Landscape Photography: You Can Take Your Own Stunning Photos | Phil Ebiner | Skillshare

Landscape Photography: You Can Take Your Own Stunning Photos

Phil Ebiner, Video | Photo | Design

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32 Lessons (3h 43m)
    • 1. Enroll Now

      1:42
    • 2. Course Introduction

      1:16
    • 3. Recommended Gear

      4:22
    • 4. Planning Your Trip

      1:58
    • 5. OPTIONAL: Camera Setting Refresher

      8:09
    • 6. Shooting at Sunrise

      9:21
    • 7. Landscape Basics and Composition

      6:08
    • 8. What's in Our Bags

      5:04
    • 9. Phil and Sam Go Over the Basics

      9:10
    • 10. How to Shoot Panoramas

      5:04
    • 11. Wides vs. Telephoto Photos

      4:11
    • 12. Using a Polarizer Filter

      2:54
    • 13. Sunset Photography

      5:04
    • 14. Intro to Editing

      2:03
    • 15. Lightroom Crash Course

      13:37
    • 16. Basic Landscape Photo Editing

      11:11
    • 17. Editing Tip: Quickly Straighten Horizons

      0:55
    • 18. Editing Tip: Remove Unwanted Objects

      2:14
    • 19. Editing Tip: Graduated Filters

      5:33
    • 20. Phil Edits a Landscape Photo

      17:14
    • 21. Sam Edits a Landscape Photo

      11:00
    • 22. Will Edits a Landscape Photo

      18:32
    • 23. We All Edit the Same Photo

      22:34
    • 24. Sam Edits a Sunrise Photo

      8:46
    • 25. HDR Photography in Lightroom

      3:22
    • 26. Stitch Together a Panorama in Lightroom

      5:50
    • 27. Stitch Together a Panorama in Photoshop

      3:21
    • 28. Exporting a Photo for Web or Print

      9:40
    • 29. Course Conclusion

      0:21
    • 30. Bonus: Daytime Long Exposures

      10:30
    • 31. Bonus: Lens Hoods

      3:36
    • 32. Bonus: Tripods, Monopods, Gorillapods

      8:11

About This Class

YOU CAN TAKE BEAUTIFUL LANDSCAPE PHOTOS!

That's why you're here right? 

We're excited to show you how to take your own amazing landscape photos.

With this complete landscape photography course, you'll learn the ins and outs from the gear we recommend, the settings we use, the composition tips we have, and the photo editing process we use to end up with award-winning landscape photos.

Follow us as we head out to Joshua Tree National Park to teach this landscape photography course!

In this course we combine entertainment education in this complete behind-the-scenes course. We're not just sitting behind our computer desk, showing you slides. We're out in the field, showing you exactly what we do to shoot our own landscape photos.

Key things you will learn in this landscape photography course:

  • What gear you need for landscape photography
  • How to prepare for your photography trip
  • Basic camera settings such as shutter speed, aperture, and ISO
  • How to compose beautiful landscape photos
  • Using a polarizing filter to improve your photos
  • How to shoot a panorama with any camera
  • How to edit landscape photos to make them look even better

Course bonuses

  • Downloadable cheat sheets
  • Behind the scenes lessons
  • Full editing case studies
  • Practical assignments

Why learn from us?

We are three instructors who love photography, and love teaching. We're the teachers of the best-selling Photography Masterclass. We always take our student's feedback, and use it to improve our courses. That's why we created this course in the first place - because fellow students wanted us to create a landscape photography course.

What students are saying about our courses:

Absolutely loved loved loved this course. - Ashonti

I really like this course. Its the best course I have ever taken on photography. I have come to really like Phil and Sam, and I think if you take the course you will to :D - TJ

I loved this course! The basics of photography were fully covered, plenty of practical examples, the tutors were very clear in their explanations and very quick in answering to any question. - Ornella

Perfect course for beginners and intermediate photographers. Duration of the lessons is great you can move at your own pace without needing to sit for hours for just one class. - Omar

If you want to take great landscape photos, this is the course for you.

