Landscape Photography: Shooting and Editing Long Exposure Landscape Photos | Zoltán Nagy | Skillshare

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Landscape Photography: Shooting and Editing Long Exposure Landscape Photos

teacher avatar Zoltán Nagy, Olympus and Manfrotto ambassador

Watch this class and thousands more

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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

10 Lessons (1h 7m)
    • 1. Introduction

    • 2. Location and Composition

    • 3. Camera Settings and RAW Images

    • 4. Preparing Our Images

    • 5. Blending

    • 6. Clean Up the Image

    • 7. Advanced Masking and Adjustments

    • 8. Final Touches

    • 9. Summary and Export Image for Web

    • 10. Thank You

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About This Class

In this course you will learn how to take a photo with WOW factor, an image that blows people's mind. 

The best way to learn landscape photography is to go through real life examples. I will tell you everything from A to Z, all you need to know to take an amazing long exposure landscape image.

You can download the RAW files. You will learn much faster if you follow all the steps in the videos.

We will look at the following:

  • Composition
  • Camera settings
  • Blending multiple images
  • Advanced editing techniques in Photoshop

All you need to complete this course is some basic photography knowledge, Photoshop and love for landscape photograpy.

We will learn on this photo in this course:


Meet Your Teacher

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Zoltán Nagy

Olympus and Manfrotto ambassador


I'm Zoltán. I'm a travel photographer and an ambassador for Manfrotto and OM Digital Solution (formerly known as Olympus) in Hungary. My favourite topics are landscape, cityscape and astro landscape photography. Since 2018 I have been traveling around the world as a digital nomad. Visited many countries and I usually stay a couple of months each time. 

Follow me for more photography content!

