Amazing Sunsets in Photoshop | Marcin Mikus | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (26m)
    • 1. Introduction

    • 2. Camera Raw Processing

    • 3. Colors and Lights

    • 4. Dynamic Range

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About This Class

Welcome to my class on Editing Sunset Images!

In this class I am going to show You whole process that lead You to amazing results. We are going to start from raw conversion in Camera Raw. No matter if You work with raw Image or not, I will show You whats the best in camera raw - How to bring up colors to Your image as well as how to make Your Image prepared for Photoshop Editing.

In Photoshop We will jump straight into color editing. I will show You how to get whats the best from colors, how to work with shadows and highlights to get perfect color balance on Your image. Except that, we will working with lights in few different ways.

At the end You will know how to work with dynamic range, to add to Your image final touch of dynamic look.

The best things about this class, I am sharing with You the same image I am working on so You can easily follow along.

Meet Your Teacher

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Marcin Mikus

Retoucher and Photoshop Instructor


I'm open minded and creative Photoshop Instructor and interationaly published Professional Retoucher.  The area I'm interested in is photo retouching and photomanipulation. I believe that massive layers of imagination allows me to create interesting, nontrivial ideas.

I've been teaching Photoshop for the last seven years. I spend almost every day with photoshop and in time I was able to gain more and more knowledge about right ways of teaching Photoshop. After few years of teaching on youtube I felt it's the right time to come out with Premium Courses, where I can share some amazing ideas and make Photoshop fun! 

If you are looking for a place where you can learn photoshop retouching in the right way, this is the best place to be!