Cheers,

Phil, Will, and Sam

Transcripts

1. Enroll Now: are interested in learning about landscape photography? Are you already going out on hikes with your camera? Or maybe you just won't get outdoors more often and take photos well out there. This is a great follow up course to our best selling photography masterclass, where you're going to be learning from three great instructors. We designed this course for beginning photographers who are ready to take their landscape photos to the next level. We're not just going to sing in our office or at a computer screen telling you how to do something. We're going to be going out to Joshua Tree, one of the most popular destinations in Southern California, to take beautiful photos. You guys are gonna get to be right alongside us as we're in the field. Taking photos will be able to show you exactly what we're doing, how we pack our bags, what equipment we use, how we get up at sunrise to take beautiful shots, why we do that and how to take great photos during the day all the way to sunset. We're then going to take our photos into the editing room to show you how to make our photos pop using some editing tricks in this course. It's not about what camera you're shooting with or what lens. It's more So what are we looking at? One of the details. One of the different techniques that we've acquired. And we're gonna use all ranges of cameras, no matter what camera you're using, your smartphone, a DSLR or anything in between. You're going to learn how to take better photos with this course. I just want to show you over gear eventually will regular out right here the whole trip out . He's just going under the back. We're just going go out there, get some shots, talk you guys to how we approach is type A shooting show. You are set ups and all that fun stuff. Excited to get out there. And, yeah, we're gonna head up now. 2. Course Introduction: Hey, welcome to the landscape photography course where you're gonna learn how to take some choice. Landscape photos were super excited. Be out here in Joshua Tree, one of the most popular destinations in Southern California, to shoot this class. And we're just really excited about how we're creating this class and the Siris of classes to take your photo skills to the next level. So first we're gonna go through gearing up, we're gonna go through what gear you need, not just photography stuff, but also getting out there and getting ready for a hike. Next, we're gonna get out there. We're gonna take some landscape photos, show you what we would do in certain situations and then finally will take you through the post section and how we would edit them ourselves. One thing I'm super excited about with this courses were eat shooting with their different cameras with different settings, and we're each going to edit our photos in different ways. So you get to learn from three instructors How issue our own landscape photos, as always, with Oliver courses, we know it's not going to be perfect when we launch it. So if there's anything that we can do to make this course better. Let us know if there's other courses you're interested in. In this, Siri's sent us a message and we would be happy to go out and shoot more courses for you. I hope you're ready to dive right in and let's go take some landscape photos. 3. Recommended Gear: everyone. So we just want to go over what types of things you should be bringing out When ah, doing landscape photography, typically you'll be going out on a hike or going out into the wilderness. And so there's some key things to think of, both in terms of your photography gear, but also just personal things to bring. Ah, in terms of camera gear, obviously enough batteries and memory cards so that you're not running out of battery or not having enough memory cards or no storage to take all your photos. I have AH, 128 gigabyte card and three batteries, just in case for photo. That's typically more than enough, depending on how many days you're going to be out in the field. Uh, alongside that we have a try Polident that just for different scenarios. It's nice to be ableto not being always holding it, but resident tripod get the same shot over and over again. Or maybe play with Panorama is different things like that. Additionally, I brought out a polarizer filter and nd filter. Typically, I don't use the Andes as much, with photography for video, much more so, but polarizes absolutely to really get that sky to punch. We'll talk about that later. We also brought a wide range of lenses, so everything from telephoto to very wide angle. Some of them are a little bit faster, somewhere a little bit slower, but really just covering that whole range. We also brought some prime lenses, so we conserve. Compare, You know, working with prime lens vs zoom lenses went out in the field. Really, Just having those options is always nice, but sometimes you need a lighter pack. So you just have to pick one lens and stick with that one lens. So we about both options so we can talk about everything, though now, because there's three of us. Obviously, we're able to bring a lot of gear, but ah, typically for a beginner or someone just getting out there. You know, whatever lens you have is probably going to be fine for landscapes. I recommend something between you know, the 24 to 70 is really just the general wide and telephoto. You concerned you both in there. Ah, but typically for landscapes. People really like the white angles, really being able to see the entire, um with of of the landscape in front of you personally. I really love telephoto photography for landscapes as well, though, to really zoom in on something really far away, like that mountain peak that's often the distance. Zoom in and capture that, so there's no one way to go about it. But a general starting point is that sort of wide angle to somewhat telephoto lens. Maybe your kid 18 to 55. It's a good starting place, along with all your photo gear. You also need to think of the fact that you're walking into nature. You're going for a hike, Whatever it may be. Good footwear. Hands down the most important things. If you're gonna be on your feet all day carrying a heavy backpack with all of your camera gear, you've gotta have good support on your feet. It's really you're going to feel it the next morning. If you don't wearing proper attire, you know we're out here in the desert, so I have sort of lightweight pants on. Have a sure I did bring ah jacket to put over my arms, but it's going get a hot here soon, so I took it off. Lots of water make sure you have enough water. I personally love having my insulated bottle just because it keeps the water cool. And it's, you know, it's very durable. Aiken throat around. We also have camel packs that go into your backpack so you don't need to be dealing with a water bottle, which is always nice tohave. Ah, good backpack to be carrying stuff. You make sure you know how much weight you're carrying. Some of the smaller backpacks just don't have the right support. And it can put all the weight towards your lower back, which can really, you know, cause you some back issues. So make sure you get the right backpack. Make sure you balance the weight in your backpack correctly. Ah, and then some treats, you know, bring some trail mix, bring some some things to keep your blood sugar up to just know it might not feel like you're doing a lot, but carrying that way. And even if you're standing in one place for a long time, it can be tiring on your body. So make sure you bring some treats. Ah, hat is huge. Um, I personally Well, I have my sunglasses for while we're hiking. Ah, when I have to go in for my eye to the lens or to my camera, I can have sunglasses on. So at that point, I want something to be able to shield my eyes from the sun. Ah, and then still be able to get the shot. So I recommend both and then sunscreen. Obviously, um, you don't wanna, you know, fire skin. So all those things, you know, if your hiker, you probably know most that stuff, but the additional weight of the camera does change things. And just make sure you, you know, practice, you know, do a couple of day hikes or something before you do anything to big. Because that weight does that up and it can take a toll on your body. So those are some tips of things to bring, So thanks 4. Planning Your Trip: So one of the key things to do before you go out to shoot landscapes is just planning your trip itself, knowing what time you're going to go out there, how you're going to get their directions, making sure your parking double check when the sun rises gonna be. When the sun sets gonna be the weather, you want to be prepared in case it might rain these air Really important when you get out there because they're really going to affect your lighting, you're just being able to get their not get there your safety. Another thing to plan out is to kind of know where you're shooting and why you're shooting . If the weather has been great if it's been raining this whole season, perhaps it's springtime and there's a big blooming flowers. A great way to do that is go online and Google, where you're planning on shooting because there could be a specific iconic place or the best place to take photos, or you can actually even see examples of what people have taken before. That way you can kind of build what you're planning on doing, and you'll be prepared for the specific shot you're going to get so one thing I've done recently with the advent of smartphones is downloading certain photography. APS There's a few. They cost money. Two of my favorite are TPE. It's the photographers Ephraim and then Helios. They're really great because they can actually tell you exactly where the sun is gonna be. And even for night photography, they'll tell you exactly where the moon rising moon set is gonna be. If you get into landscape Night photography, that's a whole nother game. But you can kind of tell how much light there's gonna be with sunrise and sunset. You can tell exactly what time and where the sun will be, which is huge when you're shooting landscapes because you're not just lighting a person. You're lighting huge expanses spaces, so you want to know exactly where the sun is coming in what time? Because really, the son is moving all the time, and you want to be able to get the perfect shot exactly at the right time. Normally, we recommend if you're starting out shooting landscapes to really try and shoot at sunrise and sunset right off the bat, you're gonna have a much easier time exposing and making things look gorgeous. We'll show you some examples of both. When you start shooting during the middle of the day, it becomes a little bit more difficult. You can still create wonderful photos. So let's get into actually how we're gonna take these wonderful photos. 5. OPTIONAL: Camera Setting Refresher: way talked about this course being a great course for people who know about their settings and want to take their skills to the next level. So that being said, if you know f stop your eyes so your shutter speed, those kind of things, you can just skip on to the next lessons where we actually dive in and go to start taking photos. But I did want to give a quick refresher for those of you who are jumping into this class and haven't picked up your camera for a while and need a little refresher on those main settings, because we're gonna be talking about these through all of our demonstration videos, starting with your aperture, which is your F stop. And that refers to the opening inside of your lens, so every lens has an adjustable aperture. If you make it bigger, more light comes in, meaning that your photo is going to be exposed brighter. Your image is going to look brighter if you close down that circle, it's going to let less light in making it darker, so we might refer to some things as closing down or opening up our aperture. That's what we're talking about. The F stop number refers to that opening the size of the opening, and this is where it can get a little confusing for people because alleys for me. When I first heard about this, it was confusing because the lower F stop number refers to the bigger opening. So an F two, for example, is a bigger opening. Lets in more light than, say, an F 11 which is smaller and less and less like different lenses, have the ability to go to different F stops. Some lenses start. Add in F four and even some lenses. If you zoom in, it won't even open up to that f or it'll automatically adjust to, say, an F 56 other lenses and typically more expensive lenses can open up to a wider aperture like F two F 28 This it lets in a lot of light. The other thing that you have to keep in mind with your F stop, also known as aperture, is that it affects the depth of field and how much is in focus in your plane of vision with a higher F stop. Remember, higher F stop means a smaller hole, letting in less light more is in focus in your plane of you. So for a lot of landscape photography, if you're trying to get the distance and focus, you're trying to get some stuff in the foreground and focuses well. You're gonna want to go to a higher F stop number, a smaller hole. If you want more of that depth of field more, that blurry background look. Then you're going to want to open up to a wider aperture. One of those lower F stops F four F 28 something like that. Next, you have shutter speed, which is how much time you expose your sensor in old cameras. It was literally how much time your shutter would open and close. Your shutter speed ranges from a long exposure, which we're going to be doing in another class on night photography, where you can go have a 22nd 32nd 2 minute or it be on shudder that literally allows light in for two minutes or longer. Whatever you said it out to expose your photo. A shutter speed like that is ridiculous during the day because it's gonna let in too much light. It's going to be overexposed. So you're going to be using shutter speeds that are in the fractions of a 2nd 1/60 1 100th of a second going out here and just doing some test shots. I was even using 1/1000 of a second shutter speeds because there's so much light. One key thing to remember with your shutter speed is that it's literally letting light hit your sensor to expose your photo. So if it's a long shutter speed and you're moving your camera around a little bit, you can get a little bit of camera shake a little bit of blur in your image. A lot of students asked me about photos being out of focus or blurry. Well, that can have to do with your focus actually being out of focus. But a lot of time it's just the camera shake and having a longer shutter speed, we typically recommend using shutters beats faster than 1/80 1 100th of a second that will make sure that you're not getting any camera shake while you're shooting. Of course, you can use things like tripods or mano pause to get stabilization to get those longer shutter speeds if you're shooting something that is faster, say you're out here shooting landscapes and you're trying to get an animal. Ah, bird that's flying by. You might have to crank up your shutter speed to make sure that you're capturing that motion crisply. Lastly, we have I s O, which is the sensitivity of your camera or the sensor in your camera. This is basically digitally enhancing your image, making it brighter or darker your eyes. So settings range from 100 up. Some cameras can go up to over 200,000. I s O the lower ISOS, like 100 or 200 is less sensitive, and the higher I ISOS 1,602,000 above are more sensitive. So if you change from 100 to 200 your image is going to get brighter. One thing to note, though, with I a so like with all these settings, there's things to keep in mind. If you increase your eyes so a lot, you start to get some digital noise. You'll see a little color picks. Elation looks like color grain in your images, especially if you're shooting when it's dark out at night or in low light. A lot of people set their camera on auto and it will automatically crank up the eso into the thousands. And you get your photo. You look at it on the screen and it looks fine. But then you bring it onto the computer and you start to see some of that digital noise. Usually that's due to your higher I S O. Some cameras are better at handling high rise owes. The newer Miral is cameras can go up into the tens or hundreds of thousands eso and still get a pretty clean shot. But with a basic DSLR or your iPhone or another smartphone at higher I so we'll get a little bit noisy. So now you know what all these settings are. And that's gonna be the same for pretty much any camera. You can change eso shutter speed and aperture on a DSLR on a mere list camera. Sometimes in smartphones, they might have settings like that. Even pointing shoots have these settings. But how do you put it all together? Well, it really depends on what style you're going for. Typically during the day with a cheaper DSLR camera, we're going to wanna crank down or I So So we're not getting any of that digital noise. Then we're going to set our f stop depending on how much depth of field we want. So if we want it shallow, we're gonna use a wide open aperture, a low F stop. If we want a lot in focus, then we're going to use the higher F stop. And then once you set your settings, your can either just take a test shot and see how expose it is. And if you I need to make it darker or brighter, you can adjust. Or you can use the light meter, which is the little line at the bottom of your panel back here, or you can see it in your viewfinder. Ideally, you're trying to get that mark in the middle to get it well exposed. Now, of course, if you want to get more creative, you don't always have toe pay attention to that light meter. You don't have to put it right in the middle. You might want it a little bit darker or brighter if you say you want toe silhouette or a slightly over exposed image with some of the new mirror less cameras. You have a live exposure preview. Whether you're looking in the viewfinder or the back of your camera, you actually see what your image is going to look like. Unlike with my canon 70 D. When I'm looking through this, I'm just seeing what's through the lens. I'm not seeing if it's bright or dark, depending on my settings. So in the next videos we're going to be out in the field talking about our compositions but also talking about the settings we use. We're going to be testing out different actors, different shutter speeds, and you're going to see what it looks like for our cameras. As always, though, the best thing to do is just to go out and practice. There's no specific settings that we can tell you to use your gonna have to get out there in practice. 6. Shooting at Sunrise: Hey, everyone, it's about 6 a.m. And we just woke up called out of our tents are shooting a couple shots in the early morning sunlight. Uh, actually, nice because as you can see in the background, I'm starting to have that warns light of the sun. But you also have all this really nice soft light being cast on a. So the scenery around us, we actually have a few people around also taking photos. I mean, this is kind of the prime time to be taking landscape photos and just general detail shots . So we're going to take a couple shots and then spend the day going around Joshua Tree and getting similar shots. And, uh, yeah, we'll talk you through what we're doing. Sons rising off there to the east. And, uh, I think it's just about to come over the edge and have been kind, setting my settings to explosive sky opposed to the ground so that I get the colors. And so the beauty of the sky and then the the landscape is actually more of a silhouette. Just best guessing come down to play a 200 eyes. So a lot of light coming in right now, I'm at 2.8 piping my shutter up to 1 500 just guessing and framing a lot of, um, space in the sky just because you have some campers and different things down below which I don't want to see in the shot. And it's kind of like saying the the lines of the hills and everything in there. So, um, this is pretty well exposed, maybe a little bit darker. Another thing I'm doing is you can see where the sun's going to come up. So dipping where that is, um, kind positioning it here, just it right in the middle. You get more of the yellow where you want to get the orange colors on the sides over. Kind of also want to get some shots of the landscape looking that way with this nice soft light going over there. So that's gonna take Let's see, it's gonna take a little more light. So bring my shutter down 200 as a 400 stop people in a that's a little bit too much light. So took my shutter up to 200. Still, as a 400 a little still not on that play. 1 60 That's looking pretty good. This is, um because we have some shadows and versus how bright the skies going. Take some post editing and stuff, but yeah, some of the basics, you know, debating If you're looking obviously at the light at the sun, there's gonna be a lot more light. You got to stop down a lot more. Have a higher shutter speed for looking at the landscape that the sunlight is hitting. You'll need a little bit more like. But even now you know, the sun has yet to rising yourself. Plenty of light to be shooting. And it's really nice. There's no shadows. It's very soft and even light, but still a little bit a little bit of color from the sun. So you guys in here, uh, and I've got my fuji X t two with a 40 millimeter lens. And remember the food using a PS C crop sensors. My 14 more like 25 21. Um, but yeah, I'm shooting at 200. So, and to shoot for me out there, shooting an F 11 125th you can see kind of still awaiting it quite a bit. That's a little bit more of it. So you can see the greedy int you get with the sky when you stop down that much about sunrise and I got a wide lens fixed. Can we change? Um, if you look at the direction with sun, sort of just hitting kind of get it off the rocks a little bit, But it's really about negative space and like seeing the radiance in the sky. Yeah, that's nice. Something coming up real quick for something like this. For landscapes, it's best to shooting raw. You're gonna have the most range when you won't go back in the post and editing, um, for the X t two. I'm actually shooting in rock and J pig, mostly because I can take the J pigs and send him to my phone immediately, converting them in the camera for social media stuff. But Rod's gonna get you the most room for landscape because there's such a difference in the shadows of the ground and the highlights of this guy. You'll be able to kind of adjust back, back down. It looks pretty nice. So good screen saver. So at this point, I want to still preserve the blue in this guy. I'm gonna try and stop down basically as much as I can without losing too much detail. I'm actually shooting at a 22 six years ago to 22 50th and I'll stop a little bit. This good ideas just like preserve the sky a little bit and silhouette the horizon. 211 2 50 800 F indeed. 100? Yes, it's close to go to an A and then your 800 were sort of comparing the difference in, Like what? His eyes. So versus my I S O and the same settings with grief. Um, minus F. So where I so 100 f eight there were 8/100 of Ah, a shudder. And I think mine's a little dark villain. Sam's, actually, Yeah, something that is really nice is I've been shooting photos from, like, events of different things that require me and move a little bit quicker. Some semi f stop and let my shutter So do aperture priority, my shutters going all of place. I'm just getting to enjoy taking photos right now, so I'm really just like playing with different manual settings, trying to f stops, trying, just trying different things, seeing what's gonna happen so we can look in post and see to a Versace and 11 f stop what that does to a landscape of the sun or of something else you know, getting the accident. Um, it's really nice just to be able to practice and take all these photos so that later, when I get to my computer, we can really go in in, analyze them and see what's going on with the different settings. So one thing I like to do, sometimes one the sun's rising is if you confined like some foreground spoilage and you can drop your camera really low. You can kind of silhouette them and use them as silhouettes against a rising sun or setting sun. And even if you open up a little bit like that can see some details, and that's pretty cool. So that's what opened up a little bit. And then here's some. So the way type shots there's some cool that kind of play with and check out generally for most lenses that the sweet spot. It's F 4 to 5.6, and so that's a you're gonna be Christmas at the same time to get everything in focus, Especially when doing wider. You know, a lot of people just stopped, stopped having quite a bit just to get in t. Everything's kind of clear and crisp. I actually before So I took that, um, we can pull up in the foreground is just a little bit soft on the backgrounds, perfectly clear. And when I printed it, I thought it's gonna be this amazing photo because I wasn't close focused. It just doesn't It doesn't hold up that crispness. Had I been a ah higher f stop, more would have been in focus, and it probably would have looked a little bit better. So generally, I think, you know, stopping down a little bit on your f stop helps. Uh, the same time. You know, everyone has their has their own way of doing it, so there's not one way necessarily. Uh, but yeah, Typically, people would like to stop them a little bit more. You know, I was shooting wide open just now. I have 2.8, and then will was talking about getting better ingredients with a higher off stop. So then I tried that, and it did actually help quite a bit. So, uh, yeah, Still learning 7. Landscape Basics and Composition: If so, we're out here shooting landscape photos, and we just want to talk a little bit about what landscape photography is and what you're sort of seeing and ways to be looking out for and different things like that. Really, I think it's kind in the name landscapes you're shooting, Um, so vistas, you're shooting nature. You're shooting big landscapes. You shouldn't be land. And I think typically people think of events with you whining a lenses and just seeing a lot of space. But I think you can also do a lot of cool stuff with telephoto photography zooming in on things that really far away but still going really nice landscape. So it's just being on nature. A lot of times it's kind of a screensaver esque shot, but, um, it's a nice memory, and typically you can do some really cool stuff like this morning. We woke up at sunset to get some shots, and I think the lighting was really, really beautiful. So and it forces out the bed at 66 think that sitting for Mia's landscapes is like it's like you physically I have to get somewhere, be somewhere at a certain time, because, like instead of lighting subject right, you have to light like miles space. So you have to really be in the right place at the right time, which is a big notion and photography. That's why I've always kind of admired about landscape Start related for composition. It's a landscape as far as composition goes, but I am like my personal style is I tend to do a lot of negative space, so, like I will have a ton of the room overhead. But it's important to me that I think he talked about, really the horizon states totally straight and some cameras have a little level. But yeah, I mean, that's the big thing for me is just a big open space for me and then, like a very level. How about you? What's your stuff? I was like to find? No, I do. I feel enjoyed megacities, obviously, to sing the sky, such of these clouds or something going on. We actually planes flying overhead, which I'm not sure I necessarily like sing deserves. You can trail streaks in the sky. Clouds typically added a little texture up there by really like finding different rocks or different shapes were. You know, if you can have a valley or if you can have, like, a mountain you can be will have So you know the prize and coming up on you are something like that. I really like seeing the sort of lines, especially with the sun like this right now, because now that we have some actual sunlight, you can get a little definition in the mountains, but still have it be somewhat silhouette e and have nice blue sky again. We're shooting raw, too. So you're really able toe If your little you know, little off access you can can go in and adjust in post. Um, but generally you want you want to get as close to what you wanna be. Level level. Yeah, we're here. Check the status of this shot just is negative space with kind of Kim trails on this one's more centered. You can kind of tell the difference with probably come up on the screen. But this one's more centered. You can see like the horizons maybe a little crooked politics a little opposed you go back Here's with tons of negative space with the contrails and the Grady in like I was talking about earlier. I love it just looks like just a folks more emotion. I feel like when there's it's kind of the rule of thirds to regulating the horizon. Lower in the bottom third race is in the center, but just kind of depends on what you're looking at, what your style is. I think what you doing A sunset to depends on this guy. Looks like obviously you want to see airplanes way have campers and different people below , so I definitely like, even if I didn't want negative space and I want to show off all this, it's not necessarily in terms of landscape, but I won't be seeing people in their cards in my foreground. So it's trying to frame them out, trying to find where can I take a shot that doesn't catch them in it, so that automatically leads to bringing up the rising a little bit. Morning of space. Yeah, so I hear this Joshua tree sun rose a little bit and, uh, try and do is silhouette the Joshua tree itself. I'm gonna get really low so I can see it in the sky that I'm also gonna put my settings at , uh, back to F 8 to 50 eso 200. I stopped at a little bit, but cool. So here's a picture of the reason I stopped down a little bit so that I could still see the radiant of the sky in the background. And I don't need to see exposure on the Joshua tree cause I'm still awaiting it and, uh, looks pretty good. Now from 8 to 11 I am trying to silhouette it and put it against this guy. So I got really low, and I sort of put it from the center of the screen. Just, like, really emphasized the sort of subject, like the nature of what we're doing and seeing the background because the landscape is really great. They put it to the left or right. It's kind of a little different, but, um, I really like the idea of having a son directly in the centre buying the thing. And there's something to be said about cemetery so you could be putting stuff off his negative space. Are you creating a mood with putting everything as a cemetery? 