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1. Introduction: Hello people have Internet. In this video, I'm going to guide you through this image. In this course, I will show you how this image was taken, how to edit it. We're going to go through some evidence editing techniques. But of course you can start it even if you are on a beginner level. But it's helpful if you know at least the basics of photography. My name is Dalton. I am a Hungary and landscape photographer traveling around the world for about four years now, I'm an ambassador for Manfrotto and OEM digital solutions, aka only imposed in Hungary. I believe the best way to learn landscape photography if we go through together a real life examples, I don't think one image is enough and I know this course is about only one image, but in the future or plan to make other small courses like this. So maybe it's already done. So just go to my courses page and look around. Because if we go through these techniques in the different scenarios, different light conditions, different time and different seasons. It's going to help you a lot to, to understand and hopefully to use these techniques in your images in the future. And I wish you all success and let's do this. 2. Location and Composition: Location, location, and timing is everything in landscape photography. Without a nice landscape, there is no nice landscape photo. I think it's obvious we shouldn't talk about this. So usually the landscape inspires me to take a photo. This, this image is different for me, at least I had a picture in my mind and I was looking for the perfect scene to take this picture. And as you can see, the main subject is the curve itself, the curvy road. But I almost never take a picture of one thing like, I never take a picture of a sunset. I take a picture of something in the sunset. I think to understand and follow this rule is, is really, really important to create an exceptionally nice image. I think this is the most common mistake for beginners. They take a picture of one thing except off, take a picture of one thing, lead some supporting elements and nice colors and the perfect timing. So this picture was taken in Austria and RPS near telecom z. On the picture you can see the lake itself called Salam xj. Even though the rod itself takes the majority of the image, there are other elements like the lake, the maintains some lights off of a small town or a city down in the valley. And then really nice chapel. I was just going around via car and trying to find a perfect curve, the perfect curve it over. And then, believe me, there are a lot in Austrian art, I encourage you to go out, find your perfect curve, and try to replicate this image on your own. And you will learn a lot in the process. Okay, Let's have a closer look on the image. We are in Photoshop, as you can see, and this is the final image. And on the right hand side on the bottom, you can see the adjustments or the steps I've done to come this far. And this is the original image, one of them, because we're going to use free images to blend them together and get these, this result. We used one image for the main subject, for the car and the role itself, and another image for this guy. And this guy is not really important. I mean, of course it's important, but it's not important to change because both skies are nice, in my opinion. But this is tutorials, so yeah, let's, let's change the sky and in this way you're going to learn more. And then thirdly, we'd use for the lights of the chapel because it was off. And later I just realized the chairperson can be open so the door was open so I could just walk in, turn on the lights and I took the third image, then I blended them together. So this is how we're going to use free images for this scene. Let's talk about the composition. As you can see, we have a foreground with these grasses. It's not super interesting, but I needed the needs of the frame. So I didn't want to cut into the road, of course. So I let some some empty space, let's say empty space here on the bottom, on the top as well, and on both sides. So I didn't want to cut off anything from the from the chapel and on the left-hand side of the road. So everywhere I left some, some space to frame our main subjects. And of course we have a really close foreground. We have a midground with our main subject. Then we have a background which has multiple layers. The lake, the town, and the mountains are in the background. Of course, we have a nice contrast, not just the bright and dark, we have the color contrast, which is really important in my opinion. So we have really nice warm colors here and cool colors in the background and the, the shadows. That's why I actually, I really like these kind of imagery with the, with the artificial warm lights and the cord bluish natural lights. I think this is a really nice color contrast. As you can see, the composition is really basic. I used the rule of thirds guidelines. As you can see, the visible horizon is about on the top third, and I mean, our main subjects on the bottom third. And the main subject itself is right in the middle on the bottom third. So it's absolutely a basic composition, super easy, everyone can do it. I think that's it about the composition and the location itself. Let's check out the role images in the next lesson. 