An in-depth Guide on how to edit your Landscape Photos using Curves Adjustments in Photoshop | Daniel Gastager | Skillshare

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An in-depth Guide on how to edit your Landscape Photos using Curves Adjustments in Photoshop

teacher avatar Daniel Gastager, Professional Landscape Photographer

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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

7 Lessons (1h 25m)
    • 1. Intro

    • 2. Basics

    • 3. Tonal Balance

    • 4. Contrast Adjustments

    • 5. Color Adjustments

    • 6. Advanced Color Tonality

    • 7. Editing from start to finish

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About This Class

In this class you will learn everything you need to know about Curves in Adobe Photoshop. In six different chapters I'm going to teach you how to bump your own landscape images to a new level using this powerful adjustment layer. In my opinon it's really important to master an adjustment to fully understand it's function. That's the reason why I dedicated a whole class to this wonderful tool in Adobe Photoshop.

Chapter 1: Learn about the basics of curves

Chapter 2: I will show you have to balance the tones using curves

Chapter 3: You will see how to adjust contrast locally

Chapter 4: Here it's all about color

Chapter 5: In this video you will learn a lot about advanced tonal adjustments and how to implement them in your workflow

Chapter 6: Watch how I'm editing one of my favorite shots from start to finish using only curves

Meet Your Teacher

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Daniel Gastager

Professional Landscape Photographer


Hey guys! :) My name is Daniel Gastager, birth name Fleischhacker, and I'm a newly married professional landscape photographer and photo editor based in Rosenheim/Germany.

I'm in photography for over seven years now, and I do use Adobe Photoshop on a daily bases. I love traveling, but I also love shooting beautiful images in my backyard. Photography is a great passion for me, and I love every aspect of it.

It's not just in the field surrounded by beautiful mother nature; it's also about the technical perspective like photo editing in front of my computer. That's where you can get creative and set yourself apart from other photographers.

I won several awards, such as the German national award at the Sony World Photography Awards, six gold medals at the Epson... See full profile