8. What's in Our Bags: So now we're going over our gears and so see what's in our kits. I have my have stopped back here. It's one the ultra light. So it's It's incredibly lightweight. Backpack live this great. Um, framing here, so does keep it rigid. And internal unit in here that we put all of our gear into so of my sunscreen here on the side, which is probably going get baked, um, of my camelback in here. So tubes coming out as Nestle to But in terms of the actual photography here, I pretty much just brought my one camera in one land. So have some lens cleaners. Uh, my pola and a little disposable camera just for fun, getting some film shots and stuff. And then of my Nikon d 800 with 24 to 70 millimeter lens. I have other lenses by one to just try and stick to this one lens, not bring too much other gear as they will put some food in here. We have obviously our video camera and stuff. So while that here goes in here as well and you know, it gets dropped the tripod to the side. So currently there's not a whole lot in here, but really, for my photography purposes, I just have this. Ah, have some trail mix in here. Cliff bars my water, obviously. Ah, And then, as the day goes on, have my jacket in the back in case it gets kind of cold. So this size backpack definitely has enough space. It probably has more than enough space for most people. Um, there are smaller ones, but this is about perfect for me because it also works for other big productions. That's my bag, Phil here. And I wanted to show you what I'm bringing in my kit. So I'm might be more like one of you who are just starting out. I do have my camera here, which is the cannon 70 D, which is sort of a beginner mid level D SLR from Canon. It's a great camera for just starting out, and I think you can shoot some pretty cool pictures with it. Right now. I'm using the cannon 10 to 18 millimeter lens, another sort of starter lens. It's pretty inexpensive, but it's a great wide lens for getting those big, wide landscapes. I also like being out here and getting really close up to specific things, like a Joshua tree or another plant or flower, and you get this kind of nice wide angle. Look, I do have my microphone on here, which isn't for photography, but I'm shooting some behind the scenes video, which is cool, and I'm using a gorilla pod, which is a really cool little tripod thing. It's got these legs that you can maneuver around. It's great for its setting down on the ground, on rocks, on trees, really whatever when you're out here in the field and the only other photo gear I have with me right now is my other lens, which is the cannon 24 to 70 and a couple extra batteries. I have a 128 gigabyte SD card, so that's good enough for thousands of photos that we're gonna be shooting this weekend, and I've packed it all in this little day pack. It's got a nice camel back to, so I've got my water packed in here. I've got some snacks, sunscreen. I even brought a book. So when we just can hang out and she'll like and take a little read and ah, I do also have emergency kit in here, just in case. We are kind of scrambling over some rocks and things to get some cool shots, and you always want to be prepared. So this is filling is my kit. So I have a bigger F stop bag, and it's a little bit extreme, mostly because we're carrying more gear. Typically, when I'm shooting at home in cities, I have a think tank backpack with all of my photo gear. But the big the big F stop bag is nice because you get the support around your your ah, your chest and around your waist, which is nice if you're carrying a lot of gear, actually have a little bit more stuff in Sam that I brought out. Um, so let's take a look. So I'm shooting with my Fuji x t. Two. I have switched to mere lis instead of canon, mostly because, ah, I love it. No, it's just a smaller, lighter weight camera, which is actually really great for hiking and traveling. I left my vertical grip on my X t to, um, mostly because I can carry two extra batteries inside the camera unit and not have to think about it or worry. And I love the grip on it when I'm just kind of, uh, running around hiking. Um, I have a 14 millimeter prime lens that I'm been shooting most of my landscapes with on this trip. Um, and then I also have 228 gig cards inside the Fuji. Um, I did bring my telephoto 50 toe 1 40 which I don't really know if I'm gonna use this, but I brought it just in case we might want to do some really long like Sam was talking about really long telephoto landscape photos because that's definitely a style. It's a little heavy, so that's why I have the bigger back back. I also have Ah, polarizer for my 18 to 55 kit lens, which is a great lightweight lens for landscape. And just running and gunning adds me a little bit more telephoto than the 14 but it's not quite as wide. The bomber part is my Pola. I only have a 58 millimeter Pola. That only goes on my 18 55 and then also for nighttime stuff. And if we're doing longer exposures, I have a trigger for specifically for my x t two, where I can use bulb and do way longer exposures longer than 30 seconds. Um, if that's the case, aside from that, uh, I've got my water bottle on the side making sure it's dehydrated. This jacket comes off and on. I just thought it in top. Um, but yeah, that's pretty much it. 9. Phil and Sam Go Over the Basics: So this lesson is for people who are completely brand new walking out with their camera. Don't even know how toe You know what settings to use. And so I wanna get some pro tips from Sam on what we should be doing out here. We're standing. We got this nice kind of vista with these rock formations. Kind of a little valley. So we get some definition, which I think is cool. So that's what I want to shoot. What's the first thing that I should do in terms of settings? I've got my f stop my shutter speed in my eyes So I'm guessing my eye So I'm putting down really low cause it's super bright right now. Yeah, I mean, it depends what you want to be doing. Ultimately, obviously, it's It's about, what, 10 o'clock? We have plenty of light, so yeah, bring your eyes so down. Okay. Um, I'm bringing my eyes, so all the way down to, like, 100. Sure. We'll start there. Uh, start that. Yeah. From there, you know, there's something to be said about which f supp you want shoot out. Do you want everything in focus? Uh, you know, We're talking about telephoto earlier where maybe you want to focus on. You were playing with such large objects right now, but you can go in and zoom in on that big rock and have the background still out of focus. Yeah. Now, if you close down your f stop, you have the rock and focus and everything back there and focus as well. So it kind depends on what you want to do there. I'm what you want to see. I'm just testing that out right now. Sure. I'm actually on auto focusing. Turn off, auto. I guess I I will say manual focus is very important for this type of stuff because you want to set where you want your focus to be. You don't want it always at infinity. You know you wanted, maybe have a little bit closer. And even if you close down your f stop and you have a larger depth of field Ah, you still want to be ableto no, select what you're focusing on. Okay, so I am zoomed into the end of my 24 to 70. I've cranked my f stop toe f 22 right, which made me have toe Opa do my shudder at, like, 1/30 which is a little bit slower than you want to be. Especially because your handheld right now yeah, what I would recommend is probably, you know, closer to F 16. You're still have a lot of stuff and focus there. You can also bring your eyes so up, because remember, you set out 100. Yeah. So if you want to stay out of 20 to bring your eyes so upto 400 Okay, so I'm gonna do that s o from 100 to 200 to 400. You're going to stops of extra light. So you should have enough like they're from there. I would at least go to 1 60 Shudder if not 1 100 It makes a little bit crispier. Okay, so I'm gonna It's not this photo now. Another thing to remember is because you're on the 70 d that 24 to 70. That 70 is closer to ah 105 It's actually that's a great telephoto. You're gonna be able really zoom in on that rock and get some great details out of that one thing. And this is just a super beginner tip. But we get the questions sometimes in our our class just about focusing and at least with the cannons. And you can tell me if it's the same for the Nikon and the other cameras. But if I just half press my shutter release but in and then I addressed my focus when I looking through my camera beeps and tells me if it's in focus, right? So it's kind of like a semi focus, so it enables you. So we're going to auto. So I focus and I've set in my If you won't look in there, I've set actually in my camera a specific point that will focus. So instead of it choosing where to focus. I've said it on my right hand side because I just had placed it there. I can go in and move that wherever I want that focus point. Yeah, So I focused on that focus point and then from there, yes, I can go in micro, just however, how very why. Um so I just want to see too. So I was out of 22. I want to go the other way. Good down the let's just go crazy F 2.8. Now I'm gonna bring down my eyes so all the way to get a little darker And now I'm gonna have to create quite think that shutter speed, shutter speed. So from F 22 1 1/100 shutter I s 0 400 we're now F 2.8 I s 0 100 a 32/100 of a second shutter speed. Yeah. I mean, that's know that you can really work out in math, actually, all these exposures And if you bring your f stop one stop down, how much of a sugar increases that and and all that stuff? But it's fun out here. We're just hanging out and you can try these types of things. You can try a 2.8 and then go to actually to see the difference for yourself. And I'm getting It's very subtle change in the depth of field, I think because that rock that I'm shooting, it's pretty far away. We're not getting that with this lens, at least that depth of field. But that's another thing a lot of students asked about. How do we get that nice, blurry background? It's a combination of what we're talking about with the f Stop bringing that down toe. Open up the aperture, but also where you are on your zoom or what? Your lenses, how telephoto it is. But also where the subject is in that plane of field. If it helps for something to be closer so that the background you're focused on something closer to you giving more space in the background, right? How close something is will greatly change. How out of focus that things in the background are at the same time that remember, this is a small screen. So when we go into post, you might realize that those mountains of much blue your, uh than they were previously. But it is, you know, 70 Mills, not necessarily extreme telephoto. I think maybe with Will's 72 200 we would really see that difference. And the last thing is that while I'm here, I'm just gonna shoot a couple more shots. There's we got this big rock formation over on the right that's jutting out that I was getting some kind of close ups of. But now I'm zoomed out so I can see the whole rock formation here on the left, which kind of gives a nice It's almost Valley. Yeah, look, and then it's looking onto the desert. It's a It's a nice composition, and that's the cool part. One reason I love going out for these hikes is that this is you can focus and just look at this for 30 minutes and figure out how to shoot it. And then you can turn that way you can turn that way. There's so many other things going on around here, whether it's detail, shots of the rocks, whether it's big vistas. Um, you know, there's a lot of Joshua trees over there that I saw that maybe we can walk into and and you can just practice on all these things we're talking about. And the sun, though, is kind of right up in the middle of the sky. So what? What would make this look? What would look different about this in the morning or in the afternoon? So from where we're sitting so the sun rose off in that direction, right? So as it was coming up, this one of this rock, at least if we're talking about this scene would have slowly been illuminated with the light, but it would have been very soft. Initially, they even soft lighting, silly. As the sun came, it would just been flooded with light. And now is the sun's moving your that shadow there under that rock there many of some contrast, but more or less everything is just getting hit with sun come afternoon. It'll be a little bit backlit, so might actually really nice to come back here in the sunset or you just even after noon, time to get that little bit more contrast there. Um, and that's something that, as a beginner photographer, I used to always think so. Let's just put everything facing the light source like the person, or you want to shoot the mountain when the light is facing on on it. But getting that nice backlit is something that can just take your photos to the next level , even putting ah, your subject with the sun behind them and either using your flash or a balance or even just shooting it and seeing how it looks, it can create a cool effect like you guys are right now like we are right now. We're back live by now, you know. But the big thing that will say in knowing, well, he knows this is that if our background was the sky, it just be completely overexposed. But because our faces on the shade and our backdrop is in the shade, it may enables us to be well exposed with this nice hint of back light. Um, if we didn't have that, you know, a lot of times, if you have a backlight and using this guy is just gonna be blown out and completely why, it's really hard for cameras to be ableto get details and everything at that point. You know, this morning we saw how difficult that was to have the landscape and the sky exposed correctly until the sun actually came up over the horizon. And we actually had some light or direct light hitting some of those rocks. Yeah. Cool. Well, this has been fun and can't wait to shoot more. Hopefully these tips have helped you guys 10. How to Shoot Panoramas: so real quick. I just want to talk about panoramic photography. You can kind of do this with any type of camera. Really? A lot of cell phones smartphones able to do it. Um, I'll talk about both, But first of all, my ex t two does it, and I'm going to do kind of a longer lens panoramic most because, like, you can see his areas just all really flat. Um, and with the longer lens, I can kind of get more out of focus and little less in focus. So it kind of looks cool with the Fuji and kind of doesn't like the iPhone When I take it, As soon as I push the button, it's gonna start firing so panoramic I'm gonna pan across as I take the photo. The cool thing with the Fuji is that there's a line as a horizon, and you kind of just try and keep up with that line, and they just do a nice, slow, smooth pan. You don't wanna go too quick because your camera or whatever you're using, we'll have trouble stitching it. Um, you don't want to go too slow because you won't get wide enough So let's start with the food, um, on a long lens. Um, Sam's down there, but we're gonna miss him. So I'm out of 50 millimeter. Which again? On the crop sensors. More like a 70. So I'm gonna came up. Uh, I'm going to start just a nice slow pan across. And as you can see, there's your panoramic. Um, take a look. It's nice and big. The cool thing doing it with a big camera like this is that it's gonna maintain resolution . And that file is actually bigger than your normal files on your camera because it's stretched across the entire way, and with the food, you automatically stitches it together in the camera. The iPhone and most smartphones will let you do a panoramic on your phone. Just switch over to PANA mode and sort of has the same thing. It's got that line horizon. It's got an arrow which way you want to go. There's kind of two methods of doing Panter, obviously iPhones. Some people just move their whole body and pivot. Other people just use their wrists like this. I found that this movement, the risk movement, is probably your best bet. Trying to kind of scope out. Where you going to start and stop? The cool thing about the iPhone one is that you can start and stop it whenever you want, So it could be kind of ah, kind of a taller panoramic or could be a real wide panoramic. So one thing to do is to pay attention. Is things in your shot? If there's a lot of people in front of your landscape that you're about to shoot, you have to be wary because if they're moving, the whole idea behind their panoramic is it's taking multiple shots. So a person moves from one frame to the next. It's gonna look funny. We're gonna shoot. Sam's gonna be in our shot here and we're gonna start Get the button. I'm going to slowly move across. Sam's moving in my frame so now you can see he's really messed up my a panoramic shot. We'll take a look at it. Yeah, you can seize on the left. He's on the right. He's in the middle. Really? Don't work out that well, so when you're at a place that might be crowded, try and get a zoo closes. You can't have edge being safe, close. You can get away from people. Let's try this again. And like Sam's right at the end and he didn't move. So that's great. Let's take a look at the shot So it not as wide but still like a pretty nice Pano. And for an iPhone seven, I know that files pretty big to print, like a nice little image. So lastly, if you don't have a camera that will take panoramic for you or you have a panoramic setting , you can do it manually and all you have to do with that. His pick a spot. We're gonna begin kind of take a look and know where you're going to end and you're just going to take a single photo move a little bit, take a single photo move a little bit. It's basically doing what the applications of computers doing in the camera in the phone, But you're doing yourself and then you're gonna take it into post and you're gonna stitch it yourself. It's a lot more work, but it's very possible, and you could do it. So, sir, they're kind of the same spot. Take a shot. I'm only moving a little bit. I'm including a little bit from the last shot in this shot, so we know where to stitch it. Same thing moving across another one, including a little bit of the previous shot in the next guy and so forth. And you go as far as you want with this. You get even crazier and go 3 60 if you feel like it. And so now we'll take each one of the single shots and we'll stitch them together. One big Photoshopped file. It's a little bit more work, but it's worth doing if you can't do it on your phone camera. The panoramic suite landscapes are very specific. There's not a lot of it's kind of hard to sometimes share those on social media and on the on your instagram or something like that because of the small screen you can upload in the Facebook and we'll get nice and big and you can see them. What I think panoramic sehr really great for is just printing them. Um, they're gonna be nice and beautiful and you'll be able to see everything and, um, you know, they're just really beautiful. I think the big thing to know is when you take it into post. If you have a camera phone that stitching it together already is just to kind of take a look and see if there's any lines and make sure you kind of learn how to clean that up. But we could go over that later. You see a lizard. I put my long lines on, try and get it real landscape. He right. 11. Wides vs. Telephoto Photos: setting up the tripod so we can do a shot of this landscape here on a wide lens and a telephoto lens so we can see the difference. I want the shot, though, to be exact same, so you can really tell the difference between the two. So we're using the stratified. I leveled it out. There's a bubble on here. It's usually that's where to start. We have a video ahead because we're doing some video here, but it works the same because I'm not moving at all. So one really cool advantage of the meal is cameras is that I have a monitor I can use on the back. Um, not a lot of DSLR is Could do that, Um, and maintain shooting. So this is a 14 millimeter lens. Um, we're shooting at, uh, F nine at 100 eso and 250 to shutter. Um, so let's take a shot with this set up right here. It's nice having have the horizon kind of lower cause you get my negative space. Um, try level out here a little bit. It doesn't totally level sometimes, depending on where you are, the level on your tripod won't necessarily reflect the horizon. So just keep an eye on that. And, uh, yeah, that looks pretty nice. I like where it is, like the sky. Like a shot. Cool. So that's the 14. Let's switch to the telephoto. Typically, I would attach the telephoto right here for the tripod because this lens is actually heavier than my camera itself, but because we just wiping it off, it'll be okay for now. So right off the bat, you can tell I'm at I'm at a 50 millimeter, and that's a lot more, uh, zoomed in than the 14. So I'm gonna have to adjust the camera we're gonna tilt down and just to give you guys show you guys a difference shooting at, uh on my cameras 140. So it's a lot closer to 200 millimeters on a full frame, But we're aimed right here at some rocks and you can really see at 140. There's a lot of stuff that's out of focus and very little in focus is just one plane because I'm shooting at a three to the other. Cool thing is you can tell is how the back road compresses itself as you zoom in the space in the far back around and mid range that starts to get compressed, mostly because of the filaments in the glass. When you shoot wider, it looks like that stuffs further away from each other. So it's kind of one effect that you may be looking at when shooting with a telephoto. Let's take a shot. We're gonna focus on there. There you go. So it's not as expensive and wide. Let's look over at this Joshua tree and you can see there's mountains in the background. I'm gonna kind of lower the Joshua tree. So it's down here. You will see the shot second, and I'm gonna open up because just a little too bright for me. Um, I'm gonna use the shutter to open up because I want to keep it a 3 to 2. Keep throwing stuff out of focus Goto a to 8 100 eso and 1000 of a second, and the back is a little blown out. So let's come down a little bit. You can tell that the Joshua tree you can see is in the shade a little bit in the backwards . Pretty bright. So the difference between the shade and the light side is a little much. So I've kind of bracketed. Maybe we confess that photo shop, but yeah, you can see how ah, she's gonna telephoto really compress the stuff. It makes things look a lot different than a wide angle lens. So I want to show you what it looks like stopping down This is the same situation that Phil was talking about earlier with Sam. So I stopped down to a 22 but it told me my shutter really needs to be 1/30 to get the same exposure because I'm on a tripod. That's probably OK, but I'm gonna just up the Isoda 400 Um and so I can bring the shutter down toe 1 25th just to make it a little bit better. I mean, I'm not shaking the camera. Also. Now we can see in this photo same exposure, still little shadowy in the front and kind of bright in the back. But a lot more is in focus. You can see the ground on the dirt is a little bit more focus into the background, and there's a little less fall off. So that's kind of a big difference when shooting at a to eight and 22 12. Using a Polarizer Filter: All right. So I'm here with my Fuji x t to, um I have my 14 millimeter lens right now. Um, my eso is 100. I'm a 1 25th and I actually have an f stop of a 16. What I'm gonna do is shoot a big, wide landscape with sky program with the sky mostly in frame. I'm gonna show you what it looks like with him without a polarizer. The reason is a polarizer is gonna bring out a little bit more of the blue in the sky. Um, and it's kind of our first step in the filtration in camera before you get in the post. So first, let's take a look at the shot. Um, it's really bright here, so I'm gonna look through the eyepiece. And yes, So those were my settings again. F 16 1 25th of the shutter. I s 0 100 letting autofocus. Um, and we take the shot and there you go. That's a straight at at a lens shot. Um, no polarizer. So it's put polarizer on and see the difference. My polarizer is ah, diameter of 58 millimeters, which works great on my 40 millimeter and it works great on my, um, kit lens the 18. 