3. Camera Settings and RAW Images: This lesson is about camera settings. The image was taken in the blue ours, which we just quiet a longer period of the night and in the morning. This image was taken after sunset high to this image is I just went there in even day time. I set up everything I choose, chose my composition, the final composition. And I was waiting to capture a picture of these lighter areas with a car, you need a really long exposure and I usually don't use any filters, so I don't use an ND filter. I just wait for it to be dark enough to take a picture like this one when the natural and the artificial lights are above even, Let's see it. This is perfect for us. One of the best time to take a picture of this, this moment. It's not a really short moment, but it depends on your location and the time of the year you take the image. So what I did is just the weights for the perfect time. Of course, I check the road and I knew I needed at least 20 thirty-seconds to capture all the lights in one image. I set up my camera and vent. The time was perfect. I asked my friend to go around with my car and we took a couple of images, you starting from the top of the hill, going downwards. But because we had to use the braid, it wasn't super nice. So we thought we're going to try it on the other way around and from the bottom to the top of the hill. And it works so much better. So we'll just took a few images and experienced yourself which one is the perfect for your scenario? We are in Photoshop. Again, I have a directory here with all three images, highlight them all, and bring them to further show. If you import raw images, multiple images in Photoshop. Photoshop will open it in camera roll as you can see in this way, we can see all three images at the same time and we can edit them and we can match them. Matching is really important. We need to edit them to have similar colors and contrasts to blend them together seamlessly. It's really important. All the steps I will do here in camera roll, you can do it in Lightroom as well. Bore them to Photoshop later. So this is our base image. Before we talk about settings, the first thing I do on location, I put my camera on a tripod and I turn off any kind of stabilization. It's really important to end up with sharp and nice detailed images. If you use a tripod, don't use stabilization. Now we need to go to the very bottom and press on this text here. And this is a really important part. We need to choose our color space and the sRGB is good for the Internet. So the end result should be as RGB if you upload an image to the Internet. But to VARK, we use profit to RGB instead, it has so much more color details. That's why we choose pro photo RGB and 16 bits per channel and just press, Okay, then we need to talk about the settings. As you can see, the image is really bluish because I use automatic white balance. I don't, don't bother to set up the vibrance because if you shoot raw images, you don't have to post with a few, few steps easily, we can fix the white balance be the no issue. So the settings were ISO 200, which is the lowest native ISO. I can use my camera. I suggest you to use the lowest. If you use lower ISO, you can use a longer exposure. The focal length is 12 millimeter, but I use microforms third camera, so the full-frame equivalent is 24 millimeter. I used f 5.6, but still I have a microphone. Third camera, I have bigger depth of field. So if you have a full-frame camera, Let's say try on F eight, F ten, and maybe higher. Just take some test images and you will see and 40 seconds. So, okay, I, I was here for more than an hour, let's say almost two hours and I was just counting. How long does it take to go up from the bottom to the top with a car? And I found it's somewhere between 25 and 30 seconds. So just to be on the safe side, I set my camera to 40 seconds, and that was, that was the main. So you can use actually any, any program mode. I suggest you to use, either aperture priority mode or full manual, or the best here may be the shutter speed priority. We need for sure, 40 seconds long, at least 40 seconds long exposure. This was the first image, I2k. We had a nice cloudy sky, but it was too early. The town's lights were not turned on yet, but I thought we could use this image for, for the sky. And the last one is here, I just turn on the lights in the chapel. So all we need from this image, these are the lights here and just change the exposure. You can see we have really nice slides on the road and this part of the image as well. And we have nights nice slides here. And as you can see, the ISO is 200 and all images, and nothing, nothing changed except the shutter speeds. So we have f phi upon 6. The same. Iso 200 is the same and the only, the shutter speed is longer here, of course I, because it was darker, so I needed more light. So I thought is the best if I just use a longer shutter speed. But on the first image, we have the same ISO to 100 pot. We have different settings, F 7.1 and 30 seconds of exposure time. And of course you can see the exposure or the brightness of the image is really, really similar. So beacuse, I have used a semi-automatic mode, aperture priority at the beginning, then shutter speed priority later, of course, the camera QED adjust to the scene. That's why I usually suggest to use some kind of semi-automatic mode, reset the settings, and in the next episode, we will start editing our images. See you in the next episode. 4. Preparing Our Images: Hello again. In this lesson and in the next couple of lessons we're going to talk about the editing. This is the biggest part of this course and the most important. I think these techniques can be different from those you already know. So I'm going to split the editing techniques to different parts just to organize things a little bit. But I suggest you to go through these lessons. In one goal. It can be too complicated if you watch half today and another half tomorrow. So I really suggest you to watch the next couple of lessons together. And let's get started. Here we go again in Photoshop. These are our images and I highlight them all and important to Photoshop. If you import multiple images to Photoshop, multiple row images come in a row, will open all of them at the same time, which is very, very important for us to, to be able to see them at the same time and edit them and match them. Because matching is really important, we