Post Processing - The Ultimate Photo Editing Masterclass for your Landscape and Nature Photography | Daniel Gastager | Skillshare

Post Processing - The Ultimate Photo Editing Masterclass for your Landscape and Nature Photography

Daniel Gastager, Professional Landscape Photographer

Post Processing - The Ultimate Photo Editing Masterclass for your Landscape and Nature Photography

Daniel Gastager, Professional Landscape Photographer

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19 Lessons (10h 38m)
    • 1. Intro Video - Masterclass

    • 2. Section 1 - Raw Processing

    • 3. Section 1 - Exposure Blending

    • 4. Section 1 - How to use the Orton Effect

    • 5. Section 1 - The best Nik Filters and how to use them

    • 6. Section 1 - Advanced Contrast Adjustments

    • 7. Section 1 - Advanced Color Adjustments

    • 8. Section 1 - Color Management

    • 9. Intro 2nd Section

    • 10. Section 2 - Editing from Start to Finish Part 1

    • 11. Section 2 - Editing from Start to Finish Part 2

    • 12. Section 2 - Editing from Start to Finish Part 3

    • 13. Intro 3rd Section

    • 14. Section 3 - Milky Way Panorama Editing

    • 15. Section 3 - How to create and edit a dramatic Panorama

    • 16. Section 3 - Editing a dramatic Panorama Part 2

    • 17. Section 3 - Composite Nightsky Editing

    • 18. Section 3 - Composite Nothernlights Editing

    • 19. Final Words

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About This Class

Welcome to my ultimate Post-Processing Masterclass for landscape and nature photographers. It's the third and final version of my post-processing video series on Skillshare, and it's a big one!

I included 9 different sample images, which I will edit from start to finish. The goal is to demonstrate to you guys the best and most powerful techniques for editing landscape images.

The course is organized into three sections.

In the 1st section, I'm going to show every single technique in great detail based on one sample image. The part is divided into 7 different chapters.

In the 2nd section, I'm going to start editing three new sample images in a more advanced way at a faster pace. You will learn how it's done in a professional workflow.

The 3rd section is all about dramatic landscape images. You will learn how to create stunning night composites, milky-way panoramas, time blending scenes, and much more. I will again edit 5 sample images from start to finish.

Every single photo is unique, and so it needs different adjustments than others. That's the reason why I included so many sample photos.

I use the programs Adobe Photoshop CC, Adobe Lightroom CC, and the Nik Collection by Google/DXO.

Feel free to contact me at any time if you have questions. I'm always there to help!