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1. Intro: Hey, guys, welcome to my brand new sculpture class. It's my second class in 2020 and here I will show you everything I like to use and what I think you need to know about kerf adjustments in the delete function. Personally, I can't live of all curves. Adjustments in my own for editing blood flow there. So powerful does matter if you want to adjust, contrast, color or if you want to balance off times. They're so powerful in the highly recommend using them on every single image she want to process. And that's why I created this course in six different chapters. We will talk about everything I know about curves, adjustment of a show you step by step on many example images what you can do to bump up your own images to a new level, and even how you edit a shot from start to finish using only this adjustment method. So who is this class for its for all photographers who love shooting landscapes or nature images and who want to improve their own photo editing by Yeah, learning something new about maybe a already familiar adjustment. So now I want to give you a little information about myself. My last name so far. Waas slash aka so Daniel Flash Shocker. But in January, I married my long time girlfriend. As you can see here maybe, and now my new last name is cast aka also German name. Maybe you can most pronounced gas Tega and English, I don't know, but it's a bit information. So don't be confused when I changed my name here, but I'm of course still a professional landscape photographer and photo of the from the area. And that's what I want to encourage my students photo editing. It's really important. That's the reason why I'm making those classes. It's such a big part of modern vision, so we should not have fun now. I hope you will enjoy watching this class and feel free to contact me at any time if you have questions and always there to help, and I want to see your work using my techniques on your own images. I love giving thumbs up or critique so like a set, guys have fun now and see you later. But 2. Basics: All right, guys, welcome to the first chapter off my curves course in Adobe Photo Shop. Here I will give you a quick overlook what I like about curves and why there are so powerful. And then that's actually into if this chapter, the good stuff will happen in the other ones. So if you already know what curves are, you can step skip this little part here and continue with the next one. But like I said, I want to give you a quick overlook. And so grab your coffee and let's get started. Okay, So here's my sample image from northern Norway and yeah, I will use it for demonstration purposes. And in this case, I want to show you why curves are so powerful and you can create them in two different ways . You can either use a adjustment, appear curves on a pixel based layer. But I wouldn't recommend doing that because it enhances your It increases your file size really quick. And when you use a pixel based player in the middle off your workflow, you kind of destroy your your, um options. If you want to readjust layers above it because a pixel based layer creates a whole new workspace, so a wouldn't recommend doing that. The other option is when you go down here and then you click on curves, so this means you have a adjustment layer and adjustment layer going on, which is much more powerful. And, as you can see here, we have our curve. Right now. It's not occur if it's actually a straight line, but you can use it in any direction you want. So that's the reason why it's called Curve, and it represents the history. Graham, As you can see here, when you look up there, you have the same tonal values. You have a lot of dark tones, little less mid tones, some highlights, but not really bright highlights. So darks on the right highlights on the left. Sorry, Jackson left highlights on the right and mid tones in in the middle. So that's what you have as a guide here in your curve adjustment, and now you can do many things. So what you could do, it basically works like this. When you dragged your the line down, it means you lowering the brightness, all the tones, and when you drag it up, you're increasing the brightness. So simplest stuff. And you have some, um, points, which some markers which support your steps so you can click on here and then you have a marker, and when you use the marker, it drag CTO. It, um, uses the adjustment around this marker. As you can see, it doesn't drag up the whole thing, so that's quite nice. And when you want to remove it, you simply drag it out pretty simple. So what you can do with curves you can add contrast. So in this case, when you go to the dark tones and you add a marker and when you drag it down, that means, as you can see with darkening this part here, mostly because we're affecting the dark tones, not the bright tones, not too much. And then we add on a marker up here, we can drag up the brightness without touching the darks down here, since we used a marker. So you see now we, ah, enhanced the contrast when he turned on off. It's too strong. It's just for demonstration purposes. So that's what you consider a contrast. Yes, you see who can mess it up. Creek. That's what you could consider as a contrast curve, and you can make it even stronger as you can see here. But in this case, we don't want that. So let's remove it. All right, what else can you do? You can also work with the colors in the curves you don't. You not only have the RTB generally also have red, green and blue, so that means you could specifically target reds. That means you introducing red color uh, enhancing. And you can also do the same to the darks. In this case, we're lowering the reds in the dogs, or you can up the reds in the docks. So it's the same like brightness. You can turned the color down or you can bring it up. That's how it is. So that's what you can do, and what you can also do is you can use one off the presets here. Let's say you want some linear contrasts, only some light contrast, then you don't have to fill it here by yourself. You can simply use this adjustment or medium and so on. Quite simple. All right, so on. But you also can do is when you drag this slider at the bottom. You can increase a lot of contrast to the darks, as you see, cause now we're shifting everything a little bit to the darker side. We're shrinking the history graham down, and when we have less tones, it's more contrast. E less space for the tones. It's like a been when you throw in a lot of tones. I mean, it's a small been it splashes out quickly. And when you have a bigger been than yet, there's more space for the tones. That's what I'm basically saying here when Ah, you have a smaller history, Graham. It gets full quicker, and that means more contrast is inside there. So that's what we can do. Also, if we want well, we couldn't do the same. We can lower the brightness and we can up the shadows, so we make it a little bit more flat. Now we have more space on this side on each sides of it's a bigger history. Graham. A bigger space for the history, Graham. So it looks a bit more flat if we want to do that. All right, so that's a quick overlook. One more thing before I forget it you can, of course, also ah, add a layer mask to the curves adjustment. So when you paint black on the mask than you're actually removing the adjustment in some part, and you could do the same with white again when you want to add the adjustment so basic stuff. And you can, of course, also work with the blend. Modes multiply too dark in screen to brighten and overlay soft, light, hard light to add contrast. So you have all the possibilities. You have other adjustment layers. All right, so enough about the basics. Now we will get started with the good stuff and, yeah, let's see you in the next chapter my 3. Tonal Balance: Hey, welcome