55. And it just screws on there, which is great. You can get an apparatus where you drop in filters, infiltration and glories. There could be one of those, but for this I have one that screws in. It's cruising right there and then the front. You can see how it spins right here to adjust it. So we're gonna take a look. Looking through here, you can actually see what the Polaroids or does as I spent it. And you can see how the blue gets deeper and gets brighter. What a polarizer is several pieces of glass, Um, and by rotating it, you're adjusting the way the lights refracting and reflecting. Now, because the sky and because windows or water are all reflecting light, this is gonna affect exactly what what that is. Reflection and the color so you can see how a spin it. It's getting the top. This guy's getting darker and darker and darker, a little bit more bluer, but it's leaving the bottom stuff alone, so that's a little bit more of a dramatic photo. Whereas when I spin it back becomes a little bit more blown out, not as much detail in the sky, in the clouds as much a lot of sunglasses have. Polarizer is, and you may wonder what that really does. If you do have sunglasses, polarizer, put him on on. If you're looking at the sky or window, just tilt your head to the left or right, and you can see exactly what's changing its that again, that reflection and refraction of light that's changing. I love using polarized sunglasses when I'm driving because the reflection from the dashboard on the windshield gets killed. Let's let's adjust back to the to the dark that the showing you with a nice blue sky gonna open up just a little bit to get it a little bit back. And let's take this photo. All right. Now you can see in this photo the skies much bluer. It's a little more punch here. It's a little contrast year. It's just a bit more dramatic, so you can see the polarizer can really add a lot to your landscape Photography, especially when you're shooting the sky or water or anything that's really reflecting 13. Sunset Photography: um it's been awesome day out here in Joshua Tree. The sun is now getting closer to that horizon, and we have this great orange light kind of coming over the over the land. Really, There's a law stuff that's now in shadow, but we still have light hitting a lot of these big rocks. So we're getting this great contrast. That's great glow. Um, it's just adding a different texture and different layer to our photos. So we're just going to keep shooting a couple more and, ah, the night's gonna fall and you know we'll move on to the next thing. But, uh, you know, there is a few things looking at the sun. We have these clouds and everything, So it's doing some really interesting stuff for that. I'm gonna have to really crank my shutter up. I'm at a see. I'm in that a f stop 8000 of a shutter speed and eso 100. It's during this really cool thing. It makes everything silhouetted, but you have the sun and these clouds. Just doing this really cool stuff is actually a little dark for me, so I'm going Goto four. That was a nice shot. One thing to watch out for when you're shooting right at the sun is that you will get these lens flares. If you position the sun in the middle, you won't get that lens flare. But the second you put in the lower left or lower rider, wherever it is, you'll get that flat and some people love it. Some people don't, uh, looking over this way, though, we still have this nice light cascading over the rocks and everything. So I'm way too dark now I'm gonna stay out of F four stay. I s a 100 just I think my shutter a little bit more manageable. So I went down to 3 20 AM going into 2 50 I was looking really nice. There's It's great. There's some clouds in the sky now, so we're getting a little bit more texture than just that blue sky. Um, it's just adding another layer to it, you know, Will's back here doing a panorama with his 14 millimeter. That was all that clicking right there. It was, like, good. It's really good stretch from, like, these rocks over here with my polarizer, you can get a really nice, Like blue sky here. So sons getting closer and closer to advise. And so we're going to keep shooting and, uh, yeah, thanks. So I really like this s things View right here This vista You can really see how the sun is just peeking over the Mallon's actually looks pretty nice. So there, But it's kind of creating this contrast. You can see a little bit of the shadows and I'm adjusting the pola so you can see the blue skies really coming out. It's nice evening light. It's really orange The little dark, the sky Can I add some contrast again With my negative space I may be in post will brighten up the mountains just a little bit. Um we talk about that later, but I really like that shot. You really see the contrast and the fact that the sun is to the side of it, Um really helps add, uh, just a lot of depth. So just want to add one last thing. You know, as the sun's going down, don't just focus on the sun, you know, as its setting. Now we have this beautiful soft light over everything. This is a great time to take Portrait's. It's also, you know, a good time to do continue doing landscapes because the sky has so much color. But all the train is just has this really soft, even lighting on it. So So it's a good time to take lighting. Don't just focus on the sunset. Realize that you love other things To be shooting out there. He's got has got a really awesome but of the tree. Someone had a go at it, um, was running down because trying to sell already shot breath if you go down and I start really low angle on the structure tree, he could stay here. And the colors are pretty rad. Dude, that's beautiful. I do What? The poem? The No. Maybe that one. Yeah. Much better sunset tonight than there was last night. The clouds really help. That's one of Sam. Looks like a Pentagon. You had totally color that. Okay, so it's you Never. Day shot all day. Joshua tree, Sunrise to sunset. Still shooting people ready to go play with these and post Yeah. Excited toe to compare notes. He wanted 100 dead nurses. Exciting to think. We push our cameras in some regards to bang on. You know how much contrast and having those deep shadows and then high highlights are also showing midday. Uh, it'll be interesting. Assortment photos also shots him on my iPhone so we'll see what those look like as well. Yeah, let's let's get out here. 14. Intro to Editing: they fill hear back from our trip. It's been about a week. I'm a little bit scruffier. So welcome to this brand new section on editing our photos in what we're going to be using his mostly light room. That being said, if you're not using light room, it's OK. What we're doing in light room can be done in most other photo editing applications, whether it's on your phone or on a computer. Basic things like exposure, white balance, cropping these air, the things we're going to be doing mostly, and you can do it in your own application. We do love Adobe Light Room. We recommend it for professional photo editors and amateur enthusiasts. It's a great editor that allows you to batch at it photos very easily. Photo shop is also very cool, but it's not as great for batch editing photos, and it's not as powerful for organizing photos as well. The only thing I want to make clear is that this is not a complete photo editing course in Adobe. Later, we have that course. It's called Adobe Light Room Master class, and it's a great course if you want to go from complete beginner to advanced in adobe light room, covering all kinds of tools that we actually won't be touching upon. In this course with this section, we want to go over the main thing that we do to our landscape photos. But first we will be doing a refresher, a crash course into Adobe Light Room. If you've never used light room, it's a great way to learn the basics, so you're ready for the next lessons. And if you have used light room but you're not too comfortable with it, it's a great way to get up to speed. So remember, we are using Adobe Light Room, but what we teach can be transferred to most other photo editing applications. If you're confused and can't figure out how to do it yourself, let us know. Google is also a good friend for searching on how to do a specific thing. Really, what we want you to grasp are the theories behind what we're doing because it's not about the tool. It's about how we use them. Thanks so much and enjoy this section 15. Lightroom Crash Course: welcome to this light room crash course. It's a great refresher for those of you who have played around with light room but aren't that comfortable. Or if you're brand new to light room, this will get you up to speed with the rest of the lessons. This is an optional lesson, though. If you already know light room, you probably won't learn too much more from this lesson. So go ahead and move on to the next lessons where we dive into specifics on how we edit our landscape photos. So when you open up light for the first time, you won't have any photos in it like this at the top, you have a menu with different tabs up here, and these air different rooms where you can do different things from your library, where you organize your photos to the develop tab, where you actually edit your photos. You have things like Matt book, slide show and print and web, where you can do other things that we won't be covering. In this course. First thing you need to do is get your photos into adobe light room. I've already imported them onto my computer. They're actually on an external hard drive, and so to get them into light room, I need to click this import button down here in the bottom Left. This brings up the import module on the left side. Let's select the source where we're trying to find our import. The images from you will see the folders on your computer and any external hard drives. Over here. I've put all of my raw photos into this cannon 70 D photos folder, and when I click on that folder, all of those photos show up. You can either go through here and check or uncheck the ones you want to import. But typically I import all of my photos, and then I go through them later on. Another thing you might want to do, which you can do later. But it's easy to do it right now is add these to a collection so that you can easily find them at a later time. So if I check this ad to collection box and then I click this plus sign over here, I can create a new collection. Think of this as a new folder, so I'm going to call this Joshua Tree 70 d because these air the photos shot with my canon 70 d and I'll say create now I'll click import it imports all of the photos and you'll see up here, this bar going through as it imports all of the folders over here on the left hand side, there are different ways to find the folders or the photos that we just imported. One is through collections, which we just did. So you see this Joshua Tree 70 d folder. Here I have this other Joshua Tree folder, which includes all of the photos from Will and Sam's cameras, which all actually probably break out later into different folders for each camera and then up here under folders. You can actually go through your computer folders and find all the photos that you've previously imported into Adobe Light Room. So this won't include all folders or photos on your computer, just the ones you've already imported into light room. So that's why you see these three folders right here. The photos folder, which is actually my 70 d, the Nikon and the Fuji folders. So there's different ways to find the photos that you're looking for. You can see other folders and collections that I've imported in the past. Down at the bottom, you have this toolbar. It's a little tray that has all the photos that you've imported. You can view in this center area your photos in different ways, either in a grid like this or by clicking this single photo but and down here by single photo, you can either click on the image down here to go through them or press the right and left arrow keys. So this is the library. And the main thing that I do now is organize my photos and actually rank them. There are different ways to rank or to flag photos that you think are good or bad. The ones that I use are these star ratings right here at the bottom. Notice that if I have one of these focus selected and I press a star rating adds that star rating down to the bottom of this photo down here. I can also just press the number keys on my keyboard to add aerating 1234 or five. So what I personally do is I go through all of my photos, just pressing the right arrow keys in assigning a star rating to them. Typically, if there's a lot of photos that are similar, I picked the best one and the ones that I don't want and I won't edit. I'll just put a one star and the ones that I do want to add it. I'll put above one star. So maybe start out with three stars or two stars, so I'll go through and add that to all of my photos. So we'll go through ads star ratings to all my photos. And then if I want to even go even further, maybe all go back and change some of these star ratings to four or five stars to show that these air the really great, high quality photos that I know, that I want to add it, for sure, or that I'm going to share later. You could add ratings to your photos however you want. This is just how I do it, and the reason we add these star ratings is because later we can actually filter all of these photos with this filter rating down here. So it's kind of hard to see, but if we click this filters off button and change it to rated. And then we changed the rating too above one star above two star above three star. Or, if we click this above or equal to weaken change it, too, is less than or equal to, or is equal to say, I just want to see C three star photos I would say equal to and then select the three stars . Now, just the three star photos appear in this trade down here. That way, I don't even have to deal with the one star photos, and it's much easier to go through and just edit the photos that I want to add it. You don't have to organize your photos this way. You can go through all of them. So the next thing you would want to do is start editing. So in the next lessons were going to be going over full edits and specific things you can do for your landscape photos. But I do just want to go over the basics of how you use light room. So if you already know this, you can go ahead and skip this lesson and go on to the next lessons. But for those of you who are new Delight room. Continue on with this lesson. We switch over to the develop tab. On the right hand side, we have all kinds of different tools for editing, and if you scroll down, you have even more tools. Some of these might be opened or closed, depending on the last time you or someone else open light room so you might have some of these clothes that you want to open up later. The basic way you edit is with sliders. There's different ways to edit this lighters just by clicking and dragging to the left or right. You can also hover your mouse over this slider or any slider and on your keyboard pressed the up or down arrow buttons. You can also click here in the number setting on the right side of the slider and actually input a specific number. If you want to get very precise to reset a specific slider to zero or toe the original, just double click it if you make a lot of changes. This is just crazy. I would never edit my photo like this, but if you make a lot of changes and you want to reset all of the changes. You can click this reset button down here which resets the entire photo. This first group of settings are your basic settings, these air ones that will be playing around with a lot. They include white balance, tone presence. All these things will be going over in the future. But basically under white balance. This is the warmth of your photo. And also the tent which is goes from green to magenta below the tone. This is the exposure. So we have overall exposure. We have contrast, which is how dark the darks are and how bright the brights are. And this latter makes it less contrast e or more contrast, e. These next lighters affect a specific part of your image. Just the highlights. Just the shadows. Just the whites which are brighter than your highlights in just the block which are darker than your shadows. While I'm changing these, you probably noticed that up here we have a history, Graham, which shows the exposure of our image Over here on the left hand side you have your darks and on the right hand side you have your highlights. If you hover over this little triangle in the top, left or right, you can see what parts of the photo are clipping highlights or clipping darks, so this image doesn't have any clipping darks. Unless I brought down the blacks, you might see some clipping down there, which means there's no information there at all. It's just completely black, pure black or pure white, so that's something to pay attention to while you're editing to. You don't wanna have much clipping, either in the highlights or in the shadows. The low tone. You have presence, which includes clarity, which makes things a little bit sharper in a little bit more detailed or less sharp and less detailed. You have vibrance and saturation first saturation. This makes your colors more colorful for every single color across the image, and you'll see here if I really crank this up. Some of the colors get pretty wonky, including skin tones. You get that very orange skin tone. What vibrance does is it increases the saturation, but in a more intelligent way, it increases mostly blues and greens, and not so much the oranges and yellows maintaining a more natural skin tone while increasing the saturation of your image, so you can see if I bring up the vibrance. The skin tones don't get as orange as if I do that same sort of thing with saturation down below, you have your tone curve, which is another way to change the exposure and the contrast of your image. You might have heard of an S curve, which is a typical way to add some contrast. You can create a curve or edit this just by clicking and dragging up or down on this line graph. And if we want to create a NASCAR, I'll just do super dramatic. So if we click twice, you get this curve that starts to look like an s, and that has a lot of contrast. You wouldn't want to do that. You would want it to be more subtle than that, unless you're going for some experimental look. But that's another way that you can play with contrast on the left hand side of this little box or this graph are the darks. So if you click down here, you're editing the darks up here in the right, you're editing the highlights. There are more ways to edit, but we're going to be going over some of these things in the next lessons on a more practical way, So I'm not going to go over any of those. The only other thing I'll note is that up here at the top of your development tab over here on the right, you have more tools. One is your crop tool, which allows you to crop in to your photo. You can change the aspect of your crop by clicking to the right of aspect and choosing one of these other aspect ratios. For example, if you want a 1 to 1 ratio for great instagram pics shoes oneto one. Once you finish cropping your photo, just press done down here or enter or return on your keyboard. We have other tools. Such a spot removal, red eye removal, graduated filters, radio filters and adjustment brush is these are all things will be covering on specific uses later on, so that's pretty much a crash course in light room. We haven't gone over all of the effects, which we will be going over Ah, lot of them, but now you know how to change them, at least with the sliders. If you wanna learn every single thing about light room, take our adobe light room course, but I first recommend you just continuing with this course, seeing how we edit our landscapes and playing around. That's really the best way to learn just playing around, seeing what you like, because, like everything, there's usually no 100% right or wrong way to do something. It takes a lot of time and practice, and there's also multiple ways to do almost everything in light room. To adjust the exposure, you can use the sliders. You can use the tone curve. There's all sorts of ways to do the same exact thing in light room. We will be going over how toe export your photos in a separate lesson. So that's coming up later in this course, so we won't go over that just now. But really, I hope this was a great refresher on light room. If you have any questions, let us know, but again go through the rest of these lessons and afterwards, if you still have questions, please feel free to send them our way. Thanks so much and have a great day 16. Basic Landscape Photo Editing: welcome to this lesson on our basic process for editing landscape photos. In future lessons, Sam Will and I will go over our own photos and just go over some more creative things that we do. But we just wanted to give a basic process that can get you started. The first thing is to start with a photo that you love, and we recommend trying to get your photos as close to final as possible while shooting. Editing is a great tool to make our photos look even better. But we have to start out with a photo that we love. Here's one of Will's photos that he really likes. It was one of his big negative space photos. And with most landscape photography, there are a few basic things that can make your photos better. One is that the landscape is generally too dark, the skies are generally too bright, and so we're going to be doing some things to combat. That our first thing that we actually do is to crop our photo so that we know what we're working with. If we don't crop our photo and we end up editing a photo based off of the entire thing. There might be things that we're thinking about that don't matter. In the end, suppose we crop this cloud out in the bottom, right? But if we didn't do that until the end, we might be paying attention to how that cloud looks. So the first thing to do is crop your photo. I actually like how this photo is taken, but for the sake of cropping, let's edit this to a 16 by nine photo, which would be perfect for a desktop screensaver. We'll zoom in just a little bit just to get a little closer to that land. I don't need that much sky, something like there, then just pressed, done. The next thing I'm working on is the exposure and the white balance. The white balance looks pretty good right now. Let me just play around and see what happens. If I do boost the warmth. It actually kind of gives it a really cool effect. This shot was shot during the evening. We might use some graduated filters to actually make this a little bit better, but that's something we'll learn about in a future lesson. I like how I boost it just a little bit with warmth, with exposure. It does seem a little bit dark to me, so I can either just boost the entire exposure like this. But when I do that, the sky gets really bright. So I don't want to do that. I'm going to use these sliders down here. I'm gonna bring up the shadows to try to bring up the darkness in the land. If that doesn't work completely, I'm going to bring up the blacks to just a little bit. If you really bring up the blacks, though, you start to get this very faded look, which can be a cool style. But I don't really like that for my landscapes. So we'll just bring that up a little bit. Definitely bring out my shadows, though. And then, with my highlights, I'm gonna drop down my highlights and my whites just a little bit. One thing to be paying attention to is our hissed a gram. We don't want anything to be clipping in the blacks or in the highlights. We can actually show those by clicking on or off these little triangles. Then if we're editing something and we actually get something into the blacks. We see that in our photos rather than just hovering over this little triangle up there like we learned about before. We can actually click it on so that it's always going to show if we are clipping anything. We don't want to clip anything. We want to make sure that our entire image has some sort of information. Unless you're going for, like, a silhouette look or something that's really over exposed the next set of tools I like to use our the clarity, vibrance and saturation sliders typically for landscapes. I'll boost the clarity just a bit. This increases the definition of the land with the clarity's lighter. If you're shooting portrait, it's photos of people. This can look a little weird, but with landscapes, it actually looks pretty good. Same thing with vibrance and saturation. We learned in the last lesson that saturation might not look that good for people, but with landscapes, it can look pretty cool if we go too far, though, we get a little bit too much color in the sky. That might be something that you like, but I'm not actually going to do it that much and let's just see with vibrance. What that does. Well, it looks pretty cool starting to like this photo even better. And it's always good to check your before and after work while you're editing, pressing the back slash but and can see the before and after you can see what it looks like . I'm definitely given it a style with the warmth that I added. If I want to back off that a little bit, I can. If you don't know where you started, you can always click this, but in that says custom right now and change it back to as shot, which was pretty close to where I waas. I'm going to skip the tone curve for now because they've already made my adjustments to exposure. If I want to add a little bit more contrast, I might come in here and add just a subtle S curve like that that brings down my blacks just a little bit. And I might want to compensate that just by boosting the shadows overall, or maybe even coming up to exposure and just bringing up the exposure of the entire image just a bit. I'm starting to really like that. The next step is this H s L panel? I actually really like this panel for landscapes. Basically, what this does is it allows you to edit the hue, saturation or luminant for specific colors. You can do it with the sliders and let me show you what that does. If I select the blue slider for Hugh, it changes the beauty blue hue, so that's mostly the sky. So that's kind of cool for saturation. It will just boost the saturation of the sky or of the blue. And then for Luminant. This makes it brighter or darker, so that can actually add some more definition in the skies. Well, you can also pinpoint a color in your photo toe at it by clicking on this little button on the top left of each little edit and say, We want to do that with saturation to to the sky. We can just click and then drag up or down, and that selects the color, which actually includes some of that aqua slighter as well. So we want to completely de saturated sky. We can do that. I'm gonna boost this guy just a little bit. I'm also probably going to drop down the luminous of the sky just to get a little bit more definition. It's kind of like adding a polarizer to the sky. Let's just see what the Hugh does just for kicks and giggles. It gets pretty unnatural when you start playing with the hue, but that can be kind of fun. I'm also going toe play with the luminant of one of these orange rocks just to see what happens. That starts to get a little funky as well. These are all sliders that you can play around with and get really creative with for landscapes. The next thing I do is go down to the detail panel, which is sharpening and noise reduction. If we zoom in on this photo, we can see that everything is pretty darn sharp. There's not too much noise. If this was shot at a higher I S O or in a darker environment, we might see that digital noise a little bit more weaken CIA zoom in that shows the detail here sharpening. I'm not really going to sharpen this image much more. It already has a set amount of sharpening that's added. We also boosted the clarity, which added a little bit more sharpness as well. If we want, we can bring up this sharpening amount and then the detail and radius filters adjust how that sharpening is applied and how it affects the edges of things in your image. Moving these sliders around, you'll start to see bigger and smaller bits of grain, because to increase the sharpness of your image, you will be getting more grain to reduce that grain or to reduce any of the digital noise that you have. Initially, you can use this noise reduction slider, so if I bring this up, it will be probably really hard to see on the video. But if you're doing this on your own computer, you will be able to notice that some of that noise is reduced. Now this kind of compacts of the sharpening by making things a little bit more washed out a little bit softer. So there is a balancing act, Tween sharpening and noise reduction that you have to play around with. Since this image is mostly of the sky, I'm actually going to go back to that normal sharpening level. We don't need to sharpen much. Everything's really in focus. We used a high f stop big aperture for this photo. So it looks pretty sharp already. And adding green with this sharpening to the sky is not something that I want to dio. This photo is looking really good according toe me. Anyways, hopefully you think it's looking better to again. We can press the backslash button. We can also click this button right here. It looks like a why to see the before and after as well at the same time, which is super helpful to see I like this view. Ah lot. You really see the detail on the colors of this image. If you want to add style, the next step would be going down to this affects Tab and Adam. And yet a lot of people do like adding of and yet I try to stay away from vignette ing too much. I know it can look kind of cool, but after editing thousands of photos over many, many years, I look back on a lot of my photos where I added these super dark vignettes and I wish I never added them. So be careful when adding of and yet my advice is to really don't increased amount to much . And then if you do out of and yet just increase that feathering. So it's very subtle. I'm gonna get rid of that been yet because I don't want one for this photo and then, lastly, just go back up and see if you need to make any tweaks to the exposure. After you've made those adjustments that might help toe just play around with exposure Slider. And one thing we haven't done in this lesson is play around with our graduated filters and our adjustment brush. There's something we're gonna be going over in one of the next few lessons and some other cool tips and tricks that you can do in light room. But I want to start with the basics. And really, this is what I would dio playing around with exposure, white balance and your saturation and colors. Those are the main things that you can do to make your landscape photos look even better, so that's our process. In the next few lessons will be going over some specific tools. Toe. Make your landscape photos even better than following that will. Sam and I will be taking our own photos and editing them and walking through our entire process from start to finish. 