Post Processing Vol1 - Photoshop Masterclass for your Landscape and Nature Photography | Daniel Gastager | Skillshare

Post Processing Vol1 - Photoshop Masterclass for your Landscape and Nature Photography

Daniel Gastager, Professional Landscape Photographer

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12 Lessons (5h 25m)
    • 1. Photoshop Masterclass Intro

    • 2. Overview - Masterclass + Bonus Chapters

    • 3. RAW Preparation in Adobe Lightroom

    • 4. Panorama Editing in Adobe Photoshop

    • 5. Creating a Dreamy Look - The Orton Effect

    • 6. Enhancing Detail + Nik Collection

    • 7. Advanced Contrast Adjustment with Luminosity Masks

    • 8. Color Adjustments + Color Contrast

    • 9. Web Sharpening Techniques

    • 10. Bonus Video No. 1 - Editing from start to finish

    • 11. Bonus Video No. 2 - Editing from start to finish

    • 12. Bonus Video No. 3 - Editing from start to finish


About This Class

In this class, you will learn all the Photoshop techniques you need to know to bump your images to the next level. I will show you in seven different chapters how I edit one of my favorite pictures from start to finish. I think it's beneficial to see which techniques are used to process a file from the beginning to the end. All the steps can be used to improve your landscape photography.

Video No. 1:

Here I will show you how I prepare my RAW files in Adobe Lightroom for further Adjustments in Adobe Photoshop.

Video No. 2:

In this chapter, you will learn how I use Adobe Photoshop to create one big panoramic image out of six RAW files and how I further enhance the perspective using the warp tool.

Video No. 3:

Did you ever wonder why some images have this unique look, which makes them "glow"? In this chapter, you will learn three ways how to create a dreamy and moody look on your photos using the Orton Effect.

Video No. 4:

Here I will show you how to enhance details in your image and how to use the Nik Collection to improve contrast and colors.

Video No. 5:

In this chapter, you will learn my advanced steps to improve contrast using luminosity masks. I will show you how to create those masks and how to work locally on your images.

Video No. 6:

Color is one of the most critical parts of an image, and that's the reason why I dedicated to spending a whole chapter in this tutorial. You will learn everything about color contrast and how you make local color adjustments.

Video No. 7:

In this final video, you will learn my unique web sharpening technique, so your images look the best in any web browser for your audience worldwide.

Almost three hours of bonus content!

Watch how I process three of my favorite images from start to finish.