need to edit these images to be similar in terms of contrast and colors, to be able to blend them together seamlessly. First thing we need to do is go down here, click on these texts, setup the color space are called perfect color spaces pro photo RGB. And really, really important, it's 16 bits per channel. In this way, we will be able to work with many, many details, which is really important that the editing part and just press Okay. I need to reset all the images here. And let's start with the base image. So as you can see, the image is super blue is because I just used automatic white balance, which usually is not accurate in the dark environment. And I usually don't bother to set up because I shoot draw images. And if you shoot role, you can change it without any problem or issue in post. So one less thing to worry about on the, at the location. The first thing I usually do is set up the profile. Profile is usually under landscapes. Because it's a landscape. You can try the others. I prefer other landscape. Then let's try to set up our wild balance so we know this is normal, so it should be perfect. White or neutral color. And of course this is a blue our scene, so we need to go back towards to blue. Let's say 17 thousand on temperature. And I, I feel this is a bit too, too purple for me, so I reduce the tint, the purple, let's say plus 15. Okay? So there are many, many, many options. So most of the photographers go through and actually touches all the sliders here and try to get the perfect image right away. And now we're going to do that at all. All we need to do is to bring back all the details we need. We have free images to blend them together and to blend them seamlessly, we need to reduce contrast a lot. So what we're gonna do is bring up the shadow a lot, let's say plus 75 and reduce some highlights. Not much. Let's say minus 30 and plus 75 and shadows. So in this way, as you can see, we lost so much contrast, which is at the moment really, really good for us. I don't touch anything else here, especially not the, the vibrance and saturation sliders, as we will give some contrast back later. As I increase the contrast, the saturation will be increased as well. That's why we don't touch colors at this point of the editing. The next step is the details. As you can see, there is a sharpening on the image on default. And actually we just sharpened some noise as if I just turned it to 0. You can see there is almost no noise as I use 40 on sharpening. You can see there are noise. So what we need to do is to use the mosque. So press Alt or Option and bring up the mask, masking sliders until all those parts. We don't want to sharpen our black or dark, let's say 50 on this image. Perfect. And then next step is optics. Just the tick on the remove, remove chromatic aberration and use Profile Correction. And that's it. So we need to synchronize. I highlighted the base image, I press Command or Control a to highlight or free images. Right-click and sync settings. Check all and, Okay, and now we synchronized all the settings. But as you can see, they are really, really different. What we need to do is to match them together. I want this image to look similar to this one. But from this image, all we need are these lights on the road and here front of the chapel. So I just bring up a lot of lots of exposure. Let's check here, which is really important for us. The foreground, the grass, and the road should be darker. Then our base image, you will see why in a moment should be darker, but these lights should be brighter. So I bring up a lot of fights. I don't care about anything else. All I going to use is here on the road and here front of the chapel. So maybe I bring back some shadow, bring up more whites, let's say 65. Why it's plus 50 shadows and minus 30 highlights. And I might change the settings in the, in the future, we will see these two images, however, should look exactly the same. So I need to change the white balance to match the blue sky. So actually I zoom in to see better. Maybe 10 thousand is okay here. And it looks okay for me. So we are already here. The next step is the blending. So let's open them in Photoshop, I highlight all of them. So I press Command a or Control a on Windows and I open them but don't press the open. You just shoot, just press Shift and it turns to open objects. It's really, really important. In this way we are going to open all three images in Photoshop. But as smart objects, in this way, I can change all the settings and we still have all the raw data to work with. So see you in the next episode and we start blending these free images. 5. Blending: Welcome to the next chapter, which is all about blending. So we just prepared all our images. And first of all, we need to move all three images on top of each other. So let's grab this one. Being here, press Shift and let it go. Then here is another image. And bring it here, press Shift as it go. And now we can close these images and first thing is to save it because I don't trust Photoshop. So let's save the whole project. So we have three layers. The bottom one is our base layers. This second layer should be our chapel lights. And the third one is the sky or other way around. Actually, it's, it's not really important. Let's start with the chapter lights. We need to duplicate it first and you will understand in a moment why. So I change the blending mode to lighten. In this way, everything is brighter than on the layer below it is going to appear on the image, as you can see, I turn it on and off and all the lights of the chapel appears and some unwanted elements like, like a car there. But, and the tomb probably too much lights here in the town, but we don't really need everything. We need only these lights. But as you can see, these lines probably are too, too harsh at the windows and these lights are not strong enough. That's why we