Meet Your Teacher

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Daniel Gastager

Professional Landscape Photographer


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

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

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

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

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1. Intro Video - Masterclass: Hello, everybody. Welcome to Volume three off my post processing masterclass for landscape nature photographers. - This tutorial is a big one. You will learn everything you need to know to edit your landscape images to make them stand out from the crowd. This in depth masterclass is divided in three different sections. The whole tutorial is about editing From start to finish in the first section, I will demonstrate you in seven different chapters exactly which techniques I love to use and which are fairly advanced. Also really powerful to enhance nature or landscape photographs. In this second section, we will speed it a little bit up after used learned all the techniques In the first chapters, I will show you how you can use them on other landscape images. So I will process three shots again from start to finish, but in a bit of a faster pace. So you see how it's done in a professional work for and in the third section. It's all about dramatic landscapes. You will learn my favorite complicit techniques and also how to edit night images, how to create Milky Way panoramas and how to edit panoramas in general. So there's a lot in it, and we will again process from start to finish five sample images. My name is Daniel Address Taga. I am a professional landscape photographer and photo editor for over seven years now, and it's my big passion to capture the beauty off our world in camera and also get creative later on in post processing. This master class is for the landscape for nature. Photographer finally wants to achieve a new level in post processing. There are so many techniques I'm showing you here, and I'm sure you will pick something up for your old. In my opinion, it's super important to understand that every single photo is different. And so it needs different adjustments. Or let's say they have to be applied in another way. And that's the reason why I included so many sample images in this tutorial to edit them from start to finish. All right, guys, now it's time to get started. Feel free to contact me any time. If you have questions, I'm always there to help. And I'm really curious as always, to see your class project. Show me your results after you applied my techniques on your own images. I can't wait to see them and now enjoy editing and see you in the first chapter. Bye, guys. 2. Section 1 - Raw Processing: this image here is the famous Misa Arch in the Kenyan Lands National Park in Utah. I guess everyone everyone knows that knows it. Oh, it has at least seen a picture of it. I was there the first time this year. February my girlfriend with my girlfriend. Uh, it was amazing for me because I was there the first time and was winter. There was really cold, Really cold head, lice head like minus 13 degrees Celsius. But it was there was no wind, so it was quite comfortable still to stand there with one close and everything. And since it was winter and it was not on the weekend, I think was it on the weekend? Can't remember. There were too many people. There were like three or four photographers and like five or six other people watching the sunrise. And I had really amazing conditions because there was some mist in the valley or in the Kenyan and I have never seen a picture with mist in the Kenyan. Maybe some of you have I didn't and this that made it really special for me. I was really lucky, of course, and at the same time, I had a burning sky in the background with some nice clouds, great light, orange life, magenta, everything and later on the sun even poked through. So I also got the classic shot with the sun hitting the yard here and everything. But I kind of like this version even more because I like the burning sky and at the same time it's a bit more. It's a darker version, of course, cause the sun was not yet when I just like the atmosphere in it here. So that's the reason why I want to demonstrate you some techniques, some other techniques and my whole workflow, of course. Ah, on this image, like in the other views as well. I will always start with my first steps in light room. I would prepare the image for Photoshopped, show you some techniques I do here. I don't do much in light room. It's just a preparation. Uh, and later on in the other chapters, I would go in detail about my advanced processing steps. There will be something you in this video. I will show you how I do how I increased the debt full field in my image. It's called Focus stacking. I guess many people heard about it. It's not as hard as it sounds. It's basically increasing the depth for field like a said, because with a really small aperture, you get problems when you want sharpness of all. Since diffraction will decrease the lens quality, the image quality cause. But let's say I use then the amateur F 22. Then it might be possible to get the entire therefore field or that said, entire image in focus. But at the same time, I lose overall sharpness. And to overcome this there's this technique called focus taking. It's basically to roll three focal points in one image or, let's say, two or three different focal points in one scene and then merging them together in a photo shop. You often get problems when you have subjects really close to you to your lens, and at the same time you have interesting subjects in the background. You also want to have in focus, and this was the case here in this image, because this rock here in the foreground was like 20 or 30 centimeters to my lens and at the same time, the wide twister in the background and to get this shop in one frame, it's almost impossible. And that's the reason why I will show you how I focus. Take. There was images at the same time. I will show you how I used to different exposures to get back information in the sky. Since it was a really high contrast, he seen because I have the dark boat dock of Rock Bo here of the the auctioned in the foreground. At the same time, the bride sky in the background and I have a Nikon D 8 10 And for all who know those cameras, this camera, it's amazing. It has an amazing sensor. He really hide an immigrant, but it also struggles sometimes with those situations. And that's the reason why I just make one or two more exposures, just in case. Problem, Boss, I couldn't make it properly because there were other photographers, like I said, and you you weren't able to move around freely free. So when I went forward to the rocks to get this picture here, I had to ask, Can I go forward? We'll go back in a couple seconds and since conditions were changing really fast, I had to be quick, Mr Reason Why I couldn't fire off like a couple 30 seconds or 25 seconds exposure. So I had to do it fast. So I made a eight second exposure and a three second exposure. The eight second exposures a bit too dark. But it doesn't matter because the dynamic range of the Nike wants amazing. And it gives me enough detail on an amount enough information into history, Graham, to work with it. So I'm fine at the end. And I dont Brit print super, super large. So it doesn't bother me, and it's really not bad. You will see it in a couple minutes in a couple seconds. Okay, enough talking about this scene like a set. There will be some new steps in the the other chapters. But right now I will do my basic Anything. Here you can see the finished image. It's already be a process and a shop, and I really like it. But I, of course, first of all have to start off the raw files. So too get there. I would press G and here I have the raw files have copies there, but it was thought you on When I press d I come to the processing the develop module and when I pressed I, then I get the informations. Andi, here you see my settings. It was a eight second exposure at F 11. I'm over 64 basic Aiso from the Nikon the A 10 18 millimeter waas the for glad Andi. I used the Timor on 15 to 30 millimeters. Okay, enough about the settings. This exposure here is the brighter one. Even it's a bit too dark still. But like I said, I have enough information and it's also the one which was focused on the foreground here to get sharpness overall here. This in this rock because it was really close to the lens and the other exposure is for the background and also for this top arch here. Since it's a bit far more far away than the rock here doesn't it's not recognizable on the image, but there's a difference, like one or two meters. Even so, it's better when I used the one with their focal point somewhere here cause then I have better sharpness here. OK, but first of all, I will do my basic editing on this raw file on the first steps I always do is I go to the camera calibration model and I changed the profile to a camera neutral. This is my basic profile, and I use it 90% of the time, especially in really high contrast scenes, because the adobe standard profile already adds a lot of contrast to the image, and this makes it harder for me to process is later process it later on. At the same time, I don't like the colors as much. So that's the reason why I was camera neutral. It's a bit softer and at the same time I increased the saturation in the Blue Channel. The reason is I don't like it how vibrance and saturation, um, work with the colors just a bit too much for me. I like colorful images and I like contrast. The image is everything. I do a lot of editing in this case, but I do it the most time in photo shop and to have a good starting point. I experienced that working with the Blue Channel gives me the best results, and I always start something and around 50 and then I worked for the referred. Usually I increase it a bit more, but in this case it's a good starting point. And when you saw my other images, then use saw that I do it all the time. So that's one of my basic steps. Okay, Right now you see the images way to blue. That's the reason the white balance is off. So I have to adjust it. Since it was dark in the foreground and snow and everything, the camera had trouble on auto white balance. But it doesn't matter. I worked before the war file, so I always have the information and the possibility to readjusted. What do you do? And I wanted warm off course because the light was already really red and shining through. So I will increase it. And there, you see. Oh, well, looks way better. Something around 9250. That's the white bones I like the most. And at the same time, I will increase the tint because I want to get back this magenta light in the background and at the same time on the foreground rocks here Something around plus three. And there you see the sky now. Amazing, really nice. light. Ah, nice light in the valley. Perfect. That's what the white balance can change. Uh, you see that this guy's a bit too bright, but it's okay. Like I said, I have another exposure for the sky, and but at the same time, I want to keep it even. I have another exposure. I want to keep it a bit brighter because the sun was about to hit through here. And this is a really bright seen. I don't want to darken it down and then destroy the mood like you can see here. I want to keep it brighter. So the eye has something to look at, and at the same time, you know? Okay, there's the sun about to come out, so it helps the image, in my opinion, Okay, The next step is increasing the exposure because, like a set, the image is still a bit too dark. Something around this year. This is no problem for Nikon. When you see here, everything is fine on. Then I will increase decrease the highlights, but not too much, because I wanted to keep the highlights a bit brighter. So it's easier for me to make a selection later on and Photoshopped to, um, work in theatre exposure. Okay, Then I will increase the shadows a bit. And also the blacks. So the image is not too dark. Something like this. Okay, contrast is now gone. Almost so. I will want to bring it back a bit, but not much, because most of the adjustments will be done in photo job. And I also want to add some clarity. Clarity is like micro contrast. It makes the image look a bit CRISPR. But I don't want to. I don't want to overdo it because it starts to look off really quickly. They see here doesn't like it looks like a sausage or something. I don't want this. I will just keep it really low. So I have a good starting point. And like I said already, detail in other adjustments will be done. And for a shop later. Okay. Ah, there's a little blue cast here in the snow, but it's fine, but I want to decrease it up it. And to do this, I would just decrease vibrance by some points. And that means I will decrease blue because vibrance works with the blue tones. You complain yourself that you see here to snow when a decrease it here? Yeah, at the same time, I can work of ruminants and increase the blue towns a bit to brighten up the snow. Not so much, something like 11. Because there's blue with this. No, I've been a bright it up, writing it up. Then I also bright enough. There's no okay. Looks good so far as a starting point. Of course, I want to get back some color, so I will increase the Blue Channel a bit. But that looks okay for me so far. Now we go to lens Corrections, removed the chromatic operations and able to profile corrections. And I will decrease the vin getting removal because I want to keep the door corners a bit darker. So it helps me to drive my ice distortion. Removal is distortion of movements. Find for me. I don't use it all the time. And when I use it, it's almost one off the last steps because it slows down light room. So I will do it at the end almost at the end. Okay, Looks nice. And now I will start with shopping. There is a method I always use, and it's a I found out it works the best of my camera. So I used the amount off 45 overall happening here. Then a decrease the radius. So it's not too strong. And at the same time I increased the details. So have a listen. Nice micro contrast. And then I will mask it out by pressing Ault and pressed a slider to not have it in the sky or in the fog in the rally. Things like this noise removal. I don't need it because when I look here like I said, it's fine. There's almost no noise at all. And when you see here, I have nice sharpness here in the foreground. But when I go to the background here, you see ah here there's some blur. That's the reason why I need focus stacking because I focused somewhere here, so to have all the nice shop informations here. But it was not enough that full field. So I lost all the sharpness in the background and also on the top here, and that's the reason why I need the second focal point, and that's what I will actually start doing now. I would go to the second row file Press G. Here it is press control and click on it. And then I will sink the settings synchronised. And there you see it synchronised settings. When I click here. That's of course, important that you marked all the boxes here and you see, it's Docker. Of course it's Dr Course. I had only a three second exposure, but now you see Ah, there's a lot of information. Is he in the sky compared to here? Okay, I don't even need it that dark, so I will increase the exposure a bit more because I also need something here on the back, out on the Bo here on the Archie on the top. But even when I decrease it by increasing by 2.5 stops, you see, there's no not much noise. You see that? That's amazing on. But now I lost information the sky against. I have to go down with the highlights, and since I said I want to keep the Brightpoint here because the sun is almost about to poke through, find for me perfect on, just in case I will remove some of the noise even if there's not much noise. I would go to land, skirt out until detail and had some ruminants noise removal. Something like 11 not much. Should be fine. Yep, it looks good. And now, when I watched the two images you see here, it's blurry in the foreground. Yeah, and shop in the background, you see, because I focused somewhere here. And it's the reason why I like focus stacking. So later on in photo shop, I will use the top part here for my sharpness here in the background. And this image will be used for this part here for the sharpness in the foreground. Okay, I think I can brighten up even a bit more. Or let's say, Oh, sorry, you ever go down if the explosion here. So it's a bit more even something like this, and you also see the images of it moving. That's the reason, because of the reason is that two focal points there's no except, um, the light. There's no exactly aligned image when you use two different focal points, and it's the reason why we need Photoshopped to overcome this issue, because when I just over blend those two images, then you will have some reared edges and ghosting because if they're not alive aligned so that's the reason we have to do it later and be exact to make it look good. Okay, but those are two steps in light room, and I'm pretty much done now. Looks everything. Find for me in the next chapter. I will show you how it said already. I will show you, um how I blend those images together. The good thing is, I can use the focal point for sharpness in the background also for my sky. So exposure blending makes it a bit easier. On the same time, I will use it also for the arch here on the top. But so far, so good. That's my wasn't that these were my steps in light room and, yeah, see you in the next chapter. 3. Section 1 - Exposure Blending: Welcome back and chip to to Now I will show you how I will blend those two raw files together in photo shop to get a bigger step for field and at the same time to recover the highlights in the sky. So let's open up the files in photo shop. I marked them here, so I press right at it in and then opened a slayers in photo shop. So I have to both together already takes a while. Andi, photo shop. It's ready than I am to. All right, let's close this year. Perfect. Here have two files. The doctor one is on the bottom and the brighter one on the top. But I wanted in the opposite direction, so I will change them here. Okay. Dark top, Right? Bottom. I mean, I checked the image. Now this is the dark one there. You see, uh, it's shop here in the background and at the same time, on the top here on your watch. And this guy's doctor, of course. Yeah. You see that? The also in the Kenyan recognize sharpness. Everything fine. And he and the foreground, it's not shop. When I look here. There you see sharpness in the foreground, nice and blurry in the background. And that's what I want to overcome. And it's the reason why I used photo stacking. Focus taking. Sorry. Um, they're actually different methods to do this, and photo shop offers a onboard method, which is actually not too bad, But it has trouble sometimes. Sometimes I always try it first. And I already know that it won't work in this case because I, like I said, I also want to blend the highlights. And in this case for the shop born recognize that, Of course, it doesn't know that I also want to blend the highlights. So just look for sharper parts in the image and blend them together so it won't work here. But I will still show you how it looks and how it works. Because, like I said on some images, it books to get there, I will have to mark them. So I press shift and click on the bottom one. So have both here selected. Then I go to edit auto. Oh, yeah. Sorry. I forgot. First of all, I have to align the images because of the different focal point. It's a bit a bit off different framing. You see it to you and when I just over blend them, then you get really weird go stings and inches. And to overcome this, I first of all have to auto align them. And Photoshopped does a really good job of that. Of course, it's not working. Probably when you have some manure, let's say change the position completely or something, but in this case it works really good. I will just use the option. Auto works best, actually in the press. OK, that photo shop do its magic done already. And there you see now perfect. No different focal length or anything. But I lose some information on the sites. You see it here, but it doesn't matter. I will get rid of that later on. That's not a big deal, because when you see here, that's really small. Okay, so now I AutoAlliance delay us. I still marked them. Let's say I still have them selected, and now I will goto edit auto blend layers and choose the option stack images and seamless tones and colors and the net press OK, and let's see what show Photo shop will offer us there it is, and it's actually not too bad. You see it here on the bottom side, there to masks, and you see it basically selected a lot of things from the bottom. There's the shop apart and also from the top. Here, Where's the other shop? Apart? But it struggles with highlights. You see it here. It doesn't over blend the highlights. It's a bit No, let's say clumsy, not really detailed. And when I, um, close this layer, you see it. It didn't took everything here. You know, it just yeah, made of your job because it struggled sometimes, like I said, and even didn't use The doctor highlights because why should it? It's looking for sharper points, so it doesn't work. But when you have more time in the field and when you let's say, First of all, make a focus, focus, stick in the foreground and the background, and then you make a completely new exposure for foreground and we'll know. Let's say, then you make a new exposure for background and highlights, you know, then you can later on. Just make the focus, stack first in photo shop and use the darker highlights from the third exposure for, for for exposure, blending. But in this case, I don't have this. So I won't use for the shops option, but doesn't matter. This is not a really complicated situation here, so I will show you how you do it by hand. First of all, I have to get rid of this action. Photoshopped it so the press control aisle seat and there it's gone. I still haven't autoalliance That's important. Perfect. And I could just hand blend it with creating a mask and then painting on it because not too hard here, if those edges And that that has to be too precise. But I will show you another way. Um, it's another photo shop option came with the new root cc version 2015.5. You find it under selections and then you go to select and mask. And now I basically want to select this part here. Yeah, and blended with a mass together with the bottom part. Okay, so select, select and mask. There it is. I will use marching ants. And now I will just ah but pick 100% hardness to do this. It's easy. I will just press Ault and then right click on the mouse or on the tablet. I have a working tablet, and then you. When you go to the right of the mouse or the pen, you make it the brush bigger. And when you go to the left, you make it smaller, and at the same time when you grow up, you will make it softer. And when you go down, you will make it harder. Spend when you could use to it. It will save you a lot of time. We felt pressing buttons on to keep it all the time. Okay, and now let's make a selection off the top part. I would just drag my mouse or my pen here takes some power from the computer, so give it some time, some rendering Andi. When I come closer to the edge, I will make it a bit more precise, so we'll make it smaller and Suman set a Z on. Here is the selection. It doesn't have to precise like a set, because I will refine it later on. I try to refine it, at least. Ah, here it ISS. It's a bit off a little bit like painting tool smaller here, you see, for the shop, that's actually a really good job. Selecting the the edges can't be 100% perfect. But that doesn't matter. In a press alta never minus. And I can go back with my selection here. You see, on also he here Okay. Ah, you also No, but minus. I can paint something back. Paint, Select something. Ah, okay. He also it's actually quite nice. Good. And to refine it ever now choose to view option Overly because now is even better. Controls the press set to zoom in There you see it And now make it a bit softer So I will reduce the hotness. And then I will paint with minus sorry. And I have a paint here again when overlap doesn't matter The exposure of lending here. So it's a bit takes a bit of time, but it's Smurfit. They also see I did a bit too much here in this part, My ass. I kam painted back using cult also here. Don't Yeah, move So here and good back here. Ah, here too, of overlapping. But it's okay also here, since it's not like on shop and shop, like, really, there's no hot edge. So it doesn't matter when it's overlapping a little bit, since its has the same brightness with its why it's important to do proper preparation. Light room ping cubes. Get back a bit. My softer edge. You see from the hard edges like really hard. That's why it's called college. But if the softer it's nice to refine it, same here. Once it's done, it's done. And what I can do at the end is I look up to to check double check. Looks good. Um, no. I can go to small radius and refine it. It looks for edges and tries to detect them. You see here and I increased the radius it looks from or it just it's not that good. And when that decrease it it's a bit finer. You see quickness. One picture should be enough. Okay, Perfect. That's actually good enough. So impressed. Okay. No, I have the mask. You you see it. And when I checked my two layers now I have everything shop in the background and also in the foreground. Perfect. And I also got the docks guy here from the background Focus. I turn it on and off there you see it Assuming glory show. So it's a nice to see Tian DHs 200% magnification, you see. Perfect. Good. There was actually quite simple. Took a bit of time of the masking, but you see, it's not too complicated. Um, but like I said before, let's say I would have had more time in the field And let's say I would have made two focal points first and then another explosion for the sky to blend them together. And I will just show you how I would do it. So you see that it's actually done a bit different. Okay, so let's say I already made the focus tech like a shortly before we photo shop also briefed this method does matter. Okay. And then I want to blend this guy. So let me just duplicate those layers by pressing control. J. I will turn off the bottom ones, delete this mask, but keep the auto line function. Ah, delete. Lay a mask. Okay, So now again, here's the bottom. The bread one and dark, one on the top. And to blend those together now, the sky specifically, I will use a luminosity mask. I guess you heard of it already? Luminosity masks are really fine masks based on the luminosity off a often image, and they help you to get really smooth transitions. There is no hard edge or anything because it's based on the tonality there is. You can choose. Either choose if you make a selection on the bright tones or on the dark tones or even on the mid tones, and that gives you a really nice control off your editing. Okay, Andi, to create such a luminosity mask, you first of all always have to go to the channels, and there are different options. You can create it really based on the whole luminosity. Then you were created with the RGB Channel, or you can create it based on the color channels. And I say usually when I make normal adjustment, like Contras color or anything, let's say 80% of the time I used them based on the RGB channel. But when I make exposure blending, I like to use the color channels because they're a bit more precise. Let's say for difference parts of the image, because when I want to blend in the sky, a sky is usually yellow, bright yellow, red or something. When I shoot at sunrise or sunset, then it helps me to use a color channel. I will show you what I mean. First of all, RGB to get the luminosity mask, I will press control and left click There you have the selection and then I save it with this button press control de to remove the selection. And here you have this luminosity mask, okay? And you see, the bright tones are selected and the darker tones are not. The good thing in this case is I have almost no single, really dark tonality. There was right in English. Sorry. There are no really dark tones. That means everything is a bit selected. Okay, so it's really feathered and smooth. But in this case, I wanted not to smooth because I only want to blend in the sky. So Ah, it's fine. But I have to further work with the mask. And but first of all, I will show you the difference between a RGB luminosity mask and a color channel luminosity mask when it take the red tones. You see, the sky is a bit more separated than the one with the normal of the whole luminosity. And I could also pick the blue ones. Then you have a darker edge here. But the sky is not selected too much. So I will pick the red one. I like it better. You see the green one? It's almost similar to this one. No, I like the red one. And of course, the red one. Select the sky Besser Better. Sorry. Since this guy's writ almost so Red Channel Control, click safe Presti Control deed to remove it. The selection. And there you see the difference. Perfect. And based on directional, I will now further work of this mask. I have to shrink it down because I want to be more precise. And to do this, I will just control click on it. I didn't control all shift Click. Then you see this X here, and that means it shrinks it down when I click on this button. Here you see it? Ah, yeah, it's selected mawr less tones here and the bright tones are still selected and nicely separated. Maybe I want to shrink it down a bit more. So just control. Click on it again. Control all shift and yeah, I will use this one really nice. You see, Perfect separation. And I confer the work of this now ever further and adjusted. So I have a better, uh, possibility to blend the images together. To do it, I will control l click. And now I get the levels. Here are the doctors of the left and the bright tones on the right. Same with the Mr Graham. And it was dark in the black tones. The doctor is a bit and brighten the bright owns to have a better separation Not too much, because otherwise I will use the softness. Lose the softness off the luminosity mask press okay. And I still want to further refine it because you see, there some parts in the sky which are not selected completely. And I could now just paint on it with pressing p to get the brush and capacity 100 press on capacity and slide it read right or left. You see, it works here. And when I painted white, then I destroyed a mask. I don't want this control, See, so I will use the moat overlay. And when I paint white, it only paints the bright tones That's the cool thing about it. I will show you of late white and there you see only right tones. How cool is that? Not many people know this, but you see, it makes it a lot easier and off course do the same. But the doctor in SoHo, press X to get the doctors and I will press that paints black Perfect. So, Kevin, there's some smooth transition before the worker for later in the masking process because light, of course, shines a bit through. But for now, it looks good. And now I can just paint black here with the normal mode and remove everything down here because he I have no worries about getting into the edge. Okay, Perfect. That. See how it looks? Terrible. Selected First of control of the selection here. Then I go to activate this mask here and get it. And now you see, I only got the bright, the doctors from the sky and when I zoom in, if you don't like the transition zone, you can now paint with white. Let's say 10% on the transition. So to brighten it up a bit So its not too dark here. It's personal taste also in the mountains. Maybe just to make it a bits mover. Yeah, you see here. But it's normal from asking, so I will just paint white to remove it. No black back and forth make it a bit smoother But I'm really satisfied how it turned out. And it looks right. Perfect. There you see it. I mean, it's done enough. Really nice transition. And now a blended in the darker sky. And I like a said in light room already I want to keep this bright spot here, or at least a bit because the sun was about to poke through, so I don't want to darkened it down completely. But I got a lot of information back here in the sky. You see it here? The difference. That's really good. Perfect. OK, but that was just the demonstration. Because, like I said, that they didn't need it in this case, since I could hope use the whole background with the exposure to blend in for focus stack, but for different image. Of course I could have used it. And now you saw it. So let me delete those channels because they take space to make the father bigger. I don't need them anymore. And I also don't need those two since I just needed them for demonstration purposes. Okay, but now I have the problem from before you see it here. I lost something off the edges. I won't get them back, but I can at least tweak it to do this, I will flat in the image. They never press controlled shade or get a copy, Never do anything on the background layer and then a press controlled t. So I will transform it to keep the size off the image. But get rid off the edges, see it here and here. And then I pressed. Okay? Yeah. And when I wanted to do with a big a bit more precise that consume in press control t again . And there you see chicken and I can work with a bit more. Don't want to lose that much here. And when I you something like that, that's fine. Perfect. And now it Chris Pinto. And that's it. No, I kept the file size, and at the same time I got rid of this. Those pitches. Okay, have a flat in the image. Press control J and I will just get rid of some parts here in the bottom is that they're disturbing to this Ever press help for the last ritual. I will draw around it here. Then I will goto image. I don't know. Edit. Sorry, Phil. Content aware fill press. OK. And now I got rid of it. Controlled the There you see it and I have an action for this. It's set with the key f free. So I just have to draw the line with the lasso in the night press three. That makes it my life easier to remove some disturbing things. I've been picky about this. Maybe I don't need to remove this. Yeah, Okay, Uh depends on you, but that's it. I'm find of it now. I showed you the different methods from focus stacking, and I also showed you a way to make a quick exposure bland by tweaking the luminosity mask with overlay painting. I hope you learned something. You here and in the next chapter, I will demonstrate you my techniques to enhance the mood and get a bit off a dreamy look in the image. So see you there 4. Section 1 - How to use the Orton Effect: Okay, Welcome to Chapter three. Like I said in the last video. Now I will show you how I further work with the mood in my image. I want to enhance it. And I I like to use the auto in effect to this, I guess many off. You heard of the effect already? It helps you to create a dreamy kind of look slightly blurs the image. And at the same time, you add some contrast that means and then you get a result, which, which is my opinion, really pleasing to the eye as long as you don't overdo it. Yeah, and it really helps you to enhance moods like this when you have some mist in the valley. Cem Soft morning light was a golden light hitting a scene. Then it really helps to work with this mood in a specific image, like this year. But before I start, I will show you a quick method to further work with the white balance. I have a method to really quickly check if the white balance is still if the white balance is actually really correct, or let's say if I can further enhance it to make it a bit better, and it's really easy to do it. I would just create a levels adjustment layer and I do it at the beginning off the editing because when I further work of colors and everything, this method doesn't work anymore. The blend mode will be color. Of course, I want to affect only color like a set. Then I would go to the levels and I won't work with their RGB channel. Here are to be Hester Graham. I will work with the color history, and they never picked the slightest and slide him to the edges off. The history of each side doesn't have to be 100% every channel. Then I will see if I like it or not. Blue. Oh, it's much okay, Perfect. Let's turn it on and off And there you see, it's slightly bluer, and in this case I like it when it's a bit blue, but not everywhere. Several mask it out and I will reduce the overall capacity of it. Something like 55 just to have, and I will mask it out here in the middle by painting. Black not doesn't have to be super precise, just a bit here. Also, he on the Archerd shining, blowing quick adjustment. But it helps. I like it. And you can do it in every image if you want. But especially when the white balance was a bit tough. Like this one. It helps you to for the work of it. Flat in the image. Perfect. Okay. And now I will start my actual adjustments with the often effect. I have three different ways to create your own effect for you guys who already saw my last videos. There will be quite familiar for you. There's one method which is new. You will immediately recognize it, I guess. And for you, who bought the image for the first time. Well, it will be new for you. Of course. Maybe you know the effect already, but it can be used differently on every single image. Yeah, and I only use no, not only, but mostly I only use one, um, method. But sometimes you can even combine them and it looks better. Okay, I have actions for this, so I don't have to do it by hand all the time. First of all, I will create a copy because never worked on the background layer, and then it would create another copy. On the 2nd 1 I will use the filter called Blur and causing blur to blur the image to get this dreamy effect. And there you can pick a pixel amount. It depends on the image size. When you have a really large image, I pick higher pixels. And when you have a low resolution image, I picked lower pixels in this case ever 36 megapixel file from the D A 10. And it's the reason by a picker higher radius something between 30 and 40. In this case, 40 is five, and it's fine. Perfect. Now I will use the blend mode screen here too bright in the image and to get contrast. And now I will use control all shift E to create a new layer, and now I will talk in it again by using the blend mode. Multiply. There it is, and now I will much those three layers together and call it Wharton Perfect, and I will reduce the capacity to something like 30 depends on personal taste. Of course, you can pick a higher amount or lower amount depends. A new 30 is a good starting point, in my opinion. And when I turned going off there you see the difference. Really nice. Dreamy. Look, if you don't overdo it, the image really benefits, in my opinion. And in this case, I like it. But like I said, I will show you the other two options to do this. I will first make a copy again. Control J deactivated this one here novel Go to filter Blur causing blow again with the pixel radius. Uh, now I would go toe It's a amount about 15. And then I will create a new adjustment layer called brightness. Contrast every bump. And then first of all, before I continue, I have to connect this layer with the background copy year of the blurred layer because I only want to affect this layer, not the whole image. Okay, To do this, I would just wreck click here and create a clipping mask. Perfect. And now I can For the work of the adjustment, I will increase the contrast to 100 decreased the brightness to something around. Let's see, minus night. Okay. And now group it, I selecting the to Les acea impressing control G. They will call it. And when I turned on off there you see the difference. There you see the difference. The secret. This looks nice. Perfect. When you see the two methods here Yep, there's quite a difference. It's personal taste. In this case, I kinda like the 2nd 1 better. So this is the one in the group. And then, of course, I can further just this group. No, because sometimes it happens that you're often effect doesn't look good in every single part off the image. For especially when you have a high contrast scene. Let's say you have really dark parts and we've had in contrast and blur, you kind of increase the darkness. And you don't want this because when you do this with every single adjustment at one point it gets too dark, and then you there's no way back, Okay, but this case, it's fine. But what I don't like is the bluest the sky too much When you turn it off, you see it? I really like this blur here in the bright part where the sun is poking through almost. You see this, the blur he looks or the blow looks really good But what I don't like it, I'll use I lose the details here in the clouds. You see it? I don't want that. To overcome this, I would create a luminosity mask again. And since it's in the red sky, I will use the Red Channel again, like in the chapter before so ever control, click on it safe the channel and though I can further enhance it, since this is too much off selection. So control, click control all shift safe. Still too much control. Quick control, Old shift safe. That's perfect. But I want to further enhance it by overlay painting on it. So I would choose the blame on overlay in my brush. Pick the foreground color white, 100% capacity. And now I will paint on this guy here again to make this election stronger. Here you see it. Don't worry. If you paint out Doesn't matter in a paint like again. It said de subjects everything perfectly Okay, Mountains on two years also. Oh, okay. Good. And now I will end a white mask. First of all, let me turn off the return on the group again because it's important that I make this election without the adjustment because it will. It's not as precise as without the adjustment. I hope you understand what I mean, since they affect all the color channels. But I before talk about this in the other chapters. Um, well, at a white mask, then I will use this selection here by pressing control. Click going here. Now we press control each to hide the marching ants. I don't want to de select them by control D I just want to hide them circuits so that they're still selected. Press be for the mask. 100% with 80% capacity paint black. And now I want to get back. And I have to change the plan for tomorrow. Of course. No, I want to paint back the details in the sky, but just in the clouds, Not in the sunlight. Here. Okay, I'm gonna turn on off the mask on and off. There. You see the difference. Get some hail going here. I don't want this. So I will de select the mask, but controlled deep. And I will paint white here on the edges. So the blurs on the edges So the halo disappears. It was a darkened the sky with my contrast brightness adjustment a bit. I'm going to remove it. Then. Of course, I get edges Since I removed the darkness. I don't want this year in this guy. Um, okay, that's fine. Turned on enough. Do you see the difference so really settle. But like I said before, it adds up. Okay, Perfect. Let me delete those challenge since I don't need you anymore. Perfects. And the last option is a filter in the new collection. Since its for free, I can highly recommend it. There have There are some amazing filters. Only use a handful, but they help a lot. And the blur filter. The glow filter is called Glamoc Low. I have deception menu here for the menu here. So I would go there. I will show you some of my favorite filters in the next chapter in more detailed, um, perspective. So here you see, it has a glow option saturation option, warmth, option, which is really nice. And I could for the world of shadows and highlights. First of all, I will sear out the saturation because I don't want it to be Ah, minus 29 I will go down off the globe it 25. This is the Gaussian blur filter, kind of the same and which is cool. I can now work of the color of the temperature off the image. And this is the reason why I like this filter so much. Because when I have a scene like this with warm light hitting some Fargo mist clouds, whatever, then it's really nice when you can work with the the temperature off the glow. Well, it's that you have a field or some forest of some golden light hitting some missed than this Wilders to keep. I really like to use it then, and I also like to combine it. Sometimes if the other filter with the other, um, method. I could also go with the shadows. When I go to zero, it effects the shadows more when that gold 100 it doesn't affect the shadows at all. I like the default mostly the same as if the highlights doesn't affect the highlights affect the highlights. But in this case, the middle is fine for me, and now we'll press OK to see what it does. Here. It is when you see the difference here on enough some nice warm glow here on the highlights . Yeah, and this is the difference with this filter, you see it. But what I like is the warm glow. So I will combine those two. First of all, that media need this one, since I don't need it on this image now will activate the glow layer. And I will add a black mask by clicking on this symbol here and now with a white brush and that, say, 30% oppress ity Press three United 30% here I havent paint in the glow in some parts here in the valley, especially the warm glow, of course. Also the light hitting the stones here really soft brush. And of course, also here and also here in the highlight, not in the clouds Since I removed the effect before. Why should add it now? Again, it's a mother filter. I don't want this, but here on the fork and on the stones or the rocks, it's fine for me and adds up nicely with the welcome tablet. I can paint really precise. It's nice And when I turned on off, you see the difference Really nice. Perfect. No, let me group those and put control G to get the group, Call it clue. And if it's too much, I can for the work of capacity. Let me first turn on off there. You see it? If you don't like it, you can like a set reduce your passage, e. In this case, I like it like this and I'm actually done. Now in this chapter, you saw three different versions off the order in effect and to further work with it and the next chapter, I will show you to bring back some detail in this blurry image. And at the same time, I will show you some of my favorite nick filters, so see you there. 