1. Photoshop Masterclass Intro: Hey, guys, My name is Daniel. I'm a professional landscape photographer from Bavaria and Germany, and I would like to welcome your toe my post processing masterclass for landscape. - And this tutorial you will earn the right techniques toe you're going landscape images, toe hole level seven different chapters. I will show you from scratch how I process one of my favorite winter images from start to finish. First of all, I will show you how I prepare six different raw files in Adobe Light room for further adjustments and Photoshopped to create one big panorama. After that, I will show you how I achieved one of my favorite techniques called the order in effect, to get this dreamy yet moody look in your images. The biggest topic in this tutorial will be luminosity masking. I will show you from scratch how I create the masks. How will further enhance them to get really locally on your image and way will use the mostly for contrast adjustments and color adjustments for some really precise editing. At the end, we will further fine tune our image with my saturation masking technique to show you how I create those masks and at the end, you will see how I shop in my images for the Web to get the best presentation on any rep Explorer and for your bureaus worldwide programs use our adobe light from C C. Adobe Photo Shop C C and new collection by Guru. My name is Daniel Flash, aka I'm, a professional landscape photographer for over six years now, and I'm using photo shop on a daily basis in 2016. I want the German National Award at the Sony World Photography Awards and the image I'm showing you guys here is my winning image, which made it made it really easy for me to create a tutorial, You guys, to see my for shell techniques. And now I wish you a lot of fun with my tutorial. I hope you will learn something new and that he could use to techniques on your own image. So, like a said, have fun and see you later Bye 2. Overview - Masterclass + Bonus Chapters: Hey, guys, Welcome to my Photoshopped masterclass for landscape and nature photographers. Thank you very much for watching my tutorial in this short chapter here. I want to give you a quick overlook about what you can expect from my course. I will show you the different chapters, what you will actually learn and the example Images. So it's just jump right into it here. Okay, so the main topic off this tutorial will be this image. I will show you in seven different chapters how I like to edit my images. So you were basically learned my entire digital workflow, and I made a quick overlook here about what you can expect. Really simple. But it's easier when you can read it, in my opinion. So first of all, we will work on the raw in adobe light room. I don't make many adjustments in camera raw. Simply prepare my images for photo shop later on, and then we will stitch the panorama and also warp it a little bit, so it it's more pleasing to the eye. So if you're familiar with light room and you only want to learn for the shop stuff, you'd better skip those two chapters, but it's still interesting. Interesting. All right, then, in the third chapter, we will get started. If the photo shop stuff So there you will learn how to create a dreamy look on your images . I will show you, Ah, three raise to do that. It's called the open effect, and after that we will talk about enhancing detail. And also three or four filters elect to use from the new collection. You don't have to use the new collection. I'm just showing you. Yeah, it's actually quite powerful, but it's not a must must have. Okay, and the fifth chapter there we will go in deeper into contrast adjustments, using luminosity masks and also simple AM asks. And in the sixth chapter, the same thing just with color. And in the last you will see how I like to shop in my images for about it's important to create some nice rep output, in my opinion. So to wrap it up, these are 27 chapters. We will talk about a lot of stuff, and you really hope you will like it. But it's not just that I also created a bonus tutorial, which I included in this here. So after you watched Ah, me editing this image don't be. Yeah. Confused. We will just jump right into the editing, editing process off three other images because it's important, in my opinion, to see techniques used on different ones. Different shots. And so you will also see how I edit this image from Slovenia. It was a wonderful sunrise in autumn. And also this one from cellular ends force in Iceland. One of my favorite images and also one from northern Norway. So you will get actually four example images and you will see how it work on them, using my techniques and demonstrating here this master class. So yeah, I really hope you like it. And yeah, I think enough talking. Let's get started. So see with their guys. Bye bye. 3. RAW Preparation in Adobe Lightroom: in the first chapter here, I will show you how I process. These are all files. I prepare them for photo shop. I will show you my first steps I'm making here and in the other chapters, then I will show you how I make further adjustments. First of all, how emerged the image in a photo shop to a whole panorama and they never show you all my contrast Adjustments, color adjustments and so on. Ah, the video will be or the video will have seven chapters. But now, in the 1st 1 and like a set here, I want to show you my first steps in light room. And that's what I will do now. So let's just get started to do this. I will first pick the six raw files because here you can see the final image was, of course, of course, we have to get there. So, um, I will use this year. Yep. And I remarked all six with control so I can synchronize them so I don't have to make the adjustments to all images or to every single image leaders. And, uh, yeah, here's the 1st 1 already. And when I go to the develop, Marshall, if the you can see all the options I could do. And the first thing is, I always check the history of the beginning. Of course. Do this in the field already, But I will do it in post again. And here you can see the image is a little bit too dark. Present the left side of the dark tones and on the right side of the bright towns. But this wasn't purpose, since there were many clouds with some light spots where the sun was shining through the evening light came through. It was a really contrast is seen. And yeah, it was hard to capture the whole information and one in one frame, and I didn't want to break it. So I have to under exposed the image of it. But I used a Nikon D six tenant. The sensor from this cameras really amazing. So it helped me a lot to capture the information. It has a really high dynamic range. So this case, it's no problem when I slightly under exposed because I can always bring the shadows back in post process post processing here. If you use another camera, something that Canada or so on you maybe have to use a graduated filter or you have to bracket. But in this case I didn't. So I will show you my workflow based on a single exposure. The first thing I always do is I go to the camera calibration section and there I checked the profiles. I have three favorite ones. It's Adobe Standard Camera Neutral and camera standard, and I mostly used camera neutral because it has the best effect for me. When I click on it, I will show you what I mean. Here you see, it reduces the overall contrast when you check the history. Graham. Now I still have a lot of dark towns, but there aren't any lost informations anymore because I have no Blinky is here and the colors are a little bit softer. Also, I like this effect, and that's what I use most of the time. I like I said, I have three ones because sometimes I used the other ones also just out of interest. I will click on camera Standard also, and I see No, it's too dark. I don't like it, so I stick with camera neutral, perfect and What I also like to do here in the camera calibration section is I work with the saturation in the blue tones because I don't like the vibrance and saturation slider that much. So I increase my color down here. And since I like colorful images, I your always give it a try and bump it up of it. Let's start of something in the fifties and there you see it increases the blue tones nicely. Not too strong, but it makes the image Herbert Cooler. That's what I want. Since it was a really cold evening, I want to enhance the mood in this image. And like I said in that room, light room is just a starting point that will do this later on in Photoshopped even more. But it's good to get some. Yeah, good beginning. I could always readjusted later if I want tohave more color or if I want to dial it back a bit. But something in the fifties now is fine for me. It also works with non blue images. Of course, when you have some sun rays or something, it also increases the colors reunites. Just give it a try. Okay, the next thing is I will go to the basic tap and first of all, I will increase the shadows because like I said, it's too dark. Something in the sixties. Maybe. I mean Asuman, you see, there's almost no noise. The Nikon sensor is really good. In that case, you see it perfect. Then I will increase your wall exposure. It was a little bit too dark, but like a set of wasn't purpose. You know something like this. And then I will go down with the highlights again because I want to get back detail. He in the clouds. Something around here depends on do you much. Of course. In this case it helps. Ah, OK, looks good. They never bump up clarity a bit. It brings in some mid tone contrast and also makes the image look a little bit CRISPR. But I don't want to overdo it because I want to do too much. You see, it starts to look really crunchy, and I don't want that. I want to keep the soft mood because of the low clouds and misty, misty kind of feeling misty air. So I have a stick somewhere close to 10. I always use only 10 to 20 Not much more. The vibrance and saturation ever leave in peace. Then I can go up with the contrast of it. If I want the overall contrast. I don't do it too much because I'm always watching for the history. Graham. I like to keep some space on the left on the right side. The image will look a little bit flat then, but it's OK because I wouldn't make the final contrast adjustments in photo shop. And I don't want to overdo it in light room already. So I keep the informations on the left, among the right. Okay. And now I will work with the temperature because I want to cool and down the image a bit. Since it was a really cold evening, I want to enhance that mood. Something around here and also will bring in some magenta because I like how it works together of blue tones. Yep, that's good. Perfect. I like this move. Now The next thing is, I will use a graduated filter and want to bring in some brightness in the reflection and also dark down the foreground of it. So first of all, I really increased the bites. Then I will track the filter here. I always start somewhere here in the middle because then I see 100% of the effect down here . When I started at the bottom, I never see 100% off the effect because it starts to soft in out already. Because I don't want that I will start somewhere here and then I can always And then I can always readjusted if I want. I don't want it to have it. I want I don't want it in the mountain just here. So go. But down here and somewhere here, okay? And they never lower the exposure because, like I said, I want to talk and down the foreground because in my opinion, reflections should always be darker than the subject There, reflecting advisable look unrealistic. And when you have a darker foreground and the background, especially with reflections like I said, you will get a mawr dimension in the image since the skies usually always brighter than the foreground. And it was already shadow that there were a lot of shadows here. So I want to keep that also grow up with the shadows just a bit so it doesn't get to doctors of this adjustment. Okay, minutes it on off, You see? Slight. But its a difference. Maybe. Want to get back some brightness, something like that. You have to play yourself until you like it. Okay, that looks good. Then I will close this here May. Oh, wait. Maybe I will go back to the highlights just a little bit and up of blacks to not get too much contrast. Okay, Perfect. The next step is shopping. I go to the detail section that have picked this thing here to magnify and click on some um really? Yeah. Some detailed place in the image somewhere here can also go up 100%. And there you already see it looks really Chris because of the snow on the trees. But I want to do some pre sharpening and I always do the same. It's something in the forties and the fifties in and at the amount they never go down of the radius because I don't want to strong. And then I grew up with the detail. And then I will use this masking function by pressing Ault and using this slider so I can get the effect out off some parts, especially here in the sky. The black parts are without the effect and the white parts of if the effect. Because I want to keep soft pictures, actually soft something the clouds. So here looks OK. Go in. Get nice and crisp on the never go with some lumens. Luminous noise reduction Because just in case there's some noise in the sky left. I will remove it a little bit. Okay, that's fine. For me, The last step is the late let's corrections. I will always do this at the end because sorry, I always do this at the end because it slows down light room when you use it first. So now I click on it there, you see? Yes, It removes a lot off distortion. Ah, you see, my information's here. I used a Nikon 16 to 35 lens. It's a good lands, but it has a lot of distortions. So I like to enable this. I also will remove the chromatic aberrations. But I don't like the vin getting. I wanted a bit darker at the edges. Soy don't want it to remove all of it. Okay. The material Yeah, right Function always tried the level. Everything in the field, but especially for Panorama. It's not always easy. And it was also kind. And I was also know How are you? Ah, yeah, All those. Okay. Perfect. Now I will synchronize all the files and then I will double check because, like I said it on 12 I don't want to just every single one of it. And yeah, that's better. OK, here. I marked them already. Now the press sink and I will No, sorry. I will press sync settings. My bed. Okay, now I check the boxes. They're all check. That's good. Then I press synchronize. And now lateral light room will work for me. No, I can double check. I always watch the history, Graham. Because it happened can happen that some parts will get to brighter. Too dark. It's chick. And it looks still good. Yeah. I also find you have bright apart see in the sky. But it's okay. Okay, also Good. Nice. Okay. I'm really satisfied with that. And now I'm actually done with the first chapter. I prepared all the raw files for for the shop and in the next video I will show you how I merged them together to a single frame Panorama. And I will also show you how I make some further, um, corrections. Let's say, um, some perspective adjustments because I never liked the The unit said I never liked the output Photo Shop offers me at the beginning. I always like to make some further tweaks, so the image looks good again, but that's what I will show you in the next video. 4. Panorama Editing in Adobe Photoshop: This is Chapter two. Now here will show you how emerged to six raw files together in voter shop. And I will also make some additional perspective adjustments and also some stamping to get started. I will right click on this image here. Then I go to edit at it in Merge to Panorama in photo shop. No one will wait until the fires open up and then I can start the merging panorama process . Okay, here it is, and Photoshopped gives us several functions and I always choose the last one. Or, let's say, 90% of the time I choose toe function repetition. I tried all off them and I like this one the most. Because there you don't have any weird. Let's say you have less distortions and a better perspective than in the other options. You can, of course, try it for yourself. Which one you like the best? Maybe order or cylindrical? That's also not too bad. But like I said, I like rep position the most, and that's what I will pick Now, here you can see the six files, Then I pick blend images together and then I click OK and wait until photo shop. It's done. Takes a while. Okay, here it is. And you concede that it actually did a pretty good job. When I assume out a bit, you can see some white lines here. There were us, the emerging done. And when I assuming I will check the shoreline if there are any miss takes. But I see it blended really well. Also here on the right side and also here on the left side looks good on is more out. I will check the blending lines again. And I see you also. Everything is good, but down here there's a little mistake. You see, that didn't blend the stone Really good. But that doesn't matter because I will do some cropping anyways. Since I don't like the frame how it is right now, I always make one or two images more in the field. So have some space left to make some cropping and six files here. Now I have plenty off megapixels, so I can be creative and get it how I like. But first of all, I will merge those layers together so the file won't get too big. Click on flatten image, okay. And the first thing I will do is I will make some perspective adjustments, uh, to do this, I press control J So I have I have a copy of the background layer. I don't want to destroy the He had a master layer here, always through it on a copy. And first of all, I see that the mountain is a little bit too small now. And I also don't like the houses here on the right side. And I also don't like some parts on the left side and also on the bottom, so I don't I won't just crop it away. I will make some perspective tweaks. And to do this, I have pressed controlled T. Now I get the free transform Mom option. And now I can pull on the lines here. It's on there on the edges to, um, further work with the perspective. And there you see, the mountain gets a bit bigger again. And since I have plenty of pixels left like I said, it's no problem when I do this, I won't hurt the image much. I only do it when I have ah panorama because with a single row file, I'm a little bit scared that I will lose too many pixels and the same time I lose sharpness . But in this case, it's fine. Okay, Now I will get rid of the houses here. Maybe something like this, Okay? It's always, um, tried an aero. I'm trying things, and then I check if I like it or not. Okay, this looks good. And then here at the bottom, something like that. Press enter. Check how it looks. Now I see there's still need to get rid off this right side here. Okay? They think that okay, it's fine for now. Maybe I will, uh, stretch it a bit here. Okay, A little less here. Good. Now I will flatten it again so I can start over Chris Control J. And the next step will be some cropping elected 32 ratio. So I press Z and then a type in three two. It's easier to print. So that's the reason why I am trying to stick with this ratio. Of course, you could also pick a panorama or something like that. But in this case, I like it on now. It can work with the perspective a bit more here. Maybe something like this. Okay, let me just try Chris controlled t again to get rid of something down here. Uh, uh huh. And also, but here again, maybe here. Okay. Press enter. Yeah, that looks good to me. Now I have a bigger mountain. I like the framing. It's three to And the skies also good for me. And when I zoom in, you see, there's still a lot of pixels left, like the sharpness that looks good. You can always do it for your personal taste. Of course. Maybe you want less transformation and more cropping. That's fine. In this case, I like it. How it is. But it, of course, pens on the image depends on the image. Okay, Now will flatten it again. And I will try to straight in the horizon because it looks a bit to the left. Having that picked the ruler here, I can check it, and it's there. Maybe it's just a optical thing, but yeah, I will try something of a press control J to get a copy again. And then I go to filter camera raw filter, because in photo shop, CIA can open up this filter again, and I really like to try the right function here I go to lens corrections than upright. And I tried a different things. Yeah, maybe auto level. It doesn't look too bad. Maybe I tried this one here. Press OK, okay. I can also I can always do it again if I want Sarko again to camera raw filter because now it changed something. And now you have new points to where which light room can work with. Now you see, it does a bit different. A bit of a different job and now I don't like it anymore. No, maybe this chick? No. Although Okay, maybe let me tried. Tried an Earl like that, but Okay, I think it's Ah one more time came a role, the different ways to do it. But I like to do it this way. Uh, okay. This is not good. Maybe. No, we go back here with this story. See, You could also try something different. I can press control t again and then I hold down control and I picked this pointy and then I can change the perspective also, you see something like maybe press enter to save it. No, I have to check because there will be some optical issues here. Okay, First of all, let me check the horizon of the ruler on it Looks, uh I don't know. That emerged is down by a pressing control. All shift e Come over raw again. Let me go, toe. Maybe this is good. Yeah, That doesn't look too bad to me, I think. No, I'm satisfied yet. That looks fine. It always not easy with a panorama. Of course, there can always be some optical. Let's say distortion issues. But now I have to fix this little miss take up here. You see it when you watch this? It came because of the transformation. To do this, I will pick the lasso tool by pressing tell Then I will draw around. It's here. Uh, don't have to be too precise. Something like this the night go to edit. Um always have to search it because I have an action for it. Uh, it's Phil. There it is. And then I have content aware And the press. OK, there's a really good job there, you see? Perfect. No, I let me check the other actress here. Mr. Oops. Perceive what a magnified jewel and I think it's fine. Looks okay to me. Yeah. Okay. Let me check the bottom here too. But it looks good. Okay. When I'm already using the lasso tool, I would continue by to remove some off the sticks. You in the water when there are things which are interrupting me. Then I always removed them. So I press l And then I draw around here and I have a short cut food. It's a free you can make an action. Ah, but if you don't, then just go to edit Phil and then again content of air. But now I would just press a freezer. It goes faster. Okay, on here. And this cute too. It's your decision. Would you keep in the you mention what Not. Oops. Since it's a piece of artwork for me. So I always remove what? It's what iss distracting me. I just Okay, there is not a stick here, okay? It doesn't have to be too precise since it's in the water here. Okay, let me check the sky. If there are any spots to do this, I go to filter camera, raw filter. Then I click on the adjustment. No, the spot removal tool. And now I can click on his allies visualized spots. Now it opens me a contrast mask and you see, maybe No, I don't see any. Okay? No. Looks good. Now, I will remove this mistake here from blending the files together. Just draw around it. You see, there's a good job. Give you some more tot's. Yeah, it looks OK. Okay. Perfect. And now I will work with autistic. I have three options are used Mostly. I used the last version, but I could also use the stem tool, of course. And the spot removal toe by pressing J to get the spot removal as stem to and l the lasso tool. But I will. First of all, tribe of the last little Let's see. Okay. It doesn't look too bad for me. It doesn't have to be too precise, like I said. Okay, the reflection. It will be a bit more complicated, but it OK? No, by pressing control offset. Rosie, I can remove this. Just been and redo it. Okay? Like I said, I'm pressing a Frieda's my short cut. Uh, like, you see, it's not too bad. Yeah, I like what it did. Perfect. and when I zoom out again, you can see the image here looks good. Let me just double check everything. But I can't complain. I will flatten everything Now. Now press control J. And maybe I will try another perspective. Adjustments by pressing control. T Let's see if I can make this a little bit just a little. Okay, Perfect. Looks good. So I will flatten this again and that's it for this chapter. You saw that I merged d images together. Then I made some further perspective adjustments. It's always your choice how far you go. In this case. I like it how it is now. I also made some removing or let's say stamping. And now I'm done. In the next chapter, I will show you how I, uh and hence the mood in my images by using the old in effect, I have several versions to do that, and I will show you ever show you three off them, and it will also show you how you can further trust them. But like I said, that's it for this video. By now, 5. Creating a Dreamy Look - The Orton Effect: This is Chapter three. No, here I will show you how I create a misty, dreamy mood in my images. I have three ways to do this. I will show you each one, and it always depends on the image itself. Which one? I pick The technique is called Orton Effect. I'm sure you heard about it already. It helps you to get this misty mood back when you let's say, when you have low clouds and some fog or mist around, then you have this soft view soft light going on. And when you take a picture and they're all, you don't see it that much and it will get lost even more when you start sharpening the image and adding clarity and so on. So with this technique, I want to bring this back, and when you do it in a really settle way, the image really benefits of it. Of course. All right, let's say, in my opinion, and like I said, I have three techniques, three different ones and I will show you each one. I will start with the first, and to do this, I will copy it the background layer so I don't destroy this first layer here so I can always go back If I don't like it by pressing control J than ever bright in the image. I have an action for this so I don't have to do it all the time by myself. Then I will create a completely new layer by pressing control. All shift e here I will go to filter. Yeah, causing blur unknowable Blur the image to get this dreamy look. And it depends on the size off the file. How much radios to you use here when you have a really high resolution picture I pick and higher radius. And when you have