need to duplicate this layer, but in a different way as usual. So right-click and we have a new Smart Object via Copy. It's really important. You cannot just copy it. We need to make another smart objects in this way. If I click twice on the image here, camera opens and I can change some settings. Like I can bring up more exposure and more, more highlights and more whites. And I can press Okay. And as you can see, we have stronger lights on the road, but we have some unwanted elements like, like the road is too blue is. So let's go back. Reduce the shadows. We don't need shadows, we need only the highlights and the whites. Check again. And as you can see, no bluish color, but we need more shadows on fortunately, so let's say I, I increase the shadows, increase the temperature itself. It looks better, but it's not perfect. Callback. Okay. It looks so, so much better. Now we need the mosque. We end with the mask. We can decide which part should be visible and which part don't. So start with the white mosque. B, for brush tool and be needed dark or black color. Opacity and flow are on a 100 percent. I change the brush size and with the black color, I actually brush on those parts of the image. I'm, we'll use. So we have some lights here on the trees and we have lights here. And actually here. Done. That's all we need. And now I highlight the mosque and I press Control. I, so this is an inverted mask and now all the parts are visible, which is brighter and we need to use. Now, as you can see, there are some parts we don't need, like, like the window here, it's just too bright, It's actually blown out. So with the dark color as well, again, just make it disappear here. I don't want to use it here, it's too much. That's why we have the next layer. So I press twice here as well. I reduce exposure, highlights and maybe some shadows and press. Okay. And now we have some really nice detailed lights here. So all we need is a mask again with a black brush and just brush where I have some lights I need and with a control or command I to invert the mask and wallah looks perfect. The next step is our sky, and probably this is the easiest part, but I made the mistake. So the images are moved a little, just with a few pixels. They are not aligned. So I zoom in and I change the blending mode to two different as, as you can see, if you have these kind of era, it, it's not good, so they are not aligned. So I move the top layer until it disappears like this. It's perfect now. So now I change back to normal. And we need a mosque and choose the gradient tool, white to black. And from here to here I drew gradient here. And as you can see, the super easy, we masked the sky back to the image. And if I zoom in here, you can see actually mask out some sunlight. So with the mask selected, brush, black. And I can brush here with some black and I need those lights back. And here is another other errors. This is a light we mapped out. So again, brush with a really small brush, black one. I bring back this slide. Nice. Okay. Lee, done, almost done with the blending. We have some, some lights here we lost. So let's bring them back again. Brush black color. And that's it. Perfect. And our blending is done. As you can see, we started from here to here, we added a really nice lights and we changed the sky with a few, few clicks. 6. Clean Up the Image: Hello again. In this video, we're going to clean up some unwanted objects on our image. So let's start with a new layer and name it to clean up. Let's choose the clone stamp tool and zoom in here because here is an object I really don't like on this image. To use clone stamp tool first, you need to choose here or layer's opacity and flow are both 100 percent and really important. The hardness is close to 0. Press Option or Alt, and choose a similar part of the image like this one. And start cloning out our unwanted object. Let's go to the other side here. Perfect. And we can carry on to the bottom or the Veda. Yes. Okay. So this is gone. I see something here. I don't like let's get rid of it. Perfect. These light. I don't like too much. So we're done. What else? So this is a bit more complicated, but let's, let's try to get rid of it. The problem with the stem clone stamp, it Born be super nice. So, so we can start with the clone stamp, but I will show you an other matter to, to fix it. So I just really zooming back to the Clone Stamp, little bit smaller and I tried to actually detach, let's say that this object from the ground. So I press Alt or Option, click here and just start. Get rid of this bottom part. Maybe it's not the nicest. So with contrast there that I went back to the attitudes and under part of the image again. Yes. It's better now. Yes, Here again. Okay. I'm done. I mean, it's not perfect, but it's again, core here. Done. Now, we need to make a copy of everything. So press Shift, Option or Alt and Command plus e. Clean up. Two. And now we can use the Patch Tool. The Patch Tool is really, really powerful in my opinion. So let's just draw around these objects you don't want. And on these places, there's not too much details, but we have some textures. It's, it's the perfect tool I think in the shop. So as you can see, I can get rid of easily everything. And this is the hard part again. So we can try here, it probably won't work. Yeah, it's a bit blurry there. So let's go back to to the Stamp tool. And we're just stamp, just get read off the top part here. It's not perfect, but don't worry. It'll be okay. Nice. Go back to the patch tool and now s precise as you can. Probably won't be perfect, but it's okay. Just go around our unwanted object. And wheat. Okay? It, as you can see, the colors and the, and the, and the brightness of this part is really different. We can try, as you can see, it's not perfect, but it's fine because we can fix it. Here. Go here, go back multiple times and we'll be better and better. It's not perfect, but it's okay. Let's see. I think it 100 person better than it was before dawn, like this part. So yeah, that's it. So actually, we almost clean up everything. I come here. This is a part we need to clean up as well. So I choose, I use clone stamp again. Art, click on here. And I get rid of this tree down. Let's see. Do we have anything as? And I think everything else is fine. Yes, it's nice. Command or Control 0. You can fit the image to the screen. That's the easiest way. So I put them to a group and I call it clean up. A highlight all, put them to the group, call it blend, and that's it. And now we are done with the clean ups or let's do some other adjustments in the next episode. 