5. Section 1 - The best Nik Filters and how to use them: so welcome to check the four in the last video I showed you or not the video, The last section I showed you how I used the old in effect to create a dreamy look. Now I will show you my favorite filters in their collection by Google. And I will also show you how I enhanced the details a bit because of the golden effect. I lost some off them in the rock structures and I don't want this. So I will first of all show you two methods to get it back to enhance it even a bit more to start, I first need a new layer by pressing control. Old shift, eat, I get it. There it is and I will call a detail and I will convert it to a smart object by pressing right and then to smart object. A smart object helps me to reopen specific filters because usually they're done on the pixel based layer. And then I can reopen the effect. I can only just the the capacity or work with a mask which is also already quite good. But if I want more control, I use the small object. I will show you what I mean, Uh, so I would go to filter other ah high pass. I will use a small amount of pixels because it was all only want to affect small parts here . Press control. Okay. And then I used to blend note soft light and there it is. And let's say it's too much the naked or it's not enough. Then I can always double click here on High Pass and it reopens. That's the good thing. Can also burger if capacity if I want, which I will do because it's too much. In my opinion, There you see it reduce it to like 35 something like this, and I will add a mask because I don't want it in the middle ground here or in the background. Okay, so I will mask it out there, especially here in the valley, crossed the forest, stuffed and not hard, so I will paint it out there soon. This guy doesn't have to be too precise to just a bit, especially in the form. Of course. Okay, maybe that turned on enough. There, you see? Slight. But it adds up. Okay. Nice. The other option is using a nick filter so I could just click on the filter menu here and go to the filter or I can create another smart object depends on you. I don't use smart up. Check that often anymore because I'm quite comfortable if the film doesn't using, but especially at the beginning, it doesn't hurt to you smart objects because then you can play yourself a bit and get the right amount you like. So I will show you the smart up check tuition control culture. Eat that. I will converted to the object. It takes a while. Okay, here it is. And now I will go to tonal contrast. This is the food I was talking about. It's open. Con affects pro full. There it is. The default looks not good, so I will see her out. Everything. My contrast type is standard. I keep it there. I like it this way and I have a default setting I always use. It's one for the shadows. Seven for the Midtown's and one for the highlights works the best. In my opinion, if I do too much in some parts, then it starts to look look really good. So this is fine for me, it came from practicing. You can, of course, use different settings and play yourself a bit. That's the reason why this model check this nice because you can always reopened the filter . That safety switch. Uh, perfect. And now, when I click on color, fix pro for you see, it reopens it. And you can further work with it if you like. Well, there it is. This case not so cancelled. And I will call this Tono contract jobs Still no interest. And I've also mask it out a bit because I don't want it in the really everywhere. I like the effect kind of, but not everybody. So white mask like brush, but not 100%. 50%? Yeah. Okay. I mean, I turn it on off there, you will see the difference. Nice, subtle. Maybe a bit too much reduced capacity to like, 75%. And I like it more than the high pass version. So I will delete this one, and I will rest size delayer because I don't need to smart object anymore. And usually I don't use it, but I just wanted to show you. Okay, there it is. Details are back. I like it good. The next filter will be the pro contrast filter I always used always, but I Yeah, I would say many of the filters are used on every image by me, but in different ways. Different passivity is different adjustment, but I like to use the same filters in this case, also the pro contrast filter. It's really powerful because it looks for the parts in the image which need contrast in its opinion. And then it's It makes adjustments, and the most powerful slider is too dynamic. Contrast lighter, and we use it in a really low amount because it really is strong. I will show you what I mean. Do you see route doesn't look good, so 11 is fine for me. They never correct the oval contrast a bit something like three or 5%. And I can also correct the color cast if I want this case. I like the color caste, but a bit. It's fine for me, and I could also work with the shadows in the highlights if I increase this than I blocked the effect out of the shadows and the same for the highlights. But in this case, it's fine. But what I will do is increase or decrease the overall capacity because it don't want it that strong. So 65% is fine for me. Okay, so it brightens up the image of it and add some contrast and texture. It's really nice, and I used also higher amounts can be. They used 25% dynamic contrast. But that's a different image, then, mostly without form or anything like this, because I want to keep the softness in the mood. So a lower amount is okay, in my opinion. There you see it. No, especially in Iraq's. It looks good. Perfect. The next filter will be your color adjustment. The color contrast filter, it adds. Contrast. Two colors. It's really cool. In my opinion, I will show you. It's really strong. I use it really settled and especially the default doesn't look good. So when I zero the contrast, I sometimes have to increase the price brightness by 1% because they present because there is a book that it doesn't sometimes it doesn't recognize that, I think decrease the contrast here. Then I have to right in the zero here in the neck of one and then a zero. And then it's fine. Hey, I can adjust the amount off color contrast before this most define And here I can pick the colors I want to to be adjusted. And then I just used to slide us and see what I liked the best. In this case. It's too strong overall for me. Never use something like this because I like the effect here on the on the arch and a bit in the sky, but not in the rest of the image. So I will keep it like this press okay? And then I will mask it out. That's the cool thing about the filters that I still have the control later on in Photoshopped. Okay, there it iss at a masked black mask. And now I will paint white, say, 30% opacity, soft brush, and I will use the effect here on the on the AJ because I like the glow there looks cool also here, and a bid in the sky. Not much, just a bit. And that's actually already it looks good, perfect. And then I will make another color adjustment layer with Nick. It's called brilliance and warmth. It's warm. Globe won't shining temperature. Yep, always use it at 13% because it starts the effect at 13% and it's the lowest. At least leave the rest alone. And then I press okay and I will mask it out in photo shop on the parts where I don't like it. You see it at some really nice warm glow, especially for this sunrise pictures. It's awesome, in my opinion, but I don't like it. And we were so mask. Paint black, 30% is fine, and I will mask it out here in the shadow. And it's no, but I will keep it in the highlights. Some ask it out here, but arrest is cool. I like it may be reduced your ball opacity a bit, and then I will merge those two together because their color adjustments and I want to save file. I want a safe space across the file. Size will increase really quickly, so merged him. Never call it wrong, plus call a interest, and that's OK. Perfect. And the last filter is one of my favorites. It's cold, dark and light in center. It's a vignette ing contrast kind of filter it darkens the interests and at the same time it brightens the middle ground or the middle. Have a good good controller off its here. I can pick the shape off the vineyard, vertical or horizontal. In this case, I want to use horizontal. Then I can place the center. Maybe somebody here and I could always redo it. That's the cool thing I don't want to be. I don't want it to be too dark at the borders and I don't want it to be into right in the middle. And it doesn't need to be that big, but in this case, I like it. Press OK, and we will wait. And now I can for the work with it, I will mask it out off some part in sometimes, especially here on the side, on the on the arch. Don't want it to be talked there since there's globe, Uh, yeah, light hitting it. So here have to be careful that there won't be any yellowing, but the rest is fine. Eternal off, like the effect you see a dark and the edges so my eyes are guided to the middle. It's really cool. Yep, I'm satisfied with that, and now I can group everything to and call it Nick Adjustments, and when I turn it on and off there, see a difference. And it's quite a big one, in my opinion. But it's still settled. It's not overdone on. And when I pressed all at the bottom here, then I see beginning and how it looks now. I'm not ready yet. It's not done yet, but we're getting do. Okay, that's it. In this chapter, I showed you my favorite Nick filters, and in the next section you will see how I make advanced contrast adjustments, using some luminosity masks and some dodging and burning so viewed it. 6. Section 1 - Advanced Contrast Adjustments: okay, we'll come back and Chapter five. Now I will show you some contrast Adjustments based on this image. Uh, well, there's actually not much to be done, but some things, uh, are flying into my I hope he's a German. Um, I want to use some luminosity masks, too. Talking the image of it at the same time. I want to brighten up the snow. It's a bit too blue, in my opinion, but I will fix that later in the color section and never use some dodge and burn and, like painting Teoh, enhance the mood a bit more. So, first of all, let me doctored the image of it. I would use a levels adjustment layer, and I would pick the Midtown CIA and bring them down, toe dark in it. Something like this. That's too dark. Yep. And now I would increase the output level to brighten up the darks again. That will decrease to contrast, but it's fine for me at the same time. At some rights, Not much. Just a bit. And there you see it. It looks different and I don't like the look everywhere, so I will paint it out in some parts groups, uh, for black brush. 90%. I will paint it out here and in the arch here and also in parts of the sky. But the rest looks okay for me. Okay, maybe ever decrease Do your passage, e But that looks good. The never used in other levels Adjustment layer and I will increase the brightness. Looks not good, of course, but I will now invert it. But it control I. And now I will use a luminosity mask to paint. But to increase the brightness in the snow. To do this, I will use the blue color Chill. This one. There you see, You two really nicely separates the snow. So I will pick this by pressing control. I will save it and I will shrink it down a bit by person. Control again. Control shift! There it is. We are perfect. That's how I like it. So I will no control click on it, control h to hide the ends. And then I will press be for brush and paint white with, let's say, 30% of passage E and no, that's maybe not enough to say 60%. And now I hope right enough to snow here. Okay, so here on here, of course, there's no light hitting it, but doesn't matter. It's pleasing to the eye. And the snow is a bit brighter because snow is white in our mind. I also through that here and cause of the mask. I don't brighten up the rocks too much. Here s Well, okay, maybe something some here. And fog, too. I don't in the Valley. Okay, let me turn on off there. You see the difference. If it's too much, I can always work with your pass ity, but actually a bit too much, in my opinion. So I will not go down to like, Well, let's say 45 or 55. That's okay. I can always readjusted. That's the good thing about those adjustment layers. And that's the reason why I made the nick adjustments first. Okay, let me delete this. This mask, you also this one. And now I will create another luminosity mask based on the red tones. Well, let's see. Yeah, read one tones because I want to adjust the bubble here. The yard here. So control, click on it. Save it. There it is. Well, I do need to shrink it down. No, actually, not. I will know control. Click. Get the levels Adjustment layer increased the brightness. Uh, and now I will mask this out. To do this, I would put it in a group by control G. I had a black mask and the good thing now is now I will still maintain the luminosity mask . And at the same time, I can further mask it on this layer here on the group. Because if I don't do this and I will paint on this mask, you're black, for example. Then I remove something off the effect. Yes, that's true. But let's say it's too much and I want to get something back again. So when I paint white, I destroyed a luminosity mask, you see, and to not let this happen, I will put it in the group on paint on the group mask and now really settled 30%. Just some breakfast here, this area off the arch. Perfect small adjustment. But it up and also here. Yeah, that's what what I also like year and on the rocks that so cool and soft light hitting it there Really nice. Perfect for the work with that later. Well, there it looks good. Let me turn it on off There. You see the difference. Maybe some here again. But I see it's a bit too strong from, you know, like you had to know to not get any hair does. Careful. Too strong. I will reduce the effect. Like, you know, 65 is fine. Controlled deep, just in case. Okay. Next, I want to decrease the brightness here in this area. Not much, just a bit. I will use a normal mask because that should be enough control to get it. Save it a normal velocity mask after shrink it down. So control all shift in the republic. It a couple times safe. Yeah, anyone more. That's fine control. And now I will use a curve slayer. And the crew thing now is now I can work with the blend Note I will use multiply. So it darkens down here. You see too much of a decreased capacity and at the same time, a loose contrast. That's the problem. When a darkened things in the dark and lights And at the same time, when I bright and docks a use contrast Yeah, and to overcome this, I can now work with the kerf layer here to get back some contrast that's able to pick linear contrast. Just a little adjustment the night. Get it back a bit. You see linear too. Default. Perfect. It's overall, a bit too strong from my taste. So I will reduce your passage. E But I want to keep this nice bright spot here. So something like 45 and I will name those layers Forgot that because they don't know what I did. This one was darkened. This one most Britain snow. You have, like, 10 breaths and he have dark and it's got good. It's a bit too strong here in this area was it also adds colors, um, of a group it put a mask there and paint black here in the sky. What's, uh, black year in the sky to remove the talking here a bit? Okay, the looks better. There can sky. Okay, let's see what they're also wants, um, the same works of blacks, of course as well, let's say I want to increase the blacks, the Doctor Jones on itself. I want toe further work with the doctors, which I actually like to do so. I will now first of all, select the RGB Channel. And now I want the opposite. Because when I press control on the anti beach on the RGB child, I always get the bright tones. And I don't want this. I want the opposite. So have to invert it to do it. I would just press control shift I And now I have the difference. But the three opposite. And now I will save it. And there you see it now. I selected the doctors and now I can further shrink it down if I want. Buy control clicking on it. Control shift I A couple time. I'm sorry. Control Shift, Click Control. Cult shift. Click my red. I'm sorry. There it is. Yeah, that's actually that's good. And I don't want to affect the brightest part at the doctor. So the darkest parts so ever further shrink it down? Yep. There it is. And And maybe that was a bit too much. I will delete it. You know that Something stupid? Yeah. I will delete this year and just will shrink this down once. I'm sure you what? I mean, there it is. And now I want to remove the darkest parts from this mask. Okay. To do it, I will control um, control. Click here to select it. And then I would control all click on those stocks. And there you see a little minus on my finger here and now I'm substrate ing them. And when I saved the channel there you see, the darkest parts are not selected anymore. And when they click on that build two cups and I let's say we want to adjust the contrast by adding linear contrast he was see Okay, there's some nice contrast in the dark tones, but not in the darkest owns. And you see also that I interesting the color which I don't like. So I would know put the blend mode to luminosity. And now I will only adjust the luminosity. And if it's a bit too strong, I can always go down with the capacity. Something like 75 65 should be fine. Okay, Nice. No, I can delete those channels here because I don't need them anymore. And now I will use some dodging and burning, I guess, and painting I want to. First of all, I want to darken some things here parts you and in the middle ground here to do this first of all, creative blank layer and I will call it burned for darkening. And I will set the blend mode to a soft light. And then I use a black brush pressing B for brush, black color, 10% capacity. And now I will paint on the dark parts here because I want to increase the contrast here in the valley of it for self brush. They could always for the work capacity if it's a bit too strong. And that's the reason why I like the welcome tablet because it gives me a lot of control. You see, at some nice contrast in my opinion, feels he and background and you spell you're not comfortable. You can use masks, of course, but there looks good. Let me tell, you know, in love you nice contrast in Diwali too strong. 75. Maybe that looks good. And now every use a not a layer. And this time I will add some highlights, but with color. And I will use the hard light blend mode. Call it painting light. Yeah, and now I can pick a color here in the image call average is already there. Something in the sky. Maybe always redo it of the color picker here. Just have to click on the white party or on the black part. And then I can pick the color something like this and no converter. If it here, I increase the capacity and here increased the darkness or the brightness at the situation of rapacity. Sorry. Something like, I don't want it to be too saturated. Something like this. And now I will paint on some parts where the light is already hitting the scene. I don't know. I don't like the color. I mean further group. It's the color picker again. Something like that. Maybe. Okay. And no, somewhere here. But it was too strong. You see, 10% is even a bit strong. Maybe you go but down to, like, 5%. And then I will hit some folk here to increase the mood. And also the parts where it's hitting the rocks and York village. Hear, hear! Bit more. Because then it looks like the sun is poking through, which is Exley. True. But there you see, there's a bright spot, maybe even a bigger Oh, no, I changed color. I don't want this. Um, was my bed some kind of like that? Andi, I'm a decreased capacity. I mean, I turn this on off there, you see the difference. Okay. Quite nice. And when I wanted a bit softer, I can create another layer. Call it painting light duke. And now I will call it software will use a soft light blend mode because in this case, it's a bit It's not too hard. Some color here. Now we'll add some light. Bleat. So like bleeding overheating. Willie not strong. I don't another fan off this huge effect. But when I do it settle, then I'm quite I quite like it. Do you see? So he owned the arch again. You know my rights, But years since the light is already hitting it, I will enhance it. Okay, a bit too much dear can add a black mask if I want No, sorry. A white mask control I to invert the mask. I mean, that paint black up there can remove some of the effect because in the shadows, it's unrealistic when there's some light hitting. But in this case, it's nice Yep. When I know want is I want to darken the sky a bit. I will have another blank layer. Call it. It's going to do it in a separate layer because it then I can just capacities off each one a soft light. And I will use the Red Color Channel to create the luminosity mask. Here it is. And then I will shrink it down it to get the selection in this guy. That's good. Look, skirt. I will select it. Control each to hide it, go to the burn layer. And now I will darkened the sky here a little bit. Not much. Just a bit sort of clouds. Get a bit more detail. I don't like it there. Uh, no. Look here. Useful even a bit too strong, in my opinion. See, no less a pass ity. Something like five and then only here in the black. The dark part took get some strict should, dear. Yeah, that looks good. That's fine for me. Okay, good. Control d to the select and let me look at the image now. Quite a change. I still see some issues. It's a bit too cool in the collar tune I will fix the later in the next section because it's good when the doctor tones of cooler yet But here it could be a bit warmer since there's some light hitting it. And I also want to work the color contrast. But so far so good. Let me. I know one more thing. First, let me check if the you know the Mr Graham looks good. One would think I will use a curse layer. Yeah. And then I will darkened the image just slightly and at the same time, I will increase the dark tones so it gets some nice gray. Look, Not much. Just a bit like this. And there you see its strong year, but I will mask it out in most of the parts. I don't want it in the snow. I don't own tear Where the light is sitting. Been like a sent here in the snow here. No, not that strong. 50%. Where I got the light bleeding here. I'm in eternal enough. There's a bit of a difference, which I actually quite like. Good on. If you're passively a pit and there looks fine. Okay. I think that's it. Let me group. Those here call it Dodge and burn. And look, let me group all of those here and call it cold dressed, okay? And when I turned going off quite a difference. But I like it a lot. Um, later in the next section, I will make some color adjustments, and it can happen that I will jump back to contrast, because when I change colors, it can happen that I also changed the contrast. But like I said already, that's the good thing about this workflow. I could always readjust things if I want later. Okay, good. So for color adjustments, see you in the next section. 7. Section 1 - Advanced Color Adjustments: Okay. Okay, guys, we're almost done. This is the sixth chapter. And here I want to show you my last color tweaks on I will show you how I work with color Contrast a bit in the last videos I show in the last tutorials already showed you my techniques. But like I said, it's different for every single image. So, yeah, here you will see some of my favorite adjustments again for you guys who bought this the first time. It will be new, of course, and I am actually done after six chapters. But in the last one, in the seventh chapter, I will talk a bit about color management. It won't be long. Just some minor notes and some issues referred, of course as well. But, um, first of all, let me get some color corrections done here. We already went really far. So when I go back to the background layer by pressing all to see starting point, that's where we all know. Huge difference. But what I recognize is the image is a little bit too blue, because all off the adjustments made it to blue, and I'm a contrast adjustments or nick adjustments or something. You always affect the colors a bit as well, and then it can get a bit out of hand. But it doesn't matter. Because at the end I could always fix it if I want. Okay, so first of all, I want to get rid off the blue cast a bit not everywhere, Just somewhere. And to do this, I will use a color balance layer. Okay? And I will use the mid tones and I will add some yellow to them. Not much. Just something like you five and also some magenta is because when I'm heading yellows, it happens that it gets a bit too green. Not always, but this case does okay. And when I turn this on and off, you see the difference. I already like it a bit better. And I will call this color balance mid tones. And I do this on every single adjustment layer. Adjust the mid tones at one layer, the dark side, one layer in the highlights because they because that I have better control. So now let me work with darks shadows. I want to add some blue to the shelves shadows because I want I like when they a bit bluer ? Not much. Just a bit. One is actually final ready. And maybe I will remove a bit off the magenta in the shadows. Yeah, that's good. But it's too much for me. So I will increase decreased capacity. Something like 45. And I recorded color balance, darks and no, I will work with the highlights. I want to add some red tones. I want to make it a bit woman. I want to add some more agendas, and at the same time, I want to add some, You know, There it Is it nice? I mean, a group. Those enemy called us Color Balance lights. And then I grouped us. I will call the group Cola billets. I'm gonna turn on off there, You see, I gotta read off the blue cast and enhanced the light a bit at the same time. Really cool. Maybe I can add a bit off yellow to the mid tones and and that's actually fine. Do it. And now I want to work of the snow here a bit more to do this. I go to selective color and I work with the whites and I want to I say that we play a bit here and no, no look with the whites. Let me use the blues. Let me try blues. It's always a bit trial and error This this is good. Look at the snow. I'm removing the blue cast. Not too much, just a little bit on. But I want to No, but gentles are not good. Maybe. Yeah, this fine. And now let me de select this and let me make a luminosity selection off the blues. Saved this chill. Shrink it down because it really nicely select the blues. Yep, there it ISS and I will apply this here to There's no a bit more since it's based on the luminosity selection, it's not that strong anymore. Booted helps. Okay, nice. Even a bit more here and maybe go to neutrals and also remove a bit of the blue cast. And now I will group it mask and paint white just on the snow. Don't want it in the valley. My stay. You see, Hood works perfect also appear. And there and when it's too strong, I can always decrease the opacity if I like. Okay, maybe it's a bit too strong. Looks grayish but something like this and I would call it blue cast snow. Okay, what else do I want to do? I want to add a bit more color contrast. To do this, I will open up another color balance layer Color contrast is when dark tones are cooler and bright tones of warmer because there's contrast between dark and light and also between cool and warm. To do that, I will add some blues to the shadows and at the same time, some warmed to the highlights. And if it's too blue, I could always go with the mid tones to the els. And then yes, that looks good. Perfect. Okay, what else? Like I said before, it can happen when I make some final color adjustments that I go back to My contrast adjustments. And I think that's what I will do now. I will go to I think I will go to Nick Adjustments. I will use the dark and light and center layer here. Go do filter and camera raw filter. That's the cool thing about CC. You can always use this filter here. Now you see the adjustments based on the dark and light and center not the other ones that it before. Now it's a bit trial and error never goto f x and use a beginning. Something like minus three on press. OK. Yep. That helped. Okay. And now I want to warm up those lights here a bit. To do that, I would go to a photo filter, inverted, used the warming filter. And now I can paint warm color to some parts where I want, especially here. Will light is sitting the rocks and also a bit here on your end, Willie. I see. Yep. That looks nice. Okay, so, no, I think, actually done. Let me double check everything. It looks fine. Maybe some final contrast Adjustment me. Group those here and call it color. And there you will see a big difference when I tell you. Going off. You see? Blue cast, Nice blue. Nice, perfect. Maybe a bit more blue in the shadows and a bit more power in the highlights. Okay, in one final contrast, adjustment get to brightness. Contrast. Increased the brightness and the contrast and a mask it in 30% paint here, huh? Um, and here. Okay. Perfect. I think I'm satisfied now. Looks nice. And when you group all my adjustments and call them adjustments, I could know simply turn it on and off. And there you see it before and after huge difference. I mean, it's too strong Overall, I can, of course, work with your passage e In this case, I don't want to because I like it. How it is. Let me turn. I don't love to see It's always a bit soft proofing, Yes, but looks nice. Okay, I hope you guys like this well. And I also hope you enjoyed my third video tutorial for you guys who bought the other tutorials. I hope there was still something new for you because like I said, every image is different and they also show you some new techniques. There was a lot of hand painting this time, but with a welcome tablet in a soft brush and some practice, it's really powerful. I like to do it a lot. Masking, of course, is still necessary, like you saw. But I'm really happy with the end result now. So the major editing is done. I would now make a last quick chapter where talk a bit about color and, um, color management. And then I'm done. So see you there 8. Section 1 - Color Management: Okay, Last chapter. Now I will talk a bit about color management. Ah, basically, color management is something really important, of course, especially when you want to print. And also when you want to show things on the Web because, um, when you have a screen which is not calibrated and which no color management, some random profiles or whatever, then it might look OK on urine on your screen, because then you can just adjusted until you like it. But when you show it to someone else on a different screen, it might look awful, especially on the weapon there thousands of people watching your images. So it means you have to be really careful. You used to write profiles so others see the same image like you do To get this done. You need to use the profile, which is, um, let's say, um, available for everyone on the Internet and that's s RGB. That's the color profile, which is the most common. And when you convert your image to s RGB, you have the best chances. Everything is all right when others are viewing it. Ah, I don't edit my images and s rgb I said this in other videos before I used to pro photo color space at the beginning, and the reason is it gives me a wider color. Come it. I have a really good screen, which can. It doesn't show pro photo RGB, but it shows 100% Let's say 99% Adobe RGB and it is also win a huge color space and with crow photo out to be a have the best, um, guaranteed to have the best luminosity masks, really smooth transitions and everything. So that's the reason why I use Pro photo RGB and later on I converted to SRT be for the Internet. I also have pro photo RGB settings in light room already. And when I transported to photo shop, there's Pro photo as well. You see it here when you goto image and it No sorry it it could lead to profile There you see profile pro photo on TV? Yeah, and it's also my setting in large room. So when I go here to edit ah preferences and there you see pro photo are to be 16 bit tiff files perfect. And in this way I am getting sure that I don't lose any profiles during my working of Truman during my post processing, you know. But the problem is, when you have a screen which can show a lot of colors and which can show way more colors than s RGB and you convert your picture to s RGB, you will lose colors on your screen. And that's a bit disappointing, especially with really complicated colors like gray tones, orange tones in yellow tones. And in this case, I have a lot of reptiles. And so what? Us and I will show you what I mean when I duplicate this image here, then let me flatten it. I won't convert it for web. I won't prepared for weapon printing now because you can see this in the other images Indiana tutorials. So when you're interested in that, just watch the other videos, you will find them on my website. But I will show you what happens when I could wrote to S rgb So goto edit, convert to profile. And there you see the difference especially watched the sky here is you see source profiled Pro photo RGB and destination s RGB and I click preview. You see, watch this guy and the mist. I lose colors and that's disappointing, but you actually can't do anything against it. The S RGB color space is way, way smaller than the pro photo and you just have to imagine it like a bottle. The pro photo is a huge bottle, but you can put a lot of water in it and their search API is a really small bottle. So when you put the same amount of water you put in the pro for the bottle in the S RGB bottle, it will. It won't fit in it. And it's the same of the color space. It's the colors. Just don't fit in s rgb and it's the reason why it doesn't show them properly. When I picked profile Adobe RGB, then you won't see a difference because my screen can show adobe rgb 100%. But like I said, a use pro photo because of the luminosity masks in this case here I have a problem. So first let me converted to SRT be And now I can just work a bit with the colors here to overcome this a little bit. At least there's not much possibility, but I can work a bit with the yellows. Here, for example, I can go to hue, saturation, go to yellows, increase the saturation a little bit and also the huge to remove a bit off the green cast. Not much, just a bit. Okay. And then I can work with the warmth and I like to use with Razor. For that I go to Nick and they go to a visa. And then I used this control point and place it here. And then I increase the ball as much as possible here and also you. And then I press OK, that's actually you see, I got a bit off the color back. Not much, just a little bit. And it helped me to overcome in tow. No, I didn't have through too much. But like I said, the color space is too huge, especially for red and orange tones. But you can tweak it a bit further. It's it needs practice. You have to play a bit referred, and there's no final solution because there's just not enough space for it. Maybe you can even dark and down this guy here to increase the color richness, just little, and then that's perfect. Clinton when I use some other adjustment than me, get some reds in there in the lights. Okay, Good. Yep. So, like I said, it's just a quick chapter about color space. To sum it up, I use pro photo for editing. I used Adobe RGB for printing when the lab is offering it. Yeah, and I used srg be for the weapon, and there's to compromise with the huge color space that it doesn't look the same in s rgb . But just when you have images like this when you have other tones that say the forest scene or morning scene with golden light or something, it's not that big of a deal. But regret tones, it's a problem. So you have to tweak it a bit further and get over it. Yeah, um, but still, I hope you learn something new, and I hope you're not disappointed with this tutorial. Let me know your opinion. Just contact me on my website. I would be really happy about it. And if you have any questions, feel free to contact me sometimes and miss some things when I record this video and try to cover everything I know. But off course also depends on the image. If you have questions to your images, how you can use something some techniques, they're just email me there. Like I said, www Daniel Miners photography Thought you and I will try to answer as soon as possible. So have fun, anything. And, of course, with your photography. So see you and hear you next time. Bye bye. 9. Intro 2nd Section: All right, guys. I hope you enjoyed the 1st 7 chapters, and now we will get started in a bit of a faster pace. In the next three chapters, I will show you how to edit from start to finish in an advanced and professional way. See you there. 