a low resolution resolution picture, I pick a lower radius. In this case, it's a big one. So I picked a radius between 30 and 40. That's what I like the most. And in this case I picked the middle 35. So I press OK and now you can see it's way too bright. So I have to talk in it again. And to do this I will go to the blend mode, multiply and they never emerged again by pressing control. All shift e and I will call this final layer Orton effect. You may be number one, so we can. So we have a better overview and now will merge all three of them because I don't need them anymore. I just need this one perfect. And there it is, your turn effect. And you can see now that it's Rachel strong, of course, but that's no problem, because on this layer we can work with the capacity and it will go down to like, let's say, 25. There you see, it looks way better now. You have a dreamy effect when you turn it on and off there, you can see it, especially in the highlights, and that's what I wanted. But I assume in here, turn on off again. You can see that, and it's of course, always personal taste. You can play with the capacity until you like it. The problem is, or let's say, there can be a problem with the old in effect, because it's increases. The contrast. A swell and usually I only wanted in the highlights and in the mid tones, not in the dark tones, and to remove this effect from the docks, I will create a luminosity mask to block the effect out off the dark tones. To do this, I will add a white lay a mask so I could work with Ah, this mask, you know. And now I will create a luminosity mask in the future chapter, I will talk more about luminosity mask bud. Now, I can tell you it's a really precise and really fine detail mask, depending on the luminosity off the image. And to get this mask, I have to go to the channels panel up here and creating the mask out off the RGB channel. And to do this, I will control click on this and then it loads the first mask. Um, the first selection is always based on the highlights. So on the 50% and brighter parts off the image. And to see it better, I have to save this selection because now you can only see marching ends to do this by pressing this button here. Now you have an Alfa One channel to remove this selection. I press control D that I can just click on the channel here. You can see it. It looks like a black and white image now, but you can also see that it's a really fine detail mask because the ah brighter tones are the selection and the darker tones are the tones with out this election, and here you can see I have a lot of great tones as well, so it means it fellas out really nicely. Its's not just white and dark or white and black. It's There are a lot of tones in between, and so I get a really smooth mask and I can further work with this mask now because, like I said before, now I have the selection based on the highlights. But I want the opposite. I want the doctors to get the old in effect out off the darker parts of the image. And to do this, I will now control click on this channel here and now I have to inverted since I want the opposite. To do this, I press control shift I and now I get the other 50% off the tones. I was saved this again by pressing here and control de to remove the ends, and now you can see it selected the opposite the doctor tones. But I don't want the order in effect out off all the dark tones I wanted only out of the darkest ones. And now I can further work with this selection. I can refine it and I can shrink it down to get even darker parts. And to do this, I will first control click on it and then I will control all shift Click on it once and now it gets me even darker tones. I could save this now to check if I like it already. There, you see? Okay, it's even darker. But I wanted even more so. I will just continue with this. So I will control all shift click again and maybe even again that I will save it again. And here you see now I selected the really dark tones and I think I'm happy with it now I will make a selection by pressing control on it. Then I go on the white mask back to my image. I will pick a black color here and now I press all too backspace and now control de to remove the ends. And when I click on the masked by all clicking you see there's a really smooth a mask now and it blocks the effect out off the dark tones here, and I want to get it every. Let's say when I want to block it even more. I could further work with this. I can further work with this mask now. To do this, I would just control l click, and now I get the levels. And when I used the rights, the lefts lighter. I can increase the dark tones here, and I will blocked the effect even more because some parts would get darker. And that means no effect. White means effect. You know what's damage Now? There you can see how it looks. And when I turned the mask on and off, you can see the difference. To do this, I shift click on it, and there you see, it's not strong, but it makes a difference when I assume in here to the stone and there, they never show you again. Here you see, it removes some off the contrast, which is good, because when I make further contrast adjustments mawr and Mawr, the image will get darker and darker. And I don't want this because at some point there's no way to get back and then it will be too dark. And so I try to not get the tones to dock at the beginning already. And that's the reason why I blocked the order in effect here in the Stones. I mean, I don't turned the whole mask. Let's say the whole layer on and off you concede a whole difference. There you see a really nice, dreamy effect. That's the first option to do it. I could also do it with the of the highlights. Of course. Let's say for some reason I don't want it in the highlights to happen. I could make a luminosity mask based based on the highlights and added here to block the effect. But now I don't want, so I will keep it. And now I will delete this those channels here because they make my file bigger and they will slow down for a shop I don't want. This can always re create them if I want. Okay, that's the first option. The next one will be quite similar. I will. First of all, I turn this off and then I will make a copy off the background layer by prison control. J. I will call it I will call it Orton Effect to then I would go to a footer. Yeah, Gaussian Blur. I will at the 35 pixels amount again. Okay, then I go down. If the opacity that let's say 25 And now I blurred the image but I lost contrast. I don't want to lose that much contrast to have to bring it back to do it I create a levels adjustment layer and I want this layer toe only interact with the Orton effect layer two not if the whole image and to do it I right click on this layer And then I create a clipping mask so it's get so it gets connected with this layer down beneath And now I can work with the contrast here can do it until I like it The strong I use the politic the stronger The contrast is the stronger the effect looks And now I can run with capacity But I don't want to just the a pass iti just from the levels layer. I want to adjust your passage off the whole effect. And to do this I will just group those two layers by pressing shift on the one beneath, so have both selected the naturist control G to get the group never called his group Bolton . And now I can remember if you're passivity and it will reduce the effect off the levels layer and off the autumn layer until I like it. And now I could could further work with the effect by adding a lay a mask. And now I could do the same. Like before. I can create a luminosity mask to get the effect out of some specific parts where I can just paint black on this wide layer toe, Remove the effect somewhere. Um, when I now you see up here that have 100% capacity when that press five, I get 50% would have press six, I get 60% and so on, and then I can remove it here. And there's another cool trick I want to show you. When you see my brush here, I can increase a decrease the brush size really easy by pressing control Ault and right clicking on the mouse. And when I drag it to the right and get a bigger brush, I mean, I've dragon to the left again. A smaller brush, and I can also just the hardness in this way. When I go up, I get a soft brush. When I go down, I get a harder brush. It's really easy when you get used to it. You can work really fast. Okay, In this case, I won't further work with this mask you because I already showed you before. But that's another version. Well, let's see another way to do it. Who turned it off again the next. And the last step is a filter in the Nick collection. I will open up the food, the menu here, and then I will open up glamour glow. That's the third way who wait until it loads the color effects pro for panel Here it ISS And on the right side here I have two different options and I see it's a German. Still, I will switching to English so you can understand it too. Okay, after just reopened it again, Syria didn't change it before, but yeah, it's a small step. Okay, there it is. Just wait. Okay. Now it there you see it in English. And now I have different options that the default is a saturation reduce I don't want this , so I will bring it back to zero. And now I can work with the glow. Depends on how much you like. You see, when I turned it up, it gets really, really dreaming. I don't like this. I usually leave it on the default. That's 27%. And the cool thing about this filters I can now work with the temperature off the globe. I could reduce it to make the image look even cooler, or I can increase the temperature to get warmer. But in this case, I don't like it. I usually use this option when I have a yeah, a really warm sunlight. Let's say there's a misty morning and some sun hitting the fog, then I like to enhance this mood with this filter here by adding some temperature to the globe that makes it really look, look cool. But this case, like I said, I don't want it because I want to keep the cool effect. And I could also work with the shadows if I want. That can block the effect out off the dark, warm tones and also out off the highlights if I like, But I will leave it on, default in the neck and press OK and Nick, the Nick filter will be at it in for show. There it is. The problem is now, like with the other options as well. I can readjust it if, let's say before, I didn't want to add that much blur or in this case, I want to redo it. I want to further work with the temperature or something. I can't go back. I can Oh, I can only work with the capacity or I can add a layer mask to get it out of some specific parts. That's also a That's a that's already a good ability off control or let's say good way to control the effect, but it can be even better, and to do to get the better effect lets it get the better control. I can, um, create a smart object because this smart object allows me to get back to the filter and readjusted. I don't use a smart object because it, um takes a lot of resource is so I mean, it slows down the process, and after some time you get used to it. You know what you like and then you don't have to readjust it that much. But at the beginning, it's a really good way to learn the different your options, and I will just quickly show you how it works to do it. I will press control J and then I right click on the layer to create and to convert it to a smart object. Here, you see it that I will wait until it's done like you can see it. It takes a while, and it's the reason why I don't do it much. Okay, here it is. And now I can open up the glamour glow filter again. Okay, here's a default. I will go zero here and then I just press OK, a zero on saturation and then it will. Yeah. Here you see it. There's the layer, and down here you see the color effects pro filter, and when you double click on it, it will reopen. And now you confer the rock. If it if you want. That's a really good way to get more control off the effect. If you want to do it like this, I can recommend it, of course. But right now I want I don't want to readjust it. I would just cancel it. And I could, of course, also add a layer a mask to this filter. And then I can further work with the brush if I want. Also, if the opacity, of course. Okay, so now I showed you my three ways to create your own effect. And like I said, it depends on the image which one? I like the most. Informer images like the glamour glow a lot in colder images. All it saying darker images. I like the other two effects more. In this case, I would just look now, which I like the most on their CE Glamoc Low Walton Group in effect. And I like the 1st 1 the most here. So I never for the work with this, so I will delete the other two. But like I said, it always depends on the image. But for now and good with this and I'm also done with the video. Now you saw three different ways to create demystify the misty look to your images and in the next chapter, then I will show you some mawr off my favorite Nick filters by Google and I will also show you a way to get back some detail in the image because when you blur it, you lose some off the details and I don't want this, so I would want to. So I want to get it back, and that's what I will show you. Like I said in the next chapter. 6. Enhancing Detail + Nik Collection: welcome to Chapter four now. No, I will show you how I, um, enhance the details in my image. And I will also show you some of my favorite Nick filters in the color FX pro for Penhall and the collection by Google. Ah, the reason why I do those filters first is that they all applied to a pixel based layer and like a showed you in the last video, I could make a smart object and then I have the ability to readjust the filters again. But after some time, I got yeah, let's say, really confident if the effects and now I already know how much I like it and not and adjusting the capacity and working with masks and gave me enough for gives me enough of control. But since Evan still like I said, they're applied to a pixel based layer, and when I do it first, that's OK because later on, I will make other adjustment layers and ah there. I want to have the ability to readjust them all the time because that's it. The taste can change. Or let's say you made a mistake or something, and you can always readjust the single adjustment layers. But when you put a pixel based layer in the middle off your workflow than the layers below can be readjusted. And that's the reason why I make all my pixel adjustments first. And first of all, I will work with the detail in this image because why, when I applied the order in effect, I, um, got this dreamy look I wanted. But I also lost some details since off because of the blur effect. And, um, to get this detail back, I will first make a new layer. I will stamp it. So I will press control all shift e And now I could converted into a smart object. But I won't Like I told you my reasons, I would call this layer detail and now I will goto filter Ah Scharping unsure up mask. And you can use this filter for sharpening your images. And you can also use it to, um and micro contrast. And that's what I want to do now. I always have the same settings. I have amount off 100% in the radius about 30 pixels, and I will press okay, No, to apply the effect. And now you can see it's way too strong. Obviously, I don't want this. So we go down with the capacity. So let's say 15. And when I zoom in now and turn it on and off that you can see it adds back some micro contrast. But it also enhances the oval contrast, because when you look here, some off the parts, you're getting a bit too dark for my taste. So I only want to apply this effect to the Midtown's not to the highlights, because it can happen that they're getting blown out and I don't want to to apply to the shadows just to the Mittal's. And to do this, I will create a luminosity mask to only have it in specific parts off the image. Andi, how do I get a middle mask? Well, what are mid tones? Mid tones are without the highlights and without the shadows. So I have to create a mask of out highlights and without shadows. And to do this, I will first click control, click on the arch of detail. There, have the selection based on the highlights, I will save it. Press control D. And there you see the mask. But Of course, I don't want to remove the effect of all the bright parts just off the really brightest parts. And to get there, I have to shrink this mask down, press control and then control all shift repressing a couple times. Let's say until there you saw that the month the ends got even more precise when I saved this. Now let me check. Ah, maybe even a bit more. So control all shift click again. I was saving it. And yes, that's okay for me. The next step will be the same just of the blacks with the doctors. So, Prescott, or I can actually just use this one control click on it, then I want the opposite. Since now we have the light owns so repressed control shift I to invert. Then I will save. This was control D. And there you see it. And of course, I don't want to remove the effect out of all the dark tones just off the darkest tones to have to shrink this mask down also. So control, click control old shift, and then click on it a couple times and see if I like it. Yep, that's okay. Maybe even one more. Let me check. Ah, yeah, I think I will take this one perfect. And to get the Midtown's, I now have to remove the highlights and the blacks from my overall image to get there. Every press control a so the whole image is selected. And now Aiken substrate the bright tones and the doctors by pressing control Ault. Now I get a little minus here on my mouse on the finger, and when I press on the highlights, they're getting removed. Eminent press in the shadows. They're getting removed as well. And now I can save this mask and controlled the And when I click on it there, you can see it. Most off, the mid tones are, Let's all the midterms are selected and only the dark tones and some off the highlights are less selected. They're not completely un selected, just less to have great tones in it. That means there's just a bit off the adjustment happening. That's exactly what I wanted. And of course I could further work of this mask. I could, of course, create another one also, by pressing control A and subtracting the, uh, not the brightest highlights, but the tones before I the mask. I safe before by pressing control a control cult. And then I will click on this mask and also the the other doctors here that I was saving too. Do you see it? The And maybe I like this selection even better. Yeah, good that I tried because I like this even more. Uh, sorry rule. Select this mask? No. Then it would apply it by adding a layer mask. And then I'll click on it and see the mask here. And that's how it looks. I mean that when I turn it on and off, you will see the difference. It will be really several, but adds up. How many, really? Several, Actually, since I have a lower opacity, it's of course, not strong, but let's just check it here. Shift clicking. And yet, when you look at the really darkest tones here there you see a difference. You can see it's stronger than they bump up the capacity. And now there you see it. When I turn off the mask, you won't get black halos around. The dog catches here with this mask. That's the reason why I use it. But I don't want it on such a high capacity. So I go down on 15% again. And when I turned the effect on enough completely, you can see the difference. Especially here in the trees in the mountain. Perfect. I like this. Ah, good. Now I will delete those masks again by selecting them all and then delete. And what I see now is that this edge on the mountain gets maybe a little bit too dark, turn it on and off that you can see it. So I want to paint out the effect, especially at this part. So I can just paint on this, uh, mask, you know? But when I do this, I will destroy the luminosity mask. Let me demonstrate your when I click on it. You see it better by pressing B to get the brush and then I want to paint black because I want to remove the effect. When a paint Here, there, you see, I destroy the selection. Let's say I, um I did it too much. I want to get back some of the detail every press X to get the white brush again. I mean, now paint here. You see Okay. I have mine pain, white paint, But I don't have the selection anymore. And I don't want this. So first, I will remove that again by prison control. All zit. Okay. To overcome this, I can group this adjustment by pressing control G. No, I have a group. Ever call it again? Detail group maybe. And then I can add a layer mask to the group. And now I can paint on this mask without destroying the luminosity selection below it. In its let me demonstrate you were paying black to remove the effect. Let's say 30% on then I will see it doesn't have to be strong. But like I said, I mean really make a lot of fine adjustments because they add up to my final output. And when I turn this on and off there, you can see it. It's a little bit. Maybe I could go with you a bit higher if capacity something like this. Within 10 of the one. Enough. I'm gonna turn the mask on enough that you can see the difference. And then the Manasseh the mask in the group will stay intact and you can see it. There is theater mask. That's a technique. I used a lot, actually. Okay, so let's zoom out. Perfect. Never would go down with the overall capacity a bit more because it doesn't want that much detail. It's personal taste. Okay, The next step ah, will be, ah, what will happen in the Nick Collection? I will show you my favorite filter. Still, not many, just some of them. Andi, I almost let's say A. I always use the same filters, but a different amounts, with some lower percentage off capacity and somewhere higher. It depends on the image, and I always start with the pro contrast for the first. Just click on the Hilton and you're here so it opens up, and that's a really intelligent filter. In my opinion, it kind of looks for the parts in the image, which need more contrast and leaves the other parts which have enough contrast alone. And it also brightens some parts of the image, and I use this filter only in a really low amount because you can overdo it really fast. And that's actually the clear with all the knick filters. So you have to watch out. Uh, this filter you have five sliders. Color, correct color, caste, correct contrast, dynamic contrast. And you can also work of shadows and highlights. The most powerful slider is that the name a contrast slider. This is the intelligent one day I was talking about, and I always use it in around between 10 and 25% and just show you Let's go up to like 23. And when I turn it on and off there, you can see the difference. It adds punch to the clouds. So I get more detail there, and it also brightened some off the darkest tones. There, you see, it had some really nice effect in my opinion, and you can overdo it really fast. So when I turned the effect up, you see the image starts to look, Really? You know, Saifi and I don't like this, so I always use a lower amount. Something in the twenties or 10%. Yeah, like I said, depends. No, I can correct the contrast a bit to remove something off the brightening. Here in the foreground, do it only in the law way, something around 5%. And while I'm enhancing the contrast, it can happen that the colors are getting a bit too strong. And to remove this color caste I can use this slider. Do you see when I use it, I get back my tones from before. Okay, I will tell her going off and there you can see the difference. Maybe it's a bit too strong overall, so I can click on here and there. Have a passively slider to remove some off the effect. Let's go. Let's say we're going all the 75%. Okay, Perfect. I like it. Novel press. Okay, toe, apply the effect. I could have created a smart object before so I can readjust this filter. But I don't like this, but for practicing instances, I recommend doing it perfects. And now I could even further justice effect here by just in the capacity. Or I could add a layer mask to ah, lock it from some parts with the image. But in this case, I don't want So you get the name. Ask again. Okay. Perfect. The next. In the next step, I will start working with the color already. Usually, I first to contrast adjustments and then color adjustments because about like I said before , I do my pixel based adjustments first, So I have to use this filter now already, and it's one of my favorite ones. Also, it's called Color Contrast Range. The cool thing about this filters, you can pick a specific color sewn and then the filter enhances the content. Let's say it increases the contrast in it, and I also use it in a really subtle way because you can overdo it really fast, like you can see now that's the default. I don't like it at all. So first of all, I would go down to zero in the contrast, and there's a little bugger. If it sometimes it can happen, then it doesn't move here because let's let me show you. And I go up to 88% and I go back to zero. Okay, now it works, of course, but it can happen that it doesn't have any effect. So I have to go down in brightness by 1%. So you remove this book just to let you know. Okay? And now I can pick a color range. I would just pick this lighter here, and I can slide across the range to until I get an effect which I like until, let's see. No, I start to get better. In my opinion, something around 200 3227 when I turned the effect on off so you can see the difference. It adds a slight blue cast, which I like, since it was a really cold evening. So it's goodbye, and I can't further enhanced this moot, and it also add some color to the the evening light. That's good Now. I could work with the color contrast itself. Aiken could increase the effect, or I could decrease the effect. But I always keep it'll default because that's enough for me. And now I confirmed a member of the capacity because yeah, it's maybe a bit too much. So I will go down to like, 65%. And while I'm here already, I will make another color adjustment to I don't use this filter all the time, but sometimes I like the effect and to add the other full time a click here at Filter and then I would go to brilliance and warm. You can find those filters in the landscape section here, Trillions, warmth and I will increase the one through 13%. I have to go to 13 because below there won't see any difference. Like you can see here. But at 13 you see the effect Here it is. Okay, that's too strong for me. So I will go down with the capacity to, let's say, 35. I just worked 45 years, something like that. I just want to add a slight McGinn magenta cast. Since there was evening light out there and it was the light faded across the landscape. And I don't want to remove this nice cast, so I will enhance it a bit with this filter. Yeah, 35 should be okay. Perfect. No, I will click. OK, to see the final effect takes a while on food safety image. Here we are. Let me turn this on and off to see the difference. You see, it's not strong, just a little bit, but it helps. Perfect. I would call this contrast color range plus one month. Okay. And now I will show you my last filter, which I use. And it's also called kind of contrast Filter. It's called dark and light and center. What it does is it darkens the borders off the image and at the same time it right and the middle of the image. And in this way you get a really cool effect and you change the mood in an image. And yeah, it's it's even getting off course. So it helps you to guide your eyes. But it also adds contrast in the dark in some parts and right in some other parts. And here I have it. And first of all, I can pick the shape off the vignette. It depends on the image. I can pick a vertical one or horizontal one. In this case, I want the work Medical one because I want to bright in the middle here on then I can place the center and I want to be the brightest parts to somewhere here. You can always read the route if I don't like it, okay? And I could also choose a different center size. Maybe, uh, close to default is mostly fine for me. And now I can. But what work of the border luminosity. Right now it's a bit too dark for me. So I will decrease the effect to around say, 25 I don't want to bright in the center that much. I would do it around 15. Maybe you're a bit less 21. Okay, Perfect. Now will apply this filter too. Then we will check how it looks. There it is. And like you can see, it brightened the mountain at the same time. It darkened the edges. And that really helps to guide your I I'm gonna turn it on and off there. You can see difference. A really, like this effect. Have darker clouds now and the same time that the mountainous eyes shining a bit more. Yeah, that's really cool. And when you don't like it in some parts, you could always work with the layer mask. Let's say it's a bit too dark. He and the stones. I could now add a layer mask by pressing the mass button. They never pressed. Be to get to my brush. I would pick a small brush and a really soft one. I showed you how it dealt with this before. A novel paint black with, let's say, 50% capacity. Zoom in through the parts where want to remove it somewhere here they can just painted it. I'm using a Wacom tablet for this. That really helps me to be really precise. First of all, I didn't give a mouse, but I Yeah, I bought this tablet. Took me about one or two weeks to get used to fit. And now I don't want to miss it anymore. Okay, that's good. And I will do the same with the stone here, just on the edges so it doesn't get to dog. Okay, that's good. Maybe turning on off perfect. Really good. Okay, Now I can group all those adjustments by shift clicking on them, compressing control. G and I would call it first adjustments. Just minutes. I'm gonna turn it on and off. You can see the difference starting point and how it looks Now, you see, I didn't overdo it. In my opinion, that just enhanced the mood. And it's just the first step. But now I'm done with my, um, Nick Tools. In the next video, I will show you how I further work with the contrast how I also use ah luminosity mask to enhance the contrast. And yeah, I will. After that I will show you also how I work with the colors in the image, But that's all step by step. For now. I'm done and yeah, I will see you in the next chapter. 