to the second chapter. He I will show you how I like to use curves to balance the tones throughout the image. That's one off the first steps I like to do when I start anything in the dough before the shop because it's important that you have, like, a nice and flett starting point. So when you further enhance highlights, shadows and whatsoever eso you don't clip tones on either side off the history, Graham. So when you have, like, a nice flat starting point, you can go much extreme over a few adjustments if you desire. And yeah, I will show you how to like a sad balance, the tones mostly in the highlights, but sometimes also in the shadows on Yeah, let's just jump right into it. Okay, so here we have an image from Slovenia. It was a nice golden sunrise, as you can see, and with this picture there is an issue which happens a lot when you have blanks, guys. So in this case, the golden blanks guy up there because the sunlight often it's so bright that you can't have all the tones in camera on it save and you capture the picture. It doesn't look like it should look. Ah, well, like like you saw it in a real life because the dynamic range was too big. But raw files are really powerful. So when you make sure to not lose any tones in the highlights, your most most of the time able to recover them and to make them more pleasing to the eye and balance them out and that's what we will do here. So I have to ways to do that. The simple way is to simply grab a curve, and then we will just drag down the middle part. Well, it's a bit more the upper part because we want to target more off the highlights. Something like that. Off course. We can do it realistically like this, because this you can see now it were introduced, every bringing in so many artifacts and fringing and so on. We don't want that. We want to keep it natural so that highlights should still be bright, but not like blown out all its say, Um yeah, to hunt. We don't want that. So we will, um, look at this spike here in the history, Graham, because that's where we have the most total values. And that means there's there are the most bright tones going on. They're not clipping as you can see. If they would clip, then we the spike would go up out of the frame here, but still. So we will use this part here now and use our marker and we will talk in it. So then returned his on off. You see, it already makes a big difference. Of course, we don't want it in the whole image. So what we will do, we will simply invert it press G to get a greedy int with white color. So we actually see what we're doing. 100% capacity. Or maybe I don't know, 85. And then we dragged where we wanted. And we can redo this in this case, something like that. And yes, you see, it can happen sometimes that the mountains get dark in this well, because they have similar tones in there. And if you don't want that, I will show you not a method to do it. But first of all, I want to further dark in this year, so I will use another curves layer and Now we will target the really bright highlights so we will shrink them down, appear to make the Mr Graham bigger. So it's not two washed out anymore. And like I said, we're not here now to enhance contrast and so on. We want to balance the tones so we have a good starting point for our image editing. That's the reason why it's OK, then it looks a little bit flat. Maybe not that much so something like that. All right, that's one method to do it. So when we turn it on off, you see rebalanced the tones. But we have one more way. Let's turn this group off and let's use luminosity masks. So if you don't know what luminosity mask are, I won't go too much into detail. I have a course available online, which is all about luminosity masks. Almost three hours. You will learn everything you need to know about that. All right, so now we will create this mask based on the highlights. So we click on the Artemis Channel and we just want to shrink it down a bit further. So we know targeting all the highlights. So we repressed control shift to shrink it down and we will click on the Rdp Channel a couple times. So we get the highlights as you see on the marching ants you. And now we save it. And there you see White is selected. That means we selected most off the sky, and now we can further enhance it. We control, I'll click. We get to the levels off the channel mask. And when we add some highlights and some shadows, that means you're increasing contrast in the mask. So we have a better separation. A Wallace. You can see good and all its control. Click on this and go toe back to curves. And now you see, we're only selecting the highlights. There are no dark tones anymore. That's the cool thing about this mask. And now we can simply drag it down to our liking to balance the tones groups something like that. And now you see, with Doc and this guy really nice and but the same time, at added some nice color to it as well. And if it's too strong, we can, of course also could cannot weaken. Go down with the opacity. Okay, Now, when we compare this This is the luminosity version and this is diversion off the luminosity mask. You see, it's also quite good, but we also yeah, at a darkness to the mountains. And sometimes you don't want that. So it depends on the on the image, as always, see all right Now, let's continue with the second example here It's another. It's a similar scene. It's also a golden sun rays, this time in Slovenia on and hey, I will show you basically the same thing, but also if the shadows a bit. So, first of all, we will go to curves and see what we want to do. You see, we have We don't have many shadows. I mean, we don't have really dark shadows, but we had ever have a lot of mid tone shadows and we want to work a bit with them, and at the same time we want to darken the highlights up there a bit. And in this case I don't want to use a luminosity mask because when you look here when we dock and this, then we also adding some nice contrast to the hills. So it's fine when we dock in them in this case. And you can also use another marker if you don't want to touch the other part off the image too much to protect it. But you don't have to. Something like that. Yes, you see, flat and balanced. And now we will invert it and use our Grady int like 85% capacity again and drag the adjustment to the top where we wanted something like that looks nice, nicely balanced. If it's too strong. Like I said already, you can always use your passage. He too. Yeah, redo things. All right. And now we will use a nutter curve slayer, this time for the shadows. And we can now simply lift up the shadows if we want. But in this case, there are already quite flat. So what we will do? We will add some shadows. Spec. I'm especially looking here to the foreground, not too much, because we want to keep it flat, but not too strong. So something like that and we only affecting the shadows. So that's fine. So that looks good. And if it's too strong, we can, of course, always lift them again if we want, and that that's a cool way now to do because we're adding a lot off dark tones. I mean, we adding, basically adding a black point. But at the same time, we're lifting up the shadows. So we have. We're brightening them, but at the same time adding contrast something like that and now we will invert it and we going to paint with, like, 55% capacity to the part which we want to Brighton. Something like that. We don't want it in this area. We can always redo it a bit, but you get the idea. You see some nice, subtle effect. Oops and some nice balancing. And if that's too sloppy for you, sometimes when you have a lot of trees and so on, it might not look good. We can, of course, again use. We cannot can use luminosity mask again. So when we click on the are tribute channel and now we have to invert it because we don't want to use the highlights, save