10. Section 2 - Editing from Start to Finish Part 1: I will show you three images and how I process them 1st 1 is this year. It was taken in the eastern Sierra Nevada in California this winter in February, and the other two images will be, uh, one from my favorite lake in Germany. It's called Gypsy, and in the background you see our biggest mountain called the Expensive, and you see it's a blue, our shot of some stars. And it was a really misty evening. It was cold. It was January. It was The mood was amazing because the whole mountain was covered with fork, and suddenly it opened up a gap and, yeah, blue. Our was already there, so it was really soft light going on. I actually wanted to stay until the stars appeared. But then I had some bad luck because the fall covered everything again and didn't the mountain didn't show up again. So I will show you how you still able to, um, add some stars if you like. That's faking stars, of course, but it's if it's your taste, you don't have to do it. But I would just show you how it's done, and then you can decide if you want to do it or not. In this case, it was my approach. I wanted to shoot stars. I couldn't sort by added some later on to enhance the mood in this image. This will be the second Oops, that's the raw file. And here you will see the third image. I took it in the Italian Dolomites. This year's in summer. It's called Trade Simmer de la Barredo. Really famous place. Pretty sure you know it. It was a really nice evening. Some soft light going on. And the moon also in the image and the panorama. Not a big one, but it's a panel. Rela and I will show you how to at this how to enhance the mood and to make the moon little bit bigger because it was really small and the image and so on. So these are the things you will you will see in this tutorial. Andi. Hope you'll have fun. So grab a cup of coffee or tea because I have some here also, since I will be talking a lot, I hope you don't mind that I will. Yeah, drink something while I'm doing this on. Yeah. So let's get started. So, like I said, I will start with this image Here, take it in the Houston zero in Nevada in an area called up Creek. And it was a really cold winter evening. And the cool thing about this place is that it's like, so perfect. You have, Ah, Ribble lined up here in the valley, an amazing mountain peak in the background and also some hot steam coming out off the ground. That's the reason why it's called Hot Creek. There some, um, yeah, it looks like Mr, but it's like I said, it's hot steam coming out of this of this area. So it's making Sounds like a bath. Beth Top. So that's really cool. And, um, it was a really nice morning, you see, with some amazing pink light. And since it was so misty, I have I had to adjust the image a lot toe, get the mood I wanted. And I also have to make some perspective adjustments to this image, which I will show you in for the shop here. I left it So you see what I mean. I don't say no. Left it. I didn't do anything here. You see this river here, there's it's cut off. And in the past it didn't bother me. But now it does. So I will show you how to avoid this and without cropping a lot off the image because that's what I did in the past. But now I will show you how to avoid that and of course, all of the other adjustments as well. So I will show you the role file. Hear this. You see a big difference, of course, because first of all, I have made a really bright exposure toe, get all the informations and at the same time to have, um, no noise, so get less noise as possible. So, like I said, I made a right exposure. It's called exposed to expose to the right. And you see it here in the history, Graham, that I have a lot of informations here in the bright parts and not that much in the dark parts. But I will change that in post, of course. And you also see that the composition is a little bit different because I wanted to capture the river here completely. But at the same time, the mountain cut off here bothers me and I will show you how to get rid of this without cropping in photo shop. And it also makes some stamping because their fences here, you see rich blowing me. And when something bothers me and remove it, I won't remove all of them. You see? Danger scaling water. Unstable ground. Keep out Creek. Close beyond this point. It was really cool. Um, but up there it was Fine. So no worries. Um, there's some fences year, which don't bother me. So believeth. Um but yeah, I will show you that later. Photo shop. So, first of all, I will show you my light room adjustments. I always prepare the images in camera raw, and then I will start my advanced adjustments in for sure. That's what I also show in my other videos. So I hope that's nothing new. So one second I would just grab my coffee. Okay. Thinks that will happen a couple of times now, since it's still in the morning when I'm recording this. So coffee is necessary. Okay, So, first of all, I would go through the camera calibration section and then I will pick the profile camera neutral to remove the contrast you see it here and in the history. Graham. And then I will add some situation through the blues because it will also saturate the other colors as well. I couldn't readjusted later if I want. Okay, then let's see if I have to make some adjustments to the horizon level. But it looks good, so perfect. They never go to detail and they will shop in the image for the amount off 45. The radios will be down to steer a 450.5 to not get it over shopping. And at the same time, I will increase the details. Okay. And with this slider here, by pressing old, you see with what gets sharpened and what not the white parts get shopping, the black don't And I don't want this guy to be shopping. So I will pick him asking around, Let's say 23 that looks good. Minutes will. There you see the mountain peak. And when I turned the sharpening on and off Yeah, help the law readers without over shopping love it. Okay, let's corrections. I will remove the chromatic operations on and will enable the profile corrections. Problem is, it won't do anything since I used the Takina 24 to 70 Lens like from still doesn't recognize this lands, which is annoying. But, well, what can I do? It doesn't have much distortion anyway, so it doesn't bother me that when getting is also fine. So it's OK. It's important to remove the chromatic aberration. So that's what I will do and for you guys who want to know which camera I used. I used a Nikon D 8 10 and there you can see the settings so 25 seconds, because it was still really dark. And I also had a polarizer on to remove the glare off the rumor. So I end up with 25 seconds f 11 isil 64 50 millimeters. So that's that's the sitting about the camera settings and they never go to the basic tap. And first of all, I will decrease the exposure. Not too much, something like this. If I don't like it, I can redo it, of course, and then I will raise the shadows. Not much, just a bit increased clarity to remove something off the haze and also increased contrast. And then I want to cool down the image since it was really cold to be too warm, something like that. And then I want to add some magenta. Not too much, but double clicking. You will reset it. I remember going through minus you know, Let's say 11. It's a starting point, Okay? And now I rule grab a graduated filter and use the white slider to get some highlights here in the foreground because the doctor and the image. But I want to get back some contrast. And I also want to enhance this nice steam here for the things I will do it. Maurin photo shop, of course, but it's a good starting point when you do it in light room as well. That uh okay, maybe a bit more up, Not too much. I will watch the Instagram if I do it too much. That's fine that I will also decreased year temperature but more and remove some off the magenta because they don't want that much in the foreground. Something like that. It's OK. Oh, okay. And now I will use the de hace slider here in light room CC. It's removing some off the haste and at the same time it's adding contrast. I don't want that strong? Because, you see, it's a really strong adjustment. It doesn't look good. So something I 10 should be fine. Ever come back if I don't like it anymore? Uh, sorry. Where's the coffee? Okay. Andi, have you ever coffee as well? Or tea? At least to enjoy watching. So then I will grab another graduated filter and I will add some magenta to it. And at the same time, I will pick a color magenta color. Not too strong to get some energy back into sky. You see, it's really strong. I will readjust it in a second. Something like that. So cave in. There's a bit of the magenta on the mountain since the light was softly hitting it. Okay, zone, let's say 11 and here a little bit less color. That and then I will use the D hace slider here in the graduated filter to get some structure in the sky. It's looking good. Maybe some warmth. Okay, that's Imogen back. It's playing around, of course, from clarity some whites to get energy, and at the same time, I want to decrease the exposure. Not much, just a little bit contrast since it was really misty and four year had to have to do this to get back all the textures. Now you see that the mountain also got a lot of textures. Text textures. Sorry, I'm not English, so I hope you'll understand. We find that's not my native language. Um, but right now it's still looking. Find to me. I will fix those issues. Maybe it's not even an issue, but I will work with it later in for the shop to brighten up a bit again. So it doesn't look too crunchy, but right now it looks fine for me. Maybe I want a little bit more overall magenta playing around. Like I said, Simple contrast. So the moral clarity that much and also some more overall color. I like to work with this lighter. Only even I'm just in color. It's a bit too strong. No. So I will decrease vibrance because that means I will decrease blue tones. You see it in the sky? Not much, just a bit. It doesn't get to blue. Okay. What else? Maybe do you ever open up to blacks a bit too dark on some shadows with the same time decreased some highlights not much. Let up a little. Yeah. Sorry. And that should be it. A little warm. Maybe it's a bit too much. Let's grab one off my foot this year. Rent. And also t a stone here in the valley. That looks nice. Just a bit. Okay. So let's see when I press. Why then I should see before. After there. You see, That's what I've done in light room already. And I will further work if it in photo shop. But they had it mean double check if I want to do something else, Huh? I think it's always the picking of maybe something like that. I want to enhance the color in the sky. Would not want to get it back. So it's nice to use this color in the in the graduated filter, but so far looks fine to me. Let's see. Detail is good. Check this double. Check the sharpness. Uh, some Come on, calibration. It's all good to me. Oops. I didn't want to do that. And maybe ever increased your bowl whites to get some power back in the image. Something like this time highlights to please the contrast Just a little. Maybe not that much. I like that. Okay, maybe still too much Looks good to me. So I think I will start editing in photo shop. Now it's a little press. Right Click Goto edit in and then edited in Adobe Photo shop CC 2017 And then let's wait until it opens so we can continue. Okay, there, you see, I have this selective tool tap here. This is for the new collection by Google. I will show you about which filters I like to use later. It's good to have it here, so I can quickly used the filters without going to the menu all the time. So I will just minimize it here. And like I said, I will use it later on. OK, so what? Except before? I don't like the perspective that much. It's bothering me a little bit since this mountain here is cut off. But I had to do it because otherwise I would have lost the river and I wasn't able to step to direct to the left. If you're asking yourself now, because there was actually some rocks really high rocks going up. So I had to climb up there and it wasn't possible And it was really slippery and icy, So No, No way. So I decided to make it later, which I will show you how it do it now. So, first of all, I will copy the background layer by a control J on. And then I will make a selection with this rectangular marquee tool. And I will select apart here somewhere around here. Looks okay to me. And they never pressed controlled t for transformed. And then I would press here for warping. No, I'm the walk moat and no, I No, no, Sorry. I will sort of my bed. I will do that later. First, I will just press control t sorry. And then I will grab this year and I can now transform this border out off the image, Howard affecting the bottom pot, you see? And I will do it until I like it. Of course. Something around there. Their looks. Okay. Me? Yeah, something like that. Press enter control de to the select. And now you see, I have some issues here. Yeah, of course. Since I moved big part of the image. But that's okay because now I will remove this just care about the mountain. I don't care about the rally. It was fine for me. So now, at a white mask, paint it black to remove the effect white rear wheels black conceals. So I will concede it now and you see here it looks a little bit strange. Of course, I will remove it in a second. But first I want to make a start. And now, in a paint back white, you see, I get back something off the adjustment. And since I only care about the part here, I don't care much what happens here in the background. You see, it's fine because of the misty mood. It doesn't get a recognized that much or even at all. So it's only important what happens here in the rocks. It says to be done of it back and forth. But now I think I'm satisfied. Looks good to me. You see, maybe it's a bit more needed here, something like that. It's a bit from mix and personal taste, but its preferred since I will get rid off this issue here with their cropped off mountain . Yeah, that's fine. Perfect. It's different from image to image, of course. But now that looks good. But I'm still not done with all this. Will be. I mean, check. Double check. Yeah, that looks good. No, you so trust me here and now. Piggy. But that's important. Yeah, that looks good. Perfect. Okay. And I will make a new layer by pressing control All shift e and now will stretch the image of it. Because I want to make the mountains look a bit bigger to do is have a press controlled t. And now I will stretch something off the bottom out and also on the top, something like that. And I will do that again by making another layer by President Control. All shifty, a new stamp player. And now I will compliment. I will. But just the sky pressing controlled T Andi, something like that. Enter. And now over. Grab a brush. Black brush. Something like this year. That's okay. Because now I will stretch the mountain a big more, a bit more by making a new layer First control all to shift E. They never grabbed this rectangular mukti mosquito And I will make a selection off here again. Control teeth. And now I will stretched amount something like that. Perfect to see. Maybe. I think I want to readjust the sky of it. So new layer. It's a bit Try an hour, of course and control. T and I will press used of walk tool and now I can stretch up the sky here sort of clouds are a bit more to the top. Something like that. Enter. That's it. I think I'm done with warping. The mountain looks bigger now at the same time, I didn't lose the river by getting rid off this cut off mountain itch. When I check here, everything looks good. But hazy feeling helps, of course. Yeah, it's fine. Find for me. Maybe one more try year. It's important that you don't do it on the whole image because otherwise you will stretch everything too weird angles, controlled teeth and then I rule good up of the mountain. Thank Control. Zied too De select and then here, not too much to make it look a bit bigger since the Good God lost. But it's personal taste. Of course you don't have to do it. I just show you how I like to do things with mountains. So they're not looking too small in the image, since they're really huge in real life. Okay, you see, just a bit. That's it. I said this couple times already know, of course. But now I think I'm satisfied with a whopping. So I will much those layers together by selecting them of a shift click. Then right click Mergel ears. And now I will call it warping, just so I know what I did. And when you turn on off there, you see the difference. A big one, in my opinion. But it helps the image. Maybe theme aren't is a little bit to the left. So press. Yeah, I know life. So, uh, hair control t warping. And then just things like that. And through de check. Did something here? No, it's all good. Misty. Uh, let's go here too. Ah, looks better. Okay, so now I will start stamping because there are some things which are bothering me like a certain letter from already. Let me get my coffee. Okay. You hear my chair? So sorry. Okay. So next step will be like I said, some stamping, So I will festival. I will create a new layer control. All shifty a new stamp layer above, so don't affect the others. And then I will start removing some off the fences here. I'm not a a pro. It's tempting, but basic things I can do. So I repressed spell for the lasso tool here. Then I will draw a line around this stamp. Here I have a back room tablet. It helps me a lot. And then I will press Shift F five to get to the film menu. Then I will pick, content, aware and press OK, so it picks the pixels around it and you see it's not perfect, so I have to redo it. Sometimes Lord looks better, and I also let me make a big adjustment. Let's see how it looks. So took shift. Five. You're not too bad. Actually, remove this plant here out of the water, and also this year it doesn't have to be too precise. I'm not too picky about it. So that's the reason why I do it in a new layer because, like you see, it starts to get can get a little bit tricky and then you're happy when you can just remove the layer when you want to get rid of the effect. Okay, that looks good. You see, it's really small. So yeah, And then I will also remove Dangerfield and at the same time, this little plant here drawing around shift at 5%. Okay. And then, like I said, this year's well, let's see how Photoshopped does not a prayer with stamping that the story is not about stamping, so don't expect to learn too much about that. So But, you see, it was actually not too bad when we get rid of this line. Here was it's doubled. Well, nice. You see, it's OK. Perfect. I don't care about those fancies years since there in the background, and it's also really misty there, so that's fine. I also don't bother with this one here. Too much of work to remove it. And it was there, so Okay, The bush years. Okay. Also, maybe just this little born here, Let's see how photoshopped us press, OK? Ah, yeah, that looks good. I mean, just get hurt of this little branch here. That's fine for me. Okay, so I think that's it. With preparing the image, I would call this layer now stamping so I can remove it if I don't like it and I will now check and forgot that in light room I will check if I have some spots, some dust spots in the sky. To do this, I would go to filter camera, raw filter So you go back to camera roll. So Photoshopped gives you all of the options here again. And then I will pick the spot removal tool and click on result visualized spots, and it helps me to find them. And there, you see, there are some and now I can just remove them by clicking on them. Here. You see what I do here? Further? A lot size, little small. This helps me to get rid of them. Okay. There's some here. There. Looks good. Perfect. Okay, So happy. I'm already really happy with the image. Let me group those layers here and call them, uh, first steps. It's really simple. When I turned on off, Uh, you see the big difference? Yeah. So, no. What will I do next? I don't know if the mountain follows me looking at it, but I think it's it's okay. Maybe I can adjust the perspective just a little bit by pressing Control T. And then I would grab something here and pull it out. Just a little press enter. Did that help? Yeah, it did. That looks better. They're Creek is still there. Ah, of course. I could now shift the creek as well A pit here, But that looks to unnatural for me, in my opinion. So elected flow. It was a bit to the left and then back straight through the middle. It's OK. Perfect novel. Start editing, Let's say, enhancing the mood roof my one of my favorite effects called the Autumn Effect. I describe it a lot in my other three image videos. So right now I won't go too much in detail. I would just show you which off the three types I will use. And that's on a new layer. First by pressing control all shift e called the layer fortune effect. Sorry, they never go to filter crossing blur like 35 pixels. I have a 36 megapixel camera and that's the the amount of pixels I also like to use. So something like this. Okay, then I will reduce the A pass iti to around 15. Then I would go to image adjustments, brightness, contrast. Increase the contrast and decrease the brightness a little bit. And there you have my old layer, you see? Nice. If it's too blurry, you can, of course, go down with capacity a bit. But I like it like this since it was a really misty moved anyway. So I'm fine with that. Okay. Next step will be one off there. Nick filters. Oh, no. But first of all, I will dock in the image of it down, go to pervs. And then I would grab the middle part here on Go down with it just the Ted. And they never increased the darks. So it looks a little bit grayish. Just a smidge. You never go down with your past seasons. It's too much like 55 is fine. Never call this darkened. Do you see? Maybe it's a bit too dog steal 35 something. Okay? No, I will pick one off the neck Filters. I have, like, three or four, which I like to use a lot. And the 1st 1 will be the pro contrast and the total contrast filter. They will have me to bring back texture to the image which I lost due the Orton Effect. So let's go little bit. Then I will go to pro. Contrast. Sorry, choose. Dynamic. Contrast. This is the favorite part, something like 11 and some normal contrast. And let's see if I can correct the color caste. What it It's a bit too magenta, something like there. I describe those filters a lot in my other videos. Like I said, here it's a bit more advanced. I would just show you which techniques I used. And you can, of course, redo it if you want. Ah, but if you want to learn more about it, check out my other videos. Like I said, this is for the people who get bored by explaining, Ah, from explaining things over, over and over again. Okay, then now will add another filter. Go to tonal contrast and that looks awful. So first I will zero out everything. Uh uh and then I will add a bit. Highlights, contrast. Just really small. A bit of mid tones and a bit off shadows, and that's it. And they never lower the capacity because I don't want it to be too crunchy. And I will also do this with the pro contrast filter and that's it. They were press OK, some of my water while it's loading. Okay, there, you see, it's settled, but it helps the image. In my opinion, no, call it pro plus total contrast. When I turned on off, you see the difference for the tilt whose strong for you then you can now, of course, lower the capacity off the layers. But in my opinion, it looks fine. So I'm happy with it. Um, if you would like to go back to their late at the adjustments, then you would have. Then you were you would have to make a, um, smart object. I will show you real quick. So you press control all shift e for new layer. Ignore those here, ignore them here and sorry. There it is. And then you right, click go to convert to smart object. And if you don't go to the Knick filter, it will give you the ability to reopen them if you like. But I'm quite comfortable with those filters. So I like so I know which amount I like to use. So I don't use smart objects that often, but I just wanted to show you. But like I said, I describe it a lot of my other videos. So check it out there. Uh, yeah, I liked what it did turn going off. I especially like the contrast he in the valley. Maybe it's a bit too strong in the sky, just a little so at a mask, grab a brush with black color 30% capacity. The never tried to paint out something off the effect here in the sky By shift clicking. I can turn off the mask on on again and you see it's a bit better. But I want the effect here. So it's that's fun for me. Good. Now I will go to another link filter, which is called contrast Color range. It works with the contrast off the colors. That's what it's that I learned. I don't use it all the time. I tried it all the time, but sometimes it just doesn't look good. And then I removed the effect. But let's let's let's see what this first I will decrease the call trust, decrease the brightness. And now I can work with the color range up here on and, uh, maybe, yeah, something like this when you watch the sky. I really like the effect in the sky, not in the valley, but in this guy. So I think I will use it just there. Yeah. Yeah. Okay. Uh, let's see if I could loose a bit, since it's a bit too blue. Kind of readjusted later, of course. Ah, yeah, That looks good. Press. OK, there it is. And no, I will use a black mask to remove the effect on the whole image. The never press g for my greedy into It's like the graveyard filter in in light room. And then I will drag it down here. So I have the effect in the sky controls the year can go back. I want dear. A swell here. Kind of redo it all the time. That's the cool thing about it. Okay. Oops. Sorry. Um, I don't like what it does in the mountain, or at least not much. So I will add this to a group and a mask to the group, so I can now, um con interest color. I can no further adjust the adjustment in the group without affecting this radiant. That's the cool thing. Because if I would paint black here on the Grady int. I would destroy it, you see? And if I want to redo it, nothing is there any more? So I will do it on in the group so it doesn't destroy this adjustment. Like I said, since I don't like it in the mountains. So I would paint black on the mountain of, like, 70% for really soft brush hardness, like 1% only. So it doesn't too much on the edges. See? There, I removed it. So here looks OK. And it's a bit too strong up here as well for me. So I will go down like 30% and I will remove something out of the sky here. Swell. 10%. And okay, then turned on enough. Yeah, that looks OK. And now will start painting on this mask with White because I could, of course, do that. And I want to add some off color. He ended Valley. Not much. Just a little bit in the river, Something like that. Okay, that's look that looks good. The next adjustment will be a brilliance, warmth, adjustment Well, at 13% warmth, because that's the first thing which actually shows an adjustment. You see, when I pressed 11 you don't see anything, so I have to use 13. But it's mostly enough, but it's too strong. So we'll go down if the opacity to something like 55 on the uh that's it actually already press. OK, nice effect. If you don't like it into early, you could do the same thing like before at a white mask. Press G for the great yet then I will use the black color Go down with your passage in something like 75 and now I can remove the effect He ended Well, if I want with only 75% black collar when I click on the mask here, There you see its grayish but it removed some of the effect. White is the effect. Graze less. I love. Do you see? Listen, it's too strong in the mountain. You can of course, also paint something out there like brush. 40% capacity, personal taste And every single image is different, of course, but it looks okay. Maybe they are this year, so it's a bit too pink. This rock. So here perfect snow. The last knick filter will be one of my favorites. What's good? It will be the dark and light and center filter. It's like a been getting filter. It darkens the borders and at the same time, the corners. At the same time, it brightens up the middle. It's a really cool effect, and it's of course, really nice. In the early here, with all the mist on, you can pick a two shapes, its vertical and horizontal. In this case, I like a vertical. Then I will place the center here. Something around? Yeah, No, something around there. I can redo it all the time. That's the cool thing. 65% size. Ah, yeah, something like this. And then, of course, I don't want the borders to be that dark. So something like 19. And at the same time I don't want the really that bright. Something like 11 is fine for me. Let me turn it going off. And you see, it effects the colors a lot, which I don't like that much. So maybe too much You So I will show you a little trick. And Photoshopped? It's a festival of a press. OK, there it is. And then I will change the blend mode from normal to luminosity. And by doing this, um, this adjustment will only affect the contrast. Not the colors. So it doesn't get too colorful. He opened the sky show difference. Normal just wants to blue here, let's let it settle, but it's there. And if it's a bit too dark in the sky, you couldn't know. Add another layer mask. If you want Press G for the Grady Int, let's say 50% capacity pressing five. Then you get the numbers Here four is 40 three's 30 and so on. And then I will remove some of the effect out there. Uh, maybe too much se 30. It's OK, 40. It's me. That's foot. Okay, Perfect. No group this control G and call it Nick Adjustments. Perfect. If the image gets too big and you're comfortable with all the judge, the adjustments you made you can, of course, also put them together to merge them together to one layer. So you save father space. But right now I will keep it. So you see what I did here When it turns on and off, you see, it already makes a big difference about being too over done for my taste. Uh, yes, that's good. Perfect. And now I will start with some contrast Adjustments. Okay, First of all, I will start with some of a basic contrast Adjustment? Uh, I will use a levels adjustment layer and to get some overall contrast through this, I will correct this lighter here to make it a bit darker. The doctors totes at the same time I went to darken efectos and I want to see greatness and to make sure that it doesn't get too dark, I will increase the output level. So it it's baxam brightness out off the doctors. Okay? I don't want this adjustment to happen everywhere, So I will remove it if a black brush, 60% of passivity Ah, don't hear Dirac also here in the mountains and also look 30% bit of the sky. It's useful. Okay, I recall it. Basic con trust. Okay. Ah, the next step will be a a good one. No, I will show you one of my favorite tools. He had photoshopped. It's called TK Actions. It's from Tony Keiper. He's a amazing, an amazing photographer. And he invented this 10 that this panel here and he's one of the founders off the luminosity masking technique, advanced luminosity, masking technique. And this panel makes the life so much easier. It helps you to create all the masks and all the adjustments you need with just one single click. And that's just speeds up the workflow a lot 11. Section 2 - Editing from Start to Finish Part 2: so welcome back to the second image. Now it's a blue. Our shot taken it like I see in Germany and the Bavarian Alps. In the background, you can see our biggest mountain, the amount so expensive. And it was a really mystic cold winter evening. And you see some nice low FARC frozen lake, low clouds, all that. It was amazing with fresh snow on the peak on my actual actual plan was to shoot some stars , not the murky way since it was winter but some stars. And but it wasn't possible, since the mountain only showed up for like, two minutes. I was able to take life for your five photos, and then it was gone and everything was gray and my plan was destroyed. But I decided to add some stars later, since I wanted to go for that mood, and they usually don't do that often. So it's a four course personal taste and personal opinion. I just show you how I do that. It's not that complicated, and of course, you can decide for yourself if you want to do it on your images or not. But of course, there will be other techniques also. So it's about the whole workflow. This is the final image here, and I will, of course, start again in light room. This is the raw file. There was a bit too close. This is the raw file, totally different. I also did a lot of perspective adjustments, since the mountain was a little bit small or flat because of the wide angle distortion. Andi, I wanted to make it appear a bit bigger. You see, I used a 10 1 15 to 30 millimeter lens 22 mil 13 seconds after 11 her Nikon D 8 10 camera and I already did some perspective adjustments in the first video here will do it again. You will see what I will do. First of all, I will change some the color and yeah, the contrast a bit. Here in light room, I will adjust it for two. Get started. I will go to the camera mutual profile to get better colors and contrast. Then I will use transformed to check if something's wrong with the perspective. No, everything is good. I removed the chromatic aberrations. I won't bother with the profile correction since looks fine for me and it also slows down light room which I don't like. Then I will go to shopping. I was shopping a bit more than usual since it will make some stretching and there will effect the shop overall sharpness. So I will add a bit more here in lighter already. Okay. And then I go to the basic tap and here I will first of all, decrease the highlights and increase the whites. Not that strong. Just a bid. Also the blacks, the shadows. It doesn't get too dark. Still information down there and the clarity. And now I will reduce the vibrance. Since that also decreases, Blue tells and I want to have some monochrome looking image. So that really helps to get this thing look also increase magenta and a bit off the temperature. Maybe ever want to remove that much? Vibrance 25 is good. Okay, we're getting close. That doesn't have to be done. Many things here in large room. It was dark and down the sky of it. I want to add some stars, even if that I don't want to add many stars. But still, Doctor sky looks better. Of course, turning on the highlights don't think many that have a little increase. The shadows, a bit more blacks. And now I will also increase the whites within You graduated. Filter something around. Yeah, Looks good to me. Decrease the overall highlights. That's actually Yeah, that's it. I will remove some dust spots with this tool here. Visualize spots. And then I can see them here, black and white where they are. And now I can remove them. Works really good with the blue sky. So yeah. Okay. Is it? Now? I will go to photo shop for 8 50 and I will also show you my skies. Am I my stars? Of course. Here you see my star exposure. I won't use the murky way, of course, And I won't use all of the stars. But some off them will help me a little bit. So pick those to go to edit in every photo shop C C in 2017. No, it's wait until they open here in stars. And here's my main image. Okay, so first of all, I will make some perspective adjustments. I want the biggest guy and also bigger mountains and less in the foreground to this and press control J for new layer and now will change the canvas. The pressing. See, I want to maintain this ratio here up there. But I can move it. Of course, I would move it up something around there and of a press controlled T. And though I can stretch to mount, not that much. Maybe something like this looks good and I will pick them. Rectangular Mark, take Maki to make another selection here. Controlled T and I will stretch the last part of them. This guy have it more. And there you see, I have more sky and less foreground and bigger mountains. And that's the reason why I wanted to sharpen the image. Because I when I stretch it, I lose some sharpness. But he you see, everything is still nice and crisp like it. I love this. Fresh snow on craggy peaks were amazing. Okay, creating Yulia control all shift e to remove this tree here, draw around it with my lasso tool l and then Abou press shift five and content of air. No, it's gone. Perfect. Double check If I like the perspective. Yeah, looks good. Maybe a bit less from the bottom control T or something There. Much? Yeah, something like that. Okay. I would much everything down again. It was just the first adjustment. Looks good to me. Okay, So now I will show you how I add some stars, and it's always a bit tricky. So don't wonder if I go back and forth because, yeah, I have to do it until I like. It doesn't It shouldn't be too much stars and not too less. And they should be on the wrong that position and just some of them. It's a bit tricky. So it's Yeah. I will show you what I mean. First of all, I will unlock the background layer, so I get a complete normal layer, and then I will make a copy of it. I know it will grab my stars here. I don't need the bottom part here, so I will just cropped that out. If this tool here's there, control Z for copy control we to paste it and I will lower the capacity. So I see where I'm actually placing my stars. And with the button, we I'm allowed to move it to move them something like this. Maybe we'll see if I like it. Like I said, it's playing around. It's a bit tricky. Ah, I will stick with that for a minute. Okay. Ah, 100% capacity now will send which this layer over here it's gone. And when they change the blend mode to lighter color, I see the stars coming through. You see them? You're my stars and the lot off them. I don't want that many stars, of course, but you see what it's actually doing. I also see that there's we more stars in this part of the image on here. I think I want to work a bit of that. So I would go back to normal blend mode. I'm sorry. Move up my star layer again. Lower the capacity a novel used if the warp tool control t and warp to get some off the stars a bit on there. So I have more there. Let's see how that looks. Cassette playing around. Okay? Yeah, they're still looking good. So let's try. Ah, there is a lighter color. Not this one. Sorry. This one light a color. It's check. Yeah. No, Still not fine. Like I said, it needs to be done. I think I will increase your whole image by stretching it like this. Something like that. And now I will move it a bit more control V, something like this. Here. Let's see. Control t hoping I get up there too. I don't know that much. Of course, it's really good. We'll see. Okay. So I will sandwich it again and used the lighter color blank note. Oops. Sorry. Control Z and there were check. What will we I, uh Now we have some more. Yeah. At some point, you have to be satisfied. So yeah, it's OK. I think I can even try control t when I moved like this, Can I actually through life in the field? Something like it's important that they don't look too stretched. Something like that. Stretchy stars. But they're looking good. It's OK for me. Okay, So now I will for justice. Since you see there so many things. So many things syringe through which doesn't look good. And to that I will create a levels adjustment layer and I will talk and down this layer So they're not too many stars showing through anymore to see also down, darkened down the mid talents brighten up some stars. So they show through It's chick, you know, they're realists, stars throwing up. That's okay. Turned down. Tell us even more something like this. And there can be some fringing around the stars because off chromatic operations, I don't like this. So it will create a hue saturation layer The color blend mode only affect the collar. And then I can decrease this problem by decreasing the saturation. Okay, Perfect. And now I will create a could let a complete new layer by pressing control. Old shift Eve. There you see it and you also see all my stars. And now I will grab this layer, bring it to the top and disguise it. Stars have gone at a widely a mosque and by painting black and my stuffs where I want him. No, I have to be careful and your personal taste. So we will see how many I will add. Not too many. Look that much in the bright point. Not too many down here. Too much playing around. Take some time. But it's referred. Yeah, it doesn't have to be exact. Especially it doesn't have to be like the mercury. Okay, I think that's enough for reading some nice mood should be good. Okay, It will make another comes. I will make another new layer Control all shift e Do you have my stars? Perfect. It's check if there and if they're in some clouds. But I shouldn't be that I can remove them, of course, but drawing around shift five. I don't like this one five. I won't, um, stretch this one a bit like this. Okay, Maybe I will copy this one. Stem tool s I will use the moat. Lighten. So no overnight. I would just copy the like part here without adding some extra blue tones. And you see if it's too light around the stars, I will add a black man. White Liam asked for black brush and control around the stores. Like 30% of capacity. It's OK. Been there, but shiny. Then it makes it look even a bit more misty. And I don't care if their stars usually at this position or not, it's about the image itself. I don't I like it like that. Okay, Neil, I'll show you another little trick. Now, First of all, you know, I think I'm satisfied with this. No other created blank layer. And I would grab a color which is in the sky, something like that. And I may be a bit more like this. Make it a little way brighter with, like, if a grab the brush before really low opacity. Something like 3%. And I know I will draw around the biggest stars so that it looks like there are a bit misty . It's a bit maybe enough capacity something, uh and, yeah, it takes a while, but it adds up. It adds up for the mood. I mean, crushes too soft. Okay, something like that. Too strong. Your capacity, Uh, little down later on. Just a bigger ones. So it looks like they're showing through some missed. Okay, Something like that. Turn off your soft little difference. We'll go down with capacity. And that's it's my stars, I think. Ah, Kate. Creating you layer. And then I will emerge down everything on the bottom. Merge layers. Andi, see if I can actually flatten it. Oh, everything is front. And I don't want that. Okay, that I have to keep it like this. I will. It doesn't matter. I will merge everything down and flatten its Since That's my basic layer now. Okay, Perfect. There you have the stars. This one. Okay. Perfect. So now I will continue with my normal adjustments. First of all, I will copy the background layer control. Jake and I will call this layer or in effect, since I want toe, add some nice, blurry mood to the image. It was already cold and misty, so I think that fits really well. We'll go to filter blur, causing blur radius. 35% is fine for me. Uh, passively like 15% Good image adjustments, brightness, contrast. Increase the contrast to the max in a deep freeze The brightness there we have it. Or in effect, it works really nice together with the blue tones and distorts Perfect Next adjustment will be a nick adjustment. I will use the pro contrast filter to see what it does. Takes a while until it's loading. There it is picked dynamic contrast to get back some punch. Well, sort of normal contrast. And no, I can correct The color caster for Alexis is a little bit too blue now, something like this That looks nice. It's too strong. I can go back down of capacity but yeah, I'm satisfied. Okay. See how it looks. There it is. Perfect. Return this sort off. Nice texture in the clouds and in the mountain. And I will also know I don't need to. I don't need to use the total contrast since the mountain is already really nice of textures. That's okay for me. But I will try and use the contrast color range, food just to see how it looks. Don't have. You don't have to use all the filters all the time. So okay, that doesn't look good. Would turn down the brightness contrast. And now let's see what it does. Ah, here. You see, it starts looking nice. Something around 250. It's too strong for my taste. 45? Yeah. No. 55. Like I said, it's too strong. So it will decrease capacity to something like 45 maybe or 55. And then I will add another filter called Brilliance involved at my 13% wrong. It's too strong. I would go down to, like, 15% to have a nice, warm globe Last light off the day. Not much. Just a bit. And also increased capacity here. Okay, Press OK, see how it looks. I can always further work with capacity and Photoshopped if I don't like it. But so far Yeah, Can't complain. Looks nice. I never called this contrast. Um color range plus good. See, what else would I do? No, I will use my one of my favorite filters Dark and light and center one. Yeah, that is And I will use the you saw in the previous video already so. And all my other radius. Of course, on my website that I really liked this filter. I will use the horizontal vignette. I picked the middle and that's of course, the mountain somewhere Here. Some nice move. Light's hitting it. Gonna redo it all the time. Of course, something like this. I never go down with the darkness on the border. And also the brightness here in the middle. Don't need it. That right? That's a will. Pick this one on 65% size. That looks fine for me. Office. Ok, okay. Recall this. Just doctor lighting center. Okay. Turning on and off. Nice darkness into corners. Figure is getting a little too blue, so ever change the blend mode to luminosity. So it's just affecting the contrast, not the colors. And there you haven't use really nice. If it's a little bit too dark on the missed here, I can add a white mask of a black brush. 40 let's say 30% capacity, and then I can remove some of the effect here. I want just a bit perfect. So that's it with my Nick Adjustments and the Alton effect of a group everything and called it just minutes a noble for the Continue with my contrast adjustments. Just take a second and see what ever do. Actually, before I started my contrast adjustments, I changed my mind. I want to get back more detail, and I want to increase the detail a bit more here in the in the in the mountain and also want to reduce the blues of it more So First I will. Yeah, First of all, I will open up a hue saturation layer used to color black mood because we have further work with the contrast that blue gets even more intense. So I want to reduce it at the beginning so it doesn't get too strong NATO because I, like I said, I really like this motorcross looking image. So there's something like minus 19 and maybe even a bit more later. But right now that's that's good. Reducing just simple. So no, it reduced blue color and that will create a new layer by control. All shift E merged visible layer go to filter come overall filter on D. C. The never work with the clarity, but more something like that. Maybe not that much. They are 27. That's OK and increased Voight's looks a little more Shayna The Light with blacks Yeah, yeah, it's a bit too strong. 