7. Advanced Contrast Adjustment with Luminosity Masks: welcome to chip the five. In this video, I will show you how I enhanced the contrast in my image by using different, kind off masking and luminosity techniques. Um, I would just begin. Now, you see here what I did in the last video, I guess you're still know it. So I would just close to it and won't talk about it anymore. And the next step will be, um, okay, darkening adjustment. Because I want to dark in the foreground a bit because in my opinion, it looks better when the foreground is a bit darker than the background. Especially when you have reflections. Because then who look, that will make the image look a bit more realistic. And at the same time, it will create that. Because when I stood there, it was already really She There was another shade in the foreground already, only some light was hitting the peace, and the rest was kind of, you know, dark. But it was in shade, like I said, and I want to enhance this mood. And to do this I will go to my adjustment layers and then I will open up the levels adjustment, and I can work with the sliders here at the left. One is for doctors. The right one is for great tones. And this is for the mid tones. And that's what I will use. Now I will talk and you image. But I will only watch the foreground. Look, the wrist, the image, maybe something like that. Okay. And when I worked with the output level, I could I can stop the effect in the darkest tones. Show you here in a type of three. There you see, it will remove something. But I won't do it really much because I will do it in another way. One of the tours. Okay, I've been interned on off there. You can see a darkened image. Okay, I will call this No talkin foreground like a said. I only want the foreground. So I have to further adjusted. Of course. And to do this I will press G to get a greedy into. And then I will set it to 100% capacity. And I will now invert this mask to black by control I So I removed all the effect. And when I picked the color white with my Grady and I can now, um, drag it, Um, What I want and there it will have the effect. So let's say when I start here and I drag it up here, it'll darken the four round like you can see. And when I start here, then I will have 100% below it. And they never fade out into, you know, until the point for a stop. Some summer here and I can play with it. That's the cool thing. I can always to redo it until I like it. Something around you, maybe. And now it can happen. Or let's say most of the time happens that it dark in some parts too much, and I will overcome this with a in a little Minahasa team asked. First of all, let me play a bit more with the greedy into you somewhere around you. Maybe I can also work with your passage if I want, but for now and fine. When I watched the mask here, you can see it's a really soft one, and like I said now, I can further tweeted with a luminosity mask. I don't want to paint on this mass because then I will destroy the pain in the radiant like I showed you before. So I will group it by pressing control, G and then never call it. Okay. And we call it again. Darkened, foreground. I could have left the levels layer revolved. Any naming, but those metal. And there I will add a white Liam. Ask. Okay. Perfect. And now it will create another luminosity mask to block the effect out of the darkest parts of the image. To do this, I will control click on the article on the TV channel. Now I have the selection off the 50% and writer parts of the image. I want the opposite. So I press control shift I Then I can save it. And here you can see the darker parts. But I don't want all the dark parts, so I have to refine it to do it. I have oppressed control all shift, and then I will click on it until I get the tones. I like maybe something there that save it. Okay, maybe it's a bit too much. Still. So, control, click control all shift and one more. Okay, I know. Maybe I will even try this. Um, I will control. Click on it. Now I click on the mask. Here I will switch to color to black and in a process called backspace, it will add to the adjustment control de I'll click on the mask. There you can see it. It's a really soft mask again. You see, nothing is 100% black, just with some Ah, great tones. So that means I removed the effect out off some parts, but not completely. And let me turn this mask on and off by shift clicking on it. And there you concede difference. Okay? I mean, it turned the whole adjustment on off. You can see that I darkened the reflection, but I didn't overdo it cause off the luminosity mask. Perfect. And now I can further work with the mask all its air with the adjustment here, and it will all be inside off the luminosity selection. That's the cool thing I can add back some and also inside off their radiant I can add back some punch by enhancing all its increasing the highlights. Maybe I want to bring down the midterms a bit more. And now I can call the even go with your local level 20 and get back some blacks to add some overall contrast. And when I turn it on and off there, you can see. And when I turn this layer on and off still, um, helping me too. Ah, maintain the details in the doctors. Okay, Perfect. I like this. So I will delete those challenges now here because I don't need them anymore. And it's important that you always redo those masks, those channels because now the image changed and the channels also changed. And I will show you what I mean. When I control click on the channel and I save it and that's a now I will make an adjustment level. And when you watch the channels here, they're becoming darker as well. But this channel doesn't. And, uh, if I hope if I that say when I make an adjustment based on the channel before then the luminosity mask won't be correct, you know it. Then I will have some halos and weird interests and something because the tones are on similar anymore. So it's important that I always redo this kind of mask. So you need this also, did you that I don't need this just for just for presentation. Okay, Perfect. The next step is a Yeah, the contrast adjustment. I want to Brighton some dark tones and I have two ways to do this. First of all, I will select the dark tones again by element before luminosity masked. I will control Click on the RGB child. Then I will inverted by control shift I that I was saving it. Here it is. I don't want all the doctor himself to shrink. Shrink it down by a control all than shift saying somewhere here one more. Maybe it's play of it. Yeah, yeah, I will. Probably in. Yeah, it's difficult. I will try. Let me try this one and always milk off the opacity if I want. Okay, well, control, click on it. Now I will open up a curve slayer. There it is. You see the selection and now I could just you increase the brightness year. But you see, I lose at the image gets brighter. It's true, but I lose a lot of contrasts and I could make some complicated curve tweaks here if I want , but that's that'll do this because it's too and a complicated. But it's there's an easier way and the way is First of all, I will. No, I won't because of a group. It let me keep this name. First of all, I will change the blend mode. I will go to screen and then the image will be bright in this Well, you see contrast is lost. And but to overcome this I can now go to the curve slayer and I can make a contrast adjustment. I can pick a default or I can do it by myself. I mostly pick a default. That's a strong contrast. Okay, and when I turn it on north now you can see I write in the image. But at the same time, I maintained contrast. And now I can for the movie of the opacity if I want and I can further a chest, a justice adjustment. And that's what I will do by adding it to a group because I don't want to destroy the mask . I will name the group lightened background. Then I will just say will do the same thing like before. I will add a black mask mask so the effect is removed. And now the work of the Grady into again have a press controlled D, And then I will switch to color toe white so I can paint on the black mask, 100% capacity. And now I can drag it somewhere here because I only wanted in the background since I darkened the foreground before. Why should I writing it up again, you know? So I will use this Grady in tow. Only get the effect in the background. But I don't want it that strong. I will try it like this. Tried a narrow until I like it. You know, maybe something like that. I'm gonna turn on off there. You can see the difference. Anyone that in a bit more start here. When I watched the Australian here that you can see the effect and yeah, that looks to me, I think, uh, yeah, perfect. And now I have a nice contrast between the bright background and a darkened foreground, but at the same time, it's not too dark and or too bright. Okay, let me delete those channels here. And usually I don't create those luminosity masked by hand all the time. I have Ah, better option. It's called the T K panel. That's what I just opened by accident. It's from Tony Keiper. He's an amazing photographer and also photo editor, and he developed ah panel where you have so a lot of shortcuts for all the kind of luminosity masks for dark tones and light tones and mid tones and also off sentiment tones and zone masks for really precise adjustments. And I use this all the time it bring. It brought my photography to, let's say, my editing to the next level. It's really amazing, but I don't know if you have it. So that's the reason why I create the masks, my hands all the time. If you don't want oh, by the panel, then you can, of course, make your own actions like how I did know. But like I said, I can highly recommend it, but I will close it again. Since I don't need it now, I will probably group those two adjustments again and call them back and foreground contrast, and to turn off there, you can see the difference. Let's for the tweak it. You don't want to dark something. Line this. That's the good thing about this workflow. That's what I told you before. I don't make pixel based adjustments later. I make it at the beginning. So I can now for the ah, tweak the adjustment layers and making now. Okay, When I watched the image, what will I do next? I darkened the foreground. Brighten background. Now I want to work with the contrast in the snow because when you watch the stones here, you see there is a lot of snow on it. And it's a nice contrast between the bread snow in the dark stones. And I want to enhance this more by lightening up the snow. And to do this, I will first create a blank layer and I will set the blending moto overlay. So I add contrast and I would call this right to Snow and I will do this on a luminosity mask again. And I can I could make my selection on the art on the RGB channel. But I can also make this election on the other colored color channels. And mostly I do it on the RGB on the arch of each other. But sometimes not because when I have a lot off tone that saying this case, everyone off blue tones it might be easier to make this election on the Blue Channel when I click on its here. There you see, it really isolates the white snow from the Black Stones really good. And when I make a RGB selection by control, clicking on its and I was David, I can check. Yes, it also isolates it good, but the blue tone doesn't even better. And that's always something you have to try out. Because sometimes, like I said, the color channel works better. For example, when you have a really bright sunrise or sunset of a lot of red and orange tones and you want to darken the sky that it might be better to make this election based on the red tones that depends on you, and it's not always the same. It's really depends on the image. In this case. I like the blue selection, so I will delete the only one and I will control Click of the Blue Child. Then I will save it, and now I will shrink it down a bit more because I only want this. No, not some great owns here in the in this don't clues ever control all shift pick it Maybe once. Yet it's enough already. Perfect. Now we'll make the selection by control clicking. When I click on this layer Here I get the image again. And now I don't want to paint with the marching ants running around because they're annoying and I don't want to de select them again. I want to hide them. And to do this I will press control H. And then the selection is still active. But I don't see the S. So no, I will assume in. And by pressing b I get the brush there will pick the wife color. Okay, capacity, let's say 30% by pressing three and the American just decides. And then I will just try and see how it looks. Okay, that's a bit too right. I will go down to 20%. Let's try it again. Can always treated with you with the capacity. Okay. Just painted the snow and the mask. It's made really nice isolation, so I don't have to be too precise most trailer than this. Are you there? You have to be a bit more careful because the skies has similar tones. Que kind of like painting, but that's why I like the backups. That's why I like the welcome tablet here. You see a painted out of it. I don't want this. So I will. Chris, control Z, remove it in. Okay. No, let me do the same Here. This'll on this stone and also you there You can see a really increase the contrast. I don't want to overdo it because it will look unnatural, unnatural. But I like or it looks right now. Perfect. And we'll also do it in the snow. Here in the trees. So rushed is with 10% maybe. And then I was just through you. Okay, let me turn it on and off. Perfect. I like it now. I would press control de to de select the selection because it's still in the background. And let's say now I overdid it in some parts. And now I can add a layer mask to this blank layer in our campaign black of this and remove the effect summer where I don't like it. Let's say here in the shore line also appear in the mountains. So around sky here. Okay. Very good. No, I can delete those chance again. Nice. So let's see. What will I do next? Um, I will maybe dark in the highlights just a little bit because later on further enhanced them with some color. Then it can happen that they're getting too bright. So right now I want to prepare it and darkened them a bit. To this, I will make another luminosity selection to control. Click on it. Then I can save it. Used to selection based on the highlights, But I want to shrink it down. So press control all click until they get the really bright highlights. Maybe right building the train one more. It's the same off to double click moves. Here it is. Yeah, that should be good. Let me select this. And then I will goto curves. And now I will choose the blend mode. Multiply there you see a darkened the highlights. But they lost contrast and now it's the same Like before Now I can just a memory bring back some contrast by adding it to the curse layer in their time going off. So you concede a difference. It's a bit too strong. Sybil. Work with capacity bringing down to around 56 65. Sorry. Yeah, that looks good. I would call it Darken Lights. And, um yeah, right now, while I'm doing this, I forgot that. I said before that I have two ways to, um, lighten up the doctors. I only showed you one. I don't want to forget that. Of course, I would just go back now and I show your quickly again. Um, I said before I used a curse layer with the screen bland mode and then I for the work with the cross layer on the other option is quite similar. Actually, I will quickly show you. Let me turn this off. Let me select the selection here by pressing control on it. And then I will go to brightness contrast. And yeah, I like this also. Now I can increase the brightness off the dark tones. No. Yeah, doctors, but only in the upper part. Since I'm already here in the Grady in selection. And like I said, I can go writing it up, and at the same time, I can bring back some contrast. Sorry that I forgot that before, but now you see the two ways of using. So when attorneys on off there, you can see the difference. And before it was like this. And it depends. Sometimes the other one works better. And sometimes yeah, the other works better. It depends, but no, you saw it so it would be needed again. I will stick with the curve. Okay, Perfect. But back to where? Wars before a darkened lights. Okay. Ah, I'm actually almost done. Not much left. Ah, one thing is still no not bothering me. But I want to enhance it. And that's the Midtown contrast. I want to dark and some off the clouds. And at the same time, I want to brighten the mountain a bit more. And to do this, I first of all at a new blank layer call it right. And but let's just call it mental contrast, okay? And now I will make a luminosity selection again. I showed you before. How do I get the Midtown's? I have to substrate act the highlights and the doctors from the overall image. To do this, I would control click of the RGB channel who loaned me the selection. Now I have to bright towns that I will invert the selection to control shift I. And now I have the black tones Perfect. Never for to treat them now control old ship to let's see here the same If the dark tones control all ship pumps Control ship, See? Okay. And now the press control A to select the whole image. And now I can substrate those two selections by pressing control. Ault, you see a minus pressing the lights and on the docks when they're safe this I get my mid tone selection and now you see, I selected the clouds really nicely at the same time The mountain A novel for the work of this I was selected and I will hide it by control h I would control H and now I can paint on on it. But I will probably remain rename this layer. I will call it darkening clouds. But that's what I will do first. And the blend more will be soft light for darkening Are you soft line and for brightening, I use overly ah, soft light. It's not that strong in contrast. And I think that that dark and something it's dangerous that it gets too dark quickly when I use overly So you soft, lighter, a bit more settled. Okay, so I would go to the brush now by B moves. Oh, here. Then I was switched to the color black. You know, let's say 20% capacity and novel paint on the clouds to talk in the but at the same time, it would like I will maintain contrast in the highlights cause I only selected the class. Be careful of the tree here because it's also in the selection. Okay, maybe you don't hear too, I think now I painted in the tree. I don't want it completely, so I have to paint out the effect there to do it. First of all, I will remove the selection by pressing control the then I can add a layer mask. So this and now I can paint it out off black or what I can also do. That's what I would probably do. I will remove the effect out of the tree with another luminosity mask so I don't have any halos or something by painting by hand on it. To do this, I will click on the RGB Channel again, create the mask, but I want the doc tone. Several inverted by control. Should I dares the dark tone and I will shrink it down by controlled all shift something that I think that Okay, no, I will select it. But control clicking. Click on the white mask. Have the black color. No, I will Ault, backspace. And now I have the effect only in the clouds and not in the tree. Well, it's a not as strong in the tree. Let me show you. When I turned this mask on and off by shift clicking there, you see didn't welcome to treat that much anymore of it. But the overall effect is still in the clouds, meaning less good. So now you see, I painted on a blank layer based on a mid tone luminosity mask, and at the same time, I blocked the effect out off the darker parts with another luminosity mask because it can happen. But even when I selected the mid tones and that paint over some dark parts, it can happen that I still dark in them a bit because off the softness off the mask, because when I click on it here, you see there still some great tones in the trees, and that means they're getting a bit off the adjustment not as strong as the skied us, but still. And that's the reason why I like the control the luminosity mask give me so I can always further adjust them to have really precise masking. And the reason why I'm ah did all this on the blank layer is that I can now further just the painting. If I did it on her 50% gray layer, I couldn't show you what I mean. When they control click on this blank layer, it gives me the selection I had before. Let's say I painted before In this case, it was a really soft adjustment. So it says that there are no more than 50% pixels selected. Doesn't matter. There's still a selection. You just won't see the marching ants. And now I can go to a levels adjustment and then a I'll click on it There. You see what I did before and now I can further broke of that. Go to levels and now I can Let's say I want to get back some brightness at this. Let's say I want to talk in it even a bit more. I can do that as well, and when I turn this on off. That's really settled. But when you watch, the clouds can make it stronger, so you see it better here, you see and make further adjustment. But I don't want this that strong. So just a bit. That's the reason why I Andi like to do it in the blank. Leo. Perfect now, Like I said before, I want to bright in the mountain of it. Ah, let me group this and call it dark clouds plus contrasts. Now I will make take the Midtown selection again. I won't redo it since I didn't do anything in the mountains. So nothing off the tournament. Tonality changed their so in a paint on the mountain. I won't. I will still have a fine selection. So, yeah, I will control Click up off its sorry fistful able. That's a lot of blank layer. Call it Brighton months. Now we'll switch the bland loan to overly because they were Brighton. There's the selection, and there's another trick. I will show you because it can, like. Like I said before, it can happen that well, let's say mostly happens that some off the sorry Some off the bright tones are still selected with some gray? No. Then it's you get a soft adjustment there. Also, to further treat this, I can now and control click on the mask. Sorry. Back control L to further and trust the channel. And then I can play with the slightest year. There you see some off the highlights getting a bit darker, making further just this. I won't overdo it, because then the selection will get less Chris iced something like that. Okay, Control, Click control H to hide. Then I would go back here and now I can paint white with overlay. Only 10% and they will let me try how it looks. Well, that's enough already. Turn this on and off. There you can see the difference. You never go back with your passenger bit. Okay? Perfect and control d to the select. And now I can control control. Click on this blank layer to get the painting at it before will open up levels adjustment layer. You see it really settled. Now I confer the trick. It at some more contrast. It's looking better, really subtle. Okay. I mean, now delete those channels because they don't need them anymore. They only make my file bigger. And there you see, you have a really, really high ability to work with your image when you use luminosity masks their countless ways. I just showed you some. Now it really depends on the image. I have a lot of other techniques as well, but they work better of other images. And that's the reason why I will bring out more radios in the future to show you some of my techniques on different images. But here I'm satisfied with what I did and it would group this year, and I call it again writing mountain. Look, interest. I like to group things, so I have it organized nicely. Okay, on when I look at it now, maybe the overall threatening was a bit too strong, so I can know lower your capacity in the group. Let's say 65 and it's a one to darken the clouds a bit more. I would know for the darkness here, I think. Okay, I like it. That looks really nice. And yeah, I'm also Yeah, I think I'm done with my contrast. Adjustments. Have a group all off them now and call it contrast. Just men's and Then I turned to group on and off. Then you see the difference before and after. There's quite the difference. I mean, until honest, when I want to turn off all selections, I can just all click on the background layer here on the I. And then I see the raw and with adjustments Perfect. I like how it is eso I'm done with this video now. And in the next chapter I will show you how I further work with the color. 