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1. Introduction: hi and welcome everyone. Mining is marching because, um, photo shop educator and for the recapture with over five years off experience. And today I'm coming to you with this amazing class on how to create stunning sunsets or standing sunrises. It's your choice, of course. And let's have a look. That is the image we started with. I'm sure we knew prat process from the very beginning, starting from camera how to edit the image in camera. So after the first step, that's our image. And then I'm showing you all the steps off working in photo shop to get final result like this. I believe you're going toe. Absolutely. Enjoy this class If you like to take pictures. If you like to travel, take travel, photography or travel. Family take random images at every occasion. This is the class for you. So see you in the first lesson 2. Camera Raw Processing: I'm really glad you decided to get this class, because from now on you will be creating amazing images in the fourth shop. And first of all, I want to tell you few things if you have your digital camera. If you go in for a holiday to shoot some images or randomly, you just want your images to be a bit better. Check if you can choose the image format as a role. That's very important. If you did, you will have a bit more flexibility later. Toe work with this Always. When I start working with my image, I'm going toe browse Enbridge. Why I'm doing this. First of all, I can have a really nice view on my images. I can see the preview everywhere, and it's just way easier to to choose that, Then going for the file open or, if you have for all you can just double take. So as you can see the images here, they're not J. Pick former their role for months because I was shooting in the raw format. The 16 bit images there beat. They have a bit more color death, so it's easier to work with them if you don't have raw image, What you will do, you heat right and then choose open in camera As it's wrong. I can't just double heat and if you have raw, you can just double hit and you will proces in tow camera a few things straight away to notice. We have strong highlights. We want to along this down palatable. So I'm knocking down the highlights. It will be way easier for later toe work on this Also, we have a lot of shadows on bringing up a bit of shadows to make this image on beat brighter and then a manipulating with white or black. So this is the first things I do in this basic partner. I know I was rushing, but this is the right thing for us, really. So let's see the white with the wines Really careful because I want Oh, I want to get the details from the sky. But I don't want to make this too dark. So this is super important. I'm checking if I can let myself toe bring up beat more winds. But it will cost me highlights. Of course. So so that will be the issue that I'm having over here and also blacks. You can use days toe brightened up the image even more so. So they made It already looks a bit different and we considers before after it looks different. But it lost absolutely all of them mystery that it hard what else I'm doing. I want us to be warmer because we were We are working with this beautiful sunsets. So we want this image toe have this warm, beautiful lines on the image. So I'm grabbing the temperature on the top and just adding a bit of temperature. Not too much, really. Just just to make this a bit brighter, really. It said the pants on you, Then I'm going few steps up. Not this tonic. You're not the detail, but I'm jumping into hue saturation, luminous grey scale in hue. Of course, we can manipulate by Hugh. So, for example, we have a bit off over green. Here's I made this too. I want to make this epic maybe into the yellowish tones, the yellows. I, of course, want them more orangey. This is so important. And also oranges. It will be dependent on your if you want the oranges go in more, actually yellowish, that the soft orange or this trunk, or and so this will be all dependent on you. And that's what I do with the human that I'm moving to saturation. And, of course what you're sure I'm going to do. Yes, I'm going to push, have the saturation on oranges and when yellows. So now this guy has much more colors, and this is so much important for me. Off course I'm working with blues because it I'm really adding a lot of blues, and soon you will understand why this is some. Or maybe I just go down and then I push even more and you see why I'm doing this. Because this image cannot be on the yellow. It has toe have this opposite color and deposit color to yellow color will be blue color. It's always working in the same way. If you want your image look good, you have one color on the image, and then it will be looking good with opposite color to this also aluminum's. I wouldn't work that much over here, but we can add some lines in the blues, so we brightened up the edges over here and see if we can do this with yellows. I wouldn't really recommend that because we will be losing details so you could actually take this down. And if you take this down, you will. You'll get really calmer effect. But it will be more beautiful. And you can just see that from that image. How how my sleep works. So I'm just going down with light on the yellows and oranges. And after that, I'm doing the step street tuning next Bunel And what I do for you I'm choosing the right you for the image, for the highlights, of course. And I'm pushing up the saturation and this where all magic is happening. And we could say all right for yellow switches for high yellow, which is for highlights this orange. So we should go with blue. But if I go now with blue, it looks really beautiful. But I would rather prefer this image into more yellow which times so also foreshadows. I actually at some of the saturation and this will give me the rial sunset effect. But I love this blue colors on the edges. How I fix that? I'm just going back toe saturation as I mentioned before, and I'm really and in a lot of blue. And this is where I'm getting with this image and how I'm doing jazz. The things I really want to do. So, like I'm going first to the to speak to Nina, of course. And then I take how it all looks like. And after I will be happy with the result. I'm going to do a few additional steps for inspiration, for example, and just to make sure that everything will