25. Okay? And that's the looking looking for year. Call it perfect. Nice and shiny. And now I see there's actually not so many things to be done. I like it How it is. Uh huh. I think I want to brighten the fork a bit more and also the mountain. So I will go to my TK panel. Grab this soul picker crop this year. Uh, go to levels. That's chick. You know, it's OK, I will Brighton it around here. It was darkness that I will group it black mask and now I can paint it where I want it Here in the fog. And also in the mountain. Of course. Something like that. Okay, let me turn it on up. Yeah, it's nice. I want that. The step that the snow is really bright because of the moonlight hitting. It blew our everything source contrast zones. Maybe a bit too strong here. This part of the snow decreased brightness a bit here. Okay, I still want more brightness up here, so I will use another levels layer, uh, increased brightness in Rhode. It control I. And now we're just pain in this part. Here, let me get a bit softer brush through it like this. Okay, Maybe not that much. Here. The mist. Something like 10%. Also here. Snow in the forest? Yeah, that looks good. And since it's been a while since I last, Lee edited this image. I have to double check in light room with the original one if I get in close. And I think so. Yep. Color gears a little bit different, but that's OK. It's personal taste and always change it. But I would get there, I guess. Yeah. Looks looks similar. That's good. Okay. What else? I will call this light in mountain let me get a mid tones mask here. Something like that On a curves layer. Go to linear contrast. Yeah, that looks awesome. You see? What a tasteful adjustment. Yeah, Perfect. I really like it. That's a cool thing about luminosity mask. I don't just the whole but I don't get the whole contrast adjustment to the whole image because just to the middles. So the dark parts here don't get too dark and the bright parts don't get too bright. It's just amazing. I will call this contrast mid tones and yeah, Like I said, there's not that much to be done. First, let me take a I drink coffee and I work for the look on the image which with which I could do thinkable, darkened on the sky of it more. It's a bit too bright for my taste. And to do this I would go to the TK Power click on the lights. Masks? Yeah, there it is. I grab this one co two cuffs multiply and it will add called trust. I will put it in a group black mask. And now I will just draw around the mountain here with like 30% and a really soft brush, so I only get the darkening here. This part really sell. Move here in the mountain. Turn it on and off. Yeah, that looks good. I would call it Darken Sky Nice when we removed the mess again. Let me double check. Yeah, I consider. I think we're getting there. I want to enhance the vignette a bit. Go down to the camera or filter again. I will ignore all the other adjustments Now, since they won't show up in the camera Ruffled. I would just add a vignette. That's it. Ah, not strong. Something like minus three. Or mayors five. Yeah, something like that. And increase shadows a little bit. Press. OK there, you see? Yeah, it helps the image nice. I think it's a bit too dark here now, So we'll go again to my camera roll filter. Perhaps a greater filter go up of the exposure. That's a good part about some Durant's adjustments. I can always go back to the camera raw filter and use it. Since that has some really nice abilities on which I don't get in photo shop. Let's say we get re harder and photo shop, so I like. That's the reason why I like to use this filter. Something like that. Here. Let's check. Yeah, that looks good. Perfect. I want to keep them in yet, but I don't want it to be that doc CD forward after. Yeah, much better. You see, Perfect. I also want this guy a bit darker so it would create a levels adjustment layer, go down with the mid tones, used their luminosity blend mode, so don't affect the blues and all the other colors that I would grab the Grady and Tool with, like, 30% opacity. And now I will draw down there. So it's a little bit darker in the sky. I don't want it there. So we're group this so don't affect ingredient black and white, white, mask like brush. And now I will remove it here in the corner. I wonder. Darkening to happen, dear, since it's already docked there. Okay, call it dark sky again. Maybe. Yeah, that looks fine. I think Check. I like the contrast also like the crunchy textures here in the mountain. At the same time, I still have a misty feeling with my nice stars and fog. That looks really cool, I think getting close on this image here. Not every image that takes long, you know, some images. You can get there in 30 minutes. Someone one hour, someone three hours, Some in base, you know. So I practiced a lot before, so I know what I do. And now what this image needs. So, of course, speeds up the workflow. There's no benchmark or anything for that double check. Yeah. Getting close. I think me talk in the bottom of it. So it helps the vignette ing to keep the eye on the mountain. Something like that. Luminosity. Blend mode. Control I, Grady in tool. 50% opacity. Track it up there. That looks good. Oops. We're getting close, darkened, foreground. And now I will pick another levels layer and get back some punch in the sky. Darken it a bit too much. I think something like that. Good likes perfect noble group does and I will call it call interest. Let's see if I even need some color. Adjustments may be just touch. We go to color balance at some yellow to the mid tones. Remove some magenta Since it's very strong. Maybe some blues to the highlights, and that should be it. I would use just one layer. Now, since I pretty much know what what I will do, let me turn this on and off here to remove the bid off the magenta cast. I like magenta, but not that much. Okay, double check. Yeah, we have been in there. I like it like this. Now I will create a complete new layer by control Old shift e. So it gets rid of all the banding you see. And now I will I will make one more adjustment in the camera. Raw filter. And for more blue adjustment. That's it. We decreased the vibrance and increased the clarity. Not much. Pretty subtle. Decrease the magenta and that's it, actually, maybe no. The highlights a bit. Press OK? Yeah. Camera raw. And no, my last adjustment. You adjustment layer color mode to just adjust the color minus 15 Control. I picked the Grady int and get up there to remove the blue here in the foreground. And that's it. Perfect. Reducing blue. No group this. I would call it final steps. Group everything together. I would call it Ah, Adjustments. Turn it on. The stars will be there, of course, when I turn it on and off that you see the difference. Really? Nice mood. Amazing. I love it. Crunchy, shiny monochrome of some stars. Misty. At the same time, it's one of my favorite images. Okay, I hope you learned something. Like I said, it's advanced. I'm a bit faster, of course, like in my other videos. But you see, step by step, what I will do and what I am doing, actually. And yeah, so that's the 2nd 1 Now we will continue with the third and the last image. 12. Section 2 - Editing from Start to Finish Part 3: so welcome to my third with you. This is the last picture will show in this tutorial in my advanced tutorial, like I said many times already. So I hope you were able to follow so far. Like I said, I just show you how I process some of my favorite images. Step by step on this way you see how I approach different techniques on different images. This on this one, like a said, will be The last one was taken in the Dolomites this year, and summer was a really nice evening of some soft light hitting. The amazing trees seem a de la Barredo and yeah, I was like a set of brilliant moment. The moon was visible and the hike there's quite comfortable. Two hours, only some steep sections. The rest is just breathtaking, the views of breathtaking. There were many photographers around there this evening, but not at my place. Here, there everywhere, spread everywhere. So there's not a lot to shoot, so you won't get bored. Um, this image use a panorama. I will show you how I edit the single files and how emerged the panorama together. It's not complicated, but still of course I will show you. And then I will further enhance the mood in photo shop. Well, let's take a quick look at the settings here. You see, I used my Toki No. 24 to 70 Lens F 11 25 2.5 seconds with a polarizer 24 millimeter Aiso 64. So those are the settings with my Nikon the 8 10 So this is the final image trying to get there as close as possible. Of course, it's not always easy. You know, when you've been you, um it just, let's say reedited some images that you will never get the exact same result like before. But that doesn't matter that the techniques are the same. It's just a smidge dare or switch their with me, which makes the difference. But my let's say my main reason to take this video is to show you which techniques using so I hope this will be understandable. Uh, here I have all my role files. This is the 1st 1 the four of them. You see them here? This is the panorama that's probably probably would have been possible to take it with one shot like 10 millimeter or 15. 14 millimeter. But I like a panorama better since I have a better resolution and at the same time, not so many distortions and the edges will be sharper as well. So that's the reason why I like to take a panorama if it's possible. Okay, so let's get started in light room. First of all, like what I always do, I go to profile, change the settings to camera neutral. Then it will increase the blue saturation to something around. Let's say 65. That looks good. Stine. Let's check how the horizon looks. Yeah, it's fine for me. Okay, then I will go to Lens Corrections. There's no prior profile for the Toki. No yet so I will just remove chromatic aberrations. The noble sharpen the image. I will stretch it a bit later in photo shops, I will apply a bigger shopping, stronger sharpening something like this. You've seen this in the other videos already. So real quick on now I will decrease the one for bit since I want cruel. Nice evening mood. The sun was already down, so there was just the last light hitting the peaks. Add some magenta are not that much? Something like this turned on the highlights a bit. Turn up the shadows snitch. Remove some clarity because I want to have this soft. Nice evening. Look, I don't have to do it in plus all the time. You can also remove clarity. And then I had some contrast. And maybe he's turned down the exposure have been mawr and increased dogs to overcome this . Okay, Looks good to me. Let me applied is effect to the others for the other layers by shift clicking on them. So when I have this one selected a shift click on the last one now have selected all And then I click sync settings And I box everything here so everything will be the same. And then I will press, synchronize and have to readjust them off them. I think because some exposures are a bit darker cause off the, um yeah, because of the horizon here. The sky Was he brighter? That's chick here. The area here after increase or decrease the highlights of it more. Something like that. And, uh, there's three times the same. Which one will use? I think it will use the the Doctor one and it will increase the exposure. Just a smidge. The same total toe. Hard lives Turn up the shadows. Just a touch. Okay, that's it. And now I will merge this together in light room by selecting them. Right click photo, much panorama. It's a really cool function in the new light from CC Version takes a while until it creates the Panorama preview. They're different options. Here you can picks spherical or Cindric. Cylindrical perspective. Never worked for me, so I don't choose it. Always decide between those two. Most of the time I like cylindrical because it keeps more off the foreground and this guy, and then you can wrap the boundary so it looks even that looks good and never click merch. Let's see how it looks. Then it gives me a complete new raw file. That's the cool thing. It's not a tiff for something. It's a raw file. There, you see all the other images. I had it already. There's no secret. Andi. Yeah, it's just wait till it's merge together, and then I can readjust the whole image again if I want. Okay, which one is it? Is it this one? This was the one from This is the new one. Okay, Perfect. Now it's a little bit too bright for me. So will decrease the exposure. And also the highlights. Like I said, I'm able to readjust. It's a good thing. Make it a big cooler, decrease clarity a bit more. And and baxam blacks. I mean, something like this. And then I will use a graduated filter of some whites in the foreground. Good banks and punched 15. 20. That's okay. Okay, that's double check. Looks nice and shock. You have to cool here. Good. But that looks okay to me. Okay. Turn known vibrance smith to reduce to cool the blue tones. Yeah, that's it. And now I can start in photo shop. Right click Edit in for the shop CC. First of all, I will make some perspective adjustments. Just take Let me take a look and see what I will do. Okay. Okay. Let's first of all, make a copy of the background layer control James, and then I will stretch the mountains and the foreground because I don't need that much here. Press control, T um, here we have it. Something like that into No, I real make a crop. So I have a 21 ratio like this panorama ratio. So I've picked it like that, but I don't want to get rid of that much skies. I would go bigger. There were press controlled. T and I will fill up the gaps here. Okay, let's it with my perspective. Adjustments wasn't that much this time. Ah, you know, I will do some stamping. We'll make a new layer control old shift e and I will remove this rock here. Shift five. And also And I will keep those words even if they're going stones. Something here? Five. So let's see how it looks. Ever move this just trying. Looks OK if do it. Yeah, that's fine. Okay, good. Let me go to my camera. Raw filter. I will check if I have any spots. Yeah, I do. I don't want to remove the moon, but some of the spots here Yeah, Okay. I think Chris. Okay. Perfect. Uh, maybe this is also not so nice. Shift five. Content over. That's better. I don't like something that I remove it. It's my approach. It's a piece of artwork. If something bothers me, it has to go. Of course, I want to remove mountains site anything but small things like this year. We do this quite often. Okay? Now will increase the size of the moon. Since it's really small because of the wide angle That was way bigger in real life. Of course. So I would create a new layer control old shift e. And then I will use a simple lasso tool. Go around the moon, press control teeth, and now I will transform it. Bigger. Not too big. Something like that. Okay, let's see. Yeah, that's way better. You see smaller, boss, how big it is. Now, that's nice. And of course, there's some weird edging going on now. I will remove this in a second, but I think it will increase the size of the moon even a bit more controlled. T They make that okay. Normal at a black mask. A white mask of a black brush. Sorry. And it will paint around the moon, repaint you, of course. So here. That's it. No, I got rid off those weird a little. I just perfect. Nice. Now I will merge everything together much layers, and I would call it warping plus increase. Just so I know what I did. Perfect. Okay, next up will be my glamour glow O r Order In effect, That's how it's called Control Old shift. One of my favorite adjustments to increase the soft mood off the nice evening. Go to blur Cross in blue. It's a panel. Ramen also will increase the pixels to, like 55 a bigger resolution image. So I will increase this blur. Look, 15 percent capacity Go to image adjustments, brightness, contrast 100% contrast and I would go down with the brightness press, OK, and now I will call this effect. Andi will continue this time. I won't use that many Nick filters because I don't need it on this image. I will work more for what I have here for my photo voter shop adjustments. First of all, I will make a levels adjustment layer. They will turn down the tone the same time of increase the doctors. So I get a nice grayish look and it will also add some punch to the highlights. This changes the whole mood off the image already I really like it. Turn this on and off that you see nice soft mood getting here. You call this basic call trust? Okay. I think I will turn down the highlights a bit for luminosity selection with my t ke Power Chris lights to get all the masks. Then I think I will take this one. Go to coasts, multiply linea contrast. You saw this approach and the other videos already, but I will won't decrease it that much. Something like 45 is fine for me. And then I roll Redo my lights adjustment here, and I will go to the mid tones it turns to and levels. I never make a Midtown's contrast adjustment Something like that. You know that dog? Something like this looks Yeah, that's a nice punch. I like it. Call this mid tones contrast and I would call this stark and lights. Okay, Let's see. No, I will use a saturation mask or go to TK Panel actions saturation layers This select the most saturated colors and it helps me to reduce the saturation in there. I showed you this and my other videos already, and the other one's on my website. It's a really cool approach to just adjust the most saturated parts of the image. Do you believe this one and perfect. Okay. I mean, think of second, what I will do next. Uh, now I will make a another perspective adjustment. I they're still Boulder following me something So I will make control. Old shift e and I would call this perspective, never press control teeth and no, I will just draw this drag this out here a bit and also bid He owned bottom and there looks better for me. Yeah, and maybe a bit more here on top. I never enter. There it is. And the next step will be a comer. Raw filter adjustment. I repressed control. Old shift e and I would call that camera raw. There's a new layer here, Uh, filter come overall filter. And now I will do some things. First of all, I will dark in the foreground. I will use the graduated filter, and I will use a blue tone So the shadows get a bit cooler like shadows to be cool. Something like that. I would trade it up here like this. Maybe, you know, a bit cooler on Dr but the same time ever had some punch? Okay. Maybe a bit too blue something. Yeah, it's OK. And now I will add a vignette. Not much, just like minus three. Small adjustment I will come back to I will make another come over awful adjustment later Since I really like this tool in photo shop CC But for now I think I don't know no one more adjustment. I grab another graduated filter and over the warm up the sky because I want to make some really nice strong light hitting from the side I will simulate that there was this light before but now when the sunset it was pretty much gone. But doesn't matter like light, so I will bring it back. Uh and I will approach this by I think someone at the same time a bit magenta and also some exposure that I will drag this filter here something like this when it's a bit bluer here it's OK because now I can use the brush and click on minus and then I will remove all that here. Don't there Just after 20 I think it should be removed. Yeah, perfect. Okay, on. I think I would grab his future again. Oh, I removed the effect completely. One of the head. We've increased the room for again and also the magenta tones and the exposure a little bit here already. That's doing decrease the highlights a bit and that should be it. Thing could see you. Okay, it looks nice. I would press OK, they use it. We'll see here a lot more balanced. Yeah, like this. Perfect. There's not always a There's my other radios on my website. I showed you a nondestructive workflow, but that's not always possible because I sometimes change my mind during the editing. And then I, of course, have to make some other adjustments. It's OK. The more you read it, the more you will get comfortable with what you're doing. And then it doesn't really matter if your workflow is re adjustable or not nondestructive. But at the beginning, I highly recommended. So of course, first watch my other radios. There you will see what I mean with a nondestructive workflow. But here, in this case, it's just a different approach. And I I think it's OK. How are you doing it since I'm comfortable with the adjustments? Uh, okay. So, no, I will further darkened down the foreground by using a levels adjustment layer and I will use this year. And also a bit of that will turn Bring back some highlights. So it's a bit more and no, I will make it black mask G for Grady int and a white Grady in. So I get the effect only in the foreground. I would drag it here, so yeah, something like this looks less. Never call this darker. And four rows, four ground. Let me turn it off. Perfect. Okay. And now I will do some light painting because I want to further enhance the mood here in on the side light here, I would create a blank layer with the soft light blend mode, and they will pick a nice orange color somewhere here in the sky. Looks nice. And no, I will just make some strokes and see how it looks. Do you know that Hitting the side off the pics for that just adjusted in the second. But I really like how it's enhancing the mood of this image. It's really cool to it, like painting, but doesn't matter if it perhaps damage unlike it a bit more so Here, down here in the mountains, that looks a bit more like, say, light. It's nice. Perfect. I would call this light painting and all will further work referred because I don't want them to peaks everywhere, Of course. So we'll create a white mask elect brush and no evil painted out here on this side of the peaks. Since it doesn't make any sense that there is light hitting it. Same thing here, maybe 100% is a bit too strong. So because of the the contrast will be too much. Let's say like 70%. Yeah, there looks fine. And also here and here. No, here, maybe they 30 a little of that much. 30 Here, here. Something like this. And I don't want it. That strong's I don't want that strong here in the mountains and the valley thing. You're a bit more here. Brightens up through the area nicely, but it looks fine. You see, there's a huge difference. It doesn't have to be that strong. Of course. What? I like this side light hitting the peaks. It really enhances the mood. We will go down a bit with the capacity. Something like 65 maybe Perfect. Okay. No, I will make in the grooves adjustment. I will first of all decreased Ah four grounds, darkening like for like 65. And like I said, I will make another curves adjustment curves and it would bring down your world darkness Smith. But at the same time, our increase targets tones and I will go to the blue tolls and here will increase the blues in the dark tones. It's already nice, effective things like that. And you see, when I turned it on, enough big difference too strong, so I will increase the think decreased capacity Something to like 55. Maybe I would call this dark in, plus, adding blue Perfect. It's looks good. What else will you? I will now use a color balance layer, and I would grab the shadows and had some blues to the shadows. Something like that. It's fine. Maybe three is too much too. Carla Villains layer. I regret the highlights, and I will make them a bit more yellow, stronger. The same tone adds a magenta and some writs. Only that mature it like this. It works nicely, maybe a bit too strong, as it would go down with the capacity and a group dose, and I would call it color balance. Okay, What else? I want a bit stronger light on the peaks, so I will use a levels layer, increase the lights, make a black mask out of it by pressing control I and no paint way than the peaks to make them stand out a bit more. And also here, mountain area, Something like looks a mess. Okay. I grew up with capacity here. Bid. I would now grab another lights. Luminosity, mask. Pick this one. To decrease darkness. Goto curves layer who don't with highlights, But I don't want to increase the saturation. Zo ver goto luminosity and turn it off. Yeah, small, but it's there. I would call it dark and lights. And this thing will be called lighten peaks. Perfect. A very moved. Okay, no will create another blank layer at the soft light blend mode. Pick a nice color in this guy and I will make it again. Stronger postal taste. I like it that way. A bit more here. Strong over here and there. I don't like the effect overall, So mask it out a bit later in the second first, let me get this brighter, so it really looks like the lightest thing from a side Nice. It's a bit too saturated, so I will keep this layer here and I will goto image adjustments, hue, saturation adjustments never lower down a saturation of it. Something like this. No one calls late painting too. And, uh, there's a big A and no, I will mask it out in some parts, especially here in the shadows, since it doesn't make sense that there's life coming through also, here and there. No, that's a stroke Also down here. Yeah, and it will decrease your role Capacity. Perfect. And now I will pick a mother adjustment here It will be dissolved. Adjustment of the explanation. Mark gripped this tone here. Press OK, Curves adjustment Linear contrast. No, it's nice Contrast souls Knowable thing. I think I will add some more blue by using a camera filter So the press control all shift e I will do it coming were wrong and I will goto footer camera are awful too. Well, that's a blues Just a touch or remove some off the mage Inter Let me to But increase the blacks and increase the contrast. Nice press. OK, Yeah, that looks good looks nice. Hey, what else? I think I'm pretty much done. What else will I do? I just use a nutter camera. Raw filter Because I want. And hence to mood a bit further here in the sky. But I will a make a new layer. So it's a new space for the filter Was a little mascot. Something's go to camera raw Gravier filter on again of the same settings. Some nice warm to the sky. Maybe not that much anymore. They make that press ok a little bit more back by pressing out that removing everything dragon a bit further. Something like this. Yeah, and I would call it Come on. Uh, roll to at a mask and never paint black here in the foreground because I don't want it there. I just wanted to happen in the sky here because just in the sky, perfect. Good. No. I would make in just two or three adjustments that I'm done press that they were going to take a pill, have only used my soul picker and I would go here. Okay, Darks. The zone will select it. Nice. I would go to curves and it will make a stronger contrast adjustment of medium contrast. Yoda looks good, but I don't want it everywhere. So I will group it at a black mask. And no, I will add this adjustment here to the peaks, especially because I want them to be nice and contrast e when the last light is hitting them, saying here in the welcome Not that much. Same here. And a volley that was really cool. And also a bit here in the clouds. Yeah, it looks cool. I will call it contrast levels. Okay, one more adjustment to the foreground. We used my levels adjustment layer like darkness here to get a bit more punch you in the foreground. It's a bit too soft for my taste. I that will make ingredient tool appeared, so it's a bit more contrast. I think it could hurt even a bit more brightness, more mid tones, darkening nice and one of my last steps about further work off a color balance layer. First of all, let me call this contrast foreground me, use color balance and never remove some blues out of the mid tones. And I will especially use this here in the foreground. It's maybe a little bit too blue, but not really low opacity. Something like that. Okay, And I will use another one color balance that will goto highlights at some yellows to the highlights and also some reds and agendas and also some blue to the shadows. What they like this and at the same time of roof magenta from the shows. But I won't make it strong adjustments that would go to like 45 but the like What it's doing. The highlights. Maybe it's a bit too strong. So we got, like, 65. That would group them again, and I will call it color. But it's nice. One more blank layer. Think of a paint with soft light in a really soft saturated color. Something like this across the mountains here. So they appear a bit brighter. Really. That lasts almost too much hitting peaks decreasing the capacity. Something like 45. Also here Potus. No, it's painting. See, think and done. I really like it. Yeah, I think of them. I tried to get us close as possible to my first image. I think I have a nice approach here. Let me add some vignette ing. Maybe sort of camera. Raw food back to the camera over there. And something like minus three. The good thing is a mascot out of the foreground, so it doesn't affect it. So it just affecting this guy here. Nice. Mm. The balance shut us. Maybe two shooters. Maybe a bit more foreground. Trust something like that. Yeah, it was the same. Something A bit more, you know, And a little bit more green. That was good. Okay, let me group everything together. There was a lot of work done. I call it adjustments. Let me turn going off there, you see? Yeah, Just that it's a big It's a huge difference. It's my approach. Of course, it's my taste. You don't have to like it. At least I hope you will like the adjustments I did. And there you see how you can dramatically change in image, how you can change the mood and everything. That's what's possible of good post processing. Yeah, I really like it. And I actually don't know. I hope you like my tutorial level for a warrior. For sorry. It was a different approach. Now I edited three images with different techniques and they all had different durations. You saw that the 1st 1 took me the most time theater to be easier, but it does matter. Every single image is different. It was more advanced. It showed you different techniques than Indiana videos. It was a bit faster. So I hope it wasn't too hard to listen. And yeah, I hope you had fun. 13. Intro 3rd Section: all right. You made it until this part off the tutorial. Kong Gratz, guys. Now it's all about dramatic landscape editing and composites. So you will learn how to edit panoramas, dramatic light situations and also how toe add a night sky and how toe edit night images, so hope you will enjoy and see you there but 14. Section 3 - Milky Way Panorama Editing: um, the short is a composite. I took a Milky Way and a foreground shot in different places and merge them together to create this awesome, moody image. I think it fits quite perfectly. And yeah, I will show you right away how I did the processing. So I think Let's lose no time and that's just start. Okay, so let's start with the processing here. We have all the files we need to create the final Miku a panorama. First of all, we will start off the foreground elements. As I already mentioned, this is a composite shot. So we will merge two scenes together, one Milky Way seen from the Dolomites Treat tree, Jimmy the famous three peaks and one also from the Dolomites. But taking if a drone yeah, not too far away, actually, but in a different direction. So usually as well in real life, it's not possible that the murky rays and the position we will place it here. But for me, that doesn't matter since yeah, like I mentioned, it's a composite image. So it's kind of a digital artwork, and that's what I want to create here on. It's all about the mood in the image at the end, in my opinion, and I simply want to show you how it creates such images. I like to use this technique a lot, and most of the time I use it when the Milky Way is exactly in the right position where it should be. Then you can still use this technique. Like I said so maybe, like a time blending or so so like a blue Our shot for a nice clean foreground. And later on, you blend the mercury in when you took it here in the night. So this technique able those techniques will be also helpful for this kind of shot. But like I said, here, this is a different one. It's not possible to create it in real life, but only the end result matters for me. So yeah, I hope you can learn something. Uh, yeah. So, like I said, we will take the foreground elements. Here we have 1234567 images. It's a huge scene on. Yeah, we will merge together to a panorama. I use bridge now. I also I already used bridge and the other video I created earlier this year. For me, it's easier because it does just take less computer power. And I still have a good computer. But, you know, five years? Yes, maybe a bit too. Too old for the latest software. So light room is a little bit snow when you create a huge image of a lot off different files. So, like aside, I decided to use bridge because of that eso it works the same in light room. You select all files and then you're right. Click and light room. You already have it open. And then you I first if I would have to go to Camero, takes a second. Okay, so here are all the files loaded and camera raw. And now I want to merge them together to a panorama before I continue. Uh, anything. So I will select them all and click really simple merge toe panorama. And I like both light room does 90% of the time. Sometimes I like photoshopped better, but like I said, most of the time, I think lighter room does a really good job. As you can see here, you have three different, uh, ways to process the panorama. You could pick spherical. Uh, this case, I don't like this much because the images that have been to yeah stretched, I wanted a little bit more. I want to have more room here, in on the top it on the bottom. So when I want this, I use cylindrical. And perspective is mostly for, ah, vertical panel Reminisce? Not always, but that's the only case where I use it. So this scene here, this step, we will pick cylindrical and also Oh, no, no autograph. But we will click Bond every rep, I hope not boundary warp. So, like, from doesn't really good job fixing the edges here when you have, like, a clear horizon line, like a Seascape or something, that it sometimes doesn't work because you will get like, a circle effect. But, um, on mountain scenes or so it does a good job. So that's what we will do here. Every click merch and save it. And then we can also yeah, start editing. It's here in Camero, and there are, of course, a couple things I want to do. First of all, I don't want Do you have this left side and also not the whole right side and I also have to make some perspective changes, so it fits better with the Milky Way. But that's what we will do in photo shop later here. We would just take care off the tone ality, tonality and the color because I want to make it a little bit darker since it should be a night scape and it's a blending. And, of course, you can blend milky Racine into a daylight shot while you can. But if you don't make any tweaks and adjustments, that will look stupid. So that's what we will do here. First of all, we will click remove chromatic aberrations. It's what I always do. And then we will lower the exposure through something like this year. Yeah, really? Yeah. Dark Onda. We will also go down with the temperature, since a night scape image should be should have at least a blue cast a little bit blue cast because, yeah, the night is blue in my eyes, even when you don't see blue and a really. But when you look at an image, it's more pleasant to look at when it has a blue color cast. So that's what I like to do in my images, and I also want to add a little bit of magenta because this is a nice It's a nice effect together with the blue. So that's what we do here. And I also want to take care off the blacks because when they're too dark, Yeah, it was a lot of information even when I darkened the image. I don't want to lose the details in the blacks too much, so that's what I said. That's the reason why I like to raise up the blacks here and also bit off the shadows can probably go down even more of the exposure. But I also want to maintain detail, so I would go up to you. Uh, I also want to go up with the whites, but not too much, because when I raise it too hard, I actually like the effect here in the fog. Amazing mood was crazy, cruel to fly above the fork and see the whole really. But I want to do this later in photo shop because when I raise it too much here, I will get like, really bright spots in the snow, and it makes it hard to blend to rather than because yeah, when you have a really dark sky and like really bright spots in the foreground, it will be tough to fix. It looks stupid. So I want to make sure they don't raise the whites too much. Onda, We do this later locally, and I even can do it now here with a graduated filter to enhance the foreground here, a little bit of least something like that. And now also, if a radio food like this will put the effect here having 100% feather So it really smooths out here in the landscape and it makes it really powerful tool, love. I like to use it a lot. And you will see me using it. Yeah, many times. So now I have a local effect here. I can even go down with quite a bit more. Just so. Like I said, I don't blow out. Highlights seeing the snow. So it's easier to blend together. And also here in the valley Ah, I will remove clarity a bit because this is a nice This creates a nice little dreamy effect . And I will further enhance this later, of course, but I don't want to have too much clarity, my night scapes Because, yeah, you don't see under percent clear in the night. I only like to add clarity in the stars, so they're a bit more pronounced. But we also do is I will pick another radio filter and remove some white see in the corner . So and maybe also some separations that's not too blue. So it's not too bright over there, which makes it even more easy, which makes it even easier to, uh, blend later. So let me raise two shadows a bit more and maybe even locally, so the forest is not too dark, all right, and maybe even here. Three. Important that you don't lose detail in dark tones, even when it's a dog image. Okay, it's told down the highlights a bit more and remove some contrast, so it's not too dog Medio direction. It's shopping it a bit more, and Maskhadov Whitman, You press all it, you can mask it. I don't want it into fog because the Fox should be nice since move and yeah, let's add some purple to the blues. Like this effect on my nytimages that's removed some. Let's add some blues toe purple. So this way I overcome that. It's like to purplish, uh, and I will even for the enhanced this later on on once I and my images or too much say, analyst, I think it's a bit too dark over there. So let's add some more shadow detail and at the same time removed some saturation. So it's not too blue. Have some clarity, so it's more dreamy, but that should be it for now. So I can now press open image and then work with the stars. So let's go back to Adobe Bridge. And here we have all the star images, single ones. Then we will much time together to a panorama as well. Uh, yeah, we will select all of them. Click open. But you sure you want to open 10 files? Yes, on you see the beautiful Milky Way here above the gym area. When I was there, I already knew that I only want to pick the Milky Way, so I didn't care about the foreground at all. And you can see my settings up here. I had, like, have 2.8 20 seconds So the stars on too blurred Aiso 2500 at 15 millimeters. Probably could have gone higher if the eyes so. But I didn't want to burn out any cloud seasons. There were quite right because of the light pollution back in the because of the town's another religious back in the well, So, yeah, there's a couple things had to take care off. And I Yeah, like I said, made a panorama from, like, the far right, which should be somewhere here on all the way to left, which is, I think, here, the hot the mountain hut. The famous one here on Yeah, we will now merge them together. The distortion off the mountain doesn't matter, because yeah, usually light room will take care of this. So I will select them all, and then we'll merge to Panorama. Maybe there will be problems because it's a huge water than sometimes. Like Trump says, I don't want to stitch it. Well, you'll see while it's loading here, I Yeah, take a quick drink on my coffee. It looks awesome. As you can see. Uh, no, it doesn't, uh, you see here that the cylindrical option is not a good one, So I will try Spherical off, Spherical. There you see miles better. Andi, I don't I won't use boundary warp here because I only care for the stars. I don't want to four round or anything to be. Yeah, like, perfectly straight or something. So I would just merge it now and save it There, you see? Perfectly light room. Did a perfect off camera saying did a perfect job of, uh, evening out the foreground. Southern mountains aren't distorted anymore. Really cool. And the Milky Way has a nice Yeah, arc here. Nice bow. That's what I wanted. Of course, you will have some stitching problems on the top because yeah, it's a tough job to make that I was not even done yet. That's the reason why it's on shop here one second. Tough to wait. So there it is better. They are perfect. You have some stitching problems up there, but it doesn't matter if you have some blurry star. Second, fix them. But the main interest here's the Milky Way and it looks perfect. I will no make some tweaks to it on. I will. Then I will use another Milky Way Panorama is actually exactly the same. But I did it in the past and photo shop on and it kept some clouds, which I like weather because there are some images here with clouds in it which have clouds in it, and it did a better job maintaining them here. This is the one and light room didn't pick those clouds, but it's no problem. It's the same and it so First of all, we would go to adobe landscape, so we flatten out the entire contrast and add some color. That's why I like adobe landscape. Then we will remove the chromatic aberrations around the stars. And then we were bright the whole scene a little bit and also go down with the highlights. So the light pollution is not too strong and we will add some temperature because it's too blue for me and remove some magenta. So it's not too hopefully on and at some clarity, only looking at the stars when doing this and what we will also do is I will maybe go down a bit with the exposure and add some whites. Sort of stars are more contrast, E. That's quite nice. What I also will do is I will pick a radio filter and remove saturation here. The light pollution, because that's too strong. I don't need that. We'll see you in the house. Maybe not that much, but at some rooms here look that much, but at some cool color temperature to it. Also here. All right, nods. Then I will go to Hugh and see what I could do if the blues and I can add some a little bit of purple and add some blue to the couple's, so have a nice, nice guy if it's too blue. Still, I can, of course, also remove some blue by using the Vibrance slider because it removes blue with the first Perry first place and then other colors. And now we will pick another radio filter, and I will brighten up the collective core, a little sort of star, some more pronounced and also add some temperature because of like when the core is a little bit warmer. Yeah, that's kind of what I would do for first steps in camera, raw on star images. So press done. Because I won't pick this shot. I would pick this one. It's an older one, but the same scene, like a service you can see here, but you have some have different cloud shapes here in the sky, and this would I like more. The image is now a little bit cooler, but that's just because you changed the temperature. Doesn't matter. It's mostly about those clouds here. That's the reason why I will pick this file and Photoshopped somehow. It doesn't manage to do it like this anymore. I don't know why the shot is like is three years old, two years old. So maybe an older version. I was able to do it. I don't know. The new one doesn't pick the clouds, which I want you. So I kept this file and I will use it. But you saw how I merge the Milky Way Panorama, which is actually not too hard and how I would edit it in, come over Rome. So no, we have to make some preparations to this file because I want to transform it a little bit and get rid of the edges and also make some more space in the sky so I can place the mercury in, and we also have to make a selection off the sky so we can mask it. in so a lot of preparation to do. I also want to stem some things which I don't like, but that's what we will do it later, a bit later. So first of all, we're press control J. So I don't do anything on the background layer and then we will press control teeth and, uh, transform it, shrink it together. So the mountains get bigger and it's less white. So and then I will press the sea for the crop tool. I wanted 2 to 1 ratio, but I will care about this later festival. I will clear it. So have freedom to crop it how I want. And I want to get rid of this mountain part here because it looks stupid when the mercury is somewhere here, there still a mountain, in my opinion, so