it There we have it and now we will shrink it down further. Something like that issue. See, now we're targeting only the shadows. We can further enhance it of our levels layer like I already said, If you want to know more about luminosity mask, check out my other course complete guide to luminosity masks. You will learn everything you need there. Okay, that's how it is. And now let's go to curves again. And now we can simply drag up our information. Not too strong, though, and at the black point again, something like that depends on you. Would you like more? But it's powerful. Yes, you see, But it's already was quite a flat image, but it doesn't matter. We it can happen that we still have to talk Brighton at least the trees here and so on. So that's fine. Well, let's say we don't want it in the foreground. We only wanted at the trees weaken simply at this true group and add a black layer mask. And when we now paint white on the layer mask, we're adding it only where we want it, with all destroying the luminosity mass beneath. So that's the best way. Probably something like that. Okay, And when we all click on the bottom, you see now we have a much flatter image. We saved the highlights and also the shadows perfect. So that's it with total balancing to sum it up. Like I said, I like to start flat. So that means I am lowering the highlights and also bright in the shadows of it. So it's not to contrast yet the beginning already, and sometimes you can't avoid it. Like I said, when you have a blank sky or some really bright highlights, you simply have to darken demented beginning. So you're not blowing them out even more. So that's what curves are actually good for. Combines off luminosity masks or alone depends on the subject and the image itself. Yeah. Okay, so now in the next chapter, you will see how I like to use, uh, contrast adjustments. So see you there by 4. Contrast Adjustments: welcome to the third chapter. Ah, now we will work on the contrast using curves. So let's get started. All right. So first shot here is from northern Norway at the beautiful coast at the Loaf Ooten Islands , one of my favorite places on earth. And I'm pretty sure I'm not the only one who thinks that. So yeah, I thought it's a good a good example image. And what I want to do here is I want to further emphasized the wave action here in the foreground and at the same time add some punch to the sky. That's what we will do with cliffs. Adjust. So first of all, let's go to cuffs again. And this time we have first of all, we will add a whole bunch off highlights. So to do that, I rule shrink the history, graham some and make it smaller. And right now I'm only looking at the race here in front. So I will make it a and a lot off highlights and at the same time darkening the mid tones a bit, So it's not too strong. Now we have this nice effect here on the waves, and now we will invert the curves years old, white brush if, like 55% opacity. And now we're painting here in the front to add some really nice contrast to the waves. And also here it's too strong there, so we can repaint. Not a problem. No, no, I like it there. And when we only want to enhance the contrast, not the color We can change the blend mode to luminosity and then we're only enhancing the contrast. But in this case, I like what it did. So we will keep it on normal because it also enhanced them agenda reflection from the sky here a little bit. So I like that. Okay, So when you have, like a flatter tone which you want to enhance, it's okay when you add like, a whole bunch of contrast, because it when the tone is flat already it needs that contrast to make it stand out. And when you painted in locally, it's always you always make sure that you don't overdo things because, you know you have a lot of control doing that, so you can always start with an extreme adjustment and see if you like it and lower it down if you want, so you have a lot of control, like a set. Okay, Now we will add another curve slayer. It's important to use multiple coughs layer because coughs layers because when you do everything at one, you don't have this nice local control anymore. Because maybe you want one adjustment only in this part and one adjustment in the other part. And when you can combine it in one kerf layer, it will look messy quickly. So step them up. That's easy. All right, So now we want to in head and enhance contrast he in the sky, and I will use this picker here to see where the tones actually are. When you see the curve here, then you see red tones are going on somewhere around in the middle. Of course. So what we will do again? First of all, we will add a whole bunch off light, and now we will bring them back again, and you see this way re enhancing contrast. So we're here around in the mid tone area, something like that there and be inverted. We can paint it again to the parts where we want it also beat you in the waves, not here and also not appear or not that much here in the mountain, but definitely in this corner. That's where we wanted it, all right. It centers on off some nice contrast effect, and we can do the same thing with the auto site. In this case, we will pick our hand again and see A were also targeting the mid tones. But we also have to make sure we also need to make sure that the bride's here won't get blown out. So, first of all, let's lower the brights, but quite a bit. Invert the mask and we will paint this adjustment inside here and also a bit here to the clouds. So it's a bit more contrast. E not here. We won't get a lot of detail in there because it was a bright skies. You can see when you have low clouds like this and no high clouds. There's delight behind the low clouds still has a lot off power because there's it's not soft by any high clouds or for whatsoever. So when you have gaps in low, thick clouds, you will get a lot off brightness between them and its interest it increases to contrast for you nicety most of them. Okay, so now we darkened everything a little bit. And what we want to do now is we will use curse again. Check the tones we want toe just somewhere here in the middle. So now we will drag down the mid tones a bit more. It also add some highlights. So it's not to, ah, flat. And when we now paint like 55% capacity again on the area, we wanted to adjust. We get some nice contrast up there, as you see, and when you let's say, I don't want it. Let's say you wanted a little bit more feathered. You can always use, like 10% capacity black color and paint over it again. So it's further out. Seed Renee, show you the mask you see. Now it's feathering out better. All right. And now one more thing. I want to add more contrast to this part off the waves. So to do that, we will grab another curve slayer, use our hand here and see which tones we are targeting something that the really flat. So let's now brightened them at the same time, maintaining the dogs, something like that. Also had some white Okay, invert. And now we will painted on the waves here. It's important to maintain the dogs. Otherwise you will have flat, dark tones around the waves. In this case, you only want to talk at the waves. So but it was strong here. Move a bit less opacity or so this part don't maybe also here. All right, that's group it. And you see some nice contrast going on and when you don't like it or let's say when you think it's too strong, you can always go down if the overall capacity if you want something Okay, so now let's Ah, work on the second image A nice forest scene. And in this case, I want to bright in the forest here bit and also up here and maybe add some contrast to the water. And to do that, we will first awful go to curse again. And we can, of course, also work with the blend modes if we want. So when we use screen, you see it brightens everything quite a bit. And at the same time, we can no work