7. Advanced Masking and Adjustments: Welcome to the next chapter. In this episode, we will do some adjustments and let's start with the car trail or the car lights. I create a new layer and I call it car lights. So what I'm gonna do is to make fine mask off the lights. So we need a, need a perfect mosque, which includes only the car lights. So go to the channel pano. And as you can see here, we have an RGB channel, which hair contains all the red, green, and blue colors at the same time. So the RGB channel, actually it's a colorblind. So all here we have here. So if you use the RGB channel, as you can see on GDB, it's a black and white version of the image which we can use for a mosque on the RGB channel. Nothing else matters but how bright the pixel is. So we don't talk about different colors. Here on the retinal, of course everything is red. We'll be brighter or selected more and on the green, of course, more greens and on the balloon, more blue. So you don't need to think here in colors. All you need to do is just go through and checkout reach, reach a channel is the best for you for us now, it's the Red China are because we would like to select the car lights. So let's use the red Control or Command, left-click on the retina. And now we have a selection of the brightest part of the image on the red channel. So let's go back to the car lights layer and press on the Mask button. And now the selection disappears, but we have a mosque press on the mask while you are pressing the Option or Alt button. And now you can see the mask again. As you can see, the mask is selected. So we press Command or Control M. And now we have a curve here. This curve only changes the mosque. Nothing yes or no, the image, just our mask. All we need to do is to darken everything as except our car lights. And it's really trusting, but it's fine somewhere here. And I press Okay, so we have a Mosque of our car lights go back to the layer here. And on the layer, we can paint by color. Everywhere I paint, we'll be invisible. Wear our mask is black and everywhere else where the mask is bright or white, we'll be visible. Everything I do. So let's try it. I go to here and this is a really strong red, but we have a red car lights here. So let's choose red and brush. Brush here with their red color. And as you can see, we got back some really nice. But two, it's a literary too much, but you will see we will fix it in the moment. And we painted some red here we don't want. So you can come here to use the erase tool, which is here. And erase all those parts you don't want to change at all. Okay? And here as well. And here. Okay, It's nice. Go back to the brush and brush or those red colors like this. It's easy. So it's nice. Choose the other color. Choose some orange. You can pick a color from here and go to more saturated yellow and just go through here as well. Okay, so it looks awful, but don't worry because V queued lower the opacity to about 10, 15% and it should look better. And as you can see, we got back some nice quality ssh color here and some reddish color here. Yeah, I think it's not necessary, but it looks better this way. And that's why I just showed you. And we have a late I would like to increase the saturation of the blue on the lake. So let's go back to the channels. Go to the blue, green, red. As you can see, the blue is perfect for us. So Command, left-click on the blue, a new layer, lake, and be the octave selection. Just press on the Mask button here and with an option or Alt left-click on the mask. You can see the mask again. And we do the same again, just Command or Control M. We have our curve and start darken everything else except the lake. And I think It's perfect right here. So I press OK. And now we could use again a color. Just go to the blue changer, grab a blue color and go through the lake. But I prefer to use a curve layer. So I go to the curve, I delete the mask and I use are mosque here. I didn't eat the lake layer and this is our new Lake layer, so I name it Lake. And now I just go to RGB, blue and our increased the blue. And in this way, don't look at any anywhere else. Just look at the, at the lake. And as you can see, we got back some really nice and Grenache or a blue color on the lake. But there are some other parts of the image there are, they are to blue as us. So to fix it, just move this layer to directory or a group. I call it lake again. Press on the mosque. And we the black color with the brush tool. Just go through delay can actually, with this one, we erase the, the blue color, but we know from before breast command I and inversed. And as you can see, we got some really nice bluish color on the lake, which I really liked, but probably it's a bit too much. So I click twice on this icon. Go to the blue and bring it back a little like this. Nice. So in this way with this technique, you can change almost anything on the image. I don't want to change too much because I like it as it is, but I usually add some extra lights just to get these fairy tale feeling a little. And we will do different steps to increase this fairy tale feeling. This is my style. You don't need to use it, but I think it's really