8. Color Adjustments + Color Contrast: welcome to Chapter six. Now I will show you how a work of the color in my image, I, um, will try to enhance the sunlight mood of it more. And I will also work a bit of color contrast, and I will explain you what I mean with that, Um, first of all, when I look at the image I see it's a really cruel and cold seen. So I have a lot off cold tones and less want tones. And that's let's say, Yeah, that's a color contrast because coolness in the shadows is a contrast to warm in the highlights. So there is not only a contrast in dark and bright, but also involved, and Colt and I always try to enhance this contrast in my images. Most of the time I have images with way more warm tones, but in this case I don't. But still I can work of the color contrast. To do this, I will first of all, make a luminosity selection based on the highlights through this ever go to the RGB Channel control, click on it, then I saved the selection. There it is, and then I will shrink it down because I want only the brighter highlights to do this Ever press control. All shift. Okay. Yeah. Maybe you've got more, but wait. Okay, that's fine. Now I will make a selection, and then I will go to my adjustments and there will pick the photo filter. And I used to photo filter quite often for this kind of adjustment. I used a warming filter for my highlights in this case and for my shadows. I will use the cooling filter and I can hopes. And you see, here you can further work with the density to increase the effect if you want. That's able to grow up a bit. And now it's based on the selection. It doesn't warm up the whole image, just the highlights. When I turn on and off when you watch the highlights, you see, they're getting a bit warmer. Since I don't have many one tones, I don't want to overdo it. But in this case, I still like it. Yeah, I increasing the warm evening light, hitting the peaks. That's really nice. Perfect. When he wants to mask again, he there's some parts of the image where I don't want it, especially let's say here in the background, because there's snow and shades doesn't have to be warmer. So I can just paint black on the mask here and remove it. Don't have to be precise since it's in the in the corner here. Okay, you know it's gone perfect. I will call this warming lights and then I will make another adjustment based on the shadows because now I want to cool them. I don't want to overdo it since damages really cold already. But still I want to add something I will control Click on the RTP channel. Wait and then I click on control shift I to invert. I will save this. No, I have to. Doctrines that will shrink them down a bit on. And yet that looks good. Make a selection. Then I will go to photo filter and there will go to cooling filter. And there you see the effect military gone off. You see, it cools the image Really nice. I like it. And when it's too strong for you, you can of course, always dial it back a bit with the capacity. It's too cool for me. So I will go down to like 55. Maybe. Let's see, Maybe a bit more than, say, 65. Okay, Nice personal taste. Of course I will call it Cooling Shadows. And now I have some nice collar contrast when I would group those two and we'll call it Call a contrast color contrast. I'm gonna turn it on and off. Then you see the difference. Watch the highlights. They're getting warmer and watch the shadows. They're getting cooler. That's called a contrast and works in every kind of image. Like I said, it would look even better when you have more warm tones. But in this case, it's also a nice little enhancement. Okay. Ah, next. I will. Yeah, probably decreased the blue color a bit. In some parts, it's actually quite easy. Let me Maybe first, I would check the Blue Channel. If I can do it with that Also, I will control click on the channel, save it, and then I will shrink it down a bit. Something like that. That scene because I want to remove some off the blue color in the snow here and maybe also down here in the short in the lake. But maybe I don't even need this mask. We'll see. I will keep them for now. I will go to Hue saturation. Then I will choose the blend mode color because they only want to affect the color, not the contrast. When I leave normal, I will adjust contrast and color. Okay, and then I will pick the blue colors. It was blue colors and I will reduce the saturation quite strong on. Then I will invert the mask two black, So to remove the effect and I will paint this reduce into the snow with, let's say, a 50% capacity. That's a bit through strong, say, 30%. It's okay when I have a slight cool cast, because then it shows, ah, what it say. Yeah, it helps you to think that it's in the shadows. Cross shadows are usually a bit cooler. That's what I said before ready. But at this case, the snows in a bit too blue for me. So I will remove it a bit by painting on it, and I like what it's doing. Okay, Doing a bit more non over 200%. I couldn't be more precise to you. It's your taste, how much off all you want to go. Well, I won't do it everywhere, but in some parts, at least you got the idea. Okay. Perfect. Somewhere else, maybe. No, it was the most was actually here in this? No, in the tree. Make this correction here. And you can be Rameau precise. Of course, when you have more time. But for time issues, I won't paint every single brand sheer because they will take ages. Something around this You get the idea. Like I said, Okay, I will call it. Yeah, reducing blue color something So you know it. And you may be also here. That's what I forgot down here in the lake. Just a bit. Okay. Good. Perfect. The next step I like to do with color is, um too playing before I color balance layer. It's a cool thing when you check here, you have a lot of control. You can work with the color in the shadows also in the midterms and also the highlights you could do all in one layer. But I do it in three. And to the highlights in a single one. The mid tones and so on. Because then I have more control of it. Because I can work with the mask further and in this case I will start off the highlights and I want to warm them up a bit more. So I will bring in some yellow. See? Check both. No, I will bring in some yellow. Not much. Also some magenta to enhance the sunset mood. And also some Moret. Okay, When I turn it on off Perfect on, I would call it. Come up, Scott o highlights. Okay, that I will add another color balance layer. I will work with the Midtown snow. I want to add some magenta to the Midtown's, but not much to enhance this mood a bit more. And then I will play with blue or if yellow What? I think it will add some blue. Yeah, but not that much. Something like that. Uh huh. Okay. I would call this color returns and then the same again with the docks or the shadows. This case I want to remove some magenta out off the docks cause the sunset light doesn't reach the doctors. And then I will add some blues. Two shadows as well. Getting even cooler. Something like this. Okay, No, let me go back to the highlights. First of all, let me call it Color Shadows. Now I can readjust this. Let me go to the highlights again and at some more magenta and most of some more writ. No, I got a really nice cool look and it can group those three and call them on the Bennetts. And when I turn it on and off, then you concede a difference. I enhanced the sky and also some off the blues in the foreground again. It's personal taste, of course, but I like the blue cast. I'm getting the blue magenta cast I'm getting here, so I will stick with it through. Okay, then. When I look at this, I have two more steps to go. Yeah, two more steps and then I'm done with the color. Uh, let me delete those layers here. I don't need them anymore. What I could also do is the color balance, just the color and the contrast. When I go to normal it like that, it does both. And when I go to color, it only just the color. And it leaves the contrast at the luminosity alone. So when I add blue to the shadows and also talking in a bit. But in this case, I'm fine with that. Okay? And I will do some life painting, but only really soft through this and add a new layer. Call it light painting, and it helps me to enhance the light a bit more. I will go to the blend mode over late. Then I pick a color to the wrist. I click on the white field here. Then I get the color picker. And then I will pick a color in the sky, some pinkish kind of the tone heres something like that. Okay. And then I will make a luminosity selections based on the highlights. Because I don't want oh, paint this color everywhere. Just the highlights. Like I said, So we're refining the bid. Something like this? Yeah, that's good. I would control Click on it and I can hide it by control each and I will take my brush, be in pain 20% capacity and see how it looks. I will enhance this light a bit. Here, not strong. Depends on the image. In this case, I don't have many one tones, so I don't want to overdo it. Okay, Should be enough. Already turned on and off. Yep. There, you see, I added some energy to the sky and also some pink color. Not much. Just a bit. And have clinic. And, of course, further work with the capacity and on me removed the selection. First Control D can now add the mask here and that I can paint it out out of some specific parts of black. Let's say I don't want it here. A little paint black on this side of the mountain to remove it here and save some other parts. Okay. And now I can control click on this blank layer to get this selection again. The one I painted, I've been at the lay a mask. You can see what I did and now I can. For the work of the levels toe may be dark and down the sky a bit, just in case. I made it to bright because overlay also brightens parts doesn't only add colors. Look at this. It's been talking it up it again. That's nice. Uh, yeah, I like it. Perfect. Okay, This works off course with different images as well. It's even better when I have some sidelight you know, hitting some in the well a or through some clouds. Then I can enhance enhance the life of this technique even better. In this case, I don't have much light, so I don't want to overdo it, but it still helped me to get some energy back to the sky. Okay, one more last step I will do with the color. Um, you saw that. I made a lot of his adjustments a lot off contrast adjustments and Nick adjustments and also saw a lot off color adjustments. And at the end, it can happen that the the overall image is a bit too saturated, and most of the time you don't realize it immediately. Only when you yeah, safety image, keep it. Then you watch it again. Then you realize, Oh, my God, What did I do? It's maybe too saturated. And now you could just turn back the saturation by adding this you saturation layer and then turning it back. But then you will see you lose a lot of contrast. And you also lose color too much, and you don't have a lot of control of it. Now you could toe to overcome the contrast loss, you could go to the blend mode saturation, and then you will reduce only the saturation. But still, the effect is way too strong and you don't have a lot of control. You would have to paint out some parts, and that's my opinion. Too complicated. I have another option to do this, and this is called a saturation mask. I have an action for this. You can also find it in the TK panel. But I will show you how I created you, how you created by yourself. And this helps to pick the parts in the image which are the most saturated. And then you can decrease the saturation exactly in those parts. And that's really cool a show you first of all, in the new layer just to create the mask. Then I can delete the layer again so we'll press come first. Let me delete the channels because the in which is the big Okay, so I would go on control cult shift B to get the new layer, and now I have to convert the image. I will goto footer, other HSB hs l, and it will convert the image to an HSB image takes a while and then it will look really weird. Yeah, Yeah. From RGB two HSB a press. Ok, you will see a really funky But I don't care for this. I'm just watching the channels here and I'm only watching the Green Channel. The Green Channel is the channel which is representing the most saturated calif colors now and I will save this channel. I will control click on it takes the time and then I will save this and I can even further adjusted to get the even more saturated parts of the image. Ah well control, click on its control All shift and then click on it again. And when I save it, I have even more saturated colors. Perfect. Now I will delete this layer here again because I don't need it anymore. And since I saved the channels, it doesn't matter when they change again. Because I have you. Yeah, they are. And now I can decide which one I want to pick. I think I will pick this one. Ah, press control. Go to hue. Saturation. Call it situation mask. I will set the blending mode to saturation and now I can reduce it I like it and you see the effect this way more subtle. It's a soft effect that say I go to minus 40. Let me turn this off and let me use this and bring it to minus 40 and never show you the difference. You have minus 40 and here you have minus 40 is really, really sell. If it's to settle for you, you can, of course, pick Thea other groups Theater separation mask. Here you can pick this one. Let me pick this one also, and we'll go to Hue. Saturation. Go to another. Luminosity is right. Saturation. Call it said to Gration Mask, too. When I go to a minus 40 year, it's Ah, bigger difference then to get a mask so I probably won't even go down to minus 40. But still, it's Ah better adjustment than the normal hue and saturation adjustment that they will go down to, like Man 20 4 15 Something like that. It depends, but it's a good way to further work with this. I will delete the others and it's been turned on an off day. You can see the difference again. I could, of course, for the work of this masked by putting it into a group. And then I can add a layer mask to the group to paint it out from specific parts to not destroy the selection. But in this case, I'm fine with it. Okay, Now the group, my adjustments here and call them color. And when I let me delete those here again, and when I turn it on and off there, you see the difference, especially in the sky and in the foreground, is that there are some blue tones and some more energy in the sky. And like a set personal paste, you can always tweak it until you like it. Okay, Perfect. Now I'm actually done with my main steps in the tutorial. You see that? I made a lot of adjustments when I opened all those folders here. Ah, yeah. I groups have to put in the color contrasts also in this group. So what? I know you see it a lot of adjustments. Brunei turn. Ah, when I opened up the folders there, you can see it a lot. And the fire gets big. Of course, since I have a really big file cause of the panorama, I get a lot off gigabytes year 2.6 already. Um, I could now merged the nick adjustments together toe one layer if I want to save space because, like I said before, I'm quite comfortable. If the effects of using So I don't have to redo the nick filters, and that's the reason why I can merge them together, toe one layer and call it Nick Adjustments or Nick Plus often adjustment, and then I can save a lot of file space. But right now I will keep it. But it's just so you know it okay. And the cool thing now is on this workflow. I can always to readjust all my my layers here. Let's say if I don't like the color anymore tomorrow I think it's too blue or to magenta. I can always redo it until I like it again. And it's the good thing about this book floor. Okay. Ah. Yep. Let me close this folder now. Like I said, I'm done with my main steps, but I will show you one more radio in this last chapter, Chapter seven, I will show you my techniques for rep sharpening and also for ah better looking image in there. Let's say how I make the image look a bit better in the the presentation. So that's it for this video. So you in the next one. 9. Web Sharpening Techniques: Okay, now we are in the final chapter of my whole post processing territorio. If you made it that far. Congratulations. I talked a lot all the time and tried to explain this best as I can. Like a said in the beginning. My native in my native language is German, not English. So Yeah, I tried my best, but I hope you understood everything. Fine. I covered a little of techniques, and they're fairly advanced. Sometimes. Eso It's always good when you watch the video again and again to practice the steps of your own images. Off course, Every single image is different, but still the techniques can be used for Yeah, everything, actually. Um so thanks again. And in the last video here now, I will just show you real quick how I prepare my images for the presentation right now. Here, have a complete master file. I could now much everything down to the background layer. And then I can prepare for printing if I want. But in this case, I won't. I would just show you my presentation Workflow on. Um I always start with a duplicate image because I want to keep here everything intact. like I said So I will go to image duplicate press. OK, then I can flatten everything because I have a copy and then I will reduce the size of my image and I will convert the color space. Um, before I reduced the size, I was converted to a different color space. Let's say like this Uh right now I'm using pro photo RGB because this is the best color space in my opinion, to create luminosity mask and to make luminosity, masks and toe make color adjustments, I have a really good monitor which can show me not pro photo, but almost 100% adobe rgb eso There is a big difference for me in pro photo and s RGB You could of course, already started as rgb if you want. But like I said for the minahasa for luminosity masking, I recommend the pro photo color space. But for that presentation Tae shin I need there s rgb color space because the VEP arouses can't represent pro photo and then the image will start to look weird. So that's what I will do it first ever go to edit convert to profile And then I converted to S RGB in this image, I don't have any complicated colors, so you probably won't see much of a difference in the color spaces. But let's say, for example, have a burning sunrise or sunset with many red and magenta and orange tones. Then the color spaces make a huge difference because yellow, orange red is hard to represent. SRG be completely so. Then you have to make some further tweaks, so it looks good again. But in this case, it's not that complicated. Okay, right now I converted to SRT be, and now I have to reduce the size of the image. My rep presentation sizes 1400 pixels. On the long side, you can pick which whatever size you want. This little workflow here works for every size to start the first, copy the background layer and set the blend mode to luminosity because when I, um, decrease the size of the image, I have to sharpen it after shop in the image because it loose sharpness and sharpening can also effect colors. And to avoid that, I said the blend mode to luminosity toe only affect the contrast and the sharpness. So, like I said. First of all, I will reduce the size of the image. So I go to image image size and my final output will be 1400. So now I will start with the double amount. So I go toe 2801st press. OK, here it is. And now I will stop my shopping. It always the same. I go to filter shopping march up in. Then I picked the amount 100% and the radios point to 0.2 pixels. That press okay, Never repeat this four times shopping smart shop and to three and four the images now way over shopping. But this is okay because since I will reduce the size again, I will lose sharpness again. So that's the reason why open over shopping. And now So we go to image image size and they never go to 1400 pixels. And to get some last Christmas back of ago took filter shopping, smart shopping and the amount will be 50% and 0.1 pixel Perfect. And you know, I can call this layer that shop and if I want and now I can further work with capacity. Let's say it's a shopping too much. It depends on the contrast in the image that now I can reduce your passively a bit to remove something off the sharpness. It's personal taste. Okay? And now it's actually you're the size is ready. Sharpening is also fine. But what can happen is three image gets a little bit brighter because of the shopping. There are small white halos around every pixel, and sometimes that can be a problem. And you have high contrast edges dark toe, right. Then you can see some little halos around there. In this case, I don't have many halos. They don't bother me, but I still show you a little method to remove them. To do this, I will create a new layer by a control all shift e. And then I will press s for the stem tool. And then I will pick the mod darken because then I can stamp and will only affect the pixels which are brighter than the one I sampled. Say I want to do it here. Then I will all to click here and now I can stand. Here's and there you see, I'm removing the halo. This case is not a strong one, so I wouldn't even do it. But just to show you here you see again I'm removing the halos. And that's how it works when you have strong a halos on contrast edges Okay, just to show you. But what I also do is I will darken the image again because it got a bit brighter cause of the shopping. But I don't just want to turn down the brightness. I want to turn down the Midtown's because then I won't lose. Then I won't darken the dogs too much. They won't dark and the brights too much. So I showed you before how you create a midterm mask. So I won't commented. I would just do it so control click are to be safe. Bright tones. Yeah. Then again, patrol shift I to invert dark tones. Well, okay. Now I can select the whole image, control a and now removed the brights and darks by control Old clicking. Here it is. There's my mask in a control. Click on it, go to levels And here I have my levels adjustment. And now I can turn down the brightness a bit until I like it may be adding it some blacks as well. And some contrast back here. Okay, let me turn this on and off. Maybe it's a bit too dog. Second for the work of capacity. Something like that. Perfect one last step. I'm doing it. I will blur the image slightly because it can look a little bit too crisp after this rep shopping process. So I will get back some misty mood again, but only really, really slight to do that. I'm ago on a new layer. So press control, all shifty filter blur Gaussian blur. And now I pick a really low radios because I have a really low resolution image, but something around 10 or 11 the net go to be a passive capacity around three or 2% press control, other so I can bring back some contrast with the levels adjustment here, and that's it turned on off, you see, really settled, but it helps. Okay, does it? Actually, you can make an action for this if you want. I wouldn't recommend that you make an action until levels and causing blur, but I definitely recommend to make the action for the re sizing and the shopping. And then you can further work with the image in this case and done. Now, I hope you I enjoyed watching this video. I showed you many techniques. Like I said before ready seven different chapters. Chapters from raw shopping from raw prepa from raw adjusting to panorama emerging often effect adjustments using the nick collection, contrast adjustments and color adjustments. And now I showed you my rep presentation on my rep sharpening techniques. So, like a sad 77 different chapters, A lot of different stuff, and I really hope you learn something new. If you have any further questions, you can always email me and contact me on my website. If you like the radio, I would be really happy if you could write me a little comment about it s Oh, I know what you think. And yeah, that's actually it. Now I don't have much more to say. Um, thanks again for purchasing this video and have fun shooting and editing so statement till the next time. Bye bye. 10. Bonus Video No. 1 - Editing from start to finish: I'm showing you my techniques. They will be based on three of my favorite recent images. The 1st 1 you see here. It's, uh, played in Slovenia and the other one will be the Cellular ends Force and on Iceland. And the 3rd 1 will be the Scots on beach on the Lafortune Islands. Actually, this is the 2nd 1 and this is the 3rd 1 but doesn't matter. But I will start here with this one. Andi, Like I said, it's in played in Slovenia and you. So let's start with the raw file off the first image on you see it totally different, of course, but it's the point about post processing. Um, yeah, so we see the raw file off the church on the island at Lake Bleed in Slovenia. I shot this image last year in October 2016. Yeah, it was a beautiful autumn morning, as you can see, with some really nice clouds here happening in the sky and also some really cool light showing through here on the horizon. It was before sunrise, actually, and the whole point form Iwas to of course, captured the mood with some nice reflection here and to concentrate on the church, and for me it was really important that the church is between the mountains. There's, like on the lake shore with theirs, little space where you can move around and yeah, it really depends on where you're standing, so you can really stand like a 30 meters to the right, and then the church will be like behind the mountain. And at the same time, you can go like, 50 40 meters to the left, and then the church will December here. And I