17. Editing Tip: Quickly Straighten Horizons: in this lesson and the next few lessons. I just want to hit some quick tools that will be using to edit our landscape photos and that you can use to make your landscape photos even better. The first is the level tool, which automatically levels your photo to the horizon or to really any line that you draw. This might not be available in other photo editors, but to do it in light room, go to your develop tab, click the crop button and then see where it says angle to the left. There's this little level button. Click that ones and then click over on your image and drag across the horizon like so after you let go, it automatically rotates the photo so that that horizon is perfectly level. This is one of the key tips that we talked about in improving your landscape photos, and it's a great way to do it really quickly in light room 18. Editing Tip: Remove Unwanted Objects: Here's another cool tool in light room you can use to get rid of things like Kem trails that you see here in this photo or lens flares, which you can probably see up here and more suddenly right here. Next to the crop tool is this spot removal tool. It's a brush tool that you can brush onto an object and light room will intelligently replace it with similar colors from your photo adjusters size and the feathering with ease , sliders and opacity. Down here, I'm going to just keep my opacity at 100 because I want to completely replace this Kem trail. Once you have that set, just brush over what you want to remove. Now you see what pops up is this other shape where lighter automatically put it in this location. But I can actually move this around, and what light room is actually doing is taking the information from this shape and adding it to the original shape or covering it up with the original shape and blending it together . So if I click done, you'll see that hat. Kim Trail has completely disappeared, pressing the backslash key on my keyboard. I can toggle between the edited and unedited version. Pretty amazing. We can do the same thing for these lens flares. Let's just increase the size just a bit. We got these three right here, This one right here and now I can just kind of click on these and this one up here. Let me just make it a little bit smaller. Brush over that one up there and easily and quickly. I can remove those lens flares. You can do this with other objects to, such as trees, wires, telephone poles, those kinds of things, cars. Even. It might take a little bit more finessing, but you basically do the same thing. Just make sure you find a good spot for it to blend with, and you can move that around and customize it yourself. So anyways, I think this is a lot better and cleaner photo. Then this. Some people might like those came trails. It's actually a little bit interesting, but if you do want to get rid of them, that's how you do it. Thanks so much, and we'll see. In another lesson 19. Editing Tip: Graduated Filters: Here's another cool tool in light room that can be done in a lot of editors to. It's called the Graduated Filter, and I haven't edited this photo at all yet. Typically, I would do my basic edits and then do the graduated filter. But I really just want to show you what this tool does will be using it a lot in the next few lessons. So this graduated filter is this one right here. It looks like the rectangle and basically what it does. It allows you to add it a portion of your image. If I click and drag, you'll see these three lines start to appear. And as I click and drag, they get further apart. If I let go and I'm going to let go right around the horizon so that middle line is at the horizon. Nothing happens. But if I start toe edit these graduated filter effects over here, you'll see. I'll just go really crazy with it right now and decrease the exposure so you can see that on the top of this line that I created, we have this top part being under exposed. Now I can move this around by clicking this circle and dragging around. I can click one of the lines of the top and bottom to increase or decrease the Grady int or the feathering of this filter. I can click this middle line on the side to rotate it typically for a horizon. I want it to be pretty quickly adjusted. Something like this. Now I can change all these letters similar to how I at any of my other sledders in light room. And you have a lot of the similar things going on. You got your exposure Contrast. You've got clarity. One thing you have here, too, is this D Hayes slider, which I really like using, especially for skies. Or if you're doing cities gapes or any sort of photo where this guy is a little hazy, crank this up a bit. You'll notice that the contrast increases and you get a little bit more saturation in the sky. It can really help your clouds, pop. So I really like that a lot. You can also play around with the temperature of your skies if you want it to be really blew. Utkan drop down that temperature quite a bit if you wanna have more of an orange sky. You can play with warming it up. You can even add some magenta or take it down a notch to add some green with the tent slider. I want to just boost the blues just ever so slightly. With contrast, maybe increasing the contrast can make it a little bit more like adding a polarizer to your photo and even boosting your clarity just a bit just to get more of that definition in the clouds. You do want to pay attention, though, and be careful with how you use this. You gotta figure out where you want to put it. Maybe putting it down here looks a little bit better, because if I put it up here, you see the rising in the distance doesn't have that deep blue sky from above. Looks a little bit fake to moving this down just a little bit can work, even though it does make those mountains in the background a little bit blue. That's fine. We can actually fix that with another tool, which all go ahead and show you how to do right now. Is that the adjustment brush tool similar to the graduated filter you can make edits to a very specific part of your image now brushing it on. So I'm going to decrease the size. You got the size and feathering down here, and I'm going to check on this show selected mask, overlay button so that I can actually see where I'm painting on. So if I paint right here over my horizon mountains that are in the distance, I'm actually going to do this. And then I'm going to go in and decrease that blue that we added by adding a little bit more warmth to it. So that pretty much covers it. And now I'm just going to turn off this show selected mask, overlay and bring up the warmth just a bit. So we get back to where we were when we started. We could even go crazy with if we want. So now we're a little bit more balanced. So to get back to any one of these brushes or filters, we can click on that tool from this menu up here and then click on the little button that appears to create a new one. Weaken, just click and drag in here. You can see Now we have to to delete weaken. Just select one press delete on the keyboard. And if you want to start a new one from scratch without any of these settings, just click this new button up here and now say we can add one to the bottom part of our image because maybe we want to boost that contrast just a little bit. Or the warmth just for the landscape right here maybe increased that clarity. Quite a bit contrast. Do all kinds of cool stuff to make the bottom half of our image look even cooler. Maybe we want to make it super green. Cool. So that's the graduated filter. And if I had just pressed the back slash but and you can see the before and after we had two filters, one to the bottom went to the top, and we use that brush tool as well to fix some of the things when you have mountains or things in the horizon. And it's not a perfect line. Thanks so much for watching and we'll see you in another lesson. 20. Phil Edits a Landscape Photo: Hey Phil here with video school online and today I want to show you how to edit a landscape photo, and this is just sort of a behind the scenes look at how I edit landscape photos. There's lots of ways to do it, and there's lots of other tutorials out there, and they're all great to watch because everyone has their own sort of experience and their preferences for how to edit their own photos. And that's the great thing about photography, because it's art in the end. So here's a photo that I took in Joshua Tree with my canon 70 d. So this is a great example of a photo and a camera that is pretty low tier, mid tier DSLR and the quality of photo that you can get from it. It was shot with a 10 to 18 millimeter cannon lens, and we can see the information up here in the top, right? I s 0 110 millimeters f 16. So really deep depth. The field and the shutter was 1/60 of a second. Here's my buddy Sam scrambling up these rocks to get a better shot himself. So I'm in the developed tab of light room. And the first thing that I like to do with all of my photos is to crop them. So I know exactly what I'm editing so that I'm not doing any extra edits editing parts of of a photo that I don't really need to be paying attention to. So I'll click this crop, but in and now I have to decide Do I want the original aspect ratio? Alright, Do I want something else for this photo? I'm gonna be posting it online, and I might even use it in a video that I'm creating. And so I'm going to change my aspect ratio to 16 buying nine, which is the aspect ratio for most TV screens and phone and mobile devices nowadays. And I'm just going toe. I like how its balance. And I also like how once we did that aspect ratio, I can kind of pull up and we don't see that land down there in the background. Kind of like seeing him like this. And if I press return, you just don't know how far down this valley actually goes. The next thing I do after I crop is to play with the exposure. Sam over here is kind of in the shadows and over here on the left hand side, everything's really, really bright. So I could just play around with the general exposure to get Sam Space well exposed. But when I do that, what happens is everything else gets really blown out. So I don't want to do that. Luckily, Light Room has some great sliders for us to use where we can pinpoint a specific part of the photo, the darks, shadows, the whites or the highlights. So let me just test out the shadows right here, and I'm just going to click and drag up. And if I go all the way to the right, I can start to see it affecting Sam quite a bit before I do use that, and I just double click that slider to get it back to zero. I'm going to test out the black to see if this affect Sam even better. One thing about the blacks is when I bring up the blacks. It tends toe, make the photo look really faded, and that could be a cool style. But I don't want that style for this photo. So I am going to use the shadows just to bring up just a little bit. I can actually go in here and do some other things to bring up the shadows even more without affecting the rest of the rocks, which I don't want it to do so much with landscape photos, I usually boost the clarity to around 25 or so, but because this has Sam in there, I usually don't like adding a lot of clarity to photos with people in them. So I'm going to just put this at 10. Clarity kind of adds a little bit of sharpness in contrast to the edges of things to make them stand out and with landscape photos. I do like having everything a little bit more sharp now. This is sort of not a typical landscape. I do have a person in here. It's not just of a big, wide open land escape, so it's a little bit different. Vibrance is another thing. I'll like to boost with landscape photos. Sometimes I use saturation, which boosts the overall saturation of everything. But one problem with saturation is again when you have people in them, you get the orange nous coming out of skin tones, which looks really awkward and unnatural. So that's why you would use vibrance, which increases the saturation of things like the blue sky, but not as much to the oranges and the reds and the yellows that appear in skin tones. I'm actually not even going to play with that vibrance or saturation slider. I'm going to change the color in the sky a different way. But I do want to just go down to the tone curve and see if I can use this to add any more contrast. The way the tone curve works is on the left. You have your darks and blacks, and on the right you have your highlights and then your whites. If I take this point in the bottom left and drag it up, I'm actually bringing up the blacks similar to what I did with this slider. I'm gonna undo that and same thing with the point up here. I'm bringing down the white, which is this whites slider up here. I do want to add a little bit of contrast by creating a little bit of an S curve. So I take down some of my darks over here, and then I boost the highlights. When I do that, I also get a little bit more contrast. So if I turn this on and off with this you see on off, you see that things do get a little bit more contrast. E. But also, the dark's got a little bit darker, so I'm going to fix that with an adjustment brush in Just a minute. I'd like to do all of my overall edits before getting into these other special brushes. Sometimes I break that rule and get into these first, or I'll do some of these adjustments than come back. But for this photo, I'm gonna go down to the HSE l panel with the HSE l panel. I can edit a specific color. I can edit the hue of a color, the saturation and the luminess, which is the basically the brightness. I can use the sliders here and say I picked the blue and I want to change the blue hue of the sky. Aiken, take this and make it green, Yellow, pink, Make it really funky. Or I could take this little picker right here. Click that and then go over to my photo, find a color that I want to adjust, click and then drag up or down. See how this affects the blue. But it also affects a little bit of the purple as well. That's because I'm picking at point in the sky that actually has some purple in it. I'm going to reset that because I don't want to affect the Hugh. But I do want to boost the saturation just a little bit. So only click down here, take the saturation up just a little bit so I can see again. The purple goes up a little bit. Let's see what happens when I bring up the luminess. I'm not sure I want to do that or actually bring it down to add a little bit more contrast . If I bring it up, can I get overblown? Which I don't like? I do maybe want to bring it down. Just tidbit making a little bit more dynamic. Cool. I like that a lot. Okay, so now let's just zoom in to see what it looks like. Let me actually uncheck Luminous. So now if I take my mouse over here, I can click on my photo moving around and I zoom in with the cannon. 70 D even with 100 eyes. So I get a little bit of noise in my photo. It's sharp, so I don't want to sharpen it anymore, But I will add a little bit of this luminous noise reduction. You can see the before and after. If I check this on, that's before, after it's really subtle. It's hard for you to tell if I go all the way. You can really see what it's doing. And it really softened Sam Skin. He almost looks a little bit like it's painted, which I don't really want for this photo. When you're zoomed out, you don't see too much, but you do lose lose a bit of definition in the sky and the rocks, which I like, So I'm not gonna go too far. I'm just gonna go up quite a bit to, like, 20 or so just a little bit. Not quite a bit just a little bit. The detail, in the contrast, affect how this noise is reduced along the edges of things. Would you can play around with with your photo to see if it works for you. We also have this lens correction profile down here, and what all do is click this enable profile corrections just to see what it's doing. Every lenses a little bit different. Some are more warped. Some are more vignette id around the edges and by turning his honor off. If your camera and your lens are smart, which moves are nowadays, your lens will automatically pop up here because it's in the metadata of the photo. And so it chooses that lens, and it changed the distortion and the vignette ing of that lens for us. So you see what happens is when I turn it on, the edge has become a little bit brighter, and it becomes a little less warped. Now. I don't mind the vignette and the warp of my lens. Most times this tender moment 18 millimeter cannon lens does warp along the edges quite a bit, especially when you're close up to something. You could notice it, but when I'm wide like this, you wouldn't notice it if I don't have that on. And so I'm just going to leave it like that. I'm not going to touch the effects, which include been yet. If I want or to add grain not going to do that. But what I do want to do is play around with the adjustment brush and maybe even a graduated filter. So first, with the adjustment brush, I'm going to click that, have a new ones set up already. And I'm going to click down here to show selected mask overlay. I'm going to zoom down just a little bit. And I'm just going to brush over Sam. Just his body. Just like so his arms. Not so much. Because what? I'm gonna try to do it. Just bring up the shadows around him. So his hands are really bright already. So you don't need that now. I'm going to uncheck show selected mask overlay. I don't really need to see that. I'm just going to use the slider here to bring up the shadows, and you can see that now I'm just affecting Sam. I'm not affecting the rocks around him, which I like, So I'm gonna boost that up quite a bit. See what the blacks do. You see now if I do the blacks, it looks really funky. He looks like he's glowing. I don't want that. So I'm not gonna even bring up the blacks at all. If I go overall, what happens is you get this sort of halo around him and that doesn't look too good because he's also in the middle of the sun. So you have some highlights and some overexposed parts of his pants and his hat that also get boosted. So if I just turn this on and off, you can see what happens. It's pretty dramatic, and I like that because I want the focus to kind of be on Sam. So I'm happy with that. That was very simple. All click done. The one thing I don't like about this photo is that my attention is kind of being driven by this big rock over here. Now I've thought about two things that I could do. One is I could take my crop in, and I could just crop in, like so so that Sam he's in the bottom right corner, using the rule of thirds. He's at this nice intersection, which is sort of a natural point where our eyes go and that actually looks pretty cool because then it's like, where is Sam he could be 200 feet up in the air or he could be 10 feet up in the air like he waas. Another thing that I want to try out, though. And let me just undo that. So I get the exact crop that I had before is I'm going to use a graduated filter to decrease the exposure of this rock over here. So with the graduated filters selected well again, choose this show selected mask, overlay button. I can click and drag, and this is going to affect the left side of this line, and that's how I created it. I could click up and down, and it could affect the bottom under that click down or up, and it affects the top right to left the right. It affects the first part of where you click to get to one that you've created. Just click on that little dot, and now, from here I can move it around. It could extend the fade and the feathering of this effect. I'm going to keep it pretty sharp because we have this pretty defined line. It's pretty straight. I could rotate it if I want. I can also even erase bits of this graduated filter by going down to brush a clicking brush over here and then erase. And now, if I changed my brush size, I can actually erase the sky part if I want to get in there and get really detailed. But before I go to crazy with that, I just want to see what I'm going to for it. So I'm going to turn off show selected mask overlay. And I'm thinking that if I just bring down the highlights, perhaps, you know, with editing, you just never know what's gonna happen. And I haven't added this before this video, so I m kind of playing around with you for the first time. So that actually works a lot because over exposed quite a bit. Let's also take down the highlights or the whites that's working. But if I go too far, you get sort of the edge being overexposed. But I still have my eraser on, so I could just erase the edge quite a bit. So we're not getting any of that white decrease in the sky. But just on the rocks. Oh, that's pretty cool. I just wanna undo those and see what happens if I just bring down overall exposure. That's pretty cool as I do that, though, it starts to get too dark. The contrast gets a little weird. So I think I'm going to actually just decrease the highlights just a bit and decrease the whites, like so going to try to use my eraser. Just paint away the edges. So I'm not affecting the edges. Like turn on selected mask over like and see down here. I'm still getting some of the edge in the bottom, which I don't want to get. I could have also used it just an adjustment brush to paint over this entire rock instead of the linear the graduated filter that might have been easier to Daleks. Pretty cool. Let me just see what happens if I boost the clarity of this rock and cool. Just like playing around. Or I can do some sort of cool, funky filter and blurred out. What if I wanted this whole left side to be blurry? Okay. No, not gonna do that. That's getting a little too instagram ease. So I'm not going to do that. Just decreasing the highlights and the white seems to be doing what I want. So now let's compare and contrast the before and after. You can do that a number of ways by clicking the backslash button on your keyboard. You can see the before and after the pretty subtle not too crazy or you can do Click this little Why y but in to see the before and after. That's pretty good. I do like using the rule of thirds and my photo. So I'm gonna go back to my crop and see if I crop and just a little bit what happens. I kind of like the balance of both rocks being about the same on each size. I think if I crop in too much, unless I crop out this rock completely, it's not going to look good. But I do kind of want to put Sam a little bit lower in the image. Maybe you just even just moving up like that will look a little bit better. I'm liking that a little bit more, actually, so that's kind of a preferential thing. Maybe split the difference. But I I'm kind of liking that a lot more. The last thing I'll do is after making all those adjustments. I kind of come back here and just play around with vibrance and saturation one more time. I really want to make black and white now, thank you, but maybe I do want to boost the vibrance. Just a bit contrast. Let's just see what happens with the contrast. I don't think I want to do that, and that's looking pretty good. So I think I'm happy with this photo, and now it's just time to share it. So that's how I had it, my photos, just an example of what I do. Basically, I'm just trying to have a natural at it. I'm not going crazy with this photo. It doesn't call for funky skies or really contrast e skies or anything like that in particular because there is a person here. So thank you so much for watching. I hope this helps you understand how to edit landscape photos a little bit better, and if it does, let me know. Thanks so much and have a great day 21. Sam Edits a Landscape Photo: everyone Sam here and just gonna be going through an edit of a photo with you been served going through all these photos and seeing also what filling will have. So I want to pick a landscape that's a little bit different. So focused in on this on this cactus here and just want to go through the basic at it sort of the initial things that I dio just to get this in a happy spot. Um, you know, generally the exposure is pretty good. The shadows here are a little bit dark and obviously my horizons off access. So just going go through some of the basics and show you how I approach photo editing. So, first and foremost, I'm going to get the composition in the frame that I want ultimately. So this is a raw photo from my Nikon d 800. So it's roughly ah, 41 megabyte picture. It's a It's a massive files of loss of information here. Um, but generally, if you look at the blues and never in the colors like, I'm pretty happy with it. Ah, you know, one thing I would recommend doing throughout these photos is looking at the difference of Bocas and just how the cameras have captured images differently. So why? I just stood there and I know Phil went through some of this with you. I clicked on the crop overly but in over here. Ah, and that brings up So the crop. So now I'm able to go in and do all this crazy stuff, but really, 11 do is straighten it out. So I'm just going in, clicking this side guy and moving it to get a nice level, and I think that's it. So what I'll do is your best ballpark. It set it up and I kind of sit back and look at it. That's looking pretty good. Um, actually, just take that up and this is again something that I'll set up now and later might change. It's just I want to at least know what's gonna be in my frame. I'm now looking down here, and I'm seeing these twigs and stuff. I'm wondering if maybe I can actually even crop in a little bit and go something like that now, ideally, when you're out shooting, you're framing exactly what you want. But a law times I go in. And I do things like this where maybe there's something has more focused on the cactus and less focus on the things down below. So now I'm going in and focusing in on what I want, Um, bring my audiences attention to I have framed a little to the right here. Um, I have I'm not a huge fan of, you know, perfectly centered. I just I don't find out interesting. Um, so I'm gonna bring it over here, give a little most based on either side and go with that. So, again, this is all things that can change after the fact. But I just want to set this up for now. Um, and yes, and I'm going go in. My exposure is looking pretty good. So I'm gonna leave exposure for now. Ah, contrast. You know, we'll give it a little bit, Maura. Little bit less. Now, what all sometimes do is give it less contrast and then come down here and play with sending my black point. So get that somewhere healthy. Set my white point. Just a little heart right now. Bring on the highlights and shadows. I still won't be able to see what's going on in there. Um, and now it might bring the exposure down a little bit so you can not play with the highlights. And Childs and white points by points all that stuff. Ah, and simply just ADM or contrast, which works. But it's just, you know, overall setting that and was when you set your actual highlights and shadows, you conserve, decide where you want things to sit. So I think it's a little bit more control there, Um, continuing down you obviously. Let's say I had white balance incorrectly and set it to tungsten. My photo would look a little more something like this. So I would come in here and just little blue announcing a little bit of pink down here. So being that back, find a healthy point. Sometimes I like to play with us just to see, um, you know, go extreme with it and then bring it back. And it just helps your eyes of readjust and see it in a new way. Maybe it looks fine from the get go, but then you won't go in and go extreme, and then you're like, you know, actually, like it wants a little bit warmer. Uh, but I think I'm pretty happy right here. Clarity is something that I think a lot of people can go a little overboard with. Now. It's cool in its crunchy and people really enjoy that look. But I often find myself doing it. And then I know step away for a minute and I'll come back and look at and just it looks a little too digital for me. So I'm actually does that a touch of it, but not a huge fan of that. Ah, Now playing with the vibrancy and the saturation, sometimes what I like to do with add vibrancy, but take down the saturation and ah, I don't know for what reason I just if you leave it how the camera reads it. You know, I love the Nikon look, but I kind of like just adjusting it like this. It doesn't change a whole lot, but I just think it as this or different look to it. Um, yeah, it's again with landscapes for this general editing. I think it's good to stay, uh, somewhat faithful to, you know, keeping it looking natural. You know this This is a foot of nature and you don't want go to extreme with things. Of course you can. If you want, have more fun with it. Go in. And really, um, stylized this this photo. But for me personally, I serve, like, just keeping it natural. Um, no. One thing that I typically do is I'll go down here into a lens corrections if you're not working light room. I know some photo editing sites have this Not all of them do. Ah, but more or less, I can go in and do profile corrections and automatically. It knows, do my metadata. Which camera and lens I used so going here and also see what the distortion of lenses bring it down. And then this is the natural vignette, Which for this I kind of like the white vignette opposed to a darker than yet. Um, just it has a little brightness to the photo, which I really like. So hoping that up, I don't think there's, you know, there's no chromatic aberrations in this. Ah, from there let's see. Do you tell? I don't want add to one sharpness. But Tony no. And I'm just going go in and play with serve. This panel of hue saturation, Lew Minutes. Um, sometimes I like to just suddenly change or add saturation to certain things. You know, you can do a lot of different things here in terms of changing colors. So, you know, turning greens really green or turning greens into yellow. Um, which could be law fund for this again. Because of the landscape. I'm going try and keep it somewhat natural. Ah, I would like no, maybe a little bit to the sky. Make that pop a little bit more. I didn't have ah polarizer in there. So getting a little more out of that. Um, you know, one thing I always recommend is going kind of extreme with these to see what you're affecting ultimately and just actually, I d saturate the greens a little bit then so you can see where the yellows I. There's so much yellow in there. When you initially look at this image, you don't think of it having a lot of yellow in it. But that's, you know, it's sort of it's hiding within all those greens and the sand tuck texture and and all that . Really. You know, I'm moving this purple. There's really not much purple in there. Magenta Not doing a whole lot. No need to play with those. Orange is gonna help that sand really pop or take it down. I might just add a little bit there. Another have done that. I'm wondering if I actually want the green depart more. That may be too much. Just a little bit. Uh, so, yeah, that's more or less. You know what I like to do? Um, sometimes I'll go in and just sort of play with things to see. Um, you know what else I can do? Just see if there's anything that wouldn't make the image more dynamic. Curves is a whole nother world that I do use for my film. Color correction for photos. Not so much, but really, if you look at this chart, you can see where your shadows are down here, your mid tones in the middle highlights up here, and you can just have set different points. And then just those accordingly. It's doing something very similar to what the's up here. Do the highlights. Child's whites, blacks. This is ultimately your white point. This is your black point. Here's your shadows so you can sort of play with this. Do similar things to what you do up here, but a little bit more precise, which can be kind eyes, um, you can obviously real extreme with it and that can, ah, push your camera a little too far, all right. And lastly, I just want to go back and so show you a comparing contrast. That's this little wine. Why button down here? You can actually cycle through. There's lot different ways to view this, but over here's my original image on Here's My New One again. Didn't do a whole lot of crazy editing here. I just brought some colors out. Adult. A little bit more contrast. Um, it's nothing too crazy. You can see this is just a little bit wider here and a little bit orange. You're here just a little bit more color. Um, the sand, obviously just a hair mawr contrast to it. And this guy's more or less the same. Just a little bit more blue. So nothing too crazy, um, is nice. You can come down here with light room and switch between the twos or see what's going on. Um, just do all original and then bring it back. So, yeah, I hope this has been helpful. And next will's gonna be going through and showing you his photos. 