with the Crips again to maintain contrast and maybe yeah, overcome the effect when it's too strong. Something like that. Mm. Returners on off. You see, we have a nice brightening effect. This case you want to talk in a bit more too strong. Like I said, Okay. And when we know inverted, we will paint locally again through the area. We want to enhance this. A pass ity. What do you see? It looks really nice. Perfect. I like it and again when it's too strong. You can, of course, also can go down with the capacity. So that's a really nice way to use curves. When you combine them with a blend mode screen, multiply a soft light. So what's whatsoever? It's It's really nice. All right. Another cruise adjustment This time I want to add punch up here. So first of all, let me grip the hand. It's again somewhere in the middle. So that's dark in the mid tones and at the same time punch Aaron. Some highlights. You see, Now we have a nice effect there, So, no, we will inverted again and we will paint it where we want it. Something like that. And if you don't want it, there Of course, we can repaint with Black to remove the effect. All right, And now one more thing here to the water again, The groove adjustment. Pick our hand and you see it's more in the bright tones, of course. So we will add highlights, but at the same time maintained, contrast and inverted. And now we will paint it known to this area. Something like that. Pretty simple, but powerful. Nice. All right. And one more thing. Let's say you want to add a little a mysterious feeling to it. What I like to do is I like to pick curves and dragged down the middle part. So the mid tones a darker and at the same time I, like, toe up the shadows so it gets a little bit washed out. Buttressed. It's Mitch, so it looks a bit more for the end, misty cause of the brighter shadows and lower mid tones. As you see now, it's a less contrast e and a little bit more mysterious, and if you don't want it that strong, you can kind of goes always goddamit capacity, okay? And lastly, I want to add more contrast to the Leafs up here So what we will do? We will go to Curves again and at a whole bunch off light and at the same time talking it. So it's not Yeah, to contrast E inverted. And it's no paint again to the part where we want it. In this case, we probably don't even have to lower it. You're pregnant a bit more so reporting the mid tones and also the highlights and repaint around where we don't want it room maintaining the doctors in the forest. Okay, Something like that. Nice point of interest. And when we group everything you see with quite a lot and it was actually really simple, we didn't use any luminosity masks off course we could do it. But yet this tutorial is not that much about luminosity masks. But of course, there are really powerful combined of curves. But you can also work a fault them, as you see here. Really nice. Okay, so that's it. With contrast adjustment Guys, in the next chapter, we will talk about color Okay, in the next two chapters, actually. All right, so see you there 5. Color Adjustments: Hey, so now let's start with color adjustments. First, I will show you some simple ways to enhance color using curves, and in the next chapter it will be a bit more advanced. I will show you some tricks I like to use together with colors in curves and color channels . But first of all, like I said, a quick overview would like to do and how toe you add colors to a certain part. Often image. So that's what we will do. That's good start. Okay, so first image here is a drone shot from the Dolomites winter morning. A real like it because the ambient light off their pre air it was a cloudy sunrise. So not much life going on, but it reflected really nicely with the snow. So it has doesn't kind of ethereal, magical effect, and I want to further enhance that. And of course, we will use curves to do that. So let's get started here. First of all, I want to darken it overall, and you see that I'm already enhancing color because when you don't loot, use the blend mode luminosity. You're always adjusting the color as well. Okay, and that's it so far and now another curves layer. And now we actually are working with. We will work now with the color channels. So first of what I want to pick the Blue Channel because I want to enhance the blues in the shadows. So I will drag the blue slider up to turn up blue. Yes, you see, if I would do it in this direction, I would lower the blues. But I want to turn them up and at the same time I want to enhance blew in the highlights. But only in the huts. Something like that. All right, you see, Nice blue look, So it looks a bit more like blue our But it's fine. It's winter, it's cold. I think blue is a fitting color for that. But we will now add another curve slayer and we will go to the Reds because we will have to make sure that we don't have too many purples going on. And to overcome this, we have to add C i n. So in this case we will lower the Reds and you see we're heading CNN And when we turned up the Reds, of course we're yeah and hence cigarettes, so we will lower them a bit. And at the same time we will do this in the highlights. We will turn them down. So no, we have only science going on. And we could now use the blend mode color. So we're only enhancing the color. And that's what we want to do here in this case. Because, as you see, I lowered the brightness in the Retz. So that means at the same time I'm actually lowering the brightness in the snow. I don't want that. So we will use the blend mode, color toe, overcome this. All right. Very simple. And when we now grouped us together, you see that changed it already. Quite a lot. And it's why curves a really cool when you want to add a color contrast, let's say blues to the shadows Warm to the highlights works quite nice. And it's what what? I mean by that I will show you this in this image. So he I want to add color contrast. So it's in Northern Ireland, By the way, I guess you know what? It's the dark hedges really popular place. I love it. Okay, so now let's use curves here again. And no, we will again used the blues. And in this case we want to further enhance the contrast and all the contrast the blues in the shadows. And at the same time, we want to lower the blues in the highlights. But we will do it on another proof layer. So we're not, um, affecting the mid tones. Too much? No. And we at yellow to the highlights but turning blue down. You see, we have a nice effect. And now we can counter act the other adjustment to add more blues to the shadows together. Nice overall color contrast. And if it's too strong in some parts. But let's say yeah, this adjustment here is affecting two dogs too much. We can simply paint it out here where we don't want it most on the road here, mostly it down in the road. So now you see, we have a nice cut, a contrast going on some blue bluish predawn light or, let's say, bluish sunrise, cold, misty light and some nice highlights. Yellow highlights and we can make them even more yellow. And we can also add some red, by the way, if We want to make it a bit more punchy, perfect. And now we want to enhance the greens. So one more curve and it's actually quite simple. We will use our picker here our hand and you see the greens are all in the mid tones, so we will have toe up the mid tones. Mostly. So that was That's what we will do. We will pick the greens and now we will them over here and you see re enhancing the color in the greens. But we don't want it everywhere, of course, So we will paint it only like 55% capacity where we actually wanted. And this can be useful if you want to enhance the color and the contrast at the same time. Because the curse do that the brightening and also set adding more situation to the greens . Something like that. Nice and green. Okay, And let's say now there's a little