wanted to be somewhere in the middle. So the churches between the mountain and at the same time I have the church here, the beautiful castle here on the top, and also the buildings on the right and what's also important when you're there. There are also some hotels behind the island on because it's a really touristy place. But in the morning, you're almost alone there, Besides some joggers and people who are walking around the dog. Um, so that's really nice, but I wanted to position the island, um, in that way to hide all the hotels at the same time. So, like I said, when you go to the right or the left. You always It could happen that you see some of them. And since there was no mist or fog, I had toe play a bit of the composition, so it was really important. Ah, yeah, Just talking quick about the settings. As you see here. I had a 2.5 2nd exposure, had a polarizer on because there was there was a little bit off haze in the back, so I wanted to kind of wanted to reduce it a little bit. F 11 4 Nice. That from Field I So 64 base Aiso and 42 millimeters focal length on my takina 24 to 70 on my Nikon d A. 10. Uh, yeah, Like I said, it was an autumn morning. And since there waas some really bright light sources here in the background, I had to under expose. But at the same time, I watched the history m two not lose any details in the shadows or in the highlights and the dynamic range of the night. Conte attendant really helps to recover this later in hopes in post like we will do now. And I will use a technique called double role processing. It sounds more fancy than actually is, um it just helps me to not push to file that much to limit toe to its limit. And I will do this in photo shop and light room, of course. And Ah, yeah, I show you why I do it. Because I like to work with whites and and exposure inborn file. And it won't be possible to do with Justin. Yeah, one single profile. So, yeah, enough talking. Let's get started. Uh, so let's get rid of this year when he realized full image. So first of all, I will start using the camera calibration section and it would change the profile to camera neutral causing. With this, I have maintained a lot more detail in the highlights. As you can see up here there, you have to read Blink, ese. That means you lose some detail there. That's the reason why it that's the reason. Because the adobe standard profile is really contrast is so Yeah, it's push its pushes the contrast toe to the limit. And I don't like this. I want to work with it by myself and not let the profiled with So I choose the camera neutral profile. But I already talked about this in my other videos. It's an important part for me. At the same time, I increased the saturation the blues a little bit. This helps me to get a nice overall saturation, not just in the blues but everything else as well, with by not over saturating it, you see when a good back it's just a little, especially here in the sky. But it's fine. Okay, so next I will remove the chromatic aberrations. I won't enable profile corrections yet, since it's since it will slow down like sorry, since it will slow down light room really, really bad. So I will do that later, and now I will already go to the basic tap and I will start processing the file by watching only the sky and the bottom part here, but not the light gap here on the horizon. So, first of all, I will decrease the exposure to increase contrast, because when I now increase the whites, I'm also increasing contrast especially. You can see the really good here in the sky looks really nice and also he under bottom. If it's too strong on the bottom. Of course, I will, uh, get up with shadows. A touch. And also, if the blacks, so it doesn't get too dark. That looks good, Andi. I might increase the whites a little bit more. Never go down of exposure to Smith more. Okay, We'll add a touch of clarity for Midtown contrast, but not much. Otherwise, they will get really bad halos, and I won't need contrast. And now I will. I will decrease the temperature to make it a little bit cooler since it was still not blew our But it was far before some rest. So I like to have a blue touch, but not that much. Play with it a little bit. Yeah, maybe like this. And I will also increase magenta because I want to get this really nice color up here in the sky. But that's maybe a bit too strong something. Yeah, that's that looks good. And maybe I will go up a bit of temperatures. It seems to be a little too cool. Okay? And when I want to remove some blue, since it's when it's too strong for you, I can reduce vibrance because it works. A lot of the blues, as you can see Here. You see, it really increases of degrees of the blue color. Most five. Something should be fine. Perfect. No. Since I after reducing vibrance, I could maybe go pack a little bit of tint. Something like this. A novel pick ingredient. And I will work with the shadows a little bit here in the forest. Do not get it too dark. Something like Okay, We never had use the overall contrast because I will. For the worker for the photo shop, It's chick you something like this. That should be fine. Okay? And no, I'm actually pretty much done. I will check if the perspective is right. But in this case, I don't like what the letter was doing, So I will keep it. How it is. I leveled it in the field already, So I will start shopping. I will use my basic shopping by 45 amount. It works good for my D 8 10 files. So of course you have to figure it out by yourself. But I recommend to use something around 40 and 50 maybe 60 and then go down of the radius. So it's not over sharpened and then get up with the details. So you get some nice punch in? Yeah, the details here, But you don't have to go up to 100. Of course, it depends on your files, but I like 100 here in my camera. And then I will mask it out out of this guy. Mostly something like living seven. You have something like this. Let's check if there's some noise. There shouldn't be much notice. Actually, no noise so I can leave it on zero. The noise reduction. It's a nice, sharp file. Perfect course. You won't get perfect detail here in the shadow, since there was no light. So it's a cave ins a little bit mushy because like I said, there was no detail. But you see where the light waas I was to get nice details? It's OK. Okay. Perfect. Eso what else? I think I'm Yeah, that's that's my, um type of working. Always think I'm done. And then suddenly I see something which I can change. So now I will work a bit more sky will darken it down a smidge. Not much, something like that. And then I will increase the whites up in the sky. So I get more contrast. So you so you can see to really nice, um, clouds here with the hace could have been more detail up there. Not much, though. Yeah, that should be good. Like it? Well, it's a bit more shadow detail. I don't want to go up too much of the shadow, The increase because yeah, Where's no detail? I can't get anything back. So it will only look really weird for two too strong. It's something that maybe And if I when I enable profile corrections first, then I won't be able to use the greedy in tools really smooth because smoothly, because the yeah lighter will be so slow. It will be a pain in the butt to work if it so. That's the reason why I saved it for later. Now I already see that there are some halos back here, but not strong. Just a little. When I press why, I see before and after I will for the work of that and Photoshopped. This will happen when they have really docks places really dark spots in the in, the in the image without any light. And I'm increasing the shadows. So yeah, the work of this later. Just a little. Okay. I think that's it. Should be it. Let's see if profile corrections does anything good. You're distortion is good, but I believe the vignette ing because I will like getting anyway. So why should I remove it now when I will bring it back and Photoshopped later anyways? So, yeah, I would corrupt the image. But I will do that later. 2 16 by 10 ratio. Because I like this ratio and fits this image really good, in my opinion. So I will do that later and for the shop. But for now, we're done here in light room. So it's right click and in photo shop. And it's important that we now open. It is a smart object and for the shop because I want to go back to my light room settings since I want to process it in two different ways. That's what we will do here. No, it just takes a second to load. Okay, so here we are now in photo shop. And there you see my file together with this little icon here. That means I have a smart object and when I double click on it now, then it will open up camera again with all my settings from before. And it's the cool part about it, since I want to use it now. But not on this file. So I look close it again and now I have to play with it a little bit. First of all, I will yeah, make a copy of it, but not, but not just by Control J. Because they never just make a copy off exact same fire. I want to right click and then I will new smart up, click on New Smart Up. Check the A copy. That means I have a really completely new file. And when I now double click and change the settings in camera or I won't affect the file under it if I just press control, Che ever effect both files. So that's the reason why I like this on. And yeah, now it's just a start. Double double click here and I will remove some off the settings. A. I had it before because now I want to watch only the horizon line here. And to do this I will first go down with the whites and I will go up with the exposure a smidge because, of course I would To have all the details back, which I lost before was to go down the highlights. Whites see how far I can go heres something like that. And now I have all the details back off course. It will be now really difficult to blend there then, since it's like a completely different brightness while you But that's the reason why I'm using, um, a smart object. So I can always go back and re adjusted first. Don't like something and I will show you how I do it. So it books kind of good. So the first press. OK, so it applies to settings Syria. And there, you see, have now two different files. And now I will use a luminosity mask so I could blend those two files together in a I only want to use the bottom party off this guy, of course. And the good thing about yeah, using two identical raw files is that I have no movement or anything happening here in the scene. So that's made It will make it a lot easier for me to blend those two files together. Since like I said, no movement in the trees, no movement in the clouds and then, yeah. Makes it really simple, ugliest. Much more simple. So to get a precise selection off the sky here, I will, of course, first make this invisibles and have all the bright parts here. And then I will use to TK pedal. It's a really cool panel from Tony Keiper, which offers me a lot of luminosity masks. It won't be your basic tutorial here about how luminosity mask work, have other tutorials while I talk a lot about it. Especially the volume one warning to and volume three post processing workflow videos. So if you want to know more No, Maura, about a detailed check them out since this year, isn't it wants tutorial? I already Yeah. Hope you know what? Luminosity mass car. So I will click here on lights so it will create me all the lights mass based on the light tolls. And when I click here the channels there, you see? Yeah, I guess me really nice selection off the bright part here in the sky. I want something. Yeah, let's try this control. Click on it. So I have the selection and then I will re actuate this mask. And now I will use I'm ask here and yeah, like you can see told you it might be difficult. And that's what this since it was it's really much darker than the file above. So now I have to play a little bit of it. First of all, let me delete the lights masks So my father gets from not too big and slows down the process. So what do I see? I see some things which I don't like. Of course, here it's much darker than the other sky, and the tones are totally different. So now I have to work a little bit of the mask and yeah, it's just try and narrow. So here you can see my selection. So first of all, I will use a paintbrush by pressing B. And now I want to put this in a group control G and add a Martin a mask, another one on it. This way, I'm not destroying the luminosity selection because when I just paint over it and then I see No, I don't like it, and I will paint back. The selection is destroyed, and I will just keep painting like on the completely white black mask. So that's the reason why I'm putting it in the group. So I maintain this election and I will use a black brush like 30% capacity. See your hotness and see how it looks when I pains around there on the edges. And if it's not working, that's OK. Then I will just have to, um, go back and forth and maybe even go back to the camera. Raw section two make it a little bit different. So it looks better, since there's a really strong yeah transition between those two selections. Uh huh. Looking better already. I will remove this by stamping, since I don't like it anyway, here. This is the important part. Just base. Just been any reason before the worker food later. Okay, let's see. Yeah, maintained a little detail, but it's still a little bit too. Yeah, strong and of course, yeah, yeah, it's kind is looking kind of. I think it doesn't effect. Does it effect the way that does? Um, let's go back. And for maybe it was a little bit too strong in the raw file, the darkening. Let's see when the increase the highlights, a smidge too came and there's a little bit of blown out area since I wanted anyways like this, because I will have a bright source here later. You also get in some tint press. Okay, let's see the difference. That's the cool thing that I can always go back and redo. Yeah, I think it makes. I think it will make their transition a lot easier now. So really needed down there. Not much of pubes obsessed. This too strong over capacity. 20% is fine. I don't need it that much Here, here's already good. You see a like it this way? Yeah, that's already quite nice. This is the tough report, but it's more food. It takes some time, but it's perfect cause then, in this way I'm not destroying to many of the shadow details. When I'm pushing the file too much to the limit by just using one profile, I think let me know. See, when I paint over this area with black and 10% looks, I think that looks already better because I was moved out the transition a little bit. Yeah, it looks much better with a little bit too hard of a transition here because of the luminosity mask. It's okay when I have some stronger lights. You because I want to add a light. So source. Anyway, it's painting back and forth, back and forth. Yeah. No, I think I'm done. Let's see, That's good. And I will make a completely new later out of it. Still the chicken again. Like how I maintained to detail the union reflection. Good. Let's close this group control shift E No, I have a completely new layer where I can start working. No. And continue with my base adjustments. Ah, let me see if I want to remove this here. Press l for the lasso tool, and then I will draw around it. And now I will press shift five. And then I would get the content of their film menu impress. Okay, let's see how it feels. This area. Yeah, Not too bad, actually. Trey again. Retry. So here I think it looks much better. Makes it easier also to process that could maybe even decreased capacity. So it blends in together things like that. So now it looks even brother. Okay, Perfect. And now I can merge it together by pressing flatten image. And I can continue with all my other adjustments. First of all, I really thought there were some perspective adjustments. So I will make a copy of the background layer Do not affect my original layer. Oh, control, James and yeah, I will make some cropping and also work a bit of the perspective. First of all, repressed controlled teeth. And I will now remove something off the mountain here because I don't like it. Was it like that? And I will also remove something off this site. So it was stretched the image just a smidge. And now I will use a rectangular mark. Ito and I will select the sky here in a press controlled T. And then I will move it down a switch because I want to crop the image. But that and at the same time, I don't want to lose all the nice clouds when I'm cropping it. So I will just pushing it a little bit together. Something like that. Enter troll. They need to remove. Now, you see this horrible line here, but it's okay. I will make the criminal by pressing control. See? And there I have 16 by 10 ratio. That's what I want it controls. And no, I will. Well, I think I have to First of all, make a new layer controlled, shifty, and now or press secy Andi, something like that Enter. And there you see Now I have my 16 by 10 ratio the one I wanted but I didn't lose the clouds. So you see, otherwise they would have loosed a bit off the would have lost a bit off the bottom after top here and this way I didn't and maybe it will stretch it a little bit more that it should be good. Perfect. Check if the horizon is level. Uh, it's always quite oops. Sorry. Always quite difficult. So we'll go to filter chemical raw transform. Check for us. No. Oh, see here I think level. I'm always getting crazy by doing this. Is it level? It's not 100% perfect. I don't care. You press OK? Yeah, I think it looks better. We re try. No, it doesn't back the opposite. It makes me crazy. What do you guys think? I think because too much. Uh, sorry. Let me go back to camera Raw because now I can already start removing their spots. I would like to do this in for the shop because in, like, room, it's somehow slow. So I like to do it here. I click on visualize spots and there I see some. There is one. There's one. Yeah, there. You always want to do this at the beginning because when you had so much contrast in adjustments, if they will be even more visible later on, yeah, it's easier to move them at the beginning. Perfect. And, you know, I think that's it with my perspective. Adjustments the image again So it doesn't go. It doesn't doesn't get too big. Perfect. So what's thought? Some steps. First of all, I will use another luminosity mask. Chris TK panel, because I want to darken this spot down a bit more. Just a smidge, because I will bright into love later the whole area around it, and yeah, then it will get probably two bright, so I would just pick this year. Goto curves. I will pick the blend mode, multiply and then it was dark And down there you see just a little bit, but I don't want it to darken this part here. And also not the bottom. So we'll use a black paintbrush and just pains above this area. Yeah, just look completely. Maybe about a little And now repress lights here. That's the cool thing about it in our own masks are deleted. Okay, flatten image. You know, at my base file. Perfect. Okay, so another step, I will goto levels talking the whole image of it, and at the same time, open the shadows so it doesn't get too dark there. Maybe some punching the highlights. Because I lost this by darkening them down. See? Yeah, it helps to not get here, not get too much contrast at the beginning already, something like that call this interest. I always like to name my layers. So I remember what they did. Later, when I want to readjust some things and yeah, I know. I want to add some nice, dreamy Orton effect since it was morning and bit hazy and the light was shimmering all around. So I like to use this kind of effect to increase it even more to the visit of a press controlled shift e Name it Wharton on a new layer that would go to filter here, causing blur a picture radios about 35 because I have a really high megapixel file. And then I like to use between 30 and 40 and I always pick 35. So May base Pixel radius. If you have a lower resolution file, I would, of course, Piccolo radius something like maybe 2025 on So on press, okay, And then we'll go down to the capacity of around 15. And now we're goto image adjustments, brightness contrast at a whole bunch of contrast. And at the same time, I went toe bright into this Mitch in the press. OK, turn it on off There, you see a really nice, dreamy look, but I don't want it everywhere, especially not in the dark tones, especially up here in church. Because then I will get a black halo when I have some really dark tone compared to a lighter tune in the back. And that means that we got a black halo. I don't want this So go to my TK panel open all my talks. Liam asks, Pick the one I like the most I think this one and then I will at it There. No white means The effect happens there. Black means there's no effect. That's the exact opposite. So I'm impressed. Control I and now it's better. That's what I wanted. And when I shift, click on the mask. I see how it looks with and without the mask. And yeah, it's better, but not perfect yet. So we'll all click and then control l. And now I can further work with the selection Them especially watching the tower here. I'm actually only watching the tower. Something like that. We removed the dogs, masks. Let me. You see, it makes a huge difference. But I don't want this everywhere. So I would know Pick a white mask and painted over this area. Oh, of course. Under Liam, ask they're real because I want the effect happening here a little bit, but not of the church tower. Okay, Miss C. That should be fine. Yeah, maybe the last stroke was too much. Something Okay, Perfect. Next step will be a Nick adjustment. One of my favorite filters from the new collection by Google. It's free now, so yeah, I get it It's awesome. I don't use many filters, but some of them are really one of my favorites, especially the pro contrast filter. This will be my next step. It takes a while until it slowed loaded and I really like the dynamic contrast slider here and I don't use it much, just something like 11 15 and then at some nice tone contrast you see, even turned on enough, especially here in the sky and also on the bottom. But not much, just little. And you can of course, overdo it like you see here. But I don't like this. So I'm thinking maybe even a lower amount, something like nine. Yeah, that's perfect. And 1% correct contrast, cause it's a really strong adjustment, like you see, so 1% is fine and I can also work the color cast If there's one I don't like in this case, I want this blue magenta cast so I will leave it for the workers would later So nice. I can also open up the shadows if they're a bit too dark, which they are actually. So maybe something around 11 let me tell, you know, off you nice adjustment press okay, in this case, I like to do it right after the order, in effect, because then gets back some detail in the dark parts, which maybe got lost before By applying the cause in filter that looks fine to me way or let's go back to the original layer. Do you see already? A slight difference. Not much, Just a little. Okay. Next step will be my other favorite filter called contrast Color range. It works of color contrast. That's how it's you know, that's what it says and I will go. I will zero out contrast cause I don't need it. And there's a buck sometimes. So after increased brightness by 1%. So it actually removes contrasts completely. This case, the buck didn't happen, so yeah, but you will see sometimes, you see, maybe they even fixed it. It doesn't matter. Just increased brightness by 1% and then you will find. And the really important part will be this slider here, color contrasts lighter. And there you see how it changes the image. And I don't like everything. Of course, Sometimes they don't even apply the filter. But in this case, I think it's not bad let me turn it going off that it's too strong. Something I this Yeah, it looks kind nice. I really like the contrast happening up in the sky. They like This looks good, OK? And it's too strong for me. So I will go down with the capacity Something like 45 and the Devil and another filter called Brilliance. Warmth also really cool. And the effect starts at 13% before you won't see anything. So I picked 13 cause it's mostly enough there, you see, I'm warming up the whole image since I want this really awesome morning glow. But I will go down with your passive. Yes, Mitch, Something like 85 Noah press OK to really powerful filters that, actually a lot of powerful filters in this color affects pro pedal. But you can, of course, really overdo it quick. So you have to be careful what you're doing. But this case, nice little adjustment, and I will call it color contrast, plus warmth. Yeah, and now use another one. I have a bunch of filters I'd like to use in this case. The next thing will be colorized. I will. I'm trying all the filters not not I mean, not not everyone but all of my two kids. That's like five or six and see how they look if they don't look good, it on a platter. This case, this looks awful. I will pick a dark color, something like black, blue, dark blue. And I will add some red because I want to read in their sky. Impressed. Okay, It doesn't look good. And I would check the different options in this case. I like this. I'm gonna go down. If the opacity, I think it has some nice dark mood to the image. Maybe it's, you know, that too strong took like that press. OK, it really helps you when you have a blue, our shot. And you want to make a really dramatic dog mood than this field. Perhaps you're on. They're already showed this in my other tutorial. The advanced tutorial, William, Two Nights capes There. I really like to use this filter. This case it's OK. Small settle effect. Fine. Okay. And now my last Nick filter. For now, I will use another one later. But right now I think I will use the last one. It's called dark and light and center. Also really powerful. It's kind of been getting full do. It's brightening up the center and at the same time it darkens the edges. That's what's called Dr Light and Center. And I can pick the shape of the vignette here, Elect this horizontal one in this case, place the middle on the church because this is the middle and I want this to be the brightest part. I can redo it all the time. That's good. And now I can work with the border luminosity. This case, minus 50 is too strong. So I would pick something like minus 15 maybe and sent. Luminosity is already is also too bright. Something like 15 and I think of want to increase the center size So it's not to dog. Yeah, but to dog everywhere. Yeah, it looks fine. Maybe I think you want to decrease the size was too quick with my decision. Yeah, that looks good. Press OK. Helps the I to go towards the church. The reason why I really like to add this vignette. But now I think it's too strong here in the forest. So I will pick a luminosity mask. Dogs mask and I will pick one which selects the forest something like this. And I added here and I will inverted. So it removes the effect out of the forest. Remove the dogs When I turned this mask on and off by clicking shift There you see the slight difference here on the edge here especially. But of course, want the mask to happen here in the middle. So we'll paint white over it because it won't wanted church to be pregnant. Takes a while. My community is slow. No. Yeah, it was important for me toward the effect gets removed in the edges. Maybe we'll paint even black by hands so it doesn't get too dark, but also up here. Cool. Little trick here. If you want to Just the size off the brush you could just press ault and right click. And when you go to the right of the left, you're increasing the size. When you go up or down, you're increasing the hardness or the softness. It's really speeds up the workflow. Okay, I think that's it. With the first adjustments, check everything looking good. I see before and after all, clicking here in the background already some nice things happened. Yeah, see what I will do next? Yeah, I think I want to brighten up the dogs. They're getting a little bit too dark. And since I want to increase, they want to have more contrast. Adjustments. I first of all, have to maintain detail in the docks. Otherwise they work to dog. So pick the dogs, masks that 2nd 4th years good. And now we'll go to the blend more mode screen and you see everything is brightened up and then lost a lot of contrast. And to maintain it a little bit, I will go to my curves adjustment here and pick linear contrast. Justice Mitch. So it's getting back a bit of it. Do you see, for one after, maybe even medium contrasts maintains it a little bit weather. You see you. That's a cool thing. That's the reason why I always like to pick curves and then work with the blend mode, because then I can always further work of the curve for the same time. So I have to adjustments happening. Actually, that's the good thing about it. Oh, call in lighten darks, but press J, I can make another one so it gets even stronger and this case is too much. So I want to go down If you're passively something like 15%. Okay, Now I will make a camera raw adjustment on a new filter on a new layer. So impressing control all shift p. I will call it overall. I really like working with to come over raw filter again in photo shop, cause yeah, it has some powerful adjustments and it helps me getting the effect I want. So I will go to filter camera, Raw photo. This is only possible in Adobe CC. So if you don't have it good, I want to warm up the whole image to blue and some tint and also darken it a smidge and increase the whites by watching the highlights. Uh, no, it's too bright. Thanks. 