cropped that out. And then we also corrupt this part here to somewhere around there because I also don't want them out of here. Press enter. So now we have a different looking image Perfect. And what we will also do is, uh, we will add some more space to the sky so I can place the Milky Way. But first awful Let's see what we have here to one ratio. It's not yet there. It's okay. I think we will shrink it a bit more that we will merge it a bit more here, something like that. And then we have those viewed edges. We want to get rid off, so I have to crop it. I like to do such transforming to my panorama shots. So that's what we will. You will do what you will see me doing a lot of times, so ah, let's create a copy When I finished transforming. I like to flatten the image because otherwise I will get really halos later on when I do another masking or something, because photo shop will remember where the original image was and will always show me the edges here. And I don't want that. So I fled the image after I transformed. Ah, you know, we will stand some things which I don't like. For example, the four key in the valley so really small part. But it's a bright spot somewhere. I don't want it, so I remove it, and that's my philosophy. When I like when I don't like something, I remove it some people are different here. I'm not when there's something bothering me. Yeah, it has to go. That's my approach. But everybody handles that differently. Of course, I also don't like this part here in the mountain because it's too bright, and when I talk and everything later even more, it will still stand out right. And this is slow pleasing to the eye. When you have something bright in the corners, you have to watch out for your corner. So I will remove that, too, by pressing L for the lasso tool, which I did before and then draw around. It's here and now we will press shift a five and then I will get to the fill option, and I have the content away option selected and press OK and photo shop usually does a good job removing. If not, we have to make some for the tweaks like we do have to do here. I don't want a part off the tree here, so I will remove this. Also on the rest. It's actually pretty because it will be darker in the corners later anyway, so it doesn't bother me. Perfect. So now we will make a selection of the sky and there we have to be quite careful. So what we will do is first of all, we will check the luminosity channels. If there's anything easier, maybe the Green Channel is good because there have a nice separation between the mountains and the sky. If I don't have that, I have to tweak it manually. And I don't when I don't want to. But if I have to, I will do it. Of course, eso first of all repressed W to get the selection tool. And when you saw my other videos than you know how I am changed the size off Russia's and selections by pressing out and right click. And then when you go to the right, the size gets bigger. When you go to the left it smaller and say, man, you go up and down. Then you change the hardness. When you get used to it, it really speeds up your workflow and you can also program you. But I have a welcome template and I program my pen that I have I right click somewhere there on the buttons and then I can also change it really quickly. I will pick us Ah, medium hardness. So it's not too soft at the edges. And then I would like a selection actually did a really good job. Not perfect, but already really good. I don't care for the trees here because they're so small you won't see them in the night shot anyways. But of course, care for the mountain. So we have to make some adjustments here. I will use the l button to get the lasso tool. And then I will select this button up here, as you can see. End of left, right, upper left. And then I have a minus here around my lost source. You can see. And then I can remove the selection in parts where I'm drawing and have to finish the selection here. Otherwise it won't select. And now I have to mountain selected better. And I will do this here a couple times Now. I can also add something to the selection by pressing this button. Then you can see the plus. And I was here. I want to add something to the selection also here and there. This could take some time, but it's worth it. There will be some bright spots left later when I blend in the night sky. That's okay. I will stem that away anyway. But when I have the opportunity or the chance to get a good selection before already, then I'm of course will use it. Yeah, that's enough of ending. I think. Now we have to remove some off something off the room selection because I still want to keep this part off the mountain here. The cool thing is that can make all those adjustments on the Green Channel and then return to the color gentle and yeah, still have it there. When you have, like, a really bluish image in the mountains already kind of blue in the sky as well, Then I like to use the colored at a luminosity, generals, because it sometimes makes it easier to select. As you can see here, if the green Channel you have a probably add this tree to the selection. So I haven't least one in there. I'm careful. Yetis Uh, yeah, looks good. Won't be will never be perfect. But like it's so small when you assume our you don't see anything. Like I said, I don't care for the trees. It's too complicated. Also looks good here. Yeah, perfect. Now I will go to select on click safe selection. Call it sky Kristen control de to de select. And then I go back to the RGB channel that I would drink my coffee or quick. Okay. Perfect. And now we will make the sky bigger. So we will have, um, make more room, create more room in disguise. That's the right word. So the press see again, and then we can drag it up here, something like that. So we have more room for the Milky Way. Maybe even more. It's more better to have more than less. And now you see, you also have to adjust this year. So I would pick a brush of ah, hot etch 100% capacity. And then I will just paint it to you. So we have to selection completed. It's important that you use a hard edge because when you use a soft ash and you paint, then you could like you have problems. See it down there is cause its release moving everything out as you can see. So the cottage is important. The hostage. Okay, so I think it's the preparation should be done. If not, we can make further tweaks, of course. And now we can add the stars. So it's piccolo file here. It's important that the file sizes fit. I mean, exactly, but kinda because otherwise you will have, like, huge stars or a really small landscape. So we will check the father size here, I think reduced it in the past already 9500 pixels. And when I check it here, I have, like, 8000 something at it. It's It's fine. So yeah, I will only select what I want to use. So we picked this rectangular marquee tool and then I will select the stars else have to make a selection off the mountains because I want the core here. That's yeah, in the range of the mountains. So but it's OK because I have mountains of the other shot as well, so they will disappear anyway. Okay, So controls C to copy control, we toe paste. And of course, it won't be done with just pasting it in, but have to make some ah transformation, some warping. Sorry, but yeah, some I I want the Milky Way to start here. The core there were press control t to direct this up and also in this direction. And when I reduced capacity than I see how it actually looks. And then I realized I wanted some thing around like that. It's press control t to have a bit more here. All right. Should be good. Yep. So let's pick the mask press control and added the a mask. But there we have it. And you can see now that I have a part of the mountains still here the image. But it doesn't matter, because now I will pick the lesser too, and draw around it. And since I have a mask, I can no only content aware and yeah, it will be gone and also don't like the stripes off the cloud. It also removed that and we will also further work here of the I just thought festive for let's remove also the plane here with the, uh, spot heating brush. Also, this plane also remove stars when I don't like them. So a wipe out entire Galaxies of that powerful, uh, rise up here. I don't like that they're so stretched. So we have to make some fixing now. But it's worth it. In my opinion, I also do that with coma and I have a lens which has some of a little bit of Kobe. The edges there also stamp a bit sort of stars look better. I don't hesitate to do some processing. The extra five minutes is referred, in my opinion, since I don't have to do a huge amount of images and once I have time to do it, like how the course placed looks good now. I also have to do with some stamping here because I didn't want to open it any further. So I would just stamp in some more stars and also here. Since there's the selection active, I will only do it on the sky layer, which is perfect. Okay, a little bit sick. So sorry for this leaving, I would try to reduce it. Escort as possible. All right, also here. Good. So now let's flat village. You will get the files later into the tire radio so you can work. If it by yourself. I will have to fix the edges here. Of course, there's another place. So many planes in the opposites crazy fixed the edges in a second But first of all, I want to get my 21 ratio so repressed, See? And now I will type of 21 and dragged. So it Yeah, get it? Oh, no. Sorry. Controls that and you can remove it. I will first create a new layer because I want to make some further warping So again selected here and here and now a press controlled tea again and stretched the image so it fits into this ratio. There we have it. No, it's flatten it again. Andi, Chris Control J and we will fix the edges now. And to do that, I will pick a step, too. And the darkened mount. So it only stamps. What's lighter than I'm sampling? So I'm sampling the sky here. And when I know Stamford here on the bright parts of the edges only stamps here, the bright parts. And of course, it will never be 100% correct. But yeah, it's so small you will never recognize it. Only when you printed, like, two meters. But I don't print compass individuals anyway. So for me uh, it doesn't matter that much. So here we have two problem that the sky is darker than the mountain. So what I have to do is I have to sample the mountain and, uh, yeah, stamp this white part here, and I will make this with a harder brush, because otherwise it will be like too soft overmatch outside here. They don't want that. And this takes some time yet it's true. But you have to do it because otherwise, when you make some mawr trust mints to contrast and clarity and whatsoever, you will see the white halos even more. And yeah, trust me, it won't look good. So yeah, I will be quiet now a bit and which assemble you. L just stamp the white parts and you see have always re selecting with pressing Ault and the left click Because I need you a new resource here for my assembling for my stamping. No, I said, Well, look stupid when I sample somewhere here and stamp here So here it doesn't need to be perfect, of course. Can't be only when you spend like hours books have done here. If this brighter part off the mountain that can simple this guy again back to recheck, I would also smooth the edges later so it's not, too, how with the transition, this is the least fun part of complicity like this. I mean, when you do it carefully, it's perfect because the image will look much cleaner. You get the idea. So here it's easier, because the sky is, uh, brighter again than the foreground. So I can trust speeded up here. - If it's too boring for you were checking, understand? Just yeah, go forward for like, two minutes or free. You will see that I will be done then. But he is not. I'm sorry. He is much easier. - Almost done. - All right. Perfect. A lot of work, but that goes there. Already mentioned. It's more food. Good. That's letting this and double check. Yeah, what do you do now is, uh, pretty you earlier and we go to filter blur, Gaussian Blur And the 15 pixels should be enough. Ah, make like, uh, let's at a black mask and pick up brush with, like, soft, etch like 20% capacity. And now we will paint around DHS here, so it's not too harsh in the transition between the landscape and the sky. Like especially like to do us and night shots off it quit helps. It's too even more. He on the mountain. So you yep, to be removed Did hear the peaks. But that's experience. That's not assuming in and out when you do this kind of work. But you look so okay, so flatten image again. And now we can start off the rial adjustments. So first of all, I want to further enhance the night moot. And I like using the colorized filter in the collection by Google for this, especially for your 19 inches blue, our shots, stark images. This is rare. This filter really shines. In my opinion, Andi, I would show you in the second why you can pick a color. You want to, uh, add to the image, and I will pick a dark blue one there. You already see that really enhanced the nice night mood. I grew up with the shadows a bit, so its not too dark there now already press. OK, it's That's already what I wanted to do. Now I have a nice even colored the landscape. You see, the mountain is darker and the sky also it's more even doubt. That's what I really like to do. If to that escape if the night scape. Because otherwise I will always have a color issue between the composite foreground in the sky. And yeah, it This way they overcome that. So what? I want to further work of that, of course. So I will now create a new layer. Call it camera raw. Oops, Wrong. And I got a filter camera. Raw filter. Now we confer the work. If it so, first of all, I want to add whites too young. Get way more contrast something like that. I already changed it like drastically. Maybe not so much weight. Yeah, this this looks good and I also want to go out of the shadows a bit so its not too dark. But I already mentioned it. The capital raw section. I think we could go down with the exposure. Maybe they go up with the whites. Sorry for the graphic hours. It's got to blacks go down with the contrasts. That's not too crazy. Contrast E. On and that's had some blue only a bit because I also want to remove some purple. So it's not here to properly girdle with vibrant, so it's not too blue. I want the blue cast, but not a blue color, which is too strong. Okay, now let's pick a radio filter and make some local adjustments. First of all, I want to further work with the whites and the fog because it creates this mystical feeling also here. Of course, it's not that bright in the night, but it's such a nice contrast to the sky, in my opinion. So I want before that enhance that like that. Andi. I also want to add some the ace. I mean, I want to add hace here to the mountain because it will soften it out and it will look a sit, says a bit hazier. Lower the exposures. That's not to pride. That's a contrast. And I also want to add more pace here in the world because I really like to do that together with a Milky Way. So it's more bright there. So it's brighter there, which catches the viewer's attention, and I will do this couple times probably the step here. But this would be the 1st 1 and I will also Atmore temperature to the galactic core, which already did in camera raw. So it looks a bit more like light pollution. Oh, not that much. So it looks a little bit more like like night light pollution. Sorry. Also here. Perfect. It's a nice point off interest, in my opinion, maybe you felt that much temperature. And now I also want to Adam and get sort of night sky gets darker and the attention it's more in the middle, probably for the and hence that later. But to overcome the darkness here in the forest, I will remove. I will raise the black suits. Yeah, no, too dark. That's what I often do. A make an adjustment and then I do a counter adjustment. So it's not too Yeah, strong in some parts of the image. That's the power off a local adjustment. All right, let's and more whites to the mountain and blacks. Clarity removal. All right, that's for now. That's press. OK, now you see a drastic difference. We're really crazy well enough or when you press all of you, you see how easy it is when you know the right techniques to create an awesome night moot. But it's actually not too much to be done now, since here this was already really powerful, But some steps that want to do. First of all, I want to add a new player and called this layer autumn because I want to add a nought in effect, to make a dreamy atmosphere to this night shot the images about 40 megapixels. So I picked 45 pixels as our blow radius. That will go down to, like, 11% because this is the amount I like to use on most of my images that I would go to image adjustments, brightness contrast and grew up with the brightness a bit. And bob the contrast when you turned the song off. You see, it's a nice, dreamy mood that if I don't want it in the stars too much, I can always paint with a black mask and remove something off the effect. There might also want to remove it. A bit of the shadows. No, no, it's a dog in the night image. I want to keep it in the shadows, so yeah, we will leave it, and now we will make a nick adjustment. My favorite one is called Pro Contrast. It adds mid tones. Uh, it adds, mid told contrast. That's the right way to say it, which gives some extra punch when you soften the image of an organ effect. You can get something some Christmas back with this filter, and I like to use the dynamic slider here to like 11% most of the time. You see, it already doesn't really nice but still settled job and, like 1% off correct contrast. Contrast is usually contract. As you can see, I would like 1% and I don't want to correct the color cast here because I want this blue style maybe a bit, since it's a bit too blue. Yeah, like something like 15 should be good. All right, I will make another color adjustment, but first to fall its press. OK, I mean another color effects adjustment. But first, let's simple, and it's apply this filter really nice. Already loved the effect. What do you think, guys, it's awesome. Mm. I think the snow here's a little bit too white, so I will do is it will go to camera filter on the pro, contrast su in on rem 15. Section 3 - How to create and edit a dramatic Panorama: Hey, guys, welcome to the second video Here will show you hire process. This image in the wonderful Dolomites at the treaty made the love a little. The Three peaks. It was an amazing golden evening, as you can see, with some awesome cloud structure and a gap on the horizon which created an amazing go to mood. When the sun shine through, it's a panorama. So I will show you how I ended the files and merged them together to change the perspective . And of course, also contrast color and so on. So I hope you will enjoy. And yeah, let's just get started here. Okay, so let's get started. If the processing video number two as already mentioned, I took it at the Wonderful Treaty made elaborate. Oh, it's called the Three Peaks in the Dolomites, the most iconic mountain there, probably one of the most iconic mouth informations in the ups, if not the most iconic. Ah, the evening there was just perfect. It was such a moody atmosphere of the low hanging clouds and a small gap on the horizon, where the sun managed to come through to light up everything in a golden cast for like five minutes and then it was gone. So it was really, really lucky. And I captured a panorama, too. Yeah, good the entire scene in one frame and to show, uh, view of how amazing the landscape over there is and how the mood waas. And that's what I will show you how to edit that. I have a couple of files here, but I won't need all of them. I have some darker ones were maintained the details in the highlights, and I have some brighter ones where I didn't have to under exposed that much, and I will. That dynamic range itself was enough from my canon five d mark four to capture the whole scene so I don't have to exposure blend anything because of the small gap off the sun. I mean, the small get on the horizon where his son came through. It wasn't it was a strong light, but it's not as strong as men. This summer is like high in the sky or so. So it was enough. Um, we will pick four files. I think it's the 1st 1 here. This one there's that. And then we were right. Click and open and, uh, come on her raw. Here we are. And first of all, we won't make any adjustments. We will just select all four and right Click and click Much toe panorama, take a couple seconds and waits until it's merged. There it is again. Have two options I can choose from. Have this very corruption in the cylindrical option. In this case, I want this cylindrical one because I want to keep more off the foreground and the sky, since it will make some further warping and also cropping. And when I pick spherical, I lose too much detail over there. So I like Yeah, this one better. And now I will also use the boundary warp. So light room does straightening for me and the edges. Then we were click merch Save it and wait until it's done. Not There it is okay. And you see a light from did a really good job managing the file together. I won't make any cropping now or transforming. I will do that and photo shop again. But I can already tell you that the corners have to go here. There have also cropped something away from the bottom and stretched image a bit, probably toe get a Mawr pleasant composition. It wasn't easy to react in the field since the sun came through. And suddenly I had to go do it really fast and snap a few shots to capture the life since it was gone in a couple minutes. But I'm quite satisfied with what I got. Andi. I don't hesitate to make further adjustments to the composition laid on. I don't care about that. That's the power off. Um, post production and I like to use it so But first of all, we will make a, uh, row conversion a role adjustment. So we will go to profile and click Adobe Landscape. So the overall contrast is a bit flatter, flatter, more fled and also the colors of it stronger. It's a good starting point. It will also pick to remove chromatic aberrations. Always really important. And I think I don't have to enable the profile corrections. The distortion isn't bad, and I want to keep Devyn getting in the corner. So yeah, skip that, uh, and what I will do now is I will darken the entire image because I want to enhance the mood , something like that, but I will get back some details by local adjustments. First of all, but festival ever go down with the overall highlights. Not that much, because I want the sun is really bright here, but that's OK. The sun is the brightest point you can photograph and I want to maintain this effect so I won't talk in it like dark and like completely, it will look really bright and shiny in my image and I want to further, even if I even want to further enhance it. But I don't want to lose too much detail about what the clip it that much so in raw. Try to at least recover a bit around the sun, even when I want to further brighten it up later. So what I will also do is it will grow up with the shadows so its not too dark and also the blacks. By watching the history, I'm here and have a good hour of clarity a bit, so it's not too crunchy. There were also go down contrast, and I will now add some more temperature. So it's even Boudia and also add some magenta. So I get rid off this ugly green color cast in the lights. I don't like green highlights, and it happens a lot of times when you have, like, really golden light than it seems a bit greenish, especially with Nikon cameras. I don't have a Nikon here, but a shot Nikon in the past, and I noticed that a lot there. So I like to add some magenta tint. It's personal taste, of course, but like I said, I like to the, uh, before I start making some local adjustments, I will add some more sharpness and mask it out in the clouds, and I will also remove some dust spots in the sky. Course. I always have a dirty sensor. It is easy to remove here light room with this feature here visualized spots. You can't go wrong there. I only use photo shop when it's in a more complicated position, like between trees or some clouds, where it's not easy to stamp. But that looks fine. What I will do now is I will grab a graduated filter and add some whites to foreground. Groups had not remove had some whites to the foreground, so this nice golden light here becomes even stronger. Even we never cut something off here. I still want to enhance this light there. And I also want to do that with a radio filter directly on the peaks. Whatever Tried to know get into the sky like too much. So I have to make another one here, there, through the nice and shiny from the light hitting it. And I also want to do that in the corner. But I would do it with a Grady ated filter. And I want to add some blue here in the corner to create this nice color contrast between golden and blue. He and the shadows and here delight highlights. So that works really nice. They will, of course, further enhance that photo shop later. Something like that. At some more whites to the mountains, I would also add some black. I mean, it will raise the Black Sea and the shadows off peak, so they're not becoming too dark. I really want to know. I really don't want to lose any information there, something like that. And now I want to use another radio filter. I really like this filter, and that's amore Punch to the foreground. Probably darken it a bit, sets the too bright and at some more rights to get more contrast something like that. Now I will pick one more radio filter and add some warmth and haste to the sun, so this looks even stronger. You see also some magenta, so it's not too greed ish. You think that of some situation and also another one here in the center. Good. There's a starting point because I want to further enhance that later. And if I don't like the Hugh off the yellows now too much so I will add some more, read through the yellows room and remove green. I think it's more pleasant to look at. They will add some purples to the blues. I get rid of the Cy ends here, there, left corner over there. You know all this should be a good starting point. I think I would pick one more radio filter and add some exposure and also clarity to the peaks in the middle, and I already see that here is a little halo happening. But that's OK. It was there at the beginning, already cloned an hour later, and photo shop. It's It's a moment, gent uh, and also bid more exposure in the corner and remove some blue color because it's a bit too blue. In my opinion, that's a cool trust. And yeah, I think that's it for the beginning. See what happens if I had Mawr? He's to the sun. Yeah, 60. Not too bad. Only a little good. So now let's open image, Click open image and yeah, let's thought of my photo shop adjustments. First of all, we will start roof. The perspective changes on the cropping to get a even a wider panorama. I mean, why the looking panorama, Andi? So, first of all, we will make a copy off the background. Liam Control J proceed full of the crop and I will crop a lot from the bottom. You don't need all that to make that. Thank you. The stones here, leader, um, stamp out the snow here will also stamp out the people. You see. There are some. It's a nice car. That's a nice size comparison, as you can see, but dissed Illinois. So what I will also do is it will crop the side here. We need this part off the mountain and also pit here Maybe somebody like that. I can stamp that out. Yeah, but that doesn't matter. Really? Something like that. And also, Yeah, I think I believe the sky hold is, but yeah, maybe a bit. Maybe a bit of cropping, something like that. We'll see. What I will definitely do is change the perspective, cause in my taste, the mountains is a little bit are a little bit too far to the left. I want him to be a little bit more centered. It wasn't possible to do that in the field, but I could do it in post. So what I will do is I will, uh, grab a rectangular marquee tool. So something around here, press control t merged. Transform it here to the left. The never pick be to move it. The number could control t again and drag over there than the mountain loans. The mountains won't be so stretched anymore. And at the same time, I have a better balance in the images you can see. Looks quite good. Maybe I want to do that even further. Just a bit not, uh, one more time that drag it over, control tea and put it to the other side. There we go. You lose a little bit of sharpness when you do that, so I always have to re shop and later. But it doesn't matter for me, because, for me, more important is the composition of the sharpness. When when you have bigger fires, especially here for Panorama, than it's usually not a problem. Now we will flatten the image. When let me maybe mayor. Here, let me drag that up. Bits get a bit of size back to the mountains, and now we will change the image proportions to something like this year. So it's more white. Yeah, that looks good. We can also I picked those settings because this was the original file for me and they wanted the wider panorama. That's what I already said. So I like to stretch it a bit, and I will stretch that even more by, um, I will such the mountains of it more flattened the image, and then I will use another rectangular tool down there and drag this Oops, sorry. First of all, make a copy. So no again. Otherwise, ever get the no border frames I will drag this year? No. A press controlled teeth dragged the entire image down. The mountains are a bit more prominent again. Perfect. That looks good. Nice. And now will flatten the old image again and use my shopping filter. So I'm gonna filter, shop, smart shop and choose 100% and radius 0.2 pixels Press OK? And that should be usually enough. Nice. Like I said, I picked those image proportions here because my original image is like that. Talk to get the exact same settings again by cropping. So, yeah, I like to do it here. The image size section. So my file fits my Yeah taste. So now there are a few things we have to fix. First of all, I would make a copy again and stem some issues s TEM points, which I don't like. So for example, this snow here also this stone was I mentioned already. When there's something I don't like that it has to go. I also like to use this patch tool here. It's really powerful, especially struck them textures. So, in a draw around here, I can sample some water, part of the image and then choose it, and then it looks mostly better than when it just content aware fill. Not always, but most of the time. So now let's remove those people. I want to have a clean landscape. The smallest you can see over. I've had over 200% magnification, but still up where I waas We were only four people Me, my girlfriend through strangers so and a lot of space that it's quite cool. But don't dare to wrestle hikers and tourists to enjoy the view which I can totally understand also here I think that's it. No one more person. Perfect. Pretty nice. So what I will also do is remove this darker cloud here because I know later in post processing and become even more prominent and it would look good. So I will draw around here of my patch tool and sample on a part in the sky and yeah, it's gone. Maybe one more time. Perfect. All right. And, uh, yeah, years. I don't like this part here in the mountain so deserves also to go. So also has to go on Don't like the stone here. Oops. So, this one, Maybe I can you track that it out? I'm picky. Fixing have to flatten it because they're transformed. Flatten control J bone sample in the right position when I'm stamping. Okay. Like good. But I also don't like this. So it also has to go. Doesn't have to be perfect. So pretty. Oh, okay. A lot of stamping. I know, but I don't care. It's a part of my work flow. Even when I'm known by no means I'm a stamping master. Not at all. But I like to use the different tools to get a good result. I would talk in this corner, Let later, anyway. So yeah, that looks fine. So what I would also do? I will drag this up so I don't see this ridge line. To do that, I will draw around here screwed as I can. All right. No press control. T and PRESTA. What? Button on? No, I can drag this up so it fits. Better to composition you much better. Perfect trifecta. Fix something here. Stamping All right. Letting image again. And no, I like the composition much better. I optimized it and that's how it works of panoramas pulling here, pulling there. It's fine. No, it is all right. Oh, I I don't want to forget to remove the flares and the image. It's important that you do all the stamping and transformation stuff before you start editing of contrasts and so on. Because otherwise, when you later on 12 group your adjustments to reduce your pass ity, for example, you also reduce your passively off your transformation and you're stamping, and then you will get real halos and artefacts and you don't want that. So always do your stamping first, and you're hoping and so on. So what I meant with her flare you see you to you. It's not too bad, but yeah, it still has to go, of course, and there's also one here and the little one year easy to remove, and I think of it I'm already stamping again. I also want to remove this stone. All right, so now it started with the adjustments First a for everyone to darken the image again to get even more mood, I mean to enhance the mood. So to that I will go to curves, adjustments and drag the middle here don't. I grew up with the blacks a bit here, the bottom so its not too dark and also at some punch back to the highlights and what this does. As you can see, it darkens everything but at the same time maintains the details in the shadows. Nice effect. Further work of this mood. Of course. Ah, let's call this dark in the next part will be a levels adjustment. Who pulled the highlights all the way? Almost. It's a middle contrast bit and then invert it. And at those highlights to some specific parts in the image, for example, the peaks here and also snow. And, of course, also the Richland. No, soap it down here so much she Anderson. So here. So it's not, like, overall longer than like that. I wanted to hear bit. No. So here we'll see in the corner. Good starting point. I forgot to step this halo. The ah highlights. You know what happened? What? I didn't want to. Uh, so yeah, let me delete this. Get a background layer again. Go to darken. That's annoying. When you realized that you forgot something and no, we will simple the sky, you It's them that so it's not too great Tea and in the corner, on the peaks. All right, so now Let's redo my adjustments from before. So grab to close layer, go down, go up. Cool, left and all sort of levels layer. It's painted here where the light is sitting snow on the peaks and also the Richland and a little bit here in the corner. So its not too dark or it So that's called this darkened when this highlights perfect. All right, so the next step will be a or in effect, to the highlights. So I will press control All shift Eve that's called his fourth bottom, so the highlights will shine even more. So go filter, blur, Gaussian blur. And I'd like biggest to file that see image size. There's something like 25 megapixels, so I will goto again Blur causing blue at 25 pixels. We're not dead. 11% image adjustments, brightness contrast Grew up with the brightness and bumped the contrast. Nice mood here in the file and then we go to TK panel and grab the docks. Luminosity masked. I picked this one. Yeah, this is fine. And at this mask, but now I have to inverted since the dark parts are selected and I don't want the effect in the dark tones so have to press control. I, Chris, control l to further refine it. And now it's only in the highlights. And in the mid tones Yes. You can see my split around here. Okay, He grabs me like coffee. So the next step will be a make adjustment. You can probably guess already which one? It will be the pro contrast to get back some punch after the or in effect. That's what I like to do. I use your perfect and then I use pro contrast. It's a good combination, in my opinion. So you know, 11 11% and want to correct the contrast on. Yeah, that's a nice punch to the mid tones. Chris. OK, there it is. Perfect. So now what we will also do is a Mother Nick adjustment. It will be the brilliance and warmth filter. I love to use this filter, and I have a lot of warm highlights in my shot because it further enhances this. 15% is usually fine. You can go higher if you want, but then it gets really extreme, as you can see, so 15%. It's a good start. In my opinion issue, Yeah, See here also, it's a nice, warm future. The Richland. Then we will pick another filter called Contrast Color Range, and we have to go down with the contrast here to zero and go up with brightness by one point. Otherwise, the effect has no effect. This filter adds contrast to the color range I'm picking up here and yes, you can see it's really powerful. And I yeah, I really like what it's doing to the Peaks. I don't like what it's doing here, so it I will stick to the beginning. So something around 100 it's actually really cool, Yeah, but quite strong. So I would go down with the capacity a lot to something like 45 but still, it's nice and shiny. Now. I will keep that pretty cool. It's a press. OK, nice change added a lot of drama now because of the warmth, But that's what I wanted. It's called this Willian's Bush cooler trust. It also worked nicely with the clouds here, So two bonus. All right, A few more things I want to do, but not too much. Actually, it's still already looks quite nice. Uh, first of all its use a color balance layer, and we will add more blues to the shadows to get more drama, but also greens to the shadows. So it's not too magenta there. But now we will a lot of magenta to highlights and also some brands and yellows. Maybe not that much red and a bit of blue to the Midtown circuits. Further enhanced, you see that nice change again. When it gets too strong, you can go back to shadows and maybe at some scion to them, so the red is not to casting up too strong in the shadows. You can always through another color balance layer later to further enhance it. But that's a good starting point, especially here for the parts where the sun is shining because it was a bit greenish issue conceive, and now it's more red and magenta. That's what I like. It's a lot of magenta here. Now we will fix that, probably in a second, but this part is really cool. Everyone fix it here, but we will go to color balance again and add like greens. Three. Invert it picked the radiant here, and then we will drag it over there as you can see it's trusting the Grady, and all the time I redo it. It's a smooth transition There, you see. It's not so magenta anymore. Maybe go down with your past me a bit. That's good. Really good, actually, no. We'll create a camera. Raw filter controlled shift you and call it. You obviously come over raw. Nice. So first of all, I want to add more contrast here of the rich line and talking it a bit. So yeah, I will talk in it the same time at highlights whites. So it's more contrast e something like that, and I will also pick a radio filter and add some highlights through the shadows down there and raise up the blacks. That's not too dog pick ingredient and at some blues here to this part, because such a night groups, because it's such a nice contrast, which I want to further enhance, maybe removes some saturation. So it's not too blue. Some more whites and some nice and at a real filter to the mountains here sort a bit brighter because I want to Adam and Adam and yet later I don't want him to become too dark . Also here because the vignette will be there as well. Andi. Now I will add more whites to peaks, sort of shining even more so really important, because then they stand out how they should be when this sun hits them. All right, maybe go down with your wall, huh? That's a bit. And now let's out of. And yet sort of the I concentrates more on the peaks. I want to doc in the corner here, so it's not too prominent. Nice, some more magenta to the blues and some flu to them agendas after the purples. Sorry and a bit more red to the yellows and more haze in the sun, for sure, So it's even stronger. That's what makes the image the exploding sun here in the corner. Pretty cool. Talking about corners, I think of talked and even talking them even more. And I would add more whites to the shadows to create more contrast. You see, when you use the tools from the camera, raw filter again and again and then you stack them up. That's a really powerful way to edit Your shot. Makes it so easy to create drama and you use the right selections at the right adjustments . I also want to further emphasize the light here on the on the mountain. So at whites and, uh, temperature perfect, they also want to right in this put removes some blue because it's quite strong. Nice looking, really good, in my opinion. Maybe some more magenta here into the sun. Maybe a bit more highlights here in the corner. So its not too dark where the sun is actually shining more highlights. Overall, you see, the goal is to create a really strong golden look to the shot with a blue color contrast. That's what I'm doing here. So, of course, have to make adjustments again and again to see if they fit. Do if they're after further work off the sliders. That's why I'm doing it over and over again. All right, let's press OK and see the difference. You that's cool. Let me check what else I want to do. So I think we're almost there. I want to add a little bit more punch here to the mountain and at the same time to the highlights and add some overall contrast. And then we actually done so. First of all, I would go back to the camera off into another one, and I would add some clarity, just a bid. So it's not too soft and they never add some race. The Black Sea and the shadows. Most of it came a little bit too dark for my taste. And then I want to add some contrast here to this mountain. So it's Yeah, there's a little bit more punch. Maybe some D. Hayes was that also adds Contras. Quite nice. Yeah, that looks good. And also who moved to blacks up a bit year the valley. So it's not too dog, but not much on a dark and dis reached here a bit more. All right, it's press, OK, you're much better. And now we're at overall contrast. That's quite simple. You just go to curves. I'd like to use linear contrast. And there, you see well, big change and we would go to like, 65%. That's not like too strong, But that looks quite nice. Yep. And what if the last steps will be a new lights adjustment? So I will grab, uh, some highlights here and make it brighter, but not too bright because I went to maintain the saturation. And then I will change the size and form off the rush to something like this here. And then I rule, like 20% capacity. Make it thought. There. That's it. Let's redo it here, all right. And now that's changed, too. Soft light. This adds a little bit more drama. When I press control t, they can drag it over over the image. So you like that? Nice. That's called this lights. And I want to add a little bit more magenta to the highlights here again with the color balance filter and some blues again through the shadows. Some greens That's not to magenta there. And I think that's it. Yeah, maybe a bit more brightness to the peaks here. But that's only small stuff now. And personal taste. You will always find something which you can do. But after some time, I think it's Yeah, good when you stop. Yeah, I really like it. I hope you guys like to. You saw a lot of things when I grew everything here and call it adjustments. I'm gonna turn it on off when you see a huge difference. Really cool. All right, that's done. We're done with this image earned. Yeah, let's continue with the last one. Thanks for