we'll wrap this up Frank fantastic presentation and I can we really enjoyed watching you and everyone thank you so much for joining us please visit Brinks Alice's website at Frank's Alice comm to learn more about him and to see more of his beautiful images and then be sure to check out our website as well Nik collection by DX o comm and we're also up on YouTube which is also Nick collection by DxO so please join us for our next webinars and Frank have a wonderful rest of your day and thanks again for a fantastic presentation [Music]

Channel: Nik Collection

Views: 2,335

Keywords: color efex pro, dfine, hdr efex pro, nik collection, nik collection 2, nik collection 2.5, nik collection by dxo, nik software, sharpener pro, silver efex pro, viveza, frank salas, frank salas photography, wedding photography, wedding, wedding photography tutorial, wedding photography tips, wedding photographer, wedding photography lenses, photography, wedding images, wedding image editing, wedding photography editing photoshop, photoshop, ligthroom

Id: 8l_ELfjeIGM

Length: 69min 32sec (4172 seconds)

Published: Thu Mar 19 2020