17 and some clarity to get detail here in the shadow. And what else? I think for this adjustment, it's fine. Let me see how much warmth if I can add That doesn't look good. No. 19? No. Yeah. I think nine is fine from now. I can always make another one later. Andi. It's important that the reflection ist awkward and the subject there, reflecting in this case. So I am maintained depth off the bridge. But I don't want it to be too dark. Otherwise, have a losing off detail. Somebody increased the shadows a bit there with a radiant adjustment. Maybe even threw it on the old image. But with ingredient. Okay, nice. Let's see if I go to the haze. Does it add something? Yes, Mitch. Too strong. And bring mix involved, you know, so nice. Chris. OK for no. Yeah, huge difference. Like it much better. I like to use the D haste filter a little bit because it increases contrast in the sky really nicely, especially when I have some clouds like this. But it's when it gets too strong. There doesn't look good anymore. Like most of adjustments. Me Go back, make another one by using a greedy in filter, increasing the exposure. But here the edge, it's good to talk. I like that. Okay, yeah. Better. Good. What's next? Let's go to TK Palin and pick in mid tones mask selecting not the darkest target tones. And it's also not selecting the brightest tones. So that's mid tone. Never goto levels And no, let's see how that looks. I would like to work. Mittal's masks love because it punches Thean majority nicely of some contrast. Put this case of maintaining details in the shadows. See, Yeah, really nice. I love that the levels adjustment in the mid tones layer. Perfect. Let's call it mid tone contrast. The only problem is I also l 11. Bonus Video No. 2 - Editing from start to finish: here will present you the image from the amazing things that Scots on beach at the left foot on the islands I had amazing centered conditions sunrise conditions there, as you can see. First of all, everything was cloudy and gray and yeah, before sunrise. But suddenly it opened up a gap and the light was coming in from the side, hitting all off the rocks, the waves. Everything was so nice and golden. It was always so really, really stormy. So, yeah, standing there wasn't easy and was fairly difficult. But still, I managed to get some nice image which I want to show you here now. So let's start with the raw farts. I have three here. I have one for the wave motion here in the foreground. Yeah. Then I have one for the bigger mountain and the darker sky and have one for this part here . But I will show you later why I needed Yeah. This, like, already said it was taken a little fortune island in northern Norway and it was a really tough situation for me standing there. It's since the water was the ocean was crazy. There was so many big waves coming in. And it was stunning standing right on the edge off this rock part there it was really slippery. And it was not just like stepping up from the beach to that one rock. I had to climb on the rocks to get There are also Yeah, it was difficult way. And yeah, I got hit by one wave straight in the face and straight above me. So it was not a good experience at all. I was totally wet and almost got soaked. Eckert, they almost always fall into the water water. So it wasn't easy there, So I tried to get my shots as quick as possible to get the right wave motions. So I made some darker exposures at the beginning already. And then I waited for the right wave and I had luck. I got a good one. I like this one here, and yeah, it was a nice experience, but don't need it again. Being wet totally of salt water. And like miners, one degree Celsius from strong wind. No, but yeah, I will show you how I process it. Now. I will use a technique called focal blending in photo shop. Of course, here Well prepared of the profiles. Let's take a look at the setting story. Quick. 60 millimeter on my Nikon 16 to 35 lens. I used that back then, tohave years ago together of my Nikon D 610 1/4 of a second to capture a nice wave motion. I really like this kind off for the exposure time. But of course it depends on the amount of water and there are huge waves. Splash. Then you need a really fast shot. Not really, but then you need a faster shutter speed to still get some nice motion. But then you and when you have have a initial speed is too slow. That's a too long. Then you get circuit water. And I don't like this. I wanted to capture the emotion, so I tried it a little bit. And like 1/4 1 5th of 1/3 worked the best Any slower didn't look good anymore, cause then demotion was frozen too much. And any faster. Yeah, Waas any longer Waas They're not looking good as well, so yeah, let's get started with this role here. First, I will go to the camera calibration section pick camera neutral and increase the saturation in the blue towns like I always like to do most of the time. Like to do blew our I don't like it with here. It's good. And then I will remove the chromatic aberrations and later and will enable profile collection. Since it removes the big distortion off the lens. This case right now it's fine. And now I will go to the basic tap and they will decrease brightness. I'm only watching the party in the foreground. I don't care for this guy and add some whites for contrast. Go up with the blacks and the shadows. This Mitch so it doesn't get too dark, since I had a lot of contrast later, anyway. Also bit off clarity and contrast, and I will go down the temperature, but to yellow. I want water to be blue, and I would go up with the tint so it's nice and, yeah, morning, dreamy looking, and I will also use a grant filter, too. Get a bit up some of the shadows up here because, like I said, I don't want him to be too dark, since I will add a bunch of contrast later anyway. And also in the bottom here. Okay. It was already nice. Maybe a bit more whites. Andi No, I will go to detail. I would use my basic shopping 45 a month. Radios down, details up another mask it out in this guy and the water. Most of the water. I don't need any lieutenants noise removal since there's no noise anyway. And now I can use enable profile corrections, but I won't work. I don't want to be needing to be removed. Let's check the horizon line. Yeah, maybe something like that doesn't look too bad. Good. 1st 5 I will use the exact same settings on this one. So I will control click on this year and then I click sing settings and old boxes are checked I will press synchronized And there you see, it's still too dark since it the doctor exposure. But it's mostly for this part here anyway, So I will go up again If the exposure things like, Yeah, they're still detail in there. And that's important. Perfect. And I would pick this one. I will only watch the bottom Thea part first camera calibration increase the saturation in the blue tones go up if the exposure now, since it's to dog. But I didn't have time for many. Um, yeah, brackets since the waves are crazy and I will go down with the highlights. But the dynamic range off the night 26 10 is already really nice. So I can't complain there, Group of the shadows and the blacks and also the contrast. I will go up with my warmth and also with my tents. Have some nice color here in the sky at some clarity. Yeah, it should be it for now, even with list tint, Andre will also work with the details of sharpening details. Mask it out and no at some Romans and noise reduction. Since there's some noise cause of the brightening here in the mountain. Okay, that means money. Enable profile collections and removed, even getting removed. It even getting with the redwood. And now let's check the horizon. Yeah, it's perfect like this, and I think I'm ready here and I can go on photo shop. So I will select all three files and ended in a photo shop CC. No, it's waits until photo shop opens them that we can go further with blending them together. Okay, here they are. Let me close this year first, and now we will start with this file, copying it by pressing control A to select it and control. See the copy. And I will use it on this file here by control, we and yeah, I'm only interested in this part here because they're still detail in the water reflection here. It's burned out. So that's the reason why I'm using it. I will maybe go to camera raw and yeah, right in this part here a bit. Eso I get back some shadow details just in case I'm overlapping. Go down the sides press OK, Perfect. But I will maybe also go down off the shadows out if the exposure here because it will make it fairly easy to blend them together and considering the other file being really dark. Yeah, it will help. The information is still there, so I could bring it back up later. They were talking. Maybe don't even more when I'm starting with the other file for red now. Yep. I will pick this on and yeah, had masking. That's the word. Ah, black mask. So I'm only seeing the bottom layer. And now white brush of a medium hardness. 1% of passage e No, we'll paint here. I think that's already it. Not much yet. No, not not yet. Not much Knowing your story? Yeah. Detail in here? No, I don't want this to be darkened. Yeah, I think that sense. Oh, up there, back and forth until I like it. We'll go a bit softer now. Makes it easier. That's how easy till you're satisfied. But the work is perfect since I maintain a lot of details. Yeah, that looks nice. Sorry. I looked through easy. Yeah. What did happen there? Of course. Yeah. After the 50 time going back and forth, it should be okay. Ah, you're looks a bit weird, but nobody will see that anyway. Besides you? Yeah. Sorry if too, if you have to watch all this year, but it is part of the game. I think that's that's fine. No. Have you hope it's not easy until you're satisfied. Yeah, that's okay. That's a much together and be done. Okay. No, the tough part is this part here. First I will pick the mountain and the counts. Something like that. Only the beach and some part of the Walter Control See and control be. And now I will have the moving around a bit we and see where it looks best. The reason I picked this mountain is I used a different focal length. I have 20 millimeter here and here, 16 so it looks bigger. And that's the reason why I like to use it. And that's why it's called Focal. Blending. Yeah, something like that. It's already blending kind of nicely. Here's line, which needs to be fixed, but the rest looks good. But then I have a vocal blend, Angelique and a exposure blend and exposure blend at the same time. So what mask like brush on? Let's try our best. The positioning is not perfect. I need to Okay, a bit me. Remove the mask that makes a move it down. Hey, you things to do that? Sorry. So that's tried again here. Okay, Hartness. The wrist works kind of. Well, you see, since that had a good preparation, Trump's, there's not much you can do anyway. Besides trial and error. Even those and I first edited this shot. I also had the same problems, but that's how it goes. Yeah, let's see. Looking not too bad. But here is the part work which I don't like. Think of my just usually until the wave crashes here. It's decreased your capacity. Let's see. Think that will make it a lot smoother bothering you with this part? The rest is we're really looking kind of good, Toby. Perfect. If you're too boring for you can just school forward. Of course. Point of the game. Okay. I think I'm done from one thing here. There we go. Merge together. Finally. Everything was fine from the beginning. Appear hits easier. Here was the tough part. If you don't like something, you can, of course, always tempered away. Since you know I don't care meals. So you know, I don't know. It should be fine. I don't like this party. Yes, I remove it. You and I also don't like this plant here, but I will make this differently. Okay, so that's it with the focal blend. Boring stuff. Yeah, but it needs to be done. And now I have a nice, bigger mountain and also blended this part here in So we a nice balanced image. So let me fix the So what are things? No, I will go to filter, camera, roll, filter and pick the spot removal tool. And there were a couple of spots there, so we'll remove them real quick. No. Okay. Uh, let me see. Now. We will start with the perspective. Adjustments. First of all, I want toe Copy the layer here. No, a press controlled t and they will go down a bit here. I don't need the rock that big. I will also go there and, of course, here and up there in tow. We'll make another layer control shift e and removed the rest off the plant. I like to work the perspectivas you've seen in my other videos already. It decreases the sharpness a bit, but it's OK for me. Not much, though. And yeah, you can really enhance the image that way. That's the reason why I like to shop in before already. Really? Good. Okay, so now let me make a selection here off the mountain. But just right above here, control T click on warp and they will drag it up a bit. Sort of mountain looks bigger to put that are directly in the middle of not up there because that always get rid of the clouds. You see, I am too strong. Lady, you have to go back a bit more down here. Their control, T Uh oh, no, I made a mistake. I have to pick the whole frame. Of course not Just a part of it. My bad t justice Mitch. Okay, here we go. Well, I think I got rid of the stone a bit too much. Don't do. Let me good. This done here, Control T and I will remove it up a bit. I was too strong in my opinion. Now, when I look at it, something like that here. So another layer again So they may remove this grass. Oops. Shift five. Here we are. Maybe also here. Okay? And we grabbed the mountain to make it a bit bigger. Look much. Just a bit. Here we go. Okay. No, I think I like it better. Yeah, much better. Okay. Flatten image. We are done now with our respective adjustments. Yeah, not easy, but it has to be done. Yeah, every time. When I say I think we're done, I find something. You try and step this year. Uh, No. Nope. Not this way. Control J. Yeah, it's better. Well, much better. I wasn't careful enough. Can't be careful enough A mask this part out here cause I don't like it. There was mainly about this party. Okay? No. My first step will be darkening the sky. So I would go to my TK panel and click lights. I know you're this Lights mask curves multiply. No, I beg some contrast much. I never go down with your passages. It's talking a bit too much, but it's okay. I know. Close this port. It's darkened sky. Oops, darken sky. Okay. Still bothered by this part here? I can't believe it. Flatten image read. Do it. So you guys. But when you want to print printed, it has to look good. A big lighten in the stamping tour. No enlightens the darker parts only. Maybe this helps. This helped a lot. Okay, Now I'm satisfied. Good. So I will pick a curve slayer and I will go down with the exposure, go up with the bright and darks and also enhanced the blues and the darks. Who's that? And I would call this dark in simple Just don't know what it Waas and now I will decreased capacity. It's a bit too strong, in my opinion. Many for contrast anyway. Andi. I will now uh, make a new layer control shift. E go to filter blur causing blur to add My own effect really fits this light as well. Golden sidelight in the morning reunites image adjustments, brightness, contrast, contrast up, brightness up You're well and now Nick Collection one of my favorite filters again. The pro contrast for the There we are old. Start with 11 and see how it looks. Well, maybe more. 15 should be good. Correct contrast in its work of the counterbalance. No, like how it is shadows. This Mitch. Yeah, it's a nice texture to the wave. Serious e really like it? Perfect. Let's just make a quick check. If the horizon this cricket here. No, it just looks like it. It's much good pro contrast, and now I will add a camera. Raw filter control shift. E called it. Like I said, Camera raw, good filter roll filter. Let's book of the Brights. So let's see why it Yeah, I want the contrast here in the foreground. I don't like it how it's not there. This looks really nice. I don't like it there. Of course I will be used. Master the out later. Let me go down of the exposure Justice Mitch, do your legs. Yeah, much better Press OK, and I will go to TK Panel, pick a Let's mask this one here, add it and inverted. Here we go. If it's stronger and no, I will decreased your capacity since it's too strong. Yeah, 65 maybe. And I can paint even a bit up there. Perhaps just so it looks mover mover. So there. Uh huh. Let's And when it's too much, I can add another lights mask something like that. Guru curves and multiplies or get back some detail there since I will needed later on, I brighten it by using a like point. Okay, Duncan. Yet it was getting a bit too strong, in my opinion. So pick a huge saturation layer, go to yellow and increase the saturation. But also make it a bit more orange. Too much. You're low decrease. Okay, nice. So far, next filter will be a contrast color range. Or at least I will try and see how it looks. Remove contrast Brighton. Is this Mitch? And no, that's check it. It was actually quite nice. Think like there. Pretty cool. Go down with the capacity. Since it's a bit strong. In my opinion, it will add brightness for brilliance, filter, Bruins and wolf. There's some steps I like to do the same. Not always, but most of the time since the work for me and this is one of those steps press OK, you're nice effect, in my opinion. Do you see really cool? Never call it contrast. Color range plus warmth. Nice on. Yeah, One more step. Dark and light and center. I also like it a lot. Takes a while until it loan. It's here. In this I will pick the horizontal one. And now I can adjust the border luminosity and dissent. The luminosity. I want to center to be somewhere. The Romans here. Let's see. First of all, it's talking it and Brighton. At this time I want to make it fairly big. The center here, You missed press OK, I like in a lot. We already see a big difference. You'll see here. Just a couple adjustments. Really powerful. Okay, it was still a little bit too bright element Too hot here. So let me check with a saturation mask. If I can adjust it better, you see Respiratory. Oh, perfect. I will reduce it here fairly much Here won't. But it Okay, now it's dark and Oh, no, no. Dark and sorry. Right in the docks. First, let me get some dogs. Masks? Yeah, this is already perfect. Perhaps. Layer screen belittled to brighten. Oh, lighten story. Screen notebooks. You and I will get back some contrast on. There we go. Perfect. Perfect. Perfect. Call it. Lengthen darks. Take a look. I already like it a lot. Some steps will be done still, but yeah, I already over already. Like it. Uh, Okay. What will I do next? Yeah, we'll continue if a mid tones adjustment. So I will pick the Midtown Stewart. It's my favorite one. And I go to levels and no dark and dim iTunes to get some nice contrast at the same time of a break in them. But not too much otherwise would burn out that. Yeah, part of the highlight. Some parts of dialects. So something like that, you're a big difference. Really? Like it's powerful adjustment. Like it a lot levels and combined the finito luminosity mask. Really good with tone. Contrast. Really tasteful. Perfect. Ah, too dark here, in my opinion. So dogs mask. I picked this one. Pick a levels adjustment and right, and it's really my a lot and get back some local contrast. Not much group. It's at a black mask. I know I can paint it based on the luminosity mask beneath. It's important that your watch that the dogs don't get too dog. Otherwise you will block them and you won't get any detail back after too many contrasts. Adjustments. So, yeah, things like So it's good when we do it a bit there. Okay, lengthen darks. I mean, do you need those here and decreased your passage? Es Mitch a little too much? Not that much. Something like this. Okay, Perfect. Now we'll grab another Midtown's mask, but I will pick the 1st 1 It's a really narrow mask and never goto curves, and I will play a bit of a pick Medium contrast. Strong contrast, linear. I don't like linear, so pick medium you Nice bonus lights mid tone contrast okay, and I will work a bit locally by using the levels layer frightening it also eating some punch to the mid tones. And now I will use it for this part of the sky here because I wanted to be more contrast E So if this part here in the mountain especially here, though what shall did I don't blow out all the highlights here, There. So here. Okay, Think of blew out some there So I will create a lights mask at this group. Pick this light here and added to the group by inverting old click control l And now I can further refine it Something like that that doesn't make it to Yeah, right there. Perfect. If I still wanted somewhere there And, of course, just painting the mask to have a lot of control. That's what people want. Okay, let's delete the lights. Masks on. Let's make a little Kim a ruffle. Took control. Old shift e It's called it comer Role to and go to filter came in a row. That's no, uh, it's a wolf at the same time Brightens damage and some tint. Go tell with the exposures, Mitch. And up with the whites. So it gets more punch. I don't know so up the shadows. See what I could do if they've been getting a bit of in getting its not wrong. In this case, on may be a bit more magenta, something that let's decrease for this change to Hugh and also saturation in the yellows seems a bit too strong for me. A t least a little bit. Yeah, well, there looks good press. OK, Nice difference. Really good. Really, really good. Okay. What else? Not easy. I think I will add another levels layer to brighten up this part a bit more to dark. Still, it just used to ring it. Yes, but I want the contrast there. Just a darkening. So here. Yeah, This needs to be darkened too. Bright reflection should be brighter than the sky. At least in my opinions will pick a lights mask, go to curves and I multiply so it gets dark into nice. I don't want it everywhere, of course. So group it black mask, white brush. And now I can paint in the darkening effect here. Perfect. You stupid. Whoever Darkness here. Okay, good. Let me remove the lights and call this darken. Yeah, there's not much left. No, I think My beloved color balance adjustment Blue in the shadows and I get that way. Yellow. Oh, no. Sorry. Not of one here for the highlights and learning the highlights. And also some reds and magenta to make it pop and also see blue. Oh, yellow on a blue, blue blue in the mid toads something like this. But now I want to get out off. I want to get their magenta out off the black, so of dark. So at green the group hopes they had It's up to strong, so reduced it. And it's a good thing. That's the reason why I'm making separate layers so I can decrease some of them if they're too strong grouped, Um, and call it color balance. And now, yeah, maybe a bit. This a bit too much of a magenta cast at some green. And I've also decrease capacity there. It's not too green. Okay, I'm a bit worried about the saturation here, so we'll pick the saturation layer, see which one with fits best. And this is the one I like the most. Look, look here. I thought was minus 35 from even 45 is a good thing I can be really strong there without reducing too much of the saturation, since it's really targeting only this most saturated part. But this looks good. Yeah, I think I'm almost done. Let me add some light painting colors already. Good. First of the normal blend mode. Something like that. Too strong, of course. So let me go down your capacity. Something like this. And I will mask out the dark parts by using a luminosity mask. You like that here and invert. There we go. No, they add another one with the A soft light blend mode. Still the same color. No paint here cause there's also light happening and that can connect press control T I can for the Vergara food you see were there and that can increase decreased your wall. A passage? Of course. Okay, let me call that