watching 16. Section 3 - Editing a dramatic Panorama Part 2: Hey, guys, Welcome to the third and last video of my tutorial. The image you show you see here is a random frozen waterfall in Iceland with some amazing ice structure on a moody evening. And I want to further emphasize to mood in my post processing. And also we'll show you how I created Panorama out of nothing. Andi, Uh, yeah, steps are again fairly at once. So I hope you can learn something new and you are enough talking. It's just go here. So that's good. Started here. These are the files for my third and last video. Last image. Uh, I took it in Iceland. I mean, those files here, one of Rosen waterfall like a said already. And I did a focus stack because I was really close to the ice formations to create this amazing Yeah, like, otherworldly effect. So it looks like the the ice, the ice is huge. And because I was so close to the ice, maybe like 10 centimeters, 20 century, there's not much I have to. I had to focus, stack it. Three shots were necessary. And I will merge those three images together into one final one with awesome sharpness throat. And then I will place some clouds from another image up at the top because it was a blank sky. And I don't like that. So yeah, cheat a little. But first of all, I will edit those three wonderful files and then I will make the focus tech. And after that, I will place the class like And then, of course, all the other adjustments would follow Will follow, like also the panorama editing, because I will make A to buy one ratio image out of this, But this will follow later. First of all, let's see which files we have, which, why we have here. I think this is the middle Father, because this bubble here in front is, uh, completely and focus. Yeah, this is the first file, and this is the background file. Yeah. Looks look so cool there. So well, we can make pretty global adjustments. So first of all, we will go to Adobe Landscape again, and then I will lower the exposure because I want to make a dark mood created dog mood again. So, no, let's raise the black. So its not too dark here in the in the corners so the shadows a bit good on the highlights because I would go up with the whites, But again here, I won't go up with the whites, like too strong because I have, like, bright spots like bread ice informations on Uh, yeah, the border to the sky. I mean, I merge in a darker sky. It will look weird when this party is so bright. So I will make this adjustment later a little bit. It's fine this time. I will also grow up with the clarity. Because I have course want to enhance this structure here even more. Never do it even more later. But I don't want to do it globally like full, full force. So plus nine is fine. Then it will add some shopping and mask it out of the sky. What actually doesn't matter because I will replace the sky anyways. Ah, I have to cool down the image, of course, because I want to make it look a bit like more blew up extra watts right before blue hour. The sun already said so. It's not too far away. Well said some magenta, maybe darken it even more. Something like that. Yeah, So fine. Then I will reduce the saturation in yellow, orange and red because I don't want the grass here to be too prominent, and they will do that even more later. So that's now. Add some purple to the blues That's a glued to the magenta. I heard a couple all right, groove, chromatic aberrations on getting I will add that later. But I also want to do is I want to darken the top Even when I won't use this file here for the background, I still want to darken it here because then I can be I will synchronize the settings told Yellow Files. Makes it easier. All right, so now it's synchronized like a set right click sing settings, and we will also do local adjustments here and press. OK, there we have it. I think this one is but brighter, so we will go down with the exposure. This will use a bit two dogs. So we go up it up. It doesn't have to be like, completely exact. Don't make that this lets you That's true here bidness blue. Okay, so, no, let's open them and much them together. All right, so let's check again I think this is the background. Yep. This is the well, this is the closest. No, this is the closest foreground. So I will pick this as my base layer. Then I would copy this and place it on top of there. And then I will copy this in place it on top of here. We're close together to files here because I don't need them anymore. And I would unlock the background layer so I can work with it. Here we go. So now I have to auto align those layers because there's always you can see a perspective shift when I make a focus stack. Especially when I'm really close to a scene. I made one focus focus here to the immediate foreground, one to the middle ground and wanted the background. And then the focal length changes a bit. It's called focus breathing. And to overcome that, I have to keep in mind in the field already that I will lose some inches, but it's okay. I already knew that. So I made a bit of off a wider exposure. Uh, yeah. Why the composition? Only a bit. So he has selected all three and then I click edit and then purse or allied layers and keep it on auto press. OK, takes a while. Here we go. There you see on the border that there's a bit of a change, especially, you see it here. And that's what we have to crop out or transform out. OK, But first of all, we will add Liam, ask. Because now I want to have this part until here because then the other part of sharper issue can see Ray Shopper on the bottom part is less shop so and also he had the creek in the background is shopper here, but the foreground is less shop. So what we will do is I will use a lesser tool. Let's also say here Yep, I will use a lasso tool and draw roughly around the ice. It doesn't have to be, like, extremely precise, but at least a little adds to the selection here. Uh, who's was a make? There it is. Um, that was role. First of all, I want to remove that here. Okay. And I will add to the selection again and Yeah, draw. You might want to keep that. So we're a second. Not so easy that No, I want to remove it. Sorry. Yeah, I want to remove this part off the ice. Yep. Because that shopper in the background there, like I said, it doesn't have to be, like 100% exact, but as good as possible. Of course. A man wrong is setting. See, it goes so fast. You have to be, like, really careful after used to. Plus, here we go. I could also do this if a brush. But then I'm scared that it's two feathered. So I like to do it manually off the vessel to Not always. Of course. I often use ingredient as well, but that's more when I have just front to back without any everything without any option objects in the middle ground. Like here. Andi No, I will also, uh what was wrong? All right. We'll have to further refine this. What's the problem? I know the problem. I notice I have to be careful here with the corners. There we go. So here. No, we'll see if that quoted foreground. No, I can refine it here. It's easier. Uh, Hartridge, I don't There we go. Take some time. Of course, especially in an image like this, but it's definitely worth it. All right, so now let's place this mask here, select a black color here, press out backspace, and then you have it selected. And now I have, uh, background visible, as you can see, and you can always refine it a bit. And you see some groups when you see some mistakes with the brush, but it should be a bit feathered. Okay, Perfect. And the foreground is easier. So we will add a mask now and black color and drag it up to somewhere around here. So no, maybe hear that? See where the foreground. This. Let's see, I actually only needs the bottom part. Yeah, So that's only dragged somewhere around here. Yeah, that's enough. Perfect. And now it's merging together, Controlled J. And now I have to transform the image a bit. I want to get rid off the Yeah, strange. It just bottom is okay. But the interests of you'd That's enough after Suman because then I can be more precise and also Oh, sorry. All right. Perfect. It's pressed flat image and we will make some more perspective adjustments, of course, because I want to create a Panorama. But right now we only did because of the focus stacking. And it all looks really nice. Summitt's long now make a selection of the sky. It's easy, as you can see. Maybe it's more good we didn't take the actress. I don't know. Let's picked him manually. No big deal could always stamp that. That's fine. Let's save it sky. And now let's, uh it's the club earlier. All right, so here's the file. I took it in northern Norway and the beach called Took Life, but it wasn't amazing mood, as you can see, but it actually doesn't really matter. I just care for the clouds Now that could have been everywhere. Also at the place where I shot the waterfall. So, yeah, I will go to Adobe Netscape here, remove the chromatic aberrations and darken it a bit. And also grew up the highlights a smidge blue agent uh, clarity contrast. And that's it. Maybe I will check if there's a ah, here, but doesn't matter. I just care about this part. So this press open image perfect. And now I will make a selection of the sky like that troll. See control. We press control t to transform. All right, let's pick our layer Here. There we go. Really simple. I will fix the edges in the second. Maybe I will. Moving a bit up. Something like that changed a perspective with Mitch, like that notice crept a mask again. Yeah. Bless and moody. Oh, and if you guys want to know which water folded is I have no clue. It's a random one close to Kirk. You fall and just call my when I was driving around. Really awesome of those I structures. Ice structures story. Okay, so let's fix the sky here. Well, let's fix the Yeah, just I think that not much work to be done. I'm glad. All right, you love. But here. All right, that's it. And also, I will now add a new layer and with a gauzy blur filter like 15 pixels at a mask painted in with, like, 20% opacity at the edges. So it's not too in the transition. Oops. Should use white. Of course. Maybe 20% is a bit too strong here cause it's another night image. So I would go down if you're opacity. But that looks fine. All right, So now Let's flatten the image. It's good, of course, have to make further adjustments, so it fits. Better. Put a red. No, I quite like it on. Yeah, let's get started now. If the panorama adjustments, I want toe get A to buy one ratio. So I have to stretch the image. Of course, people, maybe you ask, Why would I make a panorama here? It's simply because I like the format. That's it's a really simple to answer, Uh, get rid off the bottom, of course, to make that. And no, I will. I won't just drag it to decide I could, but I don't want that. The waterfall is like two stretched. I want the diskette stretched, Yes, but not the water for at least not too strong. So I will grab the sites here and dragged him out. And I will also do that. Groups. I will also do that here. We will also drag them out, and now I will drag everything. So the water for the snow stretched too much. Here we go. I'm not completely satisfied yet because I don't need this part off the image. And I want the waterfall to be centered so I still have to stretch it a bit, so I will grab it here like that. That's probably right. Too strong, you see? No, actually, quite good. But it also stretched a bit more here. Decide looks good to me, and I would also stretched a pit A to the bottom. They like that. So no, it's flattened image. Let's see a waterfall. It's almost centered here. Well, better doesn't have to be four billion center, but yeah, that looks good, in my opinion. All right, so now let's sharpen the image again. Since they lost some sharpness because of stretching same settings, 100% of two pixels still looks fine. Perfect. Now I will do more stamping because they're some parts which I don't like, for example, this white part here at the bottom. But I also don't like this year. I like that. I don't like that this snow is cut off, but I had to do that. All right, there's some dirt in the ice, which I don't like. Of course, even when I will darken the corners drastically because I want to make it a really moody The images called for wasn't underworld. Well, I called it like, uh, yeah, I think that fits quite well. Frozen stuff in the ice like this Here. All right. Looks good to me. Yep. One thing. I want to remove this patch of snow here cause it's pottery. Me and I think I also want to remove this snow part. I don't want anything bright in the corners. No, no. Let's create a new layer. And also get rid of this. Okay? Flat image. You know, we can start our No, we can start with our contrast and cholera adjustments. All right, so first of all, let's make another stamping interest Mandiri Creek up here So it looks more evened out. Okay, So now let's start with their contrast adjustments. I will First of all, dark and the whole image by using the curve slayer on your drinking down the exposure the same time it would go up a bit, you in the shadows and also here in the highlights. So, like, it's an adjustment I really like to do with dark images, as you've already seen at the treaty Man in the Dolomites. So also works quite well here. It's quite dark, you know, But it's OK. We will fix that later. Uh, let's call it darken Simple. And now we will make a colorized adjustment. Same as at the first image, because I want to Yeah, darkened the mood. The tonality and I will pick at the black slash blue color here again, go up of shadows. It's too dark press. OK, all right. I want what I also want to do. Is I a increase the size of the image? I don't want that because off the stretching, So I want to go back to the normal at least kind of the normal size. Something like that. Uh, yeah. Press, OK. It's better for your world sharpness. All right, so, no, let's go to the number Roll filter. Yeah, let's call it a role. And let's make the first strong adjustments so talking increase the highlights because I, of course, want to increase the contrast and the amazing formations here Ice formation here. Uh, so going up with lights is really powerful. I want to increase more blue unless magenta it's a bit too much. And now I have to make some local adjustments to fix some problems. First of all, it's too bright in the sky, so I will remove white up there. I wanted contrast in their costumes because this is like the last source off light. But I you don't want it to be too strong. Then I want to add some. I want to raise the blacks here so it's not too dark. And at the same time, I want to remove some whites here. This part off the the ice so it doesn't get blown out. No, sir, he had snow, all right, and I want another. I want a couple of radio adjustments Now. I want to add more whites here to the corner and more clarity. So this amazing structure kits and persist. I like that. And they, of course, also want to add more light to the waterfall itself because it became a little bit dark. So here, Okay, when it's going out a bit in the sky, all right to go down with your worldwide spits that's not too blown out here in the sky because I can always further enhance the ice of a local adjustment like this. Also here, I really want to emphasize the ice structure as you conceive, because that's the most amazing part about the image. We'll sit down here so a lot of clarity and whites to bump the contrast. And I will have more blue and also pit less exposure. But go up with the shadows. And now I will end of and yet a really strong one. I want the eye to focus here on the middle ground and all the waterfall, not to the boring inches increase the brightness off the waterfall again to have a nice point of interest. You see a really like the radio for that So powerful, especially. I want those icicles here to be more pronounced. All right, move, quote trust in the sky. And now let me reduce a purple up it because it's too strong. No so magenta, Yes, much better. And I don't want the snow to be like to blue and not I don't want it to be too bright either. That will catch too much attention, and the attention should be on the ice and the waterfall would be something different if there's like snow everywhere. But it's not. So you get the idea, all right. Not so dark here in the middle ground and a four round sorry. I wanted to be brighter there. The amazing ice. I'm so excited about the ice. You see, you make a lot off those adjustments lately, but that's my new book flow. Kinda. It's It's quick and easy and powerful, so I like to use it. And that's why I'm showing it to you guys. More highlights. All right, Were too bright here. It iss All right, let's go to the whites. It's dangerous that it gets to bread quickly in ice or snow or water, so you have to be careful about that. Okay, so now let's press, OK? You see a huge difference. Yeah, Crazy. I will go back quickly because this year's a bit too dark for me, So I will. Right? And that s Mitch. Did it ever. Yeah, it's just it's Mitch, but okay, Perfect. Now. So the next step will be a often adjustment to get this dream You look again. So filter blur. Gaussian blur 35 pixels because we have, like 30 megapixels, 11%. What a Justman spread this contrast. But I don't want it in the complete shadows, so I will select that at it Here inverted. So it's like I said, out of the shadows for the work of that by pressing control l And then yes, get it out there. Nice, cool and dreamy effect. Now let's go to the chemical raw section for the pro contrast filter There a lot of steps which are similar. My images, as you can see, but especially the camera. Raw food. The section is like completely different from image to image. It's your 15% here. Let's see if correct a corner cast. No, I want to keep the blue cast so press OK and now we'll make another color adjustment. Color contrast and cross processing. Probably. So let's go there and the colorize adjustment, but that this will follow right now. So Sirat contrast. Go up and brightness by 1% and then you can pick the color contrast. I would say I want something ready. Ice is like really nice and bright, so something like that, but that's too strong. So we go down with capacity. We'll add another filter and now pick cross processing was already know that I will like the L three version here makes the the ice even brighter, but it will also go down with the capacity. No press. Okay, again. It's really dramatic already. There it is. But we will paint out something here, some of the effect here in the snow and also he and the ice because I don't want it to be too bright. Perfect. Now it's making that a colorized adjustment because I want to get rid of the color cast in the grass while I wanted to be dog, but not like to reddish, so that's better. We'll keep this color press OK? No, it's coloring, the dog says. You can see I will close it. I will make it invisible. Pick the docks luminosity mask to select only the dark parts with the edit here actuated again, and I don't want it to brighten the image. So we pick only color. The only changes the color in the docks, but not in the sky. It's a group that at a mask, so I don't paint on the luminosity master in the paint on the group. Now I only remove the effect when painting without destroying the luminosity mass. Like I said, all right, looking good, already really dark and moody. Let's call this dark color on. Let's make another luminosity mask adjustment that we picked the lights now because I want to talk in the eyes a bit more. Pick like the brightest ones. Those here select a curves adjustment and click multiply so it darkens this part. Then I can add contrast at the same time, Aiken darkened by the blend mode and at contrast, in their curves layer. So that's really powerful. I describe the Luminosity Mosque way more precise in my beginning tutorials. This is an advanced one, so I hope you guys know what already how to use them. All right. A couple more steps, I think. But not much. First, let's use a color balance layer on, pick the shadows and let's see what I could do with the color caste. And I want to add greens and scion blue. Oh yeah, there was a strong cutter cast. Still, we better know, Pick another one. Let's see what I could do with the highlights and at more blue. Like what I see, I will make it even bluer. Nice. Maybe I can also change the mid tones a bit too green that's not too mature, too cast if All right, uh, let's see what I could do with the science. When I go to hue saturation and picked this, I ends and I reduced the saturation Europe it because it's a bit too blue. Maybe there have helped a lot, but I will only want to fake color, not the contrast. So I picked a color blind mode. Life man, when I also want to do is I will pick again the docks masks to make that go to hue. Saturation, total color. And I want to de saturate the dogs. Oh, sorry. Well, yeah, I want to be saturated docks. What happens to you? Looks weird. Okay, I won't do that. It's called this so alteration Science. It's close to dogs. The dark players. There's all right. Let's try a selective color adjustment and used to blacks. Let's see what I can do. If the color caste, maybe a bit of Scion, I will pick the black schools. It's dark. Did that help? It added contrast at least. But I will reduce the effect. Okay, see what else I could do? Okay, I will make one mawr camera adjustment and then we had done so. Chris, control all shift e and it's quoted Kim a wrong that's good with memorable filter. I want to add a bit more contrast and structure and at the same time reduced the saturation in the grass a bit. Because there's this greenish color cast. Now I want to overcome that. So first of all, let's add some bites, go down with the highlights of it. So it's not too blown out at some magenta again for, ah moody atmosphere, especially in the sky. It's also add some clarity to get more texture. Onda had have been yet even more. But at the same time, I want to brighten the bottom here. But not this year. I know that I mean, not that strong produce. The situation was to blue, and now I also want to reduce the saturation in the grass. Like I said, and also here it looks much better. And now one morgue radiant and I want to bright in the sky a pit sort of their small contrast up there. All right, let's remove a bit off. Clever t you through crunchy? No, in my opinion. And also let's more exposure here to the bottom part. That much though okay and also a bit off white away here, snow. That situation on? Yeah, it's a bit more needing. Yeah, looks really good to me. It's move a bit off clarity, he appear, but that's basically it. That would check. Okay, all right. Really moody. We're color balance. Maybe for the shadows at some. So your hands Yeah, yeah, looks good. So it's now group everything. Call it adjustments on now. We will probably be shocked. Personal taste. Guys, this to Tora is about a dog moved. So now it's really dark and moody. But that's what I wanted to create here. So I hope you learned something. You can off course. Always reduce your passage, you and it's too strong, as you can see to a personal preference. That's the cool thing about the group here. And that's why it's so important that you make all your stamping and transforming First wasn't advisable. Yeah, decrease the opacity off the stem player as well. So everything looks good to me. Really moody. Hope you like it to like a sad and this is the end off the tutorial. Now 17. Section 3 - Composite Nightsky Editing: Hello, guys. My name is Daniel. I'm a landscape photographer based in Bavaria, Germany. I would like to welcome you to my fifth episode of post processing videos and in this case , my second video off the of Advanced Photo Shop. Serious. The topic will be nights, capes. I will show you my techniques, my favorite techniques. I like to use on night images. And I will also show you how I do some composites. And in this case, I will have to example pictures. The one you can see here. It's called Star Gate and the other one you can see here called Dancing Dragons. The one was taken this almost taken in Iceland stocks in a speech and this year in the U. S. In California, big through a state park. Both images are composites. This one contains two images, one for the Milky Way and one for the sunset light and the beach. And this one contains three images. But the first video, you know, will be about this one. We'll talk a bit more about the other image in the second video. Um, So, like I said, the topic will be nights capes, so that means I will show you how I process dark images at the same time. I will show you how it enhanced the mood in such images and how I merge and blend to arm or images together. So they look kind of naturally and have a really smooth transition in this case. This image you can see here. Of course, it's not realistic. There can't be Sunset Light and the Milky Way at the same time. But I when I was in this place, I had this creative vision. I imagined the Milky Way a profit at the same time, the light shining through the cap off the rock so it looks like a star gate to a different universe. And there was really cool, a really cool thought. So I decided to do that later in post, and I want to show you guys how how it's working. Even when there's nothing for you, it's okay. You will still hope you will still learn something, because, of course, you can use the techniques after I merged the image together for your own images, let's say you have a night sky images, your image or sunset image or blue. Our shot for example. So it will. It won't be only about the composite, of course, but it will be a part of it all. Like I said, So, um yeah, Like I said, this image was taken on five for Beach in the big store State Park. And the accepts you can see here are the ones from my based file from the Sunset File. You can see a use their aperture F eight eyes over 160 0.6 seconds. 27 millimeter at with my takina 24 to 70 on my Nikon D 8 10 And this the base image is actually a horizontal image. But I will show you in Photoshopped how I changed the perspective to get a three by four ratio and how it fits together with the Milky Way. So I think it's about time to get into light room on and yeah, OK, here we are. Okay. Lets start off the raw files. Have the first pick, the file from the keyhole arc, and I will make some adjustments to it, and then I will start off the Milky Way. Um, first of all, I would go to go to camera calibration and I change it to camera neutrals. Always my first step. Because then I'm reducing the overall contrast on the also like the colors of it better. Second is I'm increasing the blue saturation in this channel just a little bit because it's not just saturating the blues. It's also working if the other colors and I really like the effect. So I always like to work with this. But you also saw this in the other videos already if you bought them. Um, second off all I'm using the transform option and checking if it makes it anything if it does anything good to the whole reason. But in this case, I don't like it. So I believe it lends corrections. Yeah, I will remove the chromatic aberrations. And later, when I will also enable profile corrections for, um the linds I'm using Oh, no, White. No, I want because I used the takina 24 to 70. And in this case, light from doesn't have the profile, so I won't activated anyway. My bad. Okay, But I will enable chromatic aberrations. Remove. Of course. Okay, so now let me go to the basic tap. And here I will first increase the shadows. So I actually see something from the Ark. I made a doctor exposure so the highlights don't explode. Um, booting out in this case, I used the Nikon the A 10 like a set before, and it has a really nice dynamic range, so it's no problem boosting the shadows at all. In this case, you see, still so smooth and yeah, pretty awesome. Then I will also increase the blacks while checking the history Graham. And there you see that I have a lot more space now here on the left side, where are where the doctors are. So this adjustment that's working really nice. It's important that I open up the blacks and the shadows because later on, I will talk and down the whole image, since I want to make it look like a Milky Way shot. It's a composure, of course. A composite, of course, but still, um, it should look at least a little bit realistic. And when the doctors 73 orkest too bright compared to the sky, it would look weird. So yeah, I will darken it down later on anyway. Maybe a bit already. Not much just something like, Yeah, something like this. So it doesn't get too bright, and then I will remove some clarity, so it's not too crunchy. I like to do this when there's already a little texture, especially here in the rocks. And later on, I will make some adjustments to the texture in Photoshopped anyway. So it's good when I don't overdo it in raw already, uh, me. Boost the contrast just a little bit. And now I will go down temperature, since I wanted to make look cooler. Something like 6000 Oops, 6500 is fine for me and at the same time will boost the tint to magenta because I like hope . Blue night shorts work together with magenta. I will boost that. It's just a first preparation and raw anyway, so I will make some further adjustments later and Photoshopped to so so cave ins. It's not completely right at the beginning, just the preparation, like I said. But now I already see I really like the foreground here and has a slight blue cast, maybe a little bit too much, so I will remove some vibrance, which also kills blue, which is nice I like toe reduce vibrance better than reducing the color blue since, like I said, it's reducing blue. And if you increase it, you see it's mostly working with the blue tones. So when that decreases, um, also decreasing blue. It's good. So like I said, I already really like the contrast here in the foreground. I will make some big adjustments later and for show anyway. But still, so far I like the reflection and also the water coming here with some less to reflecting light off day and also from the gap here and in the rock. That's really nice, In my opinion. It's a good start. Okay, so, um, I will know also make a radiant adjustment, Grady. It filter because since I can't remove the vignette and I already see it, it's a bit too dark. He and it will become even darker later on. If I make some further adjustments, I'm trying to remove it now in a row already, or at least a little bit. Let's see how that works out. Yeah, something like that. So it's a little bit more balanced. It's getting too right now, but that's okay. Like I already said I will make some further adjustments to it anyway. But it's a good starting point. So its not too dark compared to this side anymore. Nice. Okay, I think that looks good already. Maybe it will. Talking down the foreground a little bit too bright. In my opinion, reflections should always be darker than the subject there, reflecting in my opinion. Because then it looks more balanced and also gets more. Yeah, something, something like that. Let me turn this on and off. In there, you'll see the difference. Oops. The muster roll. I turned on everything with this. Okay, let's see when I Maybe it's a vituperativeness because I increased the whites too much. It's always go to double checks. Yeah, maybe I don't want to darken down the water that much. Extra chest. The foreground. So I trade like that. Yeah, that's OK. Good. That's reduced with vibrant. A bit more good. No will apply some shopping, so I always do the same because it works the best for me. I used the amount of 45. It's it works the best for my camera because the raw files from the D A 10 already quite shop and I was so have quite sharp lenses on, So this doesn't need too much happening in my opinion anymore. But you see here it's already really nice and sharp. It's also a bit noisy now, since call of the shadow increasing and there wasn't any light hitting the side off this rock anyway. So and you increase the shadows. Then of course, you're introducing noise, since there's no natural light source. But that's fine. I will talking it down again anyway later, and then it doesn't do. Let's say it doesn't look too bad when it's a bit noisy. Can also implies, um, applies of ruminants noise removal if I want something like 13 year looks good, okay, It's just important that I don't lose too many shadows already in the raw because later, when I won't be able to recover it anymore. Okay, nice. And they never go to spot removal. Keep visualized visualized Maynor story. Yeah, you know what I mean With allies visualize spots. Sorry. Um, and it will help me to find some dust spots because when I used this letter, it's increasing the contrast off the black and white image here. And then I see the spots better. And here you see them. I will have to increase the size of bits. Well, maybe there's too much much. It's something like that. And then it's picking a space right next to it. There shouldn't be too many sports anyway, since my sense of wasn't too dirty. Yeah, that looks OK. Good. Yeah. No, let me talking down the sky Overall, Just one corner. Like before. It's a good thing that I already lightened up this corner here because otherwise it would become way too dark to see you can go up evil A tire like that. Sorry. Okay, I think I'm done with this file now in the raw process. And I can move on with the Milky Way shot It took somewhere else. But like I said, it's a complicit anyway, so it doesn't matter. Ah, yeah. Here's the shot. You don't see much. Ah, I first of all will work to come over collaboration again. Camera neutral. It won't increase saturation here because I don't want toe. I don't want this guy to be to blue. So first of all, that may increase the exposure. I took the shot reveille. It was a different camera. I was the Nikon D 800 e um, and I used the timber around 15 to 30 of 2.8 1250 I. So and it wasn't much. It wasn't enough. But it's okay. I was actually just shooting some skies anyway, so I can use them later. And then it didn't pay too much attention. But the good thing about the camera is I okay. I can always re adjust the exposure later on, since it has a really nice Aiso in variance. I think that's how it's called. So it doesn't matter if you use 3200 in the field or if you apply it later on in exposure and exposure setting in light room. That's cool. So probably the right isil setting would have be something like 3200 or 4000. Maybe, But like I said, it's okay here when that increasing later but doesn't matter. A will only use some part of the sky anyway. No, not all of it. Uh, let's check. The noise isn't too bad at all. That's nice. Um, I will work the contrast the bid, and also if the whites so I can brighten up the stars a bit more. Also clarity. So it's bringing out the textures off the Milky Way. It nicely. I will cool it down a smidge. No, no, not that much. And then I will reduce the vibrance again. So it's not too blue, but it hasn't Bluefield, but the blue doesn't get over. Saturated, saturated. That's the important thing. Okay, maybe a bit more white on now. I will talking down this side of a bit. It's a bit too bright compared to this one. I will use a greedy. It'd filter and then I drag it up here and there You see it with its balancing it really nice, perfect. And maybe I will do the exact opposite from the other side. Not that much, though. Just something that 1.0 as your point 15 So it's burning. Zing. It's really nice year old. It's good. Perfect. No, it looks way better, and there is a bit off vignette ing happening up here, so let's check. But the lens correction is doing to the file. Oh, Timor on. Yeah, yeah, it's brightening into up. It's brightening it up a bit too much. I will reduce it a bit. Something like 35. Maybe that's chick. Yeah, that's so that's nice. That's okay. Perfect figure will go down with the exposure. You know that more on. Look that much up here. Okay. No, I will use another great year. Filter and I will increase the whites off the file and go off here. So the stars come out really nice, all right? And now I think I will used to say, ingredient, I'm not this one. It just wasn't there were reduced blacks here, so it's a bit more contrast. E No, it's a bit more clarity. Thing is the part of looking for the most. But it's just a base adjustment anyway, like I said before. Okay, X, check the noise. Of course, it's noisy since I used a lot higher. So when I was a bumped up the exposure, but it's fine. I would leave the sharpening how it is. I would just increase the luminous noise reduction a little bit, something like, yeah, 17 maybe. And also will go up a bit of the color noise removal, but not like completely something like this. Let's check. It looks Yeah, totally. Okay, that's good. Perfect. I don't care for the history, Graham. Now, since the stars are the brightest parts in this image, it's a came in there burning out of it, because then I have some really nice popping stars later on, and they're in the composite, so it's fine. I don't care about this Now. You see that the overall image is a bit too bright, but that's OK, because I will move it. I will merge it together with the keyhole arc file here, you see, and this is a brighter image here on. So when the sky is also bright, it's easier for me to merge them together. And later on, when I make some final adjustments and also would say that start with the adjustments and Photoshopped. I can talk and down the whole image, and this is a better concept for me than already darkening down the sky and putting it into this the other image, because then it would makes it really hard because of the different ruminants levels. So yeah, like I said, this is my starting point. Let's check, I think, Yeah, I think I'm fine now. It's not easy with Milky Way shots anyway, so and it's not a strong milky way like you see you because it was there was some moonlight also happening. That's the reason why one side was brighter than Yana. But okay, I don't need the really big corps off it anyway. Doesn't look realistic when it put it down really low to the horizon to some sunset light. So yeah, it's OK. I think it's good. Maybe a bit more blue. I don't like it. I can readjusted in photos of anyway. Yeah, I think I will pick it now. Otis. I will take it. How it is. No. So let's go. Sorry. Let's go to a photo shop. Add it in But they'll be Photoshopped CC takes a while until it opens. Okay, so here are the two files the first keyhole lock and here the Milky Way. But I will use this fire later. First of all, we have to work with the keyhole arc image. Since it's not the right a four month yet because this year is Ah ah, horizontal. Uh, yeah, horizontal former. And this is the vertical. So I have to a bit with this file. Actually have to make some dramatic perspective changes and adjustments. But that's fine. It's part off the complicit in this image, and I will try to get a three by four crop. I don't crop three by 44 months at the end, and the ad will look look nice. So first of all, I will stop preparation. I will, um, make first a company copy off the background layer because I don't want to work on the basic file here. And now let's start with the first adjustments. I will know. Yeah, we'll do it by by my eye. So I will make so much I will start and then I will see how it looks. Ah, first of all that the press control t. And then I will push it together. So the arc gets also bit bigger. But it's okay. Something like there's something like that. It's OK. Press enter now assume out. Impressed Control. See, not note story. Just see, not control Z and I will use the ratio of three by four. That's what I wanted. And now I will drag it like this year so it actually fits my needs something like that. Be good press enter, okay? And no, I already changed the ratio. I will pick the sky here. Something like that impressed Control t again. That will drag it up here since there's no thing in the sky anyway, it doesn't matter if I make groups. I didn't want that. We'll see. Yeah, no. Since there's no thing happening in the sky anyway, it doesn't matter of a push it out that far because yeah, it's just a blue space and I will need it for the for the stars later. So that's okay. Mm. When a chicken here is, see some things which I don't like. Festival. There's a small, darker stripe here on this guy. So I will make a new layer by pressing cultural old Shift e. And then I will try to remove it at least a little bit. I will over I will paste the sky with the stars here anyway. But yeah, I will check. Let's see. Like I said, if I can do something to it so drag around and then oppressed old five so I can get to my content of airfield and now it's working already. Okay, Chris, control the and it's doubled I think it made it even Verse s OK. No, I will leave it like this. It's OK. Um, second thing will be and then a perspective adjustment of rivers control all shift e to you again. And now I will drag this out to the three sites and they don't need it in my image. Something like this. And he also something a little bit like Like that. And then I would drag this down here. Okay. Looks ok. OK, nice. Think that looks nice and balanced. Ah, yeah. I'm actually quite happy with how it looks now, just double check. Just like a new layer. It's it's tried an arrow when you do strong adjustments like this, um controlled shift, you control t let me do something like that. Yeah, cause I want to place the arc in the middle and, well, let's say kinda in the middle. So this helps. In my opinion, we could look more balanced. Okay, Now will make another layer by pressing little shift. E and I will make some stamping because I don't like the stone here. And I will do the same thing I did before, But no, I explain it better. It's not. Not not complicated. Just using the lasso tool pressing L Then I'm dragging, drawing around the subject. And then I press shift in five. So get to the fill option, and then I will use content aware, and I press. Okay. And now for the shop does its magic. That was also through this year with the texture in snow and snow. Something it's winter now is I'm always seeing snow. No, I mean send. Of course. I also do that here. Shift five. Yeah, perfect chicks of other parts, but I think it's looking good. Let me check if it into something here. Yeah, better. Nice balance it. Okay, I think that's good. I think I want to make the reflection look a little bit bigger. To do this, I will press, see? And no, I will move the Oops. Oh, let me first make a new layer patrolled, shifty and know that me with this down a smidge, something like that. And then I will make a selection here with the rectangular Marquis too. Somewhere here, Press control T. And no, I will drag down the reflection so it looks bigger. But I will do it only with the reflection, because I don't want to stretch the arc more anymore, so that looks okay. See you. Perfect. Okay. I think that's enough of the preparation. Um, especially with the perspective. No, I think I can mooch everything down. Flatten image. Since this is the base layer now and yeah, let me just double check some things. Everything is looking nice and good. And you see, I made some really dramatic changes. I compressed the image that I stretched the sky and also the foreground. But that's OK. I made some nice shopping before and since I compressed that I actually increased the shopping a bit more. But you see this also, there's still some nice shop texture here and now, but I now have completely changed the perspective. And that's actually what I wanted. So that's books were really, really nice with photo shop the control T transform option. Ah, I don't know if it's too much sky. I check this later when I work with the Milky Brave Can maybe have to readjust it a bit, but now it looks okay, I think. Yeah, Good. So let me make a copy. Control J and Then I will go to filter come over awful toe. And I have Now I have three