22. Will Edits a Landscape Photo: Hey, there, will here, and we're going to go through editing one of my photos real quick and photo shop. Um, I know Phil's talked about using light room, but I'm a little bit more used to photo shop. I do like light room, but I tend to use that only for when I'm editing aton of photos. If I want to spend a lot of time on one photo, it's just the way I've learned. And ah, the way I've kind of been raised. Um, but I really like photo shop and, ah, I think light rooms fully capable of doing all the same things you can do either. I just prefer to use photo shop. So, um, here's our file. I know it's this file number, and we're going to drag it down to Phil's photo shop here. And what happens when you pull up a raw photo? Um, and you take it in a photo shop. You come up with a thing called camera raw, and you could make little tiny adjustments in here before you, um, bring it into photo shop. But I'm going to keep it as shot. Basically, my Fuji was using ah, a auto white balance, and that's how it did it. So we're gonna go ahead and just click open image and Ah, here we go. So right off the bat, Um, I really like this shot. It's kind of my favorites. I kind of silhouetted the front down here. And I also tried to get these kind of came trails in here from it looks like airplanes or whatnot. Um, right off the bat, you can see. And I remember there's a big giant spot here and here. Ish, um, it's definitely on the photo. You can see it's not on your screen and ah, it's it would their spots on my sensor that I didn't see And when I noticed it that day, um, you can go in and I cleaned it by just air air blowing, um, with a little handheld blower and they got out of there. So one thing to kind of look at before you go shoot is to check that, otherwise you're gonna spend a lot of time in post fixing that. So we're gonna go ahead and fix that, Um, today, um, so let's go and start with that. So what I'm gonna do is I'm going to first make sure you can see the entire screen. And I'm going to duplicate the background by taking this and dragging it down to this little icon here, making it a new layer. Um, it's a background copy. And for me, I like to label stuff. Um, from what I'm doing in layers so I could go back and fix it. And so, for this one, we're gonna do spot, um, What we're gonna call it, and I'm going to use the heel and clone tool. Um, depending on how big the spot is or what we're doing, um will use different tools, basically, but we're gonna actually I use command Plus to zoom in a little bit here. And then we'll use the mouse controls and the sliders to move around to where we're going. Here's the spot. Let's, um let's start with a smaller one. First, um, I noticed is actually right here and again. Command plus command plus scroll down. Um, I'm really getting as tight as I can. So just to affect the one spot that I wanna, um, fix and still be able to see it so you can see we kind of see the pixels on the noise because we're zoomed in. Um, we're gonna go over to the clone stamp tool. I'm going to start with that and shortcuts on the keyboard for photo shop. I used the bracket on the right to get bigger and the bracket on the left to get smaller. It's really nice. Quick shortcut. You can also go up here and change it on the upper left here and change the size here. And you can see you can see when you click the the ah brackets on the right and the left. That number up there changes very easily, very quickly. So I'm gonna make it roughly the size of our ugly spot, and I'm gonna move it just to the right. And the reason I do that is because you can see the top and the bottom of the circle. There's a Grady int. Um and we wanted match this Grady in and move it basically over here. So we're gonna move it to the side. We're gonna hold down alternate option key and click it, and that's just mapping it as to we're gonna copy this area and we're gonna move this over here and you can see it's previewing what we're doing so you can see it's taking this area and we're previewing inside the circle what it's gonna do. We're just gonna, um, click once and that doesn't look all that great. So I'm gonna play with this a little bit. I'm gonna hit command Z to see what we did here, and basically, I'm going to get a little bit lower hit command. I'm sorry. Hit alternate option again, and then we're just gonna roll over it a little bit and you can see when we look back and it's kind of gone. And so that's kind of where I start. And I'm at 100% of pay city, which is hard. So we're gonna move over to the hell tool. And what this does is it's similar to the ah, similar to the spot removal tool, but it blends everything around it and where you choose from, Like I'm already having a hard time seeing where that spot was. Um, but we're gonna kind of go in the same place. We're gonna hit alternate option again to select the area that we're doing. We're gonna come back over to this area, and I'm just going to kind of run my mouse over it, and so that kind of blend in a little bit. I can I'm kind of detail oriented with this type of stuff, so I'm gonna make it smaller. I still see a little bit of, ah, cusp here. From what we just did, I'm gonna run over it again and you can see on the right. There's a little Crossair where it's pulling from let go, and that's sort of like blended in. So now I'm gonna hit command zero, and that's gonna pull me to four frame. Bam! Now that little spot is pretty much gone. I think there's a little bit of, ah, squishy area there. And so what I when I see a little bit of where I was working, I'm gonna leave it in full frame and I'm gonna pull from an even wider spot again. Alternate option click, Go over the area and now it's pretty much gone. So again, this can take a lot of detail, orientation and a lot of doing. But I'm gonna, like, move over and you can get kind of sort of blend in that whole area, and now it's pretty much gone. So that's really the harder one, because there's, ah, you know, orange down here and there's blew up here and it's right in the middle of this sort ingredient. Um, so now let's move over to this bigger spot. There's actually ah, one giant big spot, which was a big, giant dust park on my camera, and I'm gonna do the same thing. So let's first Ah, go ahead and zoom and you can use the zoom tool. I just press Z as a quick command to get in, and I'm gonna click right on it, and it's gonna take me right to it. And I'm gonna hit command minus to get to zoom out just so I could get a reference for it. And I'm going to go ahead and go back to our stamp tool close down. I'm going to use the brackets to get larger, and we're right next to it. So this is about the same size as it. And again, this one's a little trickier because we have this. Ah, we have our chem trail here, so we're gonna have to try and work around it and we're going to get bigger. We're gonna hit alternate option click. We're gonna move right over it. Bam! So still a little rough around the edges. Do the same thing just a little bit lower. Get a little bit lower. We're gonna go from this side. Come in. So it's still there, so it's just less prominent. So let's hit command zero. And we can kind of see Ah, there's a big giant spot here now, Um, it's a little bit less. It's toned down and it's lost a lot of it's hard features, so it's softer, so it'll be easier for our our he'll tool to come in. Same thing. I'm gonna zoom out now because we're pretty big. It's a pretty big spot, and I'm going to get bigger on her heel brush tool going to select this area very close to it. Alternate option click. And I'm just gonna run my mouse over it, starting to go away. There's still a little bit down here. It looks like it's hard to tell our screens a little dirty click here again. Same thing we see. See, this is what happens when used too big of a brush. We got too close to the Kem Trail and it pulled a little bit of it and brought it down here . So I'm gonna hit Command Z to get rid of that last edit and so that then we can start over . So because of this Grady int right here and we're moving up, it's starting to affect this. So you just kind of have to find an area and experiment with what's gonna work well in the area that you're working on, um, and really just kind of play with it. Ah, And before long, you'll get usedto where you're looking and how to get rid of this stuff. I'm going a little smaller. Just clean up some of this area and see it's starting to blend really nicely. The hell tools. Really great tool. Ah, toe work with with this type of stuff, Um, I'm having a little bit trouble, cause this monitor on this I Mac is actually 30. So make sure to clean your screen because that will help. Um, you know, make sure you're doing the right edits. Um, I'm starting to see a little bit of a line here. I think it's getting pulled from over here. But let's see if we see when we come back. Um, we do. And I think you could probably spend some more time and smooth this out. I would normally probably spend another 20 minutes just working on this. But for the sake of this, it's pretty much gone. So now that we have our spot layer over here on the right, we cannon click the eyeball and eye ball and we can see exactly what we did. You can see that our spot is gone and the big spot and you can see the little spot in the bottom right down here. Ah, is there and gone. I'm not super happy with the big spot. I think I could smooth out a little bit. You can see how it's sort of at the bottom of it. When I flip it off and on. There's it's kind of spread out now, Um, so I would go in and just he'll pick from their blend that a little bit pick from here, blend this out a little bit, and so now let's turn it often on. They're gone, they're gone. And then right here is a little bit issue. So I'm going to zoom in a little bit and you can see click, click, click, click, click off and on just to see what you're working with. Gonna hit Z Gonna come and even tighter and again I ball on, off, on off, and so it's still a little bit there. We'll pull our he'll tool up and we'll shrink down with the bracket buttons again. We'll pick an area alternate option and what kind of smooth it out a little bit. And there I think it's gone so again will hit command zero. And now we're back out to our big photo. It looks like it's pretty well taken care of again. It's hard to tell because the screens a little dirty, but if you click the eyeball on our level, you can see it's there and God there and gone still a little bit rough around the edges. And like I said, you could really spend hours just making sure that this is all good to go. Ah, that's pretty good. Okay, so now that we've got our spot removal done, I would probably spend more time on it a little bit more. Make sure it's perfect. But for the sake of this, let's move on. Um, my main thing is basically pulling up. Ah, the not pulling up, crushing the blacks and maybe accentuating the highlights to make this a little bit more contrast. E I really want the blues to be blue Um and I want the picture just toe look vibrant and ah , nice. What I'm gonna dio, um, is first make an overall adjustment to the levels. And by doing that, I'm going to do it in a new layer by going to layer new adjustment layer and selecting levels. This is the basic, most easy way to really start messing with your highlights and, ah, shadows. I'm gonna leave it as levels one. You can name that something different. And here's our properties. So this is a history ram, which I'm sure you may be being used, Teoh. Um and you can see that there are these three levels right here. Now there's the highlights. There's the shadows. And then there's the mid tones, and this is kind of the quickest and most basic way to edit this quickly. Um, I like to kind of bring the highlights closer to what we would call the mid tones in the mid two shadows to kind of add some contrasts. So at a little bit. And I don't want to get too gnarly because I don't want the sun to be completely overtaking the sky. Um, really good way of being able to tell Ah, is by just messing with it. You can kind of pull down the shadows and crush him quite a bit. Um, and you can see like there's a huge exaggeration and you can see really like there's the highlights right there. But we wouldn't do that. I just want to get it to be a nice kind of, like contrast e area. So I'll just crushed the blacks a little bit. I'm not gonna brighten up the highlights that much because I don't want it to be overpowering. Gonna come and leave it there, and then the overall kind of brightness them in the mid tones, you can kind of adjust, which I'll bring a little bit there. Now there's a 1,000,000 different ways of doing this. Um, you could definitely do it in curves, which would be ah, another way of of editing, which is also a good way in light room. And if I was going to do it with curves here we can show you weaken. Turn that off again. You can preview what you've done with the eyeball as the levels will close this Ah Tabb group and let's bring in image again. Layer a new layer adjustment and this time will pick curves and OK. And just for the sake of argument, let's turn off levels. And so now here's again. The hissed a gram, and you can kind of do the same thing, right? You can crush the shadows, or you can bring up the highlights here. And then it's Harrah's Mid tones. In here, you can kind of play with the graph. Um, this takes a little getting used to because it's not as ah as rudimentary, but you can really dial in almost exactly what you're looking for in relation of having your highlights hitting along with your with your shadows and really build like a nice contrast. Um, and the only way for you to really get used to this is just playing around. Um, there's some mathematical terms to this and stuff that you can study up on and read. But the more you do this, the more you practice, the better you'll get at it. Um, so you can see I kind of found it's easier for me to find a happier place inside curves more so than levels. If you add both, you can see what's doing. But here's what the levels are doing. And here's what the curves air doing. Um, the curves they're gonna be more dramatic quicker. Um, and you have more control in your mid tones, whereas the levels you really are just controlling your highlights and shadows faster. So Ah, yeah, that's a pretty good place for me there another. We're gonna go and delete the levels because I'm happy with the curves to delete a layer. You just grab it, bring it down the trash can. It's gone. Um, let's try adding one more layer adjustment and let's play with the color balance and the hue and saturation. So again there's gonna build another layer so that we're all we're all adjustable and we're all not affecting each other, and you can turn any of them off at any time. But within the hue and saturation, depending on what I want to do, we can bump up the general saturation just to add that, like, nice, vibrant color. It's a little extreme for me, but that is a beautiful looking photo, and I would totally print that. The problem when you start to bring this stuff up is you start to see the aberrations and what you've done quickly, you can see both the like, kind of. I guess what he called scar marks from our healing from the things. So you have to be very wary of that. And if I was going to make a photo like this, I would spend much more time working on those, and I would actually do the hue and saturation first. And then the spot removal. Um, so it just kind of depends on what you're going for. I don't want to go that saturated. I like a more monotone, um, sort of d saturation. Look also within here you can mess with the hue if you want to get a little bit more artsy and, you know, do like a little more past Ellie, or you can get a little crazy if you funky Um, this is really where you can change all the different colors to whatever you want. Um, to be, um and this is like some more extreme photography. I think I really like these colors to this is like a much more like kind of Santa Fe Native American kind of look, which is kind of nice, but we'll stay more natural time because that's just kind of more my style. I might push it a little bit. Um, and this is kind of when you get into the type of photographer and style you have Ah, depending on your you know your style and what you want to present yourself as I kind of came up as it more of a photo journalistic photographers. So I tend to stay more natural. Um, so let's close that tab group. So we kind of messed with that a little bit. We'll take you through one more, and this is the color balance. They here you can get very specific in the types of colors you want, whereas in hue and saturation, you kind of are just messing in a general tone. Here's where you can really dive in. So if I don't like how this is kind of turning out yellow. And I really do like more of the blues. I'm gonna lean towards adding more blue, and you can see how it's making the blues more vibrant. And it's killing a lot of the yellow warmth. Um, you know, adversely. If you want to go more scion and get that more color, you can go that way. And then you can say when I really, like, want to add these blues, but I still like the pink down here. Let's try and bring that out a little bit so you can really dial in exactly what you're looking for in a sunset and sunrise in a color. Um, this is a really beautiful photo at this point. I mean, it's not exactly what was there when I took it. That was not the correct color, but it's definitely a little bit, you know, stylistic. So I believe that, uh, looks kind of nice. I'm down to play with this a little bit. Um, so this point, like I'm pretty stoked on this photo. I think the horizons a nice straight line. I'm happy with the color. I'm a little not really super excited about our spot editing. So at this point, because I ever achieved this color, I might go in here now and just clean it up a little bit. I'm gonna go back to our spot. Ah, layers. So we're working in that again. Gonna pull up our he'll tool. I'm going to make it a little bigger and again. Ault option selected area, and I'm gonna try and smooth this out a little bit. Ah, and make it a little less noticeable. And I went over it twice to have it kind of blend even more. Um, and you can see now a little less noticeable. Um, again, going back to Z pressing zoom total going back down here. Spot. It's a little This one's a little harder to see, and usually most people are not going to see this, But you will, and I will. Ah, and so that's kind of the important things. As long as you're happy with your with your art. Yeah, this one's a little harder to see. I think I might just leave that, So Yeah. So here's our photo. Um, pretty stoked on it. Ah, I want to make sure just to check you can if you ever want to know what size your at? Um, if you've cropped, you can see this is a very large file. Um, definitely. With a 300 d p. I. And 6000. 4000. I could make this a pretty sizable print, and it will look nice, and it will maintain, so Yeah, hopefully that was helpful. 23. We All Edit the Same Photo: Hey, Phil Will and Sam here, and we're gonna do something fun in this lesson. What we're going to do is each of us is going to take the same exact photo, and we're gonna edit it. However, we think his cool makes it look the best. And right now I'm gonna pop up the end results actually above each of our heads and we don't. This is in the future, so we don't know how ours are going to turn out. We're gonna do it blind. So each of us doesn't know what the other editor is doing. So it's gonna be a fun experiment just to see how we all at it, the same photo. So let's dive right into the edits and get going. All right, so here is the photo that we're going to be editing, and I'm actually going to make a copy of this photo for each of us so that we can each at it off our own photo. And this is just a good trick for you to know. If you do want to make multiple edits to the same photo, you can do that just right. Click and choose. Create virtual copy and you'll see. Now, down here, we have two copies. I'll do one more. I'll create a virtual copy. All right, so I haven't looked closely at this photo yet, but basically the first things that I would do would be to crop it in. Let's see what we're gonna do. Um, I actually kind of like how this is looking. I would like to get this Joshua Tree Mawr in the bottom third intersection following the rule of thirds. So if I bring this in like so that helps just a bit. I don't need as much of the sky, but I also like this little rock formation. If I zoom in too much, I get rid of this one back there, which might be all right, but I also kind of like the layers of it. So let's just zoom out just a little bit. We could change the aspect if we want, but let's just see how this looks right now. That's pretty good. I might actually go into 16 by nine, which gives us a wider frame toe work with. So we don't get as much sky, but we can still get more of this rock formation. Something like that, So Ah, yeah. I'm going to start with a layer adjustment, I think. I don't know. I kind of maybe we'll start with crop, actually, So let's go over the crop tool and then I'm going to actually, um, you can pick ratios, I think. Here, Uhm, I feel like maybe doing like 16 by nine ratio. Yeah, it looks more like cinematic. Sort of, um, more more movie. Ask. I guess. So I can move this up a little bit. Just about there. I think that nice, nice, negative space this movie ask Gonna hit return. Don't want punching too much by love toe Draw your attention. Mawr too. Joshua tree And these rocks because they looked really cool Every eye. Get some of we'll start here. Eso I just I went in to the crop tool. Um, so planet so of this. Ah, think of the yucca plant off in a corner, Joshua Tree Rock. So the whole bomb of frames kinda nicely composed. And then you have these rocks and mountains and things out in the distance. The contrast is already pretty extreme. I'm not sure I want to add any more but I would like to bring so you know, the sky down a little bit. We'll bring my white point up just so, like they're still That's their brightness to it. Um maybe similar shadows. I'm really okay with that, falling off those holes in my black point. The next thing I'm gonna do is just bring up some of the darks in the shadows down here in the rocks with this shadow slider. Let's just bring that up just a little bit and then create a little bit more contrast by bringing down the actual blacks. See what the highlights are. Will bring down the highlights just a bit. And the whites just down just a bit too. Like the cool thing about this stuff is that we're just kind of going through him, figuring out how I want to make it look, I'm not sure the other guys are doing, but so we'll go layer adjustment levels, okay? And I'm going to actually keep the highlights a little bit. I'll maybe just touch bring down. Yes, he I think the problem is there's so much darkness in here and so much brightness over here . The contrast is really big here so we might end up having the Dodge and burn some stuff here. So let's just kind of give it to, like, a mid level. Um we'll close the tab groups here and let's see her. So that's what we did so far. We just kind of brought the color, the luminosity, the brightness up a little bit clarity. I'm just gonna boost a little bit just to make things a little bit shark for vibrance. All boost quite a bit. I like the vibrance Teoh increase in vibrance. I'm also going to go down to the HSE l panel to increase the colors specific colors a little bit more saturation. I'm gonna leave and with tone curve, let's just add a little bit of an US curve to see how that works. Something like that. Maybe after I do that, it's a little bit too contrast e for me right now anyways, so I just bring that up just a little bit. I'm going go in a little touch of clarity, but I want to do a radiant filter on this guy. So again, the bottom, uh, got hold shift to keep it parallel This one. Keep it to my you know, below that radiant is now only being affected. So I'm just gonna make it so that states have brighter. And then I'm going to go and do another Grady int going the opposite direction again. I'm gonna hold shift while I do this just so it keeps it nice and straight. Now, this should only affect my sky, which it does a little contrast in my sky. Get it? Ah, pop. A little bit more thing. That's a little too much. I'm gonna bring it back up again. 