be looking perfect for me off course, you will get this image to follow along with me so you can do the same steps you can experiment on your own. And as the last step in camera, I'm going back to basic panel. And as I want this to have a bit more character, um, catching clarity and added some clarity to this image. Not too much, because, as you can see, it's bringing up the the light so I can knock down some contrast to fix that. Let's have a look, but clarity. What what it does, It can give you really nice, um, dynamic range. So, like you can go with a bit of clarity if you fancy, and I believe it will be looking just great for you. So this is the steps I'm doing in camera. Off course. The steps don't don't have to be the same, but I believe I showed you the panels that you can use to make your image really impressive and ready for work in photo shop, because after I finish in a camera, I'm going to start my work in photo shop, and I'm doing this on the bottom of it. Here we have battled like open emit to make sure I can come back to Camero toe. Edit this once again. One person shift an open image is turning into open object, some hitting open object. Remember, shift on your keyboard and open object. Why is it so important? Toe open the image as an object I'm going to show you after its opening photo shop. As you can see, it's not image. It's an object, so we can double heat from this. And as long as you double hit you coming back to the same point going back to the camera and you can keep going with your editor can keep edit in the image if you're not happy with the things that you did. So I believe it's just amazing away, off, working with smart objects You can fix that. And the best fact about this this is nondestructive way off working. So Okay, I'm done. I'm just going to hit, OK, And in the next lesson, we will be working with the same image in photo shop, and we're going to make this even more impressive. 3. Colors and Lights: I know you remember this image, and in this lesson we already achieved a lot. You have to say, and it's less and we going to mag days. Did this son this sunset Truly amazing. And it will be just few simple steps as always because I'm trying to make this as simple as possible. I'm going to start with the same step as before. I'm going to start with color bons. Now we do something a bit different because I don't feel the need off doing this through the color wrench. Here's no need toe. Select separate colors toe on jazz, the areas for the colors because I feel the idea is pretty much general. We have really nice visible shadows who have nice, visible highlights so we can operate with this on our own. So I opened already color balance and I'm going to start with the shadows. I see this area and what will work perfect over here the just I can see this blue colors over here. Remember you you need to keep in your head The color will that I uploaded here in the in the less on with condom pray colors. If you don't see that you go back, find the lesson with the color wheel, if not Google Color Wheel or Google Contemporary colors, and you'll find it. But it's here or so so as you know, the good color. The color that will be working with this yellow oranges will be, of course, blue. Hello. So that's why foreshadows I'm choosing blue and Cyan. You see, just how how amazing is that? How beautiful, contrasting colors we got. And I'm just I just want to see how just a little touch off magenta would over here and just just on that, just amazing colors. We good off course we dark in this area over here. But this just improved the dynamics and drama on that image. And I'm just going to move in the highlights and in opposition to that son the yellow ray yellow sun and debris. A big toe, Fred. So be actually not yellow. Be a bit orangey some and have a look. And this just look amazing. If it's too strong, we can always tend capacity slightly down, not remind, because I like the way it went right now. So Okay, I'm looking at the image and what happened over here Been like I'm going to push up a city now for 100 what happened here. It's dark because sometimes even in camera after camera, you cannot push. And this time the shadows up. But the sort of thing I'm going to show you how to fix over here. Very simple. Off course we have lights, travels over here. Contrast Simply speaking so leave those curves brightness, contrast, exposure I'm just going to open curves and as you remember from Camero shadows over here on the left side Meetings on the middle, Highlights on the top. So I just want to Gramps somewhere randomly and pull up this curve Don't give some lives Tomei mature than its way brighter Right now it's up to you if you're going to keep this that way But I feel it should be just slightly bright. I just in case for you for the purpose on this course I'm just going to keep this on bead brighter and I'm not going to actually work with selective color anymore. But I'm going toe openly Valls now because I want to make sure that you know how to work with levels and similar idea. You see, we have dark cider here. The great one here. Wipe on here. So as it goes, shadows meet Tom's highlights everywhere. The same ideas, the same basic idea behind the tool. I'm going to read. So for red, opposite color to red will be kindof science, isn't it? Yeah, it is. And for highlights, off course, we have read. So what I'm going to do for the shadows here? I just going toe handsome off the science to even boss this shadow over here and maybe slightly like really slightly. Aren't some off them? Red on the bank? Got how it looks? I'm looking. If I didn't know my son, just some beet red. So simple idea how to boss the image. I'm going to change the name in tow bossed color and we get in somewhere we get in somewhere. Of course. We need to be careful. We don't want toe destroy our image. We just want to push this to the best. I really like how how it looks like now. And we brightened up the image. But main idea why we did this Because you see the buildings here. It was quite dark so we needed to get a bit more details for it. But we can also we also bright about this area and the re simple way how you can knock it down. Right now I'm going into black and white and this is just black and white adjustment layer . I'm going to rename this first in tow lights and the keys that we need to change blending more that is in photo