options from the ledge room camera rule again and I will pick a radiated filter because I want to talk and down this guy more. Since now I have a lot more space which needs to be darkened for the Milky Way later. Something like that. And I will pick a new one. No hoops a new one. And there were also talking down the foreground. But of course not that much justice, Mitch, something like, but no, Let me increase the shadows so it doesn't get too dark here. Don't there also the whites of it. Perfect press. Okay. No, it's even a bit better. Yeah. Nice. Um, yeah, they're still this dog stripe here, but it's OK. Like I said, I will use the stars here anyway. And usually I don't stretch this guy that much. I only do it when I have a blank sky and want to put in some other sky there. And I actually never done it before. Besides, in this image, because I never had the opportunity and yeah, I didn't have the feel that it's rights or that fits to this image. But when I was standing there, I immediately I immediately knew that I wanted to do something like this. So yeah, in this case, like I said, it's working. OK, Um, yeah, I think we can start. No. What are physical? Have to make a selection. Of course. Sorry of a press w. So I get to toe selection tool here and now I will select the sky since I only want to put their stars above the arc. Of course not, uh, somewhere he and the water and I will double check if it's selected. A nice And I think it looks really good with the first selection, which is awesome. Yeah, but I will double check in the tool. Select, select and mask. Now I can check if it's working good, but I think you're Photoshopped made a really nice selection. There's some small things happening here, but it's totally okay since I don't want to put the stars that for down anyway. Uh, let's check if I can make some edge detection. Sorry it was sick the last week. So still no gone completely? Yeah. Three or maybe five pixels. So it's checking if there's some inches which have to be picked. Yeah, use something. Yeah, Looks really good. Perfect press. OK. And now I will save the selection. So select safe selection and I will call it Sky cause I will use it later. And now let me work with them. Look away! Here it is. I think I even have to talking it down now since I already have a documents here, so we'll go over to filter come over all filter and I will decrease the exposure and increase the whites to get some nice contrast. It looks better and now I'll have to make some small adjustments to this. While since there's some annoying satellites here in the sky, So was controlled J for background copy. And then I will pressed Jay to get to the healing tool. I will use it on content of air. And my hardness is something like, you know, 70 and I also I already mentioned this little trick in my other windows. But here again I use are welcome tablets or have a lot of control about my painting and stamping and so on. And I can easily work with the hardness and also with the size from the brush. I don't have to go to the option all the time by just pressing. I just press fault. And when I pressed the right button off the mouse or the right button on the pen, I can increased the size or decrease it when I drag it to the right or to the left. And when I go up or down, Aiken broke off the hardness. So that's a cool little trick here. If you didn't know it already, really like using it. Okay, so partners something about 70. And that's what this size should be. Okay? And no, let me drop about this stripe here into perfect removed. It relies also here, but I don't want to sell lights satellites here on my nights. Guy year is a bit tougher. What it works. Usually really good of ingredient. Perfect. Good job. Adobe. Also here. Remove some stars. It's OK of plenty. Um, here. What is another one here? Double check. Here's some It's just, um, stuff. Which needs to be then it's boring, but good preparation is key. Think that's it. I didn't want that. Okay, Perfect. Now I also have to change their the size of the ratio off this file. Because I have, ah, three by four. Here, this is a two by three. So I will press control Neidl control. Just see sorry for repeating that, and I will crop it. So I have this size and I will probably go even a bit up here because I don't want to lose that much guy. Something like that. Chris could enter and then impressed control T, and they would drag here on the side. So I have another bigger issue stretched image a bit Enter. Okay. Perfect. And what I also want to do is I want to change the position off the murky way a little bit because I wanted to have want to have it a little bit more in the middle here, So I will do it with another warp adjustment. First of all, new layer control old shift e and sorry. No, I will try how it works. Best trial. A narrow first of all, go to may transform option again. Controlled t no appeal. Picked the war option up here and now I will drink on stretch it a bit. It's important that you do it here in the middle, because when I do it on the side, I lose some parts of the image. Sometimes that's what you actually want. In this case, I don't. Or at least I think I don't. So it's first of all tried here in the middle. Then you see, you're stretching the image to your needs. Sorry. Excuse me. Um, it's not a perfect line. It's OK. Since the Milky Way is not a perfect line. Anyway, I just wanted to be a bit more in the middle. Okay, press enter. Then I will check how it looks. It's actually quite OK, in my opinion. Checking the stars years all still fine. You perfect. I like it. No, let's shake what I can do with it using it on this while now the hard part starts. Um, first of all, make a copy, So press control a and then controlled seek, and I will paste it here. Andi. Right now, I'm a bit surprised that it doesn't fit because I actually made a three by 40 I think I met Changed it before. My bad when I made some perspective adjustments, let me check. No is actually working. What's the problem out of filers? Smaller Because I made a crop groups. Yeah, my bed happens. Okay, control the to paste it. No, we'll drag it up. First of all, over press control team to make it bigger again. Let's make a difference. You select if we can move it. Control T drag it up here. Yeah, should look good again. Maybe not that strong. Something like that. There's a little transforming which needs to be done. Okay, but now it looks OK. And now I have to work a bit vivid. First of all, I will decrease the opacity. So actually see words going and I, of course, want the arc to stand out above the milk. I want the Milky Way to be above the arc something like this year. And I now have to make another adjustment to it. So I would press control. T used to walk option. And now I will drag it down here. So it's fits better to the sunset part of the image because otherwise there will be a 22 off too harsh border. Something like that. Chris into it's okay when I lose some sharpness in this guy because of the transforming Because, yeah, there's only stars. Anyway, there's no texture or something. Okay, Now let me restate capacity again, and yeah, uh, let's see how it looks. Let me turn this off. Take the mask here on, see? Ah, yeah. So right now, it doesn't look good, of course, because I have to make some further adjustments. I used the sky mask here than I used. Used to live together for Layer White is the part of the sky, which is showing through and black. Not so That's what I actually wanted. But of course, there's doesn't look natural. So, yeah, let me try something I will first put this year in a group control G so I can make some further adjustments to the mask without destroying it. Here. I would put the lay on there. It's tried black layer, and now it's tried a narrow. So first of all, let's try a greedy int by pressing cheap passage 100% and no, let's drag it down here. Let's see how that looks. That's actually what, Too bad? No, it's a good starting point control sie to undo. It controls that Let's try it again, makes you quite like this. How it's working out. No, not that much Here. Maybe something like this, because it's important that it's softer down here, of course, since there's some light from the sunset left, so it doesn't look good when there's just scented life stars. It's not natural anyway, but at least I will try to make it look as natural as possible. This was just my vision I had when I was there. Yeah, yeah, why not? I could redo it all the time. That's a good thing. Yet let's just start here and now I will make some further adjustments to it. Um, now I have to smooth it out a bit here with my brush, uh, use a like colors so I can remove the effect. 30% of passages may be fine on then to release no hard owners at all, and then I will just paint, maybe take a violent Photoshopped loads it because there's a lot of power needed, but it's let's check so you can soften it out. A bid of the border to the sense of light disappears. Maybe I even have to do some stamping we'll see actually looking Not too bad because the Grady in made a really nice starting point. You see that? It's awesome. Perfect. Maybe we'll paint white again with 10% capacity and a bit more up here. And then I will use a bit law. You don't know it. I see the border again. OK, so I have to redo it of it. It takes a woman to horrendous Okay, Black, 40% capacity and moving this border because it's of course, the awkward looking thing. But it's so go away. Perfect. Nice. Now I will wake work a bit more off the Milky Way here, So I will paint white so it gets stronger because I want to see the Milky Way because of the great And it was a little bit flat. That's fine. Something that this is okay, maybe a bit too much. You're a bit too much like let's see it until it renders it looks. Yeah, Like I said, that's the tough part because it has to fit in my opinion. Ah, so I can use that I can stand there. That's ok. Oops, 10% is okay. I don't want to lose too many stars here on the side. Okay. Yeah, that's what happens. You see. Ah, back and forth. But it will be a perfect of course. No, Let's try it to remove some of decide to you. Ah, let me double check the Milky Way. Which part is actually visible now it's this one here. Yeah, why not? Looks OK. Perfect. I think that's fine. No, the color doesn't match quite perfectly. But it's okay. I will work with this for the whole, maybe even already by going to this layer here, going to filter camera raw. And that will make it a little bit more magenta looking. There's a little bit of greenish cast prison. Okay. And see you better. You better. Now the effect only applied to you down to the bottom. It looks good. Yeah, just double checking. But it's OK, I think. I think Let's see, maybe a bit black here. Too strong. It's important that I see here some parts of the mercury, of course. Yeah, I think I'm happy. Control shift Eve. I will merged together. Figure up, Call it stars. Let's turn it on off. It doesn't look too bad, in my opinion. Perfect It's a good thing about the Grady and Adjustment and that I made the sky also huge . So it has a blue basis, so I can only so I can know for the just that. But it's OK, I think. Is it okay here? Is another came just a first Justman anyway. But still Yeah, I think I'm satisfied. 18. Section 3 - Composite Nothernlights Editing: Okay, So welcome to my second video off my advance post processing tutorial, The following images called dancing dragons. And he I will show you how I'm much three images together and yeah, it's I think it's Let's just begin. We will go into light room and okay, let's start with the raw files. Like I said, this image is also a composite out off three images in this case, um, I used the base image here in Iceland. This is the base image here. It was taken during the blue hour, left light off. The day was still visible and yeah, I was actually there to shoot the over. Since there was some really nice clear skies this evening. The other days, I had only bad luck of the weather was completely rainy and foggy and snow, we sometimes it wasn't good at all, But here I had some clear skies. And so I expected to see you go, which didn't happen just a little bit and wasn't looking good. So I decided for myself. Okay, I will try to make the best out of it and make something later Create something later imposed since your Iceland going toe Iceland isn't cheap, and I don't have the time to go there all the time since Yeah, I'm not full professional and only half professional in photography. So I still have a daytime chop and yeah, makes it hard. So yeah, there's opportunities to do this later in post like a said. So I will show you how it will in this case. Quick note on the settings. I have a 32nd exposure here with 11 to get a nice step for field I So 160. So I don't have to leave the shutter open that long 15 millimeters focal length with my Tamar on 15 to 30. And I used my Nikon d 8 10 I, of course, was the tripod. And I pointed down the camera camera a bit more to the ground. So the dunes appear bigger. They're already really big. But also, the mountain seems to be little most stretched in this case, and I really like it. So yeah, I used this composition. It was really windy anyway. Really stormy, actually. And there was sent blowing around like crazy, and I wasn't comfortable to move there anyway, so it when I found the first, Let's say the second nice position I still there and, um, put my tripod in the sand and stick my tripod almost in the sand. And then I was comfortable shooting there. So yeah, this is the composition. Like I said, And like I told you, I later on, I saw the Aurora a little bit. Here's to file, but it wasn't strong and there were some clouds coming in again, and the aroma was really, really soft behind them. And you were able to see them with your eyes just really, really soft, but really soft on. Only the camera was able to see the green color and, you know, like you see, it doesn't look that good. I actually have an image I, uh, developed with this kind of light, but it's okay. I think it's nice, but you could do better. That's the reason why I decided to make a composite, and I will show you how Last year I was on the Lafortune Islands in the summer time early September late August. And the funny thing is there I saw the Aurora you see here it was dancing across the sky. Let's see, there's some nice or over happening. Not strong, but it was really awesome to watch. And yeah, I didn't have nice life happening there. You see, there was no snow or anything. There was high tide at this place, so they were not. There weren't any reflections I was hoping for. So I just decided to shoot your aura and nothing else since there was no more light or something. So the mountains were really, really dark. And yeah, there was. There were cost driving by all the time. So it wasn't fun to shoot, but it was amazing to watch. So the elect aside, I decided to make some Aurora shots here with some last light off the day. It was funny. They appear to really, really early. Andi Yeah, it was an amazing light show. And I will use those over us here for my image in Iceland. And just a quick known quick note on the setting. See? Again, I had a 2.5 2nd exposure F 3.2 eyes. So 819 millimeter. And you see, it's actually quite right. Still, because it was there was still some rest light off the day, So it was easy to shoot at low I Zoe's and I was also able to keep my exposure time really low because I wanted to capture the movement off the Aurora. I don't want it some blotchy green thing on the sky. So yeah, it worked out nicely. And like I said, I will use some off the files here that will combine them and put them into my other image in photo shop I actually picked already defies. I wanted I want to use its this one. They're all quite similar. But I like here that there's deer over happening on the left side and also going a bit down to the horizon at the same time. There's some over here on the whole reason, but there's a gap happening here and I will fill up this gap with another exposure and it will be See this one? Yeah, it will be this one. I won't pick something like this because it will be too strong, too strong here on the right. I would have a stronger over here and also here, and I tried it before, and it doesn't look good together of the image, so I think it's more violence when I have some softer over happening here and some stronger here. So you will see what I mean later. But first of all, I will pick the file on to process and I want to prepare. And this is this one here will also make some cropping later in photo shop and some transform ings to get more sky. You saw this already in the first image. Eso first of all, let's make some preparation, Presti for developed on now I will first of all, change the camera calibration to Cameron neutral on to get the better contrast over. And then I will transform it because the bits to the right. But it doesn't look good. How light room is doing it automatically. So I will change my hand. I will rotate it by 30.3. And that looks good enough for me. Now you see some problems happening up here. But when a click contain crop than everything is fine. Okay, then I will apply some shopping. My same method is always 45 amount. Radius 0.5 and details 100 the devil mask it out. So it's not happening in the sky. Something like that, maybe 15. And you press all then you see this year, and then you can touch where you want to shop any minute or not. Okay. Uh, then I saw some dust spots. I saw some dust spot see in the sky. I will fix them right now with the spot removal tool click visualize spots on and drag it all to the right here. So they become visible that I would just step them away because they will become annoying later. If you don't remove them right now, Euro, maybe this stripe off plane as well. It's also just sport. When The year. Yeah, there was a lot of sand flying around like I said. So yeah, my sense of became a little bit dusty because I also changed lenses their stupid how I am, kid. Um, yeah, I would go down with the temperature so it looks a little bit cooler. I will also go down with the tint, so because I want a little green cast for the orga, and it's always not easy to prepare the image when compared to the other sky image, but it's completely different I have to make some guessing and see how it looks. And in photo shop I will have to make some further adjustments. So the two images fit together perfectly. So you don't wonder if I make some changes later as well. Okay, then I will go down with the exposure because it needs to be a dark image since there waas I'm uhm filling in some nights, guy, you know, maybe some contrast I will pull up the shadows again because I don't want to become them blocked completely. It's important we go down with clarity, so it looks a little bit more misty. I will also go down with vipers because I don't want this guy to be to blue and now will go up if the whites a bit to maintain some contrast something like that. And then I will go down with weapons even more to reduce the blue blue cast. I think that's OK so far like a said, it would probably readjusted later. Ah, let's see, sharpening applied removed chromatic operations and I will enable profile corrections. But I don't want to remove that much off the vineyard ing. Only something like 35 It's fine for me. Okay? Let me don't condone this guy a bit more with a radiant tool. Grady in filter. Now it's slower because I applied the profile correction. I should have done this year first, let rooms. Really? Yeah, picky about this yet. It's fine. And now we grow up with the weights again to maintain the contrast, and I will go down before I was even more. Something like this looks good to me. And then I will start with the over over image. There's not much to be done there just some bridge inning and some contrast. Um, I said I picked this one here. Yep, I would go dio to chemical neutral. First of all, apply critic operational removal. There's not much noise in this guy because I shot in Hawaii. So, like I said, 640 in this case. So that's really cool on. And yeah, well, just cool it down a smidge, introduced some greens, make them a bit stronger, brighten it up a smidge. Harlow lights the way. It's some clarity. Contrast. Reduce the blues. Maybe not that much. Something like this is OK. It's a bit too bright before the worker for it later, but that looks Yeah, it looks OK. Something like that. Okay, then they will move to the second file. Ah, it's this one. And I would just mark this year than I control. Click on this. And then I click sing settings and I have to pick all the boxes here, check all the boxes because I want to it. I think everything there we have it nice. Looks good. Okay. No, we will move into Photoshopped. I think it was this file. Yeah, so we'll pick this one. This and that. Right? Click in Adobe Photo shop CC. Let's wait a second until it's loading, and then we can start before blending. So here we are and put us up, Uh, close to see it first. Okay, he are the three files, the tour, raw images and also the base file here. And first of all level wake work with this because I have to prepare it and make some transforming to it on. And to start, I will first of all, make a copy of the background by pressing control Jake. And then I will make a crop. So to do this, I will firstly, first sumo presi to come to the crop tool. And I want 16 by 10 ratio. Kind of like this issue on. That's what I would pick here. But then I will drag it up because I want to lose a lot off the foreground. Since I don't need it. Just I pointed the camera down to have some bigger looking mountains. Uh, yeah, something like that is Okay, never press. Enter. Answer. Okay. And now I will increase the size of the sky. Seemed like we did in the other video on the other image, I will pick the wreck tenure. Rectangular marquee tool on. Um, you make a selection here, Press control T and then I will drag it up. That's not enough space. Let me through. Half the size. Enter on the throat again. Enter. There we are. No, we have some space in the sky. And I'm also dragon a bit down here to make the mountains look a bit bigger. Something like that. Enter again. Now we'll make a new layer control shift Eve. I will stamp this year because I don't need it, Mr. Fall, they will drag around with my lasso tool again shift a five content of air filled and there should be gotten. It looks good. And no, I will do the same thing here, trying around the last. So true. So shift five content of their fill. Ah, no. Made some mistake down here and do it again. So it's it happens that you have to redo it sometimes. That's okay. Chicken. Okay. And then I will also remove stick here. Perfect. It looks good. Maybe there's a bit took right here. This spot. Let's see. Foot Photo shop is offering. I will darken it down. Any raise later. Yeah, that's okay. Oh, sorry. Let me drink it down a bit more. Something like that to me. Okay, then I will merge those two and call it. No, let me. Magical. Let completely let the image because this is my base image. Anyway, a normal double check if I have some weird spots in the sky left so we'll go to filter come over all filter. Ah, spot removal. Looks everything Okay? That's just some stars here, but that's fine. Here's a spot left. Okay, Looks good. And I will have to make a selection because I only want to replace the sky, of course. And to this I could just quickly use my quick selectable by pressing W and then dragged here. But it's not that. Yeah, let's say precise doing this. Since there's a lot of blue space here in this guy, I will try to lose. Use a general here to make the selection. So I will pick the Blue Channel. Of course, There you see the sky, which is white. And then I will control click on it to make the selection off this blue channel. And when I pressed this button here, I save it as a separated channel and now it can further enhance it by person controlled l. And now I will make some really strong adjustments to separate this guy nicely from the foreground. Something like that. That's a bit to struggle. This looks OK. Let's see if it actually works. And now I have this really strong adjustment and I will pick my quicks electoral. I went there. You see it? It was a bit easier. No. And now I just have to find tune it and all the duties of my lasso tool. But pressing l And there you see this plus sign here. That means I will add something to the selection, but I actually want to remove something cause it's elected a bit too much here. So and to get this plus and minus, you have to select this button up here you see to the left and when I pressed all to you see the miners than I can remove something, and now I will simply drag around the mountain here. My welcome templates. And then I will draw a year to close it There, you see, I also know that here it doesn't have to be too precise because I will soft in the sky down here anyway because I don't want it to look too harsh and too obvious. It's double check, assuming a bit more. There's some mistakes. You also there. That's double trick you again. The's fine things here are okay. It's not too big of a deal when there's snow. Of course, it's difficult to separate it from this guy, so yeah, photo shop is really good, but not that good. But with the support off the luminosity mask, it makes it at least a little bit. Makes it a least a little bit easier. Okay? Also, here you see there the most problems here with the snow. He Yeah, it's a bit boring off boring work, but it has to be done. Otherwise it will just look viewed when I place in the sky. The welcome tablet really helps here. Because with the mouse Yeah, that's no fun. It's still manageable, of course. But like I said, it's easier template you see, every time when they're snow struggles, because there's no clear separation to the sky. And here, this mountain, of course. - Mm . No, not satisfied. Completely have add something here, you know? Move. Yeah, I was softening out anyway, here for brush, but Okay, Good. I think it's OK so far. Yeah. Is that amount in here? I can see it. I think I had something here. Yeah, something like that. And I will go to select safe selection. And I called it Sky Press Control de to remove it. And then I will delete this Alfa Channel. Otherwise it will Look, you don't need it anymore. There it is. And here's our base image. And now I have to remove some blew off the sky again. Since yet will make it look weird when there some blue blotchy areas in the mountain compared to the Europa. So I will use my hue saturation tool Here, go to my blunt mode color. And then I will pick the blues and de saturated, But I don't want it completely in the foreground as well. So impressed, Control. I inverted book press G for Ingredient and the never drank it down here. So something like this it looks good. And I was murdered. That's my base file. Like I said, Okay, so so far, we're good here. No, we will go to the over files, and, um, I will merge them together. It's actually not complicated. I would just select the whole image by President control A and then control. See to copy. And the novel pasted here Control, we Here it is. And now we'll change the blend mode to lighten, So only the bright parts are showing through. But I think I want to do it. Um, in the opposite direction. No. With unlock this. Put it on top and they never pressed. Liked him. And there it is. And now they're some mistakes happening here. But that's okay. When I use a like rush, I can paint that out from Oh, no Wrong Earl. Wrong direction. Have used the black brush here on the bottom, and then I can paint that out. Yeah, there you see it, and it's okay when it's looking weird in the mountains. I don't care. I'm using this guy Onley anyway, who's, of course, want to keep their perfect. Now we'll merchants control all shift. You and I will make some further adjustments to it because it's a bit complicated now, since there are some mountains peeking up into the sky and I don't want them all in my image, of course. So I will make a selection first with the rectangular marquee tool. But I will pick some off the mountains here. No, no, First of all, controlled. The sorry will pick the whole image. Control a control T. Then I will pick my walk tool, and now I will first of all, direct the Aurora up a bit and also stretch it a bit. Here, there it's a bit tried an arrow. Now it's not easy. I will try my best. Something like that. Maybe point is to get the aroma up a bit higher. Maybe something like things like that. Let's see if how it looks. It's a bit trying to narrow like a set. And now I will make the selection of direct, angular marquee tool. And I will also pick some mountains. But that's okay. Something like that. Let's see if God loves control. See, for copy control read to paste. It seemed like on every computer. And now yeah, I have to play a little bit. You see, the colors don't match at all. But it's okay. I will readjusted in the second control T we'll drag it down. Here's Mitch Animals Dragon tone. Here, drink it up here. Uh, yeah, Let's see how it looks on Chris enter. So far, so good. And then I will use my mask. You control, click and mask it up here and there you see it and you see it looks stupid, but that's OK. Um, first of all have to step this part here out of the mountain. So I will. But I have to make it on this layer since I have to mask and I drag around here, I will only stamp this area anyway. That's cool. So shift five. Do you see? Looks good. And we want to do that here. Shifted five. Good. But I think I have to stretch it a bit more, don't you? You see there is a gap on. Let's see if I can close it with the stem tool. Oh, yeah. Okay. I'm not to stretch it. It's good like this. Okay. Perfect. Like it also here. I think the shape off the Aurora looks really nice. It's there. She was a content aware, So removed this mistake here It wasn't actually Mistake's just Photoshopped control set to roof. All said OK, But now I have to further refine it because you see that the mountain is way too bright and also the mountain here. So first of all, I will talk and down this exposure. So I will go to I will use my levels adjustment and I will talking it down when I put it between those are only adjusting this layer here. Some contrast It was something like that. They would also remove a bit of the green after blues I will go to filter, come over raw and have someone and some mage enter. And there would exposure here as well. You looks better way whether maybe the levels is a bit too much. No. And now I have to for the work of this mask. So I will group it and then Adam at White Mask. And I will paint with black here around for really soft brush around the mountain to smooth the effect out of it. Especially he had the horizon because it looks too harsh for me. Of course I wanted here, but I don't want it that strong here. Like a said to make it look natural, as natural as possible That say, like this. The good thing is there was some ah, last light left here on this side. So it fits in nicely with the last light here. Let's zoom in a bit and see There, you see? It looks really smooth now. I like it perfect. Maybe a bit stronger Arroyo here because they don't want to lose it completely. But I want to soft it down here. 2%. You see how it looks here off the mountain. Really nice and smooth because of the good selection we made awesome. Maybe one more breaststroke for black brush something like that. Not one. Okay, I don't want to lose too much off the Aurora down here, so let me at it. Okay? I think I'm fine. Well, for the work of the color balance, of course. Ah, first of all, let's add a bit more magenta to the bottom port. And don't woman up that much. Something that Okay, let's make a new layer control all shift e. And now there's a minor mistakes happening. Of course, I will foot over with the color. Like I said, this blending He looks really nice, in my opinion and also here. Perfect. But you saw before I merged those two layers together here and now I used the blend mode. Lightning enlighten enlightened means only the brighter parts from the image show through. But that's just not the Aurora. There's also the stars. And now I have doubled the stars here, and I have to fix that because it looks stupid there not many stars in the sky anyway, but still some of them are doubled. Now on I will remove them like I said, but with my spot healing brush middle Hartness something. And then I will just pick some off the double stars here. It's not possible to do it of all of them, because it takes ages but some obvious ones. Of course, he especially the bigger ones and also here and there loops. I didn't want to do that way. Fix it up your guess. But dont many stores here. So it's fine. Yep, I think. No, it's good. I don't like the story. Unit in the edge. Okay, I think that's looking good. Maybe I will work a bit more with the over. Ah, let's see a control shift. E make a selection here, Control. T walk, trade with you. Down touch. Let's see how it looks. No, I don't like it. Yeah, okay. Well, just to try, I will keep it How it is. You see, you picked this part here and merchant in here nicely. And now I will, um, much those together. I would call it Aurora. And now we can continue with our other adjustments. OK, but first of all, let me make another quick adjustment. I want to make the mountains a bit bigger. So controlled t and then I will stretch the image. It's Mitch just a little bit something like that. It's OK. Press enter, and yeah, there we are. Perfect. So I also want to do is removing some off those, um, grasses here blowing in the wind there a little bit annoying. So I will try some stamping on a new layer, See how it looks. It looks bad that I will leave them. I don't want to remove all of them because I want to show that it was windy and they will darken it down a bit more anyway. But some of them are a little bit too big for my opinion, in my opinion, uh, especially the ones here directly in the foreground. And that's better. Okay. I mean much this together. And I would call it Aurora, plus warping stamp pain, a lot of things to do. Okay. So first of all, I will blur the image of my order in effect, So I will press control Old shift you for new layer. Call it Orton Effect. Go to filter Blur. Gaussian blur 35% 35 pixels, 15% amount. Because there's now will also blur this mountain a little bit, which looks good. So it's not too harsh compared to the sky I pasted in just good. And then I will go to image adjustments, brightness, contrast, toe bump up the contrast all sort of greatness. Um, there is the effect. Nice. Also talking to the image a little bit, which is looking good. Okay, second adjustment will be a nick filter called colorize. I also showed you this one in the other radio already and you're on the other image. I really like to use this on some night sky images, awesome images which I want to look like There were taken in the night And this one is of course, also one of those. And first of all, I will pick a color that will take a really dark color with some blues in it and also some aretz. So it's not too cold that have oppressed. Okay, there you see it really like it But it's too strong. Of course we pick a method. I think I will pick this one and then I will go up with shadows a touch and also when I will leave the highlights. But I will go down with this drink. When you turn it off There you see the difference. I like the effect, especially in the foreground. No, Chris. OK, Okay. Nice. And I don't want it in the normal lights completely. So I will make a luminosity mask. Select all the lights, masks. I picked this one and use it as a mask here. Then I will inverted because I don't want it on the the aroma. Like I said, for the work of mid bike with control l And then I will make it even more. Just been to a big adjustment. Bigger masks or And there you see it. Now it's not affecting the Aurora that much anymore. Unless this was called colorize. So perfect. And the next filter will be the my favorite one pro contrast to get some midtown contrast and some punch into give Mitch. No, I blew It'd a bit too much. So getting some punches. Not that. And it's also work of the color caste. Let's see what I can do. Maybe something like it. Yeah, that looks nice. Press. OK, Perfect. You see the difference? Some nice midterm contrast happening here. Very cool. Okay. I really like how it is looking now. Perfect. Ah, no adjustment will be my dark and light and center filter on the bright in some parts and also talking some of them. I want to the shape of the vineyard to be horizontal, and I will pick. This is my middle Well, let's say here and always redo it. Of course, it's a good thing I don't want to darken this guy that much, but I want to be right in the middle part here, some bigger shape. Something like that. Press. OK, and now it's a bit too dark on the bottom on the top story. I will remove some of the effect up here if a mask radiant, black, radiant and the Nevil dragged here. So it's not that strong. Appear in the sky and the top of the skies a bit too dark for me anyway. So I will know. Make another layer control old shift e. Call it Kummerow wrong, converted to a smart object so I can always go back. I could also do this if the Knicks filters, but I'm comfortable off them so I don't need to. It takes a while to the horrendous. Okay, there it is. I know. Let's go filter. Come over raw and I will pick a greedy int the bigger of course, first greedy INTs and I will. Explosion of boost should be enough something like that. When I go up here for the Green Party, it doesn't start 100% right away into bits moved in. That's a good thing. Then I can go even higher of my adjustment. Something like that. Okay, I also want to work with the whites to get a bit more contrast into the image. And also, if the blues but warmer also been wrong. Magenta looking. I want to remove some off the y Prince such to blue, and that's some contrast. Brighten up a bit of to do brighten some off the doings, but with White. So it's called trustee. Here's another Grady int. Try it down here, go with Maybe not that much. 45. And some contrast should be enough. Perfect. No press OK and see how it looks. Enough nice contrast. If it's too strong up here in the sky, I can simply add a layer mask and to repeat the same thing. But maybe with 50% black radiant no, Maybe that's even too much. Let's say 30% And then I will drag down here and also stop a bit more here on top sorts. Mover. Yeah, that looks good. Watch the master. You see Really soft like that. You Okay, so one more nick filter. I like to use those, especially on Nike at night. Images. I will pick the classical soft focus. What's happening at the want Not currently available way. Let me make a new layer on finishing work. Yeah, I will merge them together. Then it's not possible on top of his model Object. Forgot that. Yeah. Now it's softening the highlights. Really nice. Let's see what I have here. I don't want diffusion. I want soft focus. No. One I think I want Think about the last one I see. Mm. It's personal taste, of course, and let me pick this one. And it will go down if capacity because it's way too strong. Something like 45% that I will click. OK, that soft ins, the highlights and also the transference, the transitions transition. So it's a bit more, more so it looks a bit more smooth, like this effect There, you see? Really nice. It's moved out a bit off the mountain, especially the snow and also the northern lights and delight here, which makes it like it's glowing really nice globe from your aura. Nor will much those Mergel ears on. There we are. And no, there's not much to be done anymore. In my opinion, I would probably use a levels adjustment layer now and get some highlights in here. And also some mid tones. Yeah, maybe a bit more mature owns and open up some of the shadows. Andi No, I think it's getting a bit to contrast. He but see controlled shifty disappears. Yeah, it's a bit too much. 31st percent should be good. Maybe even less. 65. We'll call it contrast. And now I will try to make this look even more smooth. Yes, this area. So I will use another levels adjustment and direct on your past air that tones I will make . It took black mask and they never pick a white color so I can paint white, and then I will dark in those mountains. I think that looks better. In my opinion, I might also do that here. Okay, I think it's a bit too dark at this corner so I will just go to the came over, ruffled her again. Uhm soo Mount, pick my Grady int and increase the side here a little bit. Let's see how that looks. Yeah, I think it looks better. Okay. Call this dark and corners this. Okay, let me take a look. It started for color adjustment will go to color balance. And then I will pick the shadows and at some blue to them. And also some magenta. Of course. Now I will also go over the highlights and add some greens on to the Midtown. Several at some yellows. That's not too blue. That looks really cool. Okay, Not much more to be done. Actually, maybe I will just increase the glow on this side of it with a new layer. A soft light blend mode, bigger collar. Which issue in the sky? Maybe not that blue. Some rest light year of the day. Maybe Then I will see how it looks. I will try it. Yeah, it's not too bad. I don't want it on the mountain completely. So I will mask it out of black. This area, but the rest it's OK. Makes it look a bit more soft. We'll call this light painting even though it's really soft painting. And I will go down with the capacity that would add another mask. But with the normal blend mode also picked this color. And then I will make this stroke here again. So it's a bit softer. You're that looks nice and then remove it here in the foreground cause it's not needed. There also human. Ah, a little bit too strong. Well, let me expand it. Let me try in a press control t. No, I can expend this effect here. Something like that. Not speak. Louis. Total shift E. Okay. Bit too strong. It's something like 45. Maybe if it doesn't look good, I can always undo it. But I think kind of like the effect. Maybe it's a bit too, too much, which is something like that. Yeah, that looks nice. Okay. What else? No. Maybe one more levels adjustment to enhance this or over here. Why rush 10% capacity. Really soft edge? Uh huh. That looks ok. No. Call it like to aurora, and it's low commit tones, mask levels. It spoke of the contrast coming to dark or to contrast E Nick and, of course, reduced capacity. But I think it looks OK, Mick Tone contrast, but its capacity a little bit and one more color adjustment. Color balance, a bit more yellow and magenta and some highlights to green because I'm green to the highlights. Okay, Almost done. One more level. I'm watching only the foreground because I want to have some contrast here in the dunes. 30% opacity on the level paint in this effect here in the foreground. Maybe also a bit here in this part of the sky. Okay, contrast. Ah, control all shift E. That's chicken before Kim over raw filter. How it looks, it's too green or two blue. I can add some magenta and some yellow and maybe also some oval contrast as a finishing step. And some Voight's. Maybe not everywhere. Just here. 19. Final Words: Okay, guys, Time for the final words. You learned a lot now in my masterclass Congress for finishing it. I'm really proud of you. And like a said in the beginning, show me your class project. I want to see what you can achieve with those techniques you just learned in this master class. And if you have questions, feel free to contact me. I'm always there to help. And if you like the class, maybe you consider giving me a positive review. It helps me. And it also helps you because I can upload more club more classes here on sculpture. So, like I said again, thanks a lot for watching. I hope you enjoyed it and see you next time by