bit too much red in the shadows. So we want to lower this color caste. We can do that by going to the blues. No, no, sorry. Gerets and B will add some say n to the shadows, but we will do it locally again because we don't want it to bleed in the mid tones. So now we will paint this effect here in the front. So here, nice it's reducing the reds a little bit perfect. And we can, of course, also do this again with more yellows. So we have to get to go to the blues and enhanced the yellows. So, you see, we have more nice yellow tones here in the trees. But we will invert it and painted on Lee, where we wanted further work of this nice golden light here, all right, and it's group everything. So let's see. Nice and settle. We're talking about color C and contrast. So you see, we added some nice color contrast with blue shadow tones and warm highlights or maintaining the warmth in the highlights. Really nice. Perfect. So that's it with the colors using curves. And in the next chapter I will show you how you can separate the tones in a really advanced and local way, using ah, the colors in the curves. But the color channels from the luminosity section at the same time, so lets you There sounds quite complicated, but it's actually not too hard, but a really nice and strong ability to for the work of the tones, like so suda 6. Advanced Color Tonality: All right, guys. Welcome to the second last chapter. Uh, this is a more advanced one. Now way. I will show you how to separate tones using color channels and curves together and also how to yeah, at more colors locally, like we did in the last chapter. Like I said a bit more it wants. And yeah, that's what we will do here. And that's just get started now. Okay, So first image here is an Germany. It took it. Uh, yeah, some very in autumn on a nice golden sunset. And it's the castle called Who in Stolen. It's a really famous castle. It's in the self of yourself west of Germany. And yeah, it's ah, nice places you can see. It's like a fairy tale there the castle up the hills, so nice and the ultimate colors were also really beautiful. And that's the reason why I picked this shot, because I want to further first of all, dark in its to enhance the contrast. And then I want to bring out the tones in the trees here so they stand out against the your doctor green trees to further enhance the ultimate colors. So and that's what we will do here. And we will use this that we will use the curves to separate the tones together with channel masks. And yeah, I will show you what I mean. Uh, first of all, we will go to curves and talk and everything, so the mood gets enhanced. I wanted a bit darker, so yeah, it's nice. We will lift the shadows a bit. So it's not too dark there. And also add some punch to the highlights. Little bit. Something like that already changed the mood quite a bit in my opinion. And now we will use the channels, the color channels to separate the tones better. And to do that we will first click up here to the RGB channel, where we also create luminosity masks. And then we click on the different colors and let we want to see which one which which channel select the colors the best we want to enhance. And in this case, we want to enhance the reddish colors. So we will pick this channel here. So let's click on it, save it. And now we can further enhance it with our levels adjustment, something like that. So it stands out a bit whether be looking only a direct tones here. All right, something like that. And now we will go to the curves and we will combine those. First of all, we will see how it looks without the challenge. So we will. Um Now we have to take care about the blend mode because when we used the Reds because we also focused on the Red Channel and when we ah enhanced threats askew. See, we're adding red everywhere and we don't want that. So we first of all go to luminosity. And now we will only brighten the reds, as you see okay and can also use it here and there to make it a bit more contrast. I may be turned us on and off. You see, re brightening direct tones in the trees. Really nice. But when we do it this way, you see, we only brightening them. But when we also want to enhance the color, we have to use this channel mask up here. But ah, let's first make it a bit more local. And I'm sorry and painted white to the trees so they like I already said, stand out a bit more. Mostly don't here and also here and here and here. So that's one way to do it. Sen. Iselin off You see, it's a nice way to enhance the trees. Usually, we can now use a hue, saturation layer and enhance the red's a bit more. But we want to rub of curves here that I want to show you the power. Of course. All right, so that's one way and the others were using the mass we created up here. So let's selected by control clicking. And now we go to curves again and we now go to the Reds. We can enhance it a bit stronger. Something like that. Maybe add some contrast over a You see, we're now affecting a lot off the sky, and we can also now go to the RGB Channel and we come bright in the Ritz something like that, heading some contrast by adding blacks again. And, of course, on the whole image. It doesn't look good, so we will add a group with a layer mask because then we're not destroying the selection beneath, and now we can simply paint on the area which we want to adjust in this case, the trees on the hill. But it doesn't affect those trees here, since we used the color channel something like that. Okay, And let's turn his on off Nice little effect, which adds a lot off punch to the colors. Really cool. Okay, so that's one way to use it. Now we will go. It's another image from Canada in winter in the Rocky Mountains, creating a really nice and we will now do the same thing. But now with the blues. So let's first click on the Blue Channel and you see it's selecting all the snow really nice, and I want to write in the snow. So first I will do it with the curve only sometimes that's enough already. Go to the blues. The use luminosity blend modes because then we're not enhancing the blues, only enhancing the channel from the blues and let's drag it up something like that. You see it now. We brightened the blue tones in the foreground on the snow and looks actually good. Overall, it's a bit brighter now. If we wouldn't have used luminosity if he was normal. You see wild. It's crazy, so we don't want that in this case. And we can, of course, also do this with the other colors. Because sometimes greens are also affecting the blues, as you see here. And also the reds cost is a little bit of magenta in there, all right. And when we now inverted and repainted only through the snow, then we have our nice brightening effect it and more haze, little mores up here. So it looks CIA. Live it for E. That's nice. And we could do the same thing with the Reds up here. So when we use another curve and we go to luminosity and re picked the Reds, we can simply turn them down. But you see, we're creating some nice contrast in the sky without upsets destruct without over doing it . Because if we wouldn't for use normal blend mode, you see, we're adding so much so I am because we're reducing the rats here. When you turned down the reds, us, I am. It's the opposite color. Same with green. When you turn down green, your ad magenta. And when you turned on blue, you at yellow. Okay, in this case, you want to use it in luminosity and then we're adding some nice contrast to you in the sky and when be inverted and used ingredient to only Yeah, just this guy. Then you see, that's a really cool effect. I love it. And when we don't want it here, we can always paint black. Okay, so that's one way. And the other way is when we used to call a chance again. So we will pick the Blue Channel, save it, use our levels to further enhance it. In this case, yeah, we want to an ad