shop. So how toe actually do this? I'm going in tow, blending months that are here You just hit in here and you have different landing months here The group blending modes are darkening here the brightening contrast and then we're going down to luminosity. So thanks to that, as you can see luminosity not affecting any colors anymore. So this image No, it's not black and white anymore, but it's only affecting the lights. And this is super powerful. What we can do right now, because grabbing the blue, we can brighten up the blue areas of the image. Of course, we don't want this because just want look really nice, but we can do this off course and what I want to do and what's most important for me is just getting more drama on the sun. So we brightened up the image before and we did something that wasn't necessarily perfect. But now I'm taking down yellows and reds to cool the sun to make it really nice and dramatic off course with control. And now this image finally looks the way I really like. Let's put into the group. I'm going to call this. Add it before and after. So, like, we absolutely changed this image in the really dramatic piece off art. What? What's too much? I'm just going to check. We aren't some lines over here. And of course I'm I'm just going to drag down off the pass it on the black and white because I just want to do this final changes and now these looks the way I really like. Also, I want to take down Maybe this bossed our little B oh, brother balance, because the colors and put before was a bit too strong. So I like to keep this in the NYS control, of course. So that's how it looks like simple edit. And we brought up this image into a totally new level. I'm going to show you all together with other lessons, something more you can get from this. So make sure you're not going to meet that, because possibilities for your image editing are endless. 4. Dynamic Range: And as I said before, I'm going to give you something more with this image. First of all, I want to work with Dynamic Range and the best way to work with dynamic wrench in photo shop are shadows and highlight very similar way of working as Camero. But I would say in a photo shop here, it's a bit more developed for this purpose. So we need to work on actual image. We cannot work on empty layer, so we have to create a stamp on the top of this edit we already did here. So what I'm going to do, so I'm going to press out or option if you're working on markets option. If you're working on Windows AIDS out Interruption control or command shift and E. And I'm creating us Tom, and I'm just going to call these shadows and highlights in this case. So let's have a look. Okay, I'm going to call this channels and highlights. It's pretty much simple process, but I just want to explain you how does it work? Because we can really get amazing results, especially with image like this, which seems to be perfect for the dynamic range for playing with dynamic range. I'm going to image on Jasmine's and here on the down him have something like shadows and highlights off course, not age. They are turning. It's absolutely useless in my opinion. So I'm going to shadows and highlights on Okay, If you don't see that, don't worry. You maybe you see something like that so it want to give you much control. So just hit this box, show more options and now you have more options. As you can see, we can set up our shadows highlights. And here we have additional adjustment, like setting up the meet on over here, etcetera. So let's start with our shadows. It's already has some and default settings. I'm just going to take it down completely. So that's our image. How image looks like. So bringing up amount as you can see, just brightening our shadow similar way as we were doing this in in camera and also the same, we can bring it up the tongue. It wasn't really pick up now, okay? And also bring up the Thanh off our shadows. But what will be more important to explain it? You already you can see actually improvement off dynamic red. I'm just going to make it a bit smaller because I believe it's a bit too much. Maybe. And also down here we have something like radios. See when we keep radius low, it's basically building up the contrast over here around a small amount of pixels. So we have 15 peaks else, and it's building on. This little contrast. Are on this 15 pixels when we go out, but you can see we just get in serious contrast here. It means it building up the contrast around big gorillas like in this case, 1 40 tree picks. Also like Come said the point that we will be actually satisfied and I feel it somewhere here. It looks really great, I think, and I'm going to jump in the highlights. And he told the same way. As you can see, we can just actually take down the highlight so it would be quite similar way off. Working us were black and white. They feel the tone was two months. I'm just going toe, play this on my own and stop when I feel it's appropriate to stop and I would stop around this place and now off course, let's get something more with that arranges over. We're here in the sky. I want really nice contrast areas here in the sky. And this at this point, I'm feeling rather satisfied. But I want this dynamic. Reg, I just want this really soft. So, like sorry if you expecting something stronger. I just want to get this really soft And about me. Tom, as you can see, if we pull this up actually going toe and get extremely strong contrasts over here because you moving meat on after 100 on one side and here Absolutely. You just bring up all the shadows because you get it this lighter on one side as well. So, like, here as you can see, I pull up the shadows totally. And here I pull up the shadows, like down. Or rather, I brought up the hell it So, like with the meat some point, I just rather would keep this on the middle. Eventually, I just if you fancy a bit more contrast, I would go and eating the right side. If you fancy less contrast, I would go more into left side here. But this image actually look great. Let's have a look. I'm going to hit. Okay, and that's hard before and that after, Well, that's huge improvement. You have to see. You have to say on the dynamic wretches beautiful, the images drama take full of energy. So that's what you can do if you have right image. If you feel that would be great to play with dynamic range, that's the way you could actually do this.