useful to make a new layer, create a new layer again. And I call it light and need some warm lights. So I press I, which is this color picker. Pick a nice warm color. Like this one. Can be brighter and maybe we will change it later. I press Okay, brush, bigger brush, hardness on 0. And the really important step I need to change the blending mode to screen and reduce the opacity a lot, let's say 10 percent for, for the star. And I go through here, maybe just Greek one lamb. I don't like this one. Here on the town as well. To be too much. Let's see what we have done. Okay, So we have some extra lights here. We can go through here on the road. And as you can see, we added many, many lights. I don't like some parts here, so let's go back to your reserve. Eerie some of the lights here. Just like this. Okay. And the opposite is steer too much in my opinion. So let's go down to five. And as you can see, we have some nice lights. Maybe here a bit too much again. So with an eraser, Let's just erase this part. Don't like it. Okay. Another one. Newly are again lied to. And they go here, brush. And I just click here one and change it to screen again. And this way I increase the intensity of that light. So I just bring back the opacity by a lot again. Okay, That's some extra extra lights. Okay, so I highlight all the adjustments we made them into a folder again and call it just moments. Okay, and we are done with our adjustments. In the next chapter, we're going to edit the image as a whole any way. See what I mean. 8. Final Touches: Hello everyone. In this episode we're going to edit our blended, cleaned up and spiced up image with some adjustments. So let's make a copy of everything. So pressing Shift Option Command E, and I call it Camera Raw Filter earths or CRF. And let's go to Camera Raw Filter again. So Camera Raw Filter. Let's put it this way. This is the perfect image with the full of details, no blown out parts, no too dark parts. Now we have two things to do. First is add some contrast because it's really lack of contrast unfortunately. And we need actually a lot, let's say plus 30. And I think we could have warm up, just a touch, Let's say plus four or plus three is enough. And we can add some clarity. Not much. Let's say plus ten. Let's be for after. As you can see, we got some really, really nice contrast. So the contrast is back. That was the first task we need to do. And the second one is to bring the attention to the important parts. So the best way to do this to darken the corners and brighten those parts, we need to emphasize. Before that I just remember this is a step we usually, I usually do on all my landscape images, which is go to the calibration tab, go to the very, very bottom. And on the blue primary, bring the saturation slider to the right. And in this way, as you can see, all the warm colors and the greens are, have some extra saturation and we have some extra brightness as well. So I really like the effect of this slider. Let's go up to 45, Let's see. Before, after. And we have a side effect. I really don't like the blues. So all the warm and green colors are really nice, but the blues are just really oversaturated. So go back to the Color Mixer, go to the Saturation tab and reuse the blues by a lot. Minus 20, minus 30, let's say. Yes, maybe even more. Now minus 30 is enough. I think let's see the before, after. Okay, it looks, looks nice. Maybe. Maybe just because we need some blue we need blue in the shadows for sure. It's blue are short so I don't want to get rid of all the blues. So I think minus 25 is nice enough. So as I mentioned now we need to bring the attention to, to the main parts are actually to the middle of the image. So let's go here. Let's choose the linear gradient. And I'm going to darken the very top of the image a little. Let's say minus minus 0.50. And I do the same on the bottom, but I don't use a new mask. This is a very new feature in Photoshop we need, we can use the same settings with multiple mask. So here I can just press Add instead of pressing a plus here, I press Add here. Linear are again dark and parts and again linear are dark. And this part, in this way, this linear gradient, we'll be not multiplied. I mean by that, if I darken the bottom and I darken the side. And in this part when the broth both grabbed the end effect, these corner, it should be more dark and more. And in this way we don't do that. So they don't adopt. So let's create a new one again. Here. Back then we need, or we should create a new mask, nicer radio gradient. Choose this middle part with a car lights and with a, with a town and a chapel as well. Choose the invert. So I want to affect everything outside of our gradient. And I wanted to arc and everything again, just a little, not so much this time. Okay. I think this chi could be a little bit more bluish, so I create a new, new gradient, or actually we have a select sky. Maybe this is a new function again. So we have a new, new selection of the sky. And I can reduce the temperature and we'll get some extra blue color back only on the sky. Which looks really nice. So before and after, as you can see, I think it looks really nice. Maybe I darkened too much. So let's, let's check out the Moscow one and we can go back to minus 0.30. Okay, let's check. It looks really, really nice. So I press Okay. Now the final touches. So the next step is to sharpen the image. So I create a copy and I call it sharpen. Here. Okay, I show you two ways of sharpening the free version. If you go to the Filter other and choose high bus. And okay, I probably would be easier if I zoom in first and I assure you to effect of this filter. So I go here where we have a nice small grasses and some fine leaders. And I choose the overlay blending mode, which looks awful right now. But if we choose again, the other high-pass filter, the colors and contrast comes back and as you can