highlights through the snow in the front selected use our curves And this time we don't have to use the color channels we can simply drag up. Um, the middle part go to luminosity So we're not affecting the color and we're brightening the snow. And when we group there since add a black mask, we can now painted locally without affecting the luminosity. MISC may lower capacity something like that and we can do the same thing with the rats when we want to darken the sky. So we will select the reds, save it further, enhance them. If we desire this case, we want that control click to select goto curves and we will darken the sky and go to luminosity. So we're not affecting the colors too much or it so two versions. This is with the color channel and this is without and have to say I actually like both weaken further enhance the group. If we wanted the adjustment out off the out of some parts here, so we couldn't remove it. Yeah, really nice. And one more way to do it. We can also do this with a night image. So in this case, I want to brighten the waterfall here and dark and the stars So again, two ways to do it. First, we will check the blues. Yep, it's selecting the water really nice. And the Reds are selecting the stars so pervs it will use it in luminosity. Go to the blues And now we will enhanced them. We will add a whole bunch off light through the blues inverted and yeah, painted in and at the same time we're checking green again because you're like I said, Green is also affecting the blues a lot of times. Yes, you see, don't want it into stones he only wanted in the border you see really nice and controlled at the same time. So most of the time it's better they use just the curves together with two color channels. Not all three. Because then you can, of course, also used the arch of each other. But to and, uh, localised, which color you want to adjust. Use the luminosity mode, and then you can simply talking upright in the tones Really cool. And when you combine it with a color channel, you can even enhance the colors as well. So I would say when you want to only increase or let's say work on a total value. Then I would say you used the curves method with one or two color channels combined in the luminosity moat and when you also want to enhance the color. So that means that say, you want to brighten this thistle creek here and at the same time at blue or decrease blue . Then I would use the color channel and combined with a curse layer, because then you can simply leave it a normal blend modes and but just the yeah, colors and luminosity at the same time. All right. And now you know, one more thing with the stars here, as you already saw there. Quite a read. So we will use our curve, go to luminosity, blend modes, picked aretz, and we will turn them down. And you see, it's adjusting only the reds in the stars, and we can again now check. You see this? It would look like this when you're not using the luminosity that moment, and we can do the same again of the greens. So when we lower the greens also talking the stores, all right, let's invert this. And now let's paint it in rare we actually wanted, in this case in the Milky Way. Maybe not that strong, but it's effective. And when we lower our green adjustment a bit, then it's even better because Green is adjusting the other parts as well, You see? No, it's even better. And when we combine it and group it, you see, that's what we did with this simple adjustment here, and it was really local. And yeah, you can do the same thing with the collar challenge now. But yeah, I won't show you because it's the same. Like on the other two images, you simply select them and then further enhanced them. So yeah, maybe if the reds in the sky we want I want to see if it looks better. So that's used, um, our levels here to further enhance the sky control, click on it, Goto curves, and now we will drag them down. And you see, Yeah, it might be even better. In this case, something like that looks nice. And when we group it at a black mask and use the radiant, then we can added locally only to the stars. And when you combine it, it's even better. And, of course, also combined those two ways. It doesn't matter, all right, so let's sum it up. We worked on three files here. One autumn file one blew our short or let's say, cold CIA afterglow and this night shot. And it's really nice to use curves to enhance local tones. Not everything. Just the local part. Pick the color, which is closest to the total value, and then enhance it together. If the curves in the luminosity blend mode or together with a college l mask so really nice . And I hope you like it. And in the last chapter I will show you how I add an image from start to finish in photo shop using only curves adjustments. So, yeah, you there? 7. Editing from start to finish: so welcome to the last chapter. Congrats If you made it so far. You learned a lot now about curves and how I like to use them. And now I want to use everything I taught in the other chapters to added one shot from start to finish using only Cripps. That's what we will do. So yeah, let's just jump right into it. Okay, So this shot is from tips a lake in the amazing Mt. Rainier National Park And you see the mood this morning Waas on that particular more particular morning was simply brilliant. I loved it a lot on the fork, the sun, sunrise lied everything. It was amazing. We walked up the hill to get a better overlook off the area. And there was one other photographer down there. And, you see, I I decided to leave him inside the picture because yet, since such a nice yeah, point of interest to see scale. So you actually see how big this landscape is. And it was autumn. So, as you see, there are many nice red Leafs going on. I think the huckleberries or blueberry blend plants I don't know exactly. And yeah, monitoring itself really beautiful. So what I want to do? First of all, like I already said in the other chapters, I want to balance the tones a bit and then we will work with contrast, color and some local tone lt. And yeah, that's it. And yeah, that's what we will do. So that's good. Started to you. First of all, I want to dark in the mountain top a little bit, and I will do that by using curves, of course. And let's see what happens and be used to reds if it does what I want. No, it doesn't. When we go back to normal rgb and you know it does what you want. So we will talk in the top or let's say, with dark, every talk and everything kind of and now we will use a luminosity mask control Click on it inverted because we want to just the shadows in this case, Yeah, those shadows here and we will shrink it down one more time by pressing control shift Adult . I have to actually click on it. There it is. All right, there it is. Now we have to dark tones, select it and we will grab this to balance the tones in the shadows. So now we will use to screen blend mode to Brighton everything. And now we can at the same time, add a little bit of contrast back. So it's, you know, too dark. But this is tube right now, in my opinion. So we will go down if you're passage e to around Yeah, 65 maybe. And now we can delete those channels up there because we don't need them anymore. And they make all file really big. Okay? And when we see how it looks now much better and balanced, we can probably continue down even more and go up here a bit more perfect. Let's call this total balancing or only total balance. That's the 1st 1st step. All right now, I want to further enhance the contrast, so I will use another curse layer here, and I will add a whole bunch of whites and a little bit of blacks something like that, and I will paint it in locally here to the foreground to add some punch to it. Make sure that it's not too bright in some areas somewhere. Here it looks fine and also a little bit in the fog or in the low clouds. Sort