1,000,000 different ways of doing this. This is just the method that I use in photo shop. Um, I'm gonna use the bracket keys on my keyboard to make my brush bigger and smaller. Um, and I'm also going to make sure that we're in the shadows on the upper left here. Our exposure is let's go to 50. Let's be a little bit more bold. And, um, where are hardness is always down, so it's a little bit of a feather, so I'm just gonna make it really big. Do nice one big cross. Um, so, yes, that makes our sky just a little deeper. I might do a little bit more, just one move across the whole thing to bring out the contrast in the sky and sort of just bring out the blue in here without crushing the blacks too much and making losing down here and create a new filter. Something like that. I don't want it to affect the Joshua Tree much. So I do something like that and actually what I can do. I can put it down here and I can see show selected mask overlay down here than if I take my brush tool and I can take my a race. Choose a race down here, and I can actually erase some from this selection. So if I paint over this Joshua tree, we still have the graduated filter tool affecting everything above the horizon. Blending a little bit into the horizon could move this up just a bit, so we're not getting too much of the landscape down here. Something like That's pretty good. So now I'm just going Teoh, go back to my edit, turn off my show selected mask overlay and let's just play around with some of the coloring . So let's just see what happens if I make things a little bit warmer, which I actually kind of like because I don't want the I don't know if I want those mountains in the back to be as blue. Let's definitely add a little bit of D. Hayes to give some more definition to that background. If you go too much, it starts to look a little bit digital. Don't like that too much. I will add more contrast either by just boosting the contrast slider or bringing down the shadows and the blacks something like. So just to give a little bit more contrast in the background and I'll just fill in the brightness spots here and here. Still, it's a bit darker. Just bring you down the highlights without losing any of this detail down here. Um, if we were to do the opposite of that, we would dodge and you could see, like I just click here. But like you can see, you can just brighten this up a little bit. Um, ranges of them intense. Let's go back to the shadows up here in Brighton that up. But in this area, if we wanted Teoh, um, looks all cheesy. So commands either. But you can see how you can, like, really like, hone in exactly what we're trying to do here you can see, like here was original and that was just burning it. Look how contrast E and and brighter and more intense. I've made the color, but all is doing is just burning and move and dodging those bottom areas down there. One thing I'm looking at right now, it's just how lose that whole area is. I'm gonna actually maybe saturated that. Who that could be interesting. Kind. Like it being little de saturated gives it so that old timey feel that old Western feel the sky. You know, maybe if I bring this up just a hair, because now I can leave amounts, sort of mountains and blower, a little de saturated and then up in the sky is much more saturated. Let's to color balance because I kind of want to get a little funky with this and make it a specific color. So there's tons of blue in it already. Now, if we add yellow, you can see we bring it back to this kind of desert He old film look, But if we go Super blue. We have this eye kind of night. Look, I'm Alice. Looks like at night I believe in the middle. And I'm just gonna play with some of these tones. You can see how you can kind of achieve, like a look that you may like, um, are not, like, as an overall specific thing as opposed to being targeted, which is kind of cool. Let's play around with the HSE cell. So if I want to boost the blues in the sky, what I'll do is click this little button right here and then click in the sky somewhere where it's blue and boost or de saturate. Kind of like how that looks right there, just a little bit of a boost. And then maybe just take the green slider itself and boost the green, maybe even the yellow, See what that does? It might bring up a little bit more color in the landscape. She might look good, too, But those oh, so why? I just did. Now I'm playing with color temperature and I'm realizing adding a little orange to it kind of feels nice. I'm wondering. I'm just going down. I just because we're all doing this. I want it can go in and do do something different, Something they don't expect. Keep the vineyard I like. I like the light vignette. Maybe had a little grain. Was this look like Let's see what this does. So I always like to go extreme to see, like, Really, What is it doing? Um, so that's obviously a lot of grain. Big sighs. Bring it back a little bit. Adult roughness. Maybe I'll see what the enable profile corrections does. Sometimes I like the look of the lens itself, with its vignette ing the natural vignette ing that it does have no sort of boat. Look says, This is with corrections is without corrections actually, kind of really like that, especially with the vignette ing. I'm going to leave the vignette ing fix the distortion amount. I'm not that upset with the distortion of the lens, but with the vignette ing I like so off on just kind of fixes that vignette, and it gives them more detail to the rock pile on the right and left. One thing I don't like is this sort of came trail streak up in this guy. It doesn't it's not part of the cloud. So I can either this crop in or I can use the clone brush to fix that. But I'm just going to crop in something like so I don't know. Now I'm liking these rocks over here on the right side. Let's just see if I move over just a bit. I feel like that looks a little bit more balanced just cause I really like those rocks over here on the right hand side, actually, brightness and contrast. This is a very easy way to to do this, as opposed to going into curves and stuff like that. But we could just very quickly add a little bit of contrast there and again, You can go here and you can kind of see exactly what we're doing. This is before us is after this is before their levels and contrast and burn so you can see the levels brighten it up the contrast, contrast it up a little bit. We quote to a little bit more, and then we put in our burn. That's really when we had some, like, really blues there. So I think I'm actually gonna add a second burn. So here's Here's the way I do like I wanna do another burn and I want to add I sort of want to add like, this is sort of like the sun is coming from behind the mountains here, like there's a grating here already. So let's duplicate it. And then in this burn copy, we're just going to kind of we're just gonna gonna go to burn. And we're just gonna kind of add in, sort of, ah, almost like letting it halo and I'm clicking here and I'm giving this like, kind of a hump so you can see this, like, kind of ethereal sort of grain. And you can see the the bump right here that we've kind of created. So I just clicked a few times this way, Let it let it be a bump and then click this way. I know this is very like photo shop E. This is a very like, you know, kind of weird, ethereal view of things. It's definitely not the most natural thing that we took, but it's it's still pretty photo. I think my goal with this photo is just kind of toe have a little bit of a surreal look where everything is exposed. Overall, everything has some detail and I can either do that just by boosting the clarity which I don't know if I like too much or I can use my adjustment brush a little bit more to actually brush on. I'm gonna boost my flow. These rocks just a bring up the exposure just a little bit and I'll turn my shows slight namasco, Relais So I can see where I am painting on. Just bring up the darks of some of those darker rocks. So just bring up I don't know about the blacks, but the shadows for sure, just a little bit and I like that could turn it on off Just pretty subtle. And then all I'm gonna create a new brush. I'm gonna brush on to sort of this blue mountain range in the back, like so. Don't want to get the Joshua tree in there. Just want to play around with it, see what happens. See where I painted. It's pretty gay. Let's just get this side over here. We could boost the clarity to get a little bit more definition. Maybe just boost de hes it just for those that in the background just a little bit. Play with the color temperature, kind of like how that looks. But then it looks weird around the Joshua tree, so I might just be just a little bit more on just to get that whole landscape a little bit more brown. Let's real quick. Let's see if we can try Ah, adding a new adjustment layer and see what the hue and saturation does for us. So sometimes is fun like overall placement If we ever wanted to create, like, you know, a legit black and white What actually looks pretty cool, Um, or basically completely over style, eyes it and add in all that craziness or just change the general tone. Um, of it. I like this like kind of scion. He blew. Ah kind of would match a room that was being made in a turquoise or somewhere in the southwest. Um, but yeah, like these kind of monotone colors having that down. So this is really just affecting how light? I guess each separate color is which is kind of interesting, and I kind of just want to see, you know, you can reduce the noise a little bit and adds this, like, nice, kind of soft blend of the whole thing. Um, I don't want too much of this because I do Kind of like the sharpness. Little bit. We'll add a little bit of sharpness in addition to the noise reduction. Um, and we can kind of see how that changes it. It makes it much more softer, much more like an oil painting. Um, I think I would be too much for me. Um, but you can kind of see how, like, if there is a lot of noisy photos you could you could do that. It just adds a little softness. A little bit of like subtlety. Yeah, I'm I think I'm gonna leave it there. I really I could keep playing with this for hours. I don't have ah, anything specific I was hoping to achieve with us. But I think you know, taking the colors of the mountains is nice enough. So a nice color Grady int happening here of So the orange down blow toe white blue. Okay, cool. I am pretty much happy with that. I don't want to take too much more times. I wonder what the other guys did, But I think I'd be worthy of printing this one and sharing it. Definitely coming from something a little bland to something a little bit more interesting . Um, I do wish the Joshua tree a little bit more and focus there, but it looks good. Let's just go go through them. OK? So I can already tell from this bottom that they're pretty different. So, Sam, what was what were your What were you thinking? I was thinking, Ah, West journey vibes And, like, trying to think of just so that I mean now I wish I crop 16 by nine because I could have put the Joshua tree out really the bottom of frame and gotten rid of this sort of this foreground stuff. That was really bugging me, actually. But I didn't want to crop out that. So the shadows and here was really gnarly. That was Yeah, that was rough. Um, so I actually did to Grady INTs. I did one grading for blow in one grading for above, and then the two in the middle. I kind of like be hazed It, um I played a lot with the saturation with luminess and even played with the Hughes a little bit. Um, added some grain in a little bit of roughness, so you can see Let it. We'll let it load C I added a little bit of noise. Just add to the texture. Um definitely added, Made the skies pop a little bit more d hazed the ground, Actually, which added quite a bit felt even now and then I did the ah, the lens correct correction additive. A lighter vignette opposed to the dark vignette. Um, yeah, that's I think for mine, I would, uh I think I should have just done to graduated filters, like on the top and bottom rather than getting into the brushes. No, the ice oversaturated Just a bit. I'd probably bring it back down to something. Lakes? Yeah, his tree looks the best, I think. Absolutely. Just low water. So my so my process was Yeah. Bring up the shadows in the rocks. Yeah, mine's all messed up, though. My color. It looks like some water. Yes, right. And yeah. Um, yeah, that my as trying as rushing in the end where you is that just how the colors came out or was that a brush like That was dumb. Yeah, because I have the always public graduated. There is one graduated filter. And then I also brushed. Yeah, but I was trying to bring out the detail in the rocks and the Joshua tree. Um, and the sky made a little bit more blue, but way Well, what were you going, obviously, like minds a little more stylized. Uh, I like to start with. Yeah, the 16 by nine, I think says more is just, like a nicer frame. And, like Sam already said, And like what you said, Like, I just cut all that stuff off at the bottom down there, and then I just I love seeing the nature space of this guy. Um, as soon as I started messing with it, yeah, I lost detail in the shadows and the rocks and the right for sure. And then I tried to bring that back. But the crazy thing is, like most of this is already is actually done with the wonder. If it's still that is done with, um, yeah, you can see I did it with the burn instead of using the graduate filters that you did. Um and then I changed the, you know, the color spectrum. But for me, it was just more like, I want to make it stylized and add this, like, nice, cool blue to the whole thing and make it feel cereal. Yeah, but yeah. You mean like, you know, it's obviously like different styles. Yeah, totally. Um, was going more Instagramming. Well, this is pretty awesome. We should do this again. This is fun. Well, this has been fun. Hopefully, this has been helpful for you guys watching this. To see how interesting it is that we can have such a different takes. I think all of us would agree that we could go back after seeing each others and make some tweaks to our own photos, which is great. That's why we learn from others and why we watch other people's tutorials and do this together. So hopefully this was very helpful for you guys. And let us know what you guys think 24. Sam Edits a Sunrise Photo: everyone. So just going go through another landscape photo. This one is from sunrise, I believe is Ah, probably 10 15 minutes before the sun actually came up. One thing I really love about using light room is that you can come up here. Unlawful photo editors have this, but you can see what I s o my 70 millimeter F two point a 1/60 2nd so I can't know what the settings were. You know, if maybe you push your eyes a lot, you know that there's gonna be somewhere noise in there. You can just see those that information. So one thing off about that I'm noticing in this image is there's a star in the sky. There's also these Kevin trails and it's really hard to tell with this. So first thing first, I want to see if I can really make that pop. The other thing I love of sunrise is the amazing color Grady int you get in the sky. And additionally, I really like how you know, you have these air layers of different mountains here, So I'm gonna go in and so play with this. I'm gonna bring actually, you know what Let me let me go in and correct my lens. Reduce that. So you can see at 70 millimeter, it's much less distortion. But I'm just going to bring that down. And for this, I kind of like a little bit of a darker vignettes. I'm gonna bring that in a little bit and let's go back up. I'm not going. Crop this one. I kind of like the nice, negative space expansiveness of it all. Um, bring my contrast up. You know, I have this. It's really light area which just gonna bring my highlights down a little bit. Get more color going on there. Um maybe more contrast now Might be easier if I just bring my whole exposure down, But there crush my blacks just a little bit. I don't if I crushed them all the way I lose. So the layered effect I have here so I don't want question too much. I want keep some of that depth to those mountains. Let's see up in my wipes in my white point, that might be my shadows down Just a hair again. I won't be careful. I don't lose that, but I still want this guy to pop. If I use the curves, there's going to us a middle tone just so I can bring the skies down a little bit more, Um, at a touch of clarity, you know, again in this just you can, sir, see what it's affecting their. And I just want a little bit of clarity could bring my vibrancy up. And, you know, I'm just gonna have fun with this one. Go a little bit more extreme than I normally would again. Like if you go full extreme, you can see really, um, like, sort of these harsh radiance and sometimes the information's just it's not all there. And so I don't wanna go to extreme, but I do want I want have some more fun with this one. So this won't you have this nice dark blue? And then this area right here is gone bugging me. So let's see if I can get that to blend in a little bit more can You don't want go two crazy, but that's what has one try something different. So that's looking kind of cool. Um, you know, the stars definitely popping a little bit mawr. I just increase my saturation or my contrast a little bit more. Um, I'm playing around with this one, so that's looking kind of cool. Um, my bring down my yellow saturation, just even it out a little bit. And so you can get that blue to pop a little bit more. Eso No, this is something interesting again, you know, we have these. Well, I'm assuming our cabin trails, you know, maybe there meteorites or something, but ah, let me go in and get rid of those. So just using my brush going is a hell and yeah, still just a small little brush cross. It's going to copy it from just right blow. See, I didn't go quite far enough on that one. Um, so I'll just go and to the 2nd 1 there, typically, it's nice if you do that on one stroke. Just so, um, you don't have to edits here. And if you ever go back to it, it's a little bit easier to ah, to do so Let's see what that looks like. Yeah, far enough, you know, small enough that can't really tell where it was. You can kind of see it there. Go up and do this one as well. What what can get tricky is if you're moving these across different Grady INTs or if you have different colors in the background here. It's kinda nice here because it's all in the same color, so it's pretty easy for it to heal it. It's just good to get the whole thing this time, and you can kind of see, I got a little a little shaky with that one, so I'm gonna actually go in delete. That tried again. My increase, my brush size just a hair and Stroh's again. You really won't make sure that you cover the whole thing and you don't dip or anything like that too much. Um, that's looking better. You can still see a little bit back here, but I think once I zoom out, you can still kind of tell them, Can't let me do a little bit more. I'm just thinking space bar to zoom in and out here. So what? So that's no, that's definitely going a little more extreme than I typically do. But the colors air just really cool looking, um, you know, to make it seem even earlier in the morning, maybe dropped exposure a little bit more, Really. Get those colors to pop. And you have all this nice negative space. Now, one thing that I would maybe consider, uh, just in terms of the rule of thirds is bringing it down. So I have 1/3 of blue 1/3 of color, and try and get third of shadows as well. Again, I'm going a little a little foreign little bit further than I would like, but just just see what happens. Um, see here. So this No. Now that edit it and I can can see what the end photo is with the colors and everything going come back out a little bit. Yeah, this is No, it's common eyes image. I did lose the death here because I crunched it crushed it down a little bit, but I think having the sky is more important than having was going on down here. Ah, and got that. That one last little star out there, which is kind eyes to see. Um, they want to be too close. Toe edge. I think it feels off balance. And so I'm just having it up off up there in the sky. So you have hope this has been helpful. Those sunrise and sunset colors are always fun to play with. Um can really make them pop can also you can always play with a little more de saturated looks which, you know, this is more typical towards what I would do with bringing up the vibrancy and down the saturation. It just makes the colors a little bit softer driving down. Then you know, you just won't go big and really have those gullies pop. So yeah, I hope this is helpful and onto the next one. 25. HDR Photography in Lightroom: Here's a quick tip on how to blend together two different images. This is called HD Are photography, where you actually expose the same exact image both under exposed and a little over exposed , which allows you to get a general overall good exposure, especially if you have some things in the shadows and some things that are a little bit too bright in the scene that you're at. So, for example, we took these two photos using the telephoto lens of this Joshua tree. This one, the background is a little bit overexposed because we were exposing to the Joshua tree. We also took this one, which exposed more to the background. But because we did that the Joshua tree now is too dark and in the shadows now with raw photos. We could just bring up the shadows, and that would be an easy thing do. But we actually blended these two photos and ended up with this. So if we compare this photo to this one, the background is much better exposed. But the Joshua tree is also very well exposed, so this is the edited, blended version. Here's the original overexposed under exposed new blend pretty cool, right, And now we can take this and do all of our normal edits. Let me just show you how to blend together to photos, select both of them down here in your little panel and then go up to photo photo merge HDR . This is going to bring up the HDR emerged preview window, and it's going to automatically align. And it's also going to automatically tone your photo, meaning that it's going to make it bright or dark, depending on the different photos you've stocked together. You can also do this with more than just two photos. If I uncheck auto. A line is really subtle because we were using a tripod. But there is a little bit of alignment going on for the two photos and light room takes care of that with auto tone. If I uncheck that, you can see that if I leave it unchecked. The Joshua tree is a little bit darker, so I like the auto tone. Look, we can always go back and edit this later. This next option is de ghosting, and this is something that you might need to play around with if there's more movement in your photo. If you're shooting a cityscape, for example, and there's cars driving by or people moving, you might need to check one of these boxes low, medium or high. And that's going to remove some of the ghost blending that you get when you stack to images and merge them. But for this photo, we're just going to leave it at none. Then just click merge. It's going to create the HDR. You see it working up here in the top left, and then once it has done it will put it down here in our panel. Let's see where it goes. Yep, it's here at the front. So let me just out of flag to this and then filter by flag, which I've filtered all of our images by So again we have our blended photo, our original overexposed and under exposed. So that's how you merge two photos. Why you would do it and hopefully this helps you. You can get some really cool photos, even in more extreme situations than like this one, which is pretty simple. Thanks so much for watching and we'll see you in the next lesson. 26. Stitch Together a Panorama in Lightroom: in this lesson. Let's go over how you create a panoramic image in light room. How you stitch together multiple images. It's actually relatively easy to do. Once you've imported your photos, find them and highlight them all on your little browser. Down here, I have all of these ones that will took, actually with his Fuji x t two. And this was actually the photos that he his camera automatically stitched together in camera. But I want to show you how you can do it in light room. And another cool thing about this is that you can select which ones you want to stitch together. If you don't want all of these, you can create a shorter panorama. You don't have to depend on what you shot in the field. Of course, this is also how you would stitch together a panoramic image. If you're using any other camera, your smartphone, your digital DSLR camera pointing shoot where you are taking individual photos and stitching to get them together in post. So what you do is select all the ones that you want to include in your panorama. Go up to photo, go to photo merge and then Panorama. It's going to stitch together it for you. There are three different options that you can play around with. Sometimes they work better than others, depending on how you shot the panorama, depending on how much overlay each photo had, depending on how wide the panorama is, I found that spherical and cylindrical work pretty well. Perspective. What it does is it selects the center image, and then it kind of works. The rest based off of that and that can look a little bit wonky at times. So now we have, though, what we've done with the sphere cool setting and it looks pretty darn good. This is a really big panorama, so it's kind of hard to tell exactly how it looks in full quality. And it's not full quality yet this is kind of just a preview. One thing it's done is it's automatically cropped the image. So if you don't want it to automatically cropped the image, just uncheck that. And this is also something we can see what it's doing behind the scenes. You can see that it kind of use The photos, and some that will take were a little bit higher, lower if you auto crop it, It basically just selects as much as possible without any of this white area. If you want to do a boundary warp, basically what this does is it kind of spreads the edge of this panorama. All these images to create or almost recreate the image until it straight, or you can just crop it, so there's two different ways to do it. You can do the boundary warp, which will be a little bit larger, but basically what it's doing is stretching your image to fit the perfect rectangle. Or you could just crop it in or if you want to crop it yourself, you can do that after the fact. So let's go ahead and do that just to show you what you can do with that. First thing we need to do is click merge once it goes through that process, which took about two minutes for me. But these are really large images, and I used a lot of images in this panoramic photo. It will be shorter if you use fewer. Once you've done that, though, it pops up here down below as a new file, and now I'm not filtering my trade down here by five star, which is basically what I just did to bring up all of these images. Now I can crop it, however I want by clicking the crop button and then where it says I shot. I'm going to unlock this so that I can actually make it skinny enough or wide enough. However, I want it to whatever custom with I want. And then, once you're done cropping, just press enter or return on your keyboard. Now we have our big panoramic image. Looks amazing. Crop is good, and one thing that I'm noticing is that there's a little bit of vignette ing happening in some of these photos. And so when you stitch it together, you get some of these dark parts like this. If I really boost the contrast, you should probably see easier some of these parts where there's a little bit of darkness. You can fix that by going in using the adjustment brush to just bright in those areas up a little bit. That might work or d contrast ing it. So let's just play around with one of those. Let me bring down my brush size this one in the middle is really big. So let me just brush over that decrease the contrast just a little bit. I can check this box to show you where I brushed on something like that might look pretty good. Now I can see the before and after by pressing the backslash button on my keyboard so you can see Look right here. It gets rid of that darkness right there just with that adjustment brush. We can also do a comparison before after by clicking these comparison buttons down here. So now you can see before and after. It looks better on my screen when I'm looking at it full resolution. But you can play around with your photos to just be aware of that. That some lenses have a natural vignette to them. And when you're stitching together Panorama, as you might have to fix that in post. So that's how you create a panorama in light room. Thanks so much for watching and we'll see you in the next lesson. 