see, we sharpen our image. So here it's a little bit bourree and as I increase the radius, we're going to get some really fine either layers and I, I suggest you to use it around one or two pixels only. So on my image is usually one big cell is modeling. If you have a higher pixel counts, maybe you can go above 2.512 pixels. It depends on your taste, of course, so I press OK. As you can see here, for example, we have sharpened our image really, really nicely. The problem with this sharpening is it sharpens the noise as well. If you have some noise on the image, it won't look really nice. So again, you can use a mask and just brush with the black anywhere. You don't want to sharpen like here, we don't want to sharpen our sky. So this is the free version of sharpening. I delete it now. I create a copy and I call it Topaz labs. So I have a filter called Topaz labs. Topaz de-noise, EI, the CDS premium add-on to Photoshop and it costs around 60 or 80 dollars, I don't know. But I think it does magic and he was seen them on. So I zoom into to 100 percent to see better. And let's go here to the same press, Automatic. And as you can see, we've sharpened our images really, really nicely are usually it's over sharpens. I think. So I go down a little, let's say to 25. Looks awesome. And at the same time, it gets rid of any kind of noise, as you can see on Etsy for 100 percent, we have a really, really small amount of noise. And as you can see, it perfectly denoised here. Ok, it looks awesome. I press Apply. And one of the last step is to emphasize these fairy tale feeling. So I make a copy of everything again. So Shift Option Command E on a Mac, or Shift Alt Control E on Windows. And I call it or ton effect. And the Orton Effect is a tricky thing. You can create it in many, many ways. I usually use the easiest one because I like it the most. So I choose the Lighten blending mode. And I come here to Filter Blur, Gaussian Blur. And I have a camera, we 20 megapixels, and I usually choose 24 pixels, so a little bit above my pixels on the sensor. So if you have, let's say, 13 megapixel camera, Let's try on somewhere between 30 and 40 pixels. And I press, Okay. And it looks like a fairy tale on steroids. It not very nice, but if we reduce the opacity by a lot, let's say to 15%. It looks awesome. In my opinion. You don't need to use it if you don't like it. And of course again, you can use any mosques and mask out all the parts. You don't want to be affected by these Hawthorne effect. All we have to do now is to cut our image. So I press the crop tool and I usually cut my landscape image to 16 by 10 ratio. So you can create a nice Instagram post where you can't split the image nicely. Here, you can choose one of the rulers and I choose the rule of third guidelines. And as you can see, I place my top third to the visible horizon. The bottom third is here on our main subject. Maybe I could crop in from the left-hand side a little, but I think it's not really necessary. And I press Enter. And that's it. In the next chapter will be read a goal through all the steps we have down here just to remind you and help you to memorize and understand everything we have done. 9. Summary and Export Image for Web: Before I let you go in this lesson, I want to walk you through all the steps we made together just to make sure you understand and learn everything. And you have the overview of this course. Let's have a look on the screen again. As you can see, this is the final image and this is the origin or at all without any editing. So let's go through. So this was the first image. This is the image of a chapel and the chairperson lights. The third image, origin are all image of the sky and the edited the first image. Then I add some extra lights of the chapel. And on the second layer, more lights over the chapel and down we changed the sky. Then McLean cleaned up some unwanted elements. Then we cleaned up more on one unwanted elements. As you can see, we changed the burned out parts of the car trail, just a little v, brought back some, some nice bluish colors on the lake. We added some extra lights, glow effect, let's say some glowing effects on the, on the artificial lights. And I added some extra lights here to emphasize the lookout point actually on the top of the mountain. So we just made a copy of everything and the open-ended in the camera raw filter. And we edit some nice contrast and we brought the attention Back to the center of the image. The, just to sharpen the de-noised it with the Topaz lips. Ei, Dino is AI and added some extra Orton effects for the more fairy tale feelings. So ie, this is the before and this is the after, before and after. And now all we have to do is to export the image. So go to the File Export and you can use the Export As or the Save for Web. I prefer this one. The really, really important. You need to check these boxes that optimize an embedded color profile. And the most important part is, part is convert to sRGB profile. As you Rob, do you remember, we use pro forth or RGB, which is absolutely no compensator to the Internet. So we need to convert it to sRGB. Preview is monitor color. I usually use 85 percent of the quality just to save some space on my hard drive and press Save. And that's it. Save. 10. Thank You: All right folks, that's it. Thanks for watching all the videos until the end. I hope it was helpful and you're going to be able to use it on your own images and you're going to create some amazing landscape photography in the near future. If you still have any question, just ask me anything in the comments section or just show me some lab if you enjoyed this course. And maybe there are more courses like this on my profile. So look around if you are interested in this topic. If there is not, that means I'm working on it. So follow me for more photographic content and hopefully see you in the next video. Bye.