of stand out a little bit better. Something like that. All right. It's nice. Maybe remove little bit off the effect around the four. Q. Okay, Perfect. I like it. And now we will further enhance the contrast in the clouds. So we will use another curve slayer. We will darken. And at the same time at highlights. So that's a bit more punchy. Inverted. And now we will paint it in the parts off the sky where we wanted Make sure that it's not too much in the mountain, but something like that looks nice. Really dramatic. Look. Okay, No, we need more color. First of all, I want to add blues to the shadows. A nice and cruel at the same time, greens. So it's not too much. And, uh, and also a little bit off saying have to reduce the reds to get say N Yeah, something like that looks good. And now we will do the same to the Reds. But let's see if we can use a color channel. Yes, we will use this one adjusting the pits, picking the sky here. Really nicely. It's avoiding the trees and we will shrink it down one more time. Control Old shift, clicking on it. There it is. Perfect. That's crap. This go to curves and first, let's use multiply to see how it looks. And that's way too strong. So we will go down if capacity to something around. Maybe 25. So it's nice and dark. And now I had some highlights, so it's a bit more punchy. Something like that looks nice in the sky. And let's know, check the Blue Channel here. Um, yeah, I want to work a little bit with the clouds so we will picked the Blue Channel. Oh, no, let's say we will go to curves. Go to blues, Add the luminosity blend mode and now we will. Hence the brightness off the blues and also a little bit off the greens inverted. And now we will paint this on the fork. And now we can also painted a bit here because it's not affecting the Reds too much. Okay, nice. And now let's pick another Ah original. Because I further want to work with the red color in the sky so we will add a whole bunch of it. So the sunrise light is getting enhanced something like that that looks cool. So when you have colors available, use them makes little easier. And now we also want to further and hands the grass, he and foreground. And to do that, I will use another curve slayer. We will go to the red colors and first of all, let's see. I think I want to make them a little bit more red inverted, and now we were penned in locally. So when you have colors which are standing out, it's easy to adjust them in a local bay by using this method. Okay, it's nice. And now we want to enhance the tonality a bit more. So we will go down now. Use luminosity, blend mode, Um, the Ritz again and no. Oops. You want to darken them and also and punch. All right, you see, I'm looking at the foreground right now. It's important to experiment, but in this case, yeah, it's really nice. Consist of three D effect here, So it's inverted, painted in in the areas where we wanted do also that here in the grass a bit, something like that. Nice and now another curve slayer, and we will darken. So the reflection is not too bright. I don't want better. Reflections are brighter than the subject there, reflecting That's important rule. Something like that looks nice, but I think and we don't want it on the shoreline. We can, of course, repaint black to remove the effect there. Okay? And now another curve slayer and we will and more highlights and a bit of mid tone contrast . And we will do this to the fog again, like 55% opacity. So it stands out even more. But it's personal taste, Of course, as always. Maybe not that strong over here. Okay, Nice. And they actually almost done here. Now we'll return everything on off. You see, we already did a lot. Now I want to add some overall contrast. Curves brightened everything a bit talking everything. It's so it looks nice and punchy. Yeah, I like that. And no one more thing with the greens. Luminosity. Let's write in the green tones and painted in very wanted, Especially here in the foreground, in trees. All right. And one more thing when we checked it Blue Channel. No, not the blues We don't want the blues. We will make in overall adjustment curves and increase the contrast slightly overall. So the image is more punchy in every tone. All right, and now, maybe one more dark adjustment. We will pick the luminosity. Inverted groups control shift. I save it control, click on its go to our curves, and now we will further the highlights in the curve in the docks, we will bright in the docks a bit, but not the HUD's all right. And when we know turning on off your seat, big difference. Maybe some more red to the foreground, because I like to read tones there. So let's emphasized, um, and painted than locally, but adding reds to the crops and maybe a bit here to the sky. All right, I really like it. I mean, it's too blue. Overall, we can use another curve slayer. It's a good thing about adjustment layers. You construct them like crazy, and you can always make a new adjustment to it. That's so cool. In this case, let's first of all go only to color, cause we want to only adjust the color. And now I want to add some highlights Thompson yellow to the highlights, so I have to turn down the blues. But when we use it in color blend mode, really only affecting the blues and not the highlights, actually, because we don't want to darkened highlights. And this made some nice yeah, side effect. Perfect. And now, of course, you could do some curve little little curve adjustment there and some maybe another one there. But it's not the point. Now you saw what I like to do of curves, adjustments and what's actually possible. And before I end this tutorial, I assure you one more thing. Because so far we didn't talk about the blend mode. Um, we didn't talk about the blend mode. Overly was. It adds a nice and a lot of contrast, as you see, and when we combined this with a bright ning effect than it's not darkening too much as you see here. And, of course, it's way overdone. But now we will painted in locally and especially here in the grass, so it's a bit more punchy and also cut off, cause we want to enhance those nice autumn colors, something like that, and now maybe turn everything on off you see, that's a huge difference. All right, maybe one more. That's what I meant. If you could do so much and had some highlights back here, and some punch the share of some middle until Manet just a contrast, he in the middle. It's Midtown. Contrast. Aled brightened everything here, talking to brightest highlights. Yeah, something like that. That's a nice punch back, and I can go down off the capacity if it's too strong. All right, you get the idea, guys, Um, that's it. Now you learned all the techniques I like to use toe combined with kerf adjustments show you everything would have in my toolbox. And you see you can add an image, added an image from start to finish, using only curves. They're so powerful off course when you want to just colors. It's also good to use other color adjustments. But that was not the point of this tutorial, because the curves are also a nice addition to your toolbox. And when you combine them with other color adjustments, then it's meant mostly, and even by the results. So, yeah, that was the idea behind it. I hope you liked it. And if you've any questions? Feel free to contact me. I'm always there to help and yeah, don't hesitate. I will reply as soon as possible. So thanks a lot, guys, for watching and see you in the next video, but Oh, and before I forget it, I'm sorry. Uh, feel free to leave me a comment in the community section here on skill share. I will reply as soon as possible, like a said. And if you like the tutorial, consider giving me a review because it helps me. And when it helps me, then it also helps you guys because I can produce more videos. So that's it Now, Thanks a lot for watching and Yeah, see you next time about