27. Stitch Together a Panorama in Photoshop: Here's how to create a panorama in photo shop. Go up to file, automate photo merge. Now a window pops up with different options. First, let's find our files. So you might have to already know which follows you're looking at or open them up in light room or Photoshop because with our Fuji files, the R A. F raw files, we actually can't get a preview. But I do know that the files I want to use our this 765 through 771 So I'm going to select all of those and then click open. That brings in all the files to our source. We want to make sure that we blend images together here in a photo shop. We have a vignette removal option, which I know for these images. I do have a slight vignette from the lens. So I do want to check that for layout. We're going to choose auto, which is what I recommend trying out first. If it doesn't work out, you contest these other options, and this actually gives you a better idea of how it works compared to what we did in light room. You can see kind of perspective. It selects the center image and then warps the other images to that one with cylindrical and spherical. It kind of bends them a little bit better, But let's just use auto for now, then click. OK, it's going to run through its process and stitch them together for us. All right now we have our emerged photos, which it appears it used the perspective to at it. So what I would do next is go and crop this So I would go into my crop tool. We're gonna make sure that we're not on original ratio. So just click ratio put zero or nothing in here by clicking clear. And now we can extend or white and or make it taller or shorter, depending on what we want to dio. So once we have our crop and we're happy with it, we can press return on our keyboard and it crops it for us. But what I don't like about this is that I think it used the perspective option and it looks a little stretched over here on the left hand side. Let's go in and try it again. Going to file, automate photo merge. Let's use the same files instead of choosing auto. Let's try cylindrical Click. OK, very, very nice. I like this a lot better, so sometimes it takes practicing and just testing out. Depending on your situation, what is going toe look better. So here we go. We got version one and version two. Version one is just even a little bit more stretched, even though we have about the same in the image from this rock pal to pass this rock this rock pilot to pass this rock. But you can just tell it's stretched a little bit. That's why going in testing it out, even though at a quick glance is might look normal to somebody. I know that it looks a little stretch because I was there, so I like this second version a lot better. Anyways, thank you so much for watching this less, and hopefully it helped and we'll see you in another video 28. Exporting a Photo for Web or Print: they feel here in in this video, I want to show you how you export your photos from light room for both web and print. And again, this is going to be done in light room. But you can basically export using the same settings in most other programs that just might look a little bit differently. So in any of these rooms developed library, etcetera. You can just click on your photos down here that you want to export. You can either just select one. You can select one and then shift click toe, select a group, or you could command click multiple ones. If you have a set that you want to export, that would be control. Click on a PC. I'm on a Mac. Then go up to file export shift Command E on a Mac shift control E on a PC. This brings up the export module where I've already edited a few of these things for previous edits, and it takes your previous tweaks and settings, and it will use those for your the next time you edit. Let me go through them, though, so you know what this is doing. So first at the top is where you're going to save it. That's pretty simple. You can choose to save to a specific folder. If you want to create a new one, you can put it directly in your desktop. Same Flora's original. If you want to put it in specific folder, just choose that option and then click. Choose that will bring up your documents and you can find the folder that you want to put it in. Next is the file naming. So this is really important, especially if you have a ton of photos that you're exporting. Usually I like to do a custom name sequence. So, for example, if I had edited all of my Joshua tree photos, I would probably call it Joshua Tree. And then I would start the sequence at one, and the example shows you what it will look like. Joshua Tree Dash one. Then the next one would be Joshua Tree, Dash 2-3-3 etcetera, or you can use a different naming type. You can change to just some custom name without a sequence. You can use the original file number. You can do a date, all kinds of things, but I like the custom name with the sequence. It's great for exporting multiple photos. The next is video settings were not doing any video, so skip that next is file settings. This is really important for both Web and print. I select J. Peg because it is a great high quality file that is a small file size for Web. This is really great. You don't want your file sizes to be too big. You do have this quality slider over here. Some people recommend dropping this down to 80 for posting online. That is good. If you're posting on your own website and you're hosting it yourself and you're trying to save space on your website, it's okay to have a little bit of compression if we drag this down or if we type in a number over here, you get compression. But I want my photos be perfect. High quality. And this is great if you're uploading to Google photos or any other photo sharing website where the size doesn't matter as much, so you might as well just keep that as full quality and definitely keep that at 100. If you're printing color space, Leiva s RGB you typically, when I have to change that, unless it comes up. But you'll know if it comes up, just leave it at RGB. For now, there is also this check box. This is important if you are uploading to a website that does have a file size limit, and so this will actually automatically control the quality of your image. So say, for example, you're uploading to Facebook, and they somehow are for some reason started limiting us to 500 kill a bit photos. We would check this box and type in 500. I'm gonna leave this unchecked those so that there's no limit to the quality. The next one is image sizing. This is also very important for both web and print. If you're printing, just uncheck this. You don't want to resize that it will export at the original size of your photo, which is what you want. If you were posting online, though, click resize to fit the thing about with Web and with people viewing your photos on their devices, their computers, their tablets, their smartphones, screens are getting higher and higher resolutions. So today I might say that keeping your with at 2000 pixels wide is going to look good, and it will. It will show up on most high resolution screens, really clearly. But in the future, as we get four K screens and eight K screens that saying that the width of the screen is 8000 pixels, and so if you Onley put your with at 2000 pixels, then it's going to actually stretch it for that screen. We're not there yet, though. And even if we were, if you put your with at 8000 that might actually end up stretching your photo from the original size. You have to look at your own camera and the photos that you take to see the actual original size of the photo to see if it's larger than are smaller than 2000 pixels or whatever. So for online viewing now, though, a typical size is right around 2000. Leave the height blink because what this does with the height blink is it will automatically resize your photo 2 2000 pixels wide. And whatever your height is, it will change accordingly, and it won't stretch your photo. So if you have a panorama, a square photo or any other type of photo. It's going to make your height match the with and have it not stretch. I always do like having this. Don't enlarge check box marked so that you don't accidentally blow up your image. You don't want to export your image larger than the original for resolution. This is also important to know for Web and printing for Web 1 50 is great for printing. I would change this to 300. So what this is actually saying is how maney pixels per inch. How many little dots are you printing per inch and 300 is a great standard for printing. For Web, you don't need as many pixels per inch or P P I. If you're printing, go down, output sharpening and click sharpened four and then you would want to check your matte or glossy paper. I typically just choose Matt and for amount, just choose standard for Web. I would not choose to sharpen this at all. Lastly, these other options are just some extras. Your camera as a lot of med it added to your photos, and even newer cameras can do lots more, such as where that photo was taken, but also all of the different settings and things you use. If you don't want all of that, meta data added, you can choose one of these other options, or you can just click on one of these below if you want specific things, like location info removed for a watermark. If you want to add a watermark, just check this box. Click the drop down and say Edit watermarks. This brings up a little tie, a log box that's pretty easy to use to add a watermark. You can choose graphic and upload a picture, or you can use text and just edit the text right here. You can change the spacing and the style of text over here. I'm not gonna go too deep into that because it's pretty easy to use in, since a lot of people might not be using light room, then I don't wanna waste any of your time. If you do have any questions about this, just let me know. Though having a watermark is a good idea if you are planning to sell your photos at any point. And lastly, this post processing is just what happens after they export I just leave it on the standard showing finder, which will open up this photo in Finder. But you could also open it up in another program. Say you're taking it todo be Photoshopped to add some graphics or something like that. You can do that there. So once you're done and happy with your settings, you can click export. You could also create a preset so that you don't have to go through all those settings over and over by clicking this ad button right here naming your preset and then clicking create , and that will pop up over here in the left hand side under your user presets. Okay, so just click export. It's going to export that file right here. You're going to see it exporting appear in the top left, and then you're going to see it pop up in your finder. So that's our photo that we exported, and we're ready to go post that online. One quick tip for people who have their own websites to save space, I would recommend actually going to the image sizing section and re sizing at two a specific size that you need if you're putting an image on your home page that saying needs to be 500 pixels wide. Onley export at 500 pixels wide so you don't have a photo that's larger than it needs to be taking up more space on your website on your hosting, which overall slows down the speed of your website. So that's just one quick tip and perhaps even compressing the quality a little bit more when you're posting to your own website it Not if you're doing a portfolio where you're trying to show the best highest quality image, but if it's just for a general Web page, block, post, that kind of thing. Thanks so much for watching and we'll see you in another lesson. 29. Course Conclusion: everyone. So that's it. That's our entire course. We really hope this was helpful for you. And we hope that you learned some great techniques. It's been really fun going through everything with you and being out here in the field. I mean, this This was a great experience for us, and we hope that it helps you take better photos. So, please, you know, key messaging us. Give us comments, reviews and critiques. Whatever it is. Yeah, thanks again. Get out there and shoot. 30. Bonus: Daytime Long Exposures: in this video. I want to talk about doing long exposures during the day. You might think, Why would I ever want to do a long exposure when I have enough light and don't need to do a long exposure? What? We talked about it a little bit Maurin this course before. But if you're shooting moving objects like clouds or water, if you're at a river, water fall even the ocean. You can get some really amazing photos with long exposures. Now when you are shooting long exposures during the day, because there is so much light you're going to have to use nd filters these air filters that you put in front of your lens that cut down the light entering your lens. If you don't have nd filters and you tryto crank up your F stop, crank up your shutter speed and put down your eyes so it might still be too bright to get a long exposure. And when I'm talking about long exposures, I'm talking about anything really longer than a second. But for most cases, over a 10 15 30 seconds now, at night, we might be doing exposures over a minute over two minutes or even longer. But during the day, depending on what you're shooting, you might not need that much time. If you're shooting a rushing waterfall, you might only need a couple of seconds. But if you're trying to get the clouds moving across the sky, then you might need longer than a couple minutes. The result is a nice, magical kind of fluid motion that is captured with long exposure. Right here I have a very inexpensive set of ND filters. It's a three set, and the thing to keep in mind when you're purchasing them is just seeing how much light is basically being cut out in terms of F stop. And it will say online when you're purchasing. But I can actually stack these three and cut down my light by six stops. So think about on my camera. Aiken Goto, an F 22 But with these three Andy filters on top, it actually goes to an F 28 so it's cutting down a lot more light. Now, Will has some other ND filters that cut down even Mawr. He has one filter that cuts down nine stops of light, and that's really cool for shooting out during the day. You're going to need to do a 12 minute exposure just to get something that's well exposed now. I could sit here all day telling you what these can do, but I actually have a lesson from the long exposure course that I want to just show you. It's just a quick example of what you can do with simple Andy filters like this out during the day. I shot it a while ago, look a little bit different, but hopefully just explains a little bit about what you can do with these filters. Now, how you take photos is a little bit more tricky. Getting focus with these nd filters on can be a little tricky, so you might need toe get focused before you put on your ND filters, depending on how bright it is, figuring out how long your exposure should be is also another thing that you have to figure out. Ah, lot of it comes down to just testing, really. You could just sit out there and try a bunch of different lengths of time, or there are some APS out there that will tell you what you're shutter speed should be depending on what your aperture, what types of filter you're using and those other things too. So, without further ado, let's get to that lesson Hope you enjoy. And if you have any more questions about landscape photography, let us know. Hey, everyone, welcome to a live demonstration of how to use nd filters. I apologize for the sound. Ah, but I really wanted to get this shot with this fountain in the background. So basically, what we're going to do here again is set up our camera. We have aperture priority mode set up. We have sent our F stopped in 22. We have our remote plugged in. We have our eyes so set at 100. And if we hold down the shutter or halfway hold down the shutter button, it's telling us that we want a 1/4 of a second shot. So let's just take that picture and it's not that special. It's kind of ugly, actually. And so what we're going to do is now add are stacked nd filters. So this is an nd to foreign eight. Still, when I press the shutter halfway down, it's able to see and it's a four second shutter, and I just want to make sure that we're in focus. So I will change the auto focus halfway, hold down the shutter button to set the focus, turn it to manual focus, and then I'm going to hit the shutter. So this is a four second shutter and the photo looks really awesome. It's completely different than the other photo. And if I wasn't able to see through this nd filter during the day like this, I would have to first set the focus before I put the nd filters on. Remember that? And then I would have to use my app that would tell me how long the shutter should be. I want to reframe a little bit. Make sure that we have focus again. Changing too auto getting bogus, turning back to manual. Using our remote. I will count to 10 again, and so we'll see what this looks like. But this is a basic live demonstration of long shutter. Its a lot of experimentation. It's a lot of just using the tools that we have. While I was 13 seconds and it still looks pretty cool, and I think that photo might be our winner. Okay, so I'm gonna go ahead and take that photo into the editing room, and I'll see you there. Okay, So this is the next butter that I shot during the day. And this is the final product that I'm looking at. Here is the original photo, so you can already tell that it was really dark, actually, when I shot it and because I shot raw, I am able to get it to look really amazing, I think. And the colors look amazing. So let's just dive through this. So the first thing I'm going to do just with this photo is to increase the exposure quite a bit just so I can see what I'm working with better. And then I'm going to take the color temperature and drag it up to the right just to make it a little bit warmer. Sometimes when you're shooting during the day long exposures, your photos tend to be a bit blue. Just because that's what the camera is seeing out in the daylight of the sun. And so I wanted to be a bit more warm. I'm then going to play with my exposure. My highlights shadows, whites and blacks. My highlights. I'm going to drop my shadows. I'm going to increase. So that just increases the detail that you can see with all within the highlights in the shadows and then with the whites again, I'm going to hold, option and drag to the right until I can start to see something that is a pure white something like that. And since this is water and this is a reflection, that is a great thing, to be pure white with the blacks and going to hold option shift and dragged to the left, making this a pure black and then I'm going to play with the clarity just increased the clarity with which actually sharpens things a bit. It's not sharpening the blurry, the nice blur of our water that much. It's more sharpening the details of this rock, which I like, and then I'm going to increase the vibrance of this whole thing. So instead of saturation, I'm increasing the vibrance, so that's looking good. And then the next thing I'm going to do is going to crop it. So again, I'm going to do this 16 by nine just to really get in there. This is the focal point of our photo and then go down all the way to my vignette. A vignette is a cool thing to do with your with your long exposures. So I'm just going to decrease the amount to create a dark vignette. I'm going to decrease the midpoint to bring in more than I'm going to feather it a ton and then play with the mountain again. I don't want too much. I don't want it to be too dramatic, so that is looking really good now. One thing that I can do is I can come in here and I can see a little bit of noise and something that might happen with your long exposures is noise. And so we're going to go up. We're going to add a little bit of luminess noise reduction. And just by doing that, we get a little bit of this noise disappearing and you can play with the contrast and the detail to affect the noise in different ways. And I was really, actually important if you are shooting darker photos during the night because you might get a lot of noise. But since we're shooting at such a low I So you won't get that much noise with your images as they come out. So we went from this to this, and we went from this to this. And now this one is not as dramatic of a difference. But look how amazing this looks. And I made one of these black and white just because black and white photos, uh, long exposures look really good with black and white, especially with water. But in the end, I like the colors of this one that's so beautiful with the reflection and the water really , really nice. So that's how you do a quick edit in light room. Let me just export it for you. So I'm going to go to file export. I'm going to choose where I want to set it. What? The name is that I want to set Save it as, and then my image format JPEG is great for sharing online. I'm do resize a lot of my images when I'm posting them online because I don't need them to be so huge. Um, so for this one, maybe I'm gonna post on my blog's all do like something like 600 But typically I'll want to post it like above 2000 pixels just to get the best, the best looking one. So I'll just take this for blogged. I'll say export, and now it's going to appear in my files to share with the world. So thank you so much for watching this lesson and we'll see you in the next video. 31. Bonus: Lens Hoods: Hey, Phil here, back in the office, I just wanted to create a couple of new videos for the landscape photography class. We've been getting some questions, just some follow up questions based off the content that we've always ready created. So we wanted to explain things a little bit further for students who need a little bit more help or just mawr explanation of what and why we're doing things. So today I want to talk about lens hoods and why we use them. This is a lens hood. It put it attaches to the end of your lens. I have a lens right here that we can kind of show you. Here's a small lens and the lens hood. It matches the size of your lens, so you'll need to get different lens hoods for your different lenses. Now what does it do? Well, it cuts down on lens flares that you get when you are pointing your lens at a light source , like the sun or at a light bulb or a bright light source. If you're not out during the middle of the day and you've seen those before and we talked about them in the course, you might get those lens flares coming across your lens, especially when the sun is lower in the horizon. So at sunset or sunrise, Sam mentioned that to get rid of those lens flares, you can point your camera directly at the sun. Another thing to do, though, is to use a lens hood if you're angling your camera or your lens at an angle, but still pointing towards the sun or the light source. If the sun or the light sources behind you or behind the plane of the lens glass, you're not going to get lens flares. But if it's pointing at the lens, you might get those lens flares. Now this is one thing you can do. Another thing you can do is literally just block the light from shining on your lens like this with your hand with a hat with a magazine. And that's what we were doing out there. Sometimes you might have seen us out in the field. Will was using a lens hood for some of his photos. Sam and I weren't really using ours, but even while we were shooting photos and video for the course, there were some shots where we had to cover it with our our hand just to get rid of that lens flare. That's why a lens hood would come in handy for a basic rule of thumb. Might as well have a lens hood. When you're shooting out in the day, there's really no reason not to have one. It's not blocking the edge of your photo or anything like that. The only thing you have to worry about is it's an ounce more weight, and it does make your camera set up a little bit bigger out in, ah, landscape situation like Joshua Tree didn't matter. But when you're walking around the town doing travel photography, if you're in a destination you're not comfortable in, you might not want to make your camera set up even bigger when you're using a DSLR or a mere list camera. Whenever I put this on my camera at Lens, people are like, Whoa! What type of camera is that? Even though I'm just using the same camera, adding this, you know, 45 inches of space in front of your lens can make a big difference in terms of what other people perceive your camera, Quint meant to be. You just have to be aware of that and be careful because there's always people out there looking toe steal a great camera equipment. So that's pretty much what a lens hood is. That's what it does. And, yeah, play around with it. And just note, though, you will have to get a lens hood that matches your lens size. So at the front of your lens, there's usually a size in millimeters and just get a lens hood that matches that. Thanks so much for watching, and we'll see in another lesson. 32. Bonus: Tripods, Monopods, Gorillapods: Another question we got us was to clarify the purposes and the uses for mono pods, tripods and guerrilla pods. And what to look out for when purchasing one will. Sam and I are all video creators as well as photographers. So some of the equipment that we use is geared for both video and photography. For example, I have this mono pod right here. It's a man photo mono pod. And really rule of thumb is man. Photo makes some amazing equipment. This is the man photo M v m 500 a mono pod. It has a fluid head video till head. So you can see here that this mono pod it has an arm right here. It has a fluid head that allows me to tilt it. And it also has a ball bearing at the bottom that allows me to actually turn. So turn it left or right. So Pan left to right. Now this is a video tripod head because or video Monta pothead. You could put the same head on a tripod. And with photography you don't really need to be panning or tilting. You just need to set up and you don't need to move so you don't necessarily need the video head for your mono pod or your tripod with a regular photography Mono Potter Tripod is just going to have one of those ball bearing heads where you can adjust it and really tilt it. Pan it however you want. But then you lock it down before you take your photo. If you search on Amazon, there are great mono pods and tripods out there that aren't man photo and aren't as expensive as man Photo. Zo My zio m e I, I believe, is another great manufacturer. They have a great tray pod for photographers out there right now. When you're searching, just make sure that it's good for your type of camera, meaning the size of your camera. You might not need a big large tripod or mono pod if you're carrying around a point and shoot camera, if you're just using a little mere list camera. But for a larger DSLR camera with bigger lenses or a larger me airless camera, you want to make sure that when you're looking for a mono potter tripod, it says that it is for DSLR cameras so that it can handle that weight. Now, before we talk about the uses for each of these, I do want to mention the gorilla pod, and the one that I use is from Joe B. J O B. Why. And the main thing with guerrilla pot is the size. Some are made for heavier camera summer made for smaller cameras. They even make smartphone mounts for the Jobi gorilla pot. I can highly recommend Jobe as a brand. I haven't used anything else, and they range from 20 to even upwards of 70 70 $80 U. S. But the key thing with this is you need to get it for the right camera. I have one of the larger gorilla pods, and it works for most of my scenarios. But when I put on my heaviest camera lens when I have a microphone attached to my DSLR for shooting video, it can feel a little bit unbalanced. So you want to be careful when you're using your girl a pod. You don't want that thing tipping over. Now let's talk about the uses for all of these. The tripod is the basic tool that we recommend carrying. You can get away with the mono pot or the gorilla pot. But the tripod is great because you can go up at different level, from a foot or two above the ground to sometimes over six or seven feet, which is great to get different perspectives. And that was one of the issues while we were out shooting form, or so the night photography course will had a small, tiny little tripod. I had my little gorilla pot, and Sam had a normal tripod for Will and I. We were very limited to the types of photos. Weaken. Get using long exposures because we were really close to the ground while Sam, he had a normal tripod and get up higher, which allowed him to get some more interesting perspectives while shooting out in the day. You don't necessarily need any of these tools. If you're not shooting long exposure photos, they help when you're shooting time. Lapse is or you're shooting in one location for a long time, and you doesn't want to get that exact framing. Obviously, it helps if you're taking photos of yourself or of people, but that's not really what the landscape photography course is all about. But really, it's just to be more comfortable when you are setting up your camera and to get the exact sort of set up that you want. But that doesn't mean you can't just take your camera, move it around, go whatever angle you want and snap your photo, especially during the day when, like I said, you don't need a longer exposure. If you do want to do longer exposures during the day, which we highly recommend testing out, especially when there's moving objects like clouds or water. Like we mentioned in the course. You can get some really creative shots like that, and I'm gonna follow up this lesson with a long exposure during the day. Lesson. It's actually from a different course, but I wanted to show you what we what. The capabilities are using some very inexpensive ND filters. But when you're out in the day and you're shooting long exposures, you can't move your camera at all because any movement is going to create a blurry image so you can't do long exposure with your hands. You need to have a tripod. I think Sam mentioned on the course that you could just, you know, set on a rock are a backpack or something, but you won't have the flexibility of giving, getting different angles and perspectives that a tripod gives you. So the tripod is sort of your all around tool. The motto. Pot is a great tool toe have if you're walking around for a while or if you're just gonna be out for a long time because you don't have to have the weight of that camera around your neck or carrying it. It's way more compact than a tripod. When you're out shooting events and in tight spaces, you don't want to have to have your tripod and set up all the legs. I've been there, and a lot of you have probably been there, too. It's just a little cumbersome, and that's why a mono pod is great. It's not the best tool for landscape guitar view, though, because really you still have to hold it. You still have to put it in the right position. It's not going to stay there without you holding it, and so a tripod is better for that. The only benefit with landscape photography is just being able to hold a little bit of that way. If you're just standing there or if you're in more of a tight location and you can't move around. Lastly, the gorilla pot and what the uses are for a guerrilla pod, it's very much similar to a tripod. The difference is that it's a lot easier to set on an uneven surface. So if you're taking a photo and the there's rocks or the ground isn't level, you can just easily level the gorilla pot and kind of bend it to match the ground with my version of the Jobi gorilla pod and has a nice fluid ball head where I can just level it really quickly. So that's a little bit more information about using tripods, mono pods and guerrilla pods. I hope it helps you. And really, at the end of the day, there's so many different brands we can only talk to to the ones that we've used. We used man photo a lot for our tripods and mono pods just because they make really high quality, durable and lightweight equipment. Jobe is great for guerrilla pods. Another brand that I've tried from Amazon is Ravel, e r. A v E l L I. It's a great durable tripod, but it's a little bit heavier than the other ones. So the key things to look out for are the weight, the durability, what type of camera it could hold. So using all those things, find one within your budget and have fun with it. Thanks so much. If you have more questions, let me know.