light. First of all, let me group it lower. Call it light. I like it that it's hitting the mountain here. Since it came from there and hitting the mountain, they wanted to increase that. Perfect. Now I will make another contrast adjustment by picking the stone picker tool here. Really powerful tool that can pick one tonal range here. And then when I press OK, it gives me a selection off that total range three Cooley and this TK Pedal So we'll go to curves. And there you see pretty cool. I never pick, maybe even medium contrast. No group it at a white mask. Pressed G for ingredient black color, 100% capacity. And now I want to remove that effect off the bottom. Since I don't like their only one of the top see perfect, I will call its own contrast Yo, one more camera raw filter just to double check things cause I like to make the finishing touch dare If it's possible, Come on a roll three filter Come over Rule filter Yeah, not much to be done here. Maybe a bit magenta talking it by one point. Frightening it a bit. Mormon genter here and some highlights their radiant tool and I should be all set. Shoot the road is short. Maybe one adjustment brush. See Roy with thing out and get some whites and there really small size feathering 100%. Then I repent some white on the waves, stony until the top here increase that a smidge. It's points here. Good. I think it should be it from the like, actually like it a lot. Ah, one more step story, I forgot. Almost forgot about it. Classical soft focus. Too soft in the highlights. A little bit, a little bit too harsh Added to strong like this here and go tones like 35 press OK, and I really want this Sunlight glow in the foreground of the waves and the golden light. That's why I like it. When I used such glow filter's entire system. Moved a lot here, you see Amazing, Amazing. Have any more contrast that could just go to camera roll and increase contrast may be called on Mr Perfect That's it. I'm done with the second video. I hope you liked it. You saw that there was a lot off hand painting and trying to get things right. I think it's still not perfect. It will take way more time, but I didn't want that. You guys have to watch this all the time. I hope you got the idea about focal blending. Just your overlap it find some overlapping and then trade over painted. It doesn't work always. Of course it looks the best of oceans, in my opinion and also, uh, mountains. But you really have to find similar textures to make it work. In this case. Yeah, I like it How it is right now. It's not perfect, but yeah, the video would have be like three hours if I wanted to make it perfect. But you got the idea. Okay, so that's it. Here. Let's continue 3rd 1 but 12. Bonus Video No. 3 - Editing from start to finish: year will present you. My image. Cellular Lands Force was taken in Iceland. It's an amazing waterfall in the South. Amazing sunk sense consented. Conditions like you can see here and I will show you my techniques. How do cross? There's an image like this since it's not easy and let's get started. Okay, so here's the raw file, and that's what we will start with again. Totally different. Of course. You see that it's a little bit too dark. My, you know, let's say my purpose. Almost invent the route. The purpose since yeah, you see, there's a really bright sunset and with amazing clouds in the background on And yeah, I, of course, didn't want that. Their bright part here is getting blown out too much. It's OK when the sun is little Dwight, since it's a really bright point, that brightest point on earth. So, yeah, it's okay, minutes, little bit, losing a little bit information here, since they would bring it down completely anyway. But it's important that I don't lose too much shadow detail, and in this case it was also yeah, but difficult for me. It didn't have much time for exposure, blending or anything since there was so much water spray hitting me like crazy. It was windy and the wind was blowing right to me. And when I walked behind the waterfall, I was already of wet, totally wet. But when I was standing behind there, yeah, soaked completely. Camera soaked me completely muddy, soaked everything dirty. It was made my 1st 3 hours in Iceland, by the way, and I was already doing like crazy. When I arrived at the hotel, the guy at the reception was looking at me, will you? It was funny. Um, but yeah, this case I didn't have much time since I was busy wiping off my lens and my whole camera, actually, and there were also people running in the frame all the time. It was Ruby just really annoying. But it's a popular place. It's really touristy for reason. It's really beautiful. And you see, there are a lot of people standing there, and I was the lucky person, of course. But as soon as I arrived and I walked behind the waterfall, a bus came with tourists and yeah, that was it. But still, I still managed to get a really good shot in my opinion and yeah, I will show You know how I process it. It's a difficult shot since there's a really tough light situation going on here. But I will show you my work flow. How to handle this. It's of course, kind of similar to the other images already since the other are some steps I almost always do. But those matter, look, works different on every single image. And, of course, three intensity off each. Yeah, for my adjustment techniques is different as well. Yes. So let's get started again with the camera calibration another go to a camera neutral. So you see, the overall contrast is reduced already, I will go so up again of the saturation. Here you see their settings, Um, nice glow and nice warm shine here through with sunlight. Not too much, though. I don't want to saturated because it's already really saturated and will be even more organized when I'm finished with post processing. Okay, so remove chromatic operations. Oh, and I forgot to talk about setting story. Um, I used my Tamron 15 to 30 mil at 15 millimetre. It wasn't actually enough. I wanted First of all, I thought Okay, I can make a panorama, but no way. Not possible to wet. Yeah, but so I sticked with 50 millimeter, 1/13 of seconds to get a little bit under exposed Scene after 11 was enough to get a nice son star Since the sun was behind this rich line here on. Yeah, And I have no 64 based eyes on the Nikon D A 10 I didn't use any filter since I would have used would have needed the big ones that 150 mil millimeters for the Timberlands. And no way I could keep that right there. So I was even was barely possible to keep the lens dry. So yeah, forget it. What? It was it was okay. Okay. So committed, Operation removed. And now we will balance the exposure bit by decreasing the highlights. Not much on and at the same time, increasing shadow detail. Not too much, though. Something like this. I don't want too much detail down there, since it's a muddy just much, you know, the pathway here, but a little bit, of course. Since I needed appear And, uh, in the rock. Also a bit of blacks. Yeah. No, contrast or anything, but I will increase the exposure. Smith don't go to down the hall. It's too much cause you see, you will get this reared halo around the sun, and you won't be darkening the sun anyway. Since it's too bright, it will be only gray and the light around it a little really weird. So be careful with this. It's better when it's a bit blown out than having this weird halo around it. Okay, something like that. Now it looks washed out, of course, but that's the point, since I wanted to balance the exposure. Let's see how ever can work with the tint. Yeah, of course. I want to increase this amazing mood over the temperature up to 10 years to tend. That's too strong. Minus 15 maybe even more. Minus 13. Maybe I made minus 15 was maybe enough. We will taken over as we do that later, but it's a good starting point. Okay, now I will pick a grad filter with shadow detail. Yeah, and I will increase the shadows up there a bit. I don't want it down there. I just wanted up there, so I picked a great tool, radiated filter. I go down the shadows here to stroll in the bottom. I don't want that. It's okay when air will increase it a bit here, since there's also some nice detail happening. Something like that. Yeah, it looks fine to me. You see, there's barely any noise since the dynamic range of the Nikon is amazing. Yeah, that's good. Maybe a bit of contrast that much on your shopping. 45. Your 0.5 detail up. I will. Mascot outage 15. I don't need any noise removal. You know more at all. So it's fine. And now I can enable profile corrections. And I just realized that I actually don't need it. No. Okay, lets see. Transform what it does. Oh, no, I don't like it. No. Nope. No, it's good. Already perfect. I think I would just use another grad filter with the whites adjustment to get a bit of punch inside. There it's a cave into son, this little but bright like a said already. But I love the contrast and getting from this adjustment, and when I don't want it to be blown out too much, I will just use the adjustment brush here and go back with the whites and just points here . I never go down again. This, Mitch. Not too much dough. 35. Still, I don't care. Let it be blown out. That's the sun, like said already. Maybe I can work a bit here with highlights. Adjustment. Make that. Okay. Perfect. I think you don't need anything else so I can go right into Photoshopped. And then it will be Photoshopped CC. Yeah. Okay. Here it is. Let's close this tab here. Andi. Yeah, First of all, every was thought of some perspective, adjustments and stamping. Since I don't want all the tourists in my image, it won't be perfect. Anyway, I'm not good at stamping, but it's better than having all those guys there. So first of all, after I opened this shot here, I realized that maybe a bit too yellow right after I finished it in camera raw. So I will maybe increase decrease it. Just switch something like that. Minus five. Yeah, well, you better. Okay, So after this, I will first try to get rid of this month, pile here on muddy part. Here, do this. I will copy my background layer, make a selection from their big in the sorry something like that. Maybe control teeth. And then I used to walk to a no. I will get that out here off the frame thing. Enter. Yeah, Looks better, in my opinion. And also try to fixed the horizon line. So something like that, Chris. Ok, Ontario. Much better. Okay, flatten image. Uh, see, I made a mistake. There happens sometimes, but I can remove it by stamping, drawing around the less of two Northern control all shift and then shifted five like I showed you my other videos already. Okay, Next step will be to stamping part. So Control J. And first of all, I will remove those lights here since it was already kind of dark that turned on lights, too. Shine it. The waterfall was re stupid, in my opinion. But that's Iceland, especially the touristy parts. I said it's not stupid. I just wanted to make sure it's just that there's it's especially the cellphone part is really touristy, so they have all those kind of things. So what is easy to remove anyway? And we'll remove all the people but the wrong around them and shifted five. It takes a bit of a while now, but its benefits since there are annoying, they're I've seen even more people there in the past. When I was there, I didn't have that good conditions. Never before there was made best conditions I ever had There it was actually the best conditions I had in the whole trip. I was there from nine days and I had, like, two days which were good. The rest was only rain crazy. So I think fired off all my luck at the first evening. And yet it was It kind of said, though really expensive country when you fly there and hope for the best, and then you have, like, two days and the rest it's like only rain with no site. So there was so much missed. Yeah, they don't complain anymore. I'm over it already, but it was really frustrating when I was there, but that's what happens to me a lot on my trips. People always see my images and they say, like, Oh, you have also much luck. No, I don't. I just post the ones I like the best, and it's not much, okay, so I have to do a lot of trips on the time. It's not enough. Yeah, it's not perfect, like a said, but it's better than having all those people standing there, especially when you assume out you'll see you won't recognize anything. Level increased this sunburst year later off like painting. And then it won't be possible anymore. Ah, you're more people standing around watching them. Amazing Celje Lunch, Celia Lens Force. Yeah, this is the, uh let's try that bus because this is the most annoying thing. Yeah, I want removal yet because no, since you see how I would do it and I already processed this image anyway, So it will take too much time to just stamp all those things. And, you know, it's boring. So I'm pretty sure you get the idea, maybe just this one, which is shining a lot because of the sun here and also the shield there. So when the cost of the lights on also annoying on this one here completely gone on its roof, this one first I'm not a good Stamper is You can see, but sometimes it's enough. I often ask my girlfriend to the stamping shins. She's doing that for living, stamping, making models look younger, so she's really quit and stamping. Yep, that's it. Perfect. So, no, let's flatten that on. Start with the first adjustments. First of all, how I will pick a lights luminosity mask too dark in this area here. And it just so a stick here, which is annoying. Sorry, I agree with that. There it is. Okay, so who do say, I'm sorry, guys. I forgot the dust sports. I don't have many. There are there. After this shooting, my sense of was so dirty. I had to clean the law. Had some huge blotchy thing on the sensor somewhere around there in this corner, Not in this image, but yeah. Do you want the ones? Later? And I didn't realize it at the beginning. Some love birds flying around as well. Ok, now let's get started with the darkening. Let's hope this one here perfectly selected. Multiply it. It's good. I like it having a bit strong. So I will decrease capacity, something like 45. And it's important now already that I make sure it's not getting too saturated here. So I will pick a hue saturation layer and go down the saturation in this area. I will pick the color moat. So it's only affecting the color. Not this not the contrast. Because of all the other adjustments which will follow, it will look like a big blotchy area full off color on this won't be looking any good, So make sure you watch for the saturation at the beginning already. Okay, there it is. Flatten image and no, you know, let me see curves. Yeah, I will talk in the whole scene. Just a smidge. Brighten it a bit too much. In my opinion. Go up. Oh, no, not the input. Just the output grew up in the shadows and also at some blues to the shadows. I'd like to do this at the beginning. Makes a nice atmosphere. No, we call it dark and okay, first step now, like almost every time, especially in light conditions. I don't use it a daylight, but it nice conditions like this. The old in effect just looks awesome, in my opinion. So we'll go to filter blur Gaussian blur 35% at 35 pixels amount go down to 15% is like my stomach standard amount. Goto just been spreading this contrast. Contrast and also brightness. Chris. Ok, and now you see, I don't Perfect. Really awesome Here in the falls and the sun being here the Mr for fall spray. It looks really cool like Okay, let's start again with my pro contrast filter. I was try it. I don't use it all the time. I just always try it first and see if I like it. Of course, it doesn't take much time. And most of the time it works. In this case, it does again, since it brightens everything a bit and at some contrast, and 11 is my standard amount. You saw this in all my other videos. So I always tried his first and then see if it's good. Good. Correct. The color cast. You don't want to remove all this amazing glow, so No, not at all, actually. Just keep it like this and press OK. And I would have been yet later. So now I want to make sure this part here it doesn't get too dark. It's OK when this part gets dark. I don't like it anyway, but this one is not allowed to go to dark. So goto the camera awful toe picker Grady in tool and Increase the shadows. Smith. Don't there shadows and the blacks? Oh, no, Down up to this, Chris. OK, perfect. Okay, so let's no try the contrast Color range filter. It's really important that you watch out. It doesn't get to set. I like saturation, but it's important that you watch our It's not too saturated, especially around the sun, because this would look really weird. And it's seated a lot on the Internet, but I personally don't like it. You can do whatever you want, of course, but I think it just looks. Yeah, not good. You see, in this case, even the filter. If there's a nice job, it's too strong. Way too strong, though, but I like it how it's working of the colors, especially here in the sky area. I don't like it much. She and the rock, but he in the sky. It's awesome. So I think I was just painted in there. So press OK, Let's try how it looks when a painted in there black brush at black mask quite brush 60% capacity, and now I would start painting the effect in here. It's a soft brush, sorts of cave and there's a little bit overlap. But in this case, Brooks Goody me See, I think Thank you. Need toe talking. End up it here. So it doesn't look too. Hey, Louis. Yeah, perfect. And now a not adjustment of warm filter. See how it looks? The increase is the saturation too. So have to be careful. But it looks good. Too strong the way for strong. But something like 45 capacity should be fine. I will remove the saturation here in the rock later because it's too strong. But right now I like it. Nice glow. Perfect. All right. It's already a big difference. Years, you conceive. And now, of course, it can miss the dark and light in center filter. I love it again. The horizontal version. I also like the vertical one. But in all the images I showed you in the tutorial Here the vertical add Sorry, the horizontal works better for me. Minus 15 plus 15 on 65 size on the night pickets somewhere around year. So I get a nice little ring yet around the waterfall, maybe sent a luminosity. Something like Oops. Sorry. Not center border luminosity. Something like 21 perfect press. OK? Really good. I already like it, but it's not done yet, So I'm again again. Have to watch out that the dark parts are getting aren't getting too dark. So we'll try to for levels adjustment and increase the output. So it remove some of the contrast in the dogs. And then I would invert it. And I were painted where I needed, especially here in this area on up there. Here. It's okay when it's Doctor. I don't care about that. Yes, I'd already, but it's important that I have enough space in the tunnel. The down there can also increase the brightness smidge. Good. We call it Britain. Simple. Okay. No, it's book with the mid tones again. Favorite adjustment. One of my favorite adjustments go to levels. I had bunch of contrast tones. You see the sun Really nice. It's heading Glow. You're perfect. I love it. Okay. Till contrast. Mm. What else? Yeah, I will use a brightness contrast adjustment and increase the brightness and also the contrast. Then I will hide it. And I were painted locally here in the corner since the life is hitting it really nicely and also around the waterfall and no, no, no, no, no, Not up the waterfall, just around it. And also around here and there. Mostly here. Not so much down there. It's getting too bright in the corner. I don't want that because it's using. It's getting too much attention. But here it's important. I really like using the Wacom tablet for this. Like I said many times already was. It just looks brilliant. Okay, Controlled shift E camera roll filter. You know, I like it. Here it is. I think it will decrease, Um, the temperature because it looks a little bit too yellow. But just, uh here on the sun area, it's OK, so I will use this radio filter and we'll get back some temperature there, and I will use it like this big and turn it around. It's 100% feather. So it looks natural. Okay, No, I will decrease the exposure. Like doing that to increase. Oops. Sorry to increase the mood. And I will add White touch. Also here if the Grady int I really like doing that, that's a powerful tool Year of the camera. Raw filter again in photo shop. I really like that. Okay, nicely brightened and no increase the commuting, but like minus five the same time of using the ingredient tool and work the shadows So they go. Don't get to the cause of the vignette ing. Okay, Nice motor ingredient. Go down. If the exposure here in this corner I don't want it to be too dark edge abrade. Sorry, custom, but has no interest to me at all. Something like that. Perfect, Chris. OK, and there you see a nice little difference. Not just little. A huge difference. Perfect. The situation still looks good. There I'm satisfied was to like the light lots hitting the waterfall. And also here in the corner. It's just amazing. It was an amazing moment, even when they were soaked like crazy and muddy 30. But still, I loved it. You know, when I look at the image A That's how I felt the sunset. It was so intense. It doesn't happen a lot to me, at least with clouds at the top and freehold free empty horizon lines so the sun can poke through. It's just amazing. So another one hue saturation. And I want to see if I can get some orange in the yellow over. It's too strong. Maybe two, some orange. So it doesn't look too greenish here. Looks good. And no, let's work the color balance. First, I would pick the shadows and get some darks in there at blues. Sorry. Talks, huh? My bad it. Dawkins at the same time as you can see. But it's still leading blue. That's the point of it than color. Balance yellow to the highlights and also reds. So it's nice and intense and Talibans again for Majid, for the Midtown's I will add some blues through mid tones. I don't want it to be too yellow. And maybe I will go again with the greens in the shadows are not to magenta. Yeah, grouped them. Call them color balance. There you go. Getting also some nice contrast, which I like a lot. Okay, maybe too much red and blue around here, So mask the whole thing out. But just by like 30% look too much. Let's see. Yeah, looks better. Could it break down here? But there it looks better. Perfect. And now let's work with levels layer dark in the mid tones. Get up with the output level so it looks a little bit more Agree This contrast e I don't want it to be to contrast e. It's already really contrast. Okay, Nice. And now I will add it on the brightness layer, Increase the brightness and contrast Inverted. And I will use it again here in this area not down there but here. Maybe also good. Here. It doesn't get to dog hands. Has a nice effect. I don't want it here, so we'll go up to 70% capacity and remove it there. Okay, Yeah, I'm getting close. That's not much left to be done. It's just double check. Maybe a little bit of midtown contrast. So we'll go there on the TK Pedal again. Pick the mid tones one to have a really narrow selection and it will go to curves and pick one off the curves here. I mean you Yeah, medium looks good bit too strong. And I don't want to increase the colors too much. So we go to the luminosity toe only affect the contrast, not the color. Here you go. Looks better can go down If the opacity Here's Mitch. Something like that. At the same time, I will increase the brightness because it's a bit too dark for me when I'm watching it. I always go up the contrast as well. You know that's better. And now just a little bit more like painting. But first of all, I will decrease the saturation and the really saturated parts with a saturation layer. Because it's here, it's really saturated. So let's see old clicking on the masks. Then I see the saturated here will pick now the basic one and never go down the saturation . Not that much dough. Something like minus 11 looks OK. Yeah, I like it here around this area, but this year still too saturated for me. So I will pick my hue, saturation slider and go down with the Redskins. This is the most saturated party in the image, and I would go to color to effect only the color and at the contrast, inverted and no, I will painted for white rush off like 70% of past No, not 70 50 around this edge Here. The corner here too. Decrease the saturation here in this part of the image Well, it's a bit too much decreasing years. I would pick 20% Yeah. Looks three more natural, in my opinion. Okay. And now some light painting because of finishing almost finished. Look yet, but almost pick a color here in the sky. Something like that. Maybe a bit more orange. And then I will paint it like this, uh, to pray to maybe a bit darker to get some more saturation. Yeah, that's better. Groups. That doesn't look good. Okay, uh, I don't want it in order. Dark parts. So yeah. Luminosity, mask darks somewhere here. And it's inverted because they wanted dogs to be removed from this selection from the adjustment. You're better old click control. L and I can refine it. I like using the normal blend mode with some light painting because it makes like a really glowy fruits kind of light. Too strong, though. Reduce it. And now we add another one, but brighter of some soft light blend mode. And I will paint it just here and around some and a bit of a waterfall. And here in the corner somewhere here, there looks nice. Perfect. Too strong again. So down your capacity and I will bring it in. A group called this group lights and yeah, I'm almost done. Actually. Let's at a classical self focus as a finishing touch because it really diffuses the light softness. The light hopes to enhance the mood a bit more. That's too strong. But something like 45 again like they did the other videos already can always further enhanced capacity here in the main section of photo shop. But no, let's wait. You It is really nice. And now we'll go to photo camera raw and check if everything is all right for me. Yeah, looks good. Maybe some. I don't even know if I need some darkening. Maybe just a smidge. I grew up with the shadows. That's a bit down blues about Increase the blues and press OK, yeah. No, I removed some off the light year. I don't like it by talking it down, So I will make a radiant adjustment. Something like that, And I will get back the nice Hello? Perfect. Okay, so let's group it control G, Call it adjustments. This is the beginning. No, we finished. Huge difference. Really saturated. If you don't like it that much, you can of course, go down with the capacity again. I like it. This way because I experienced an amazing moment. Maybe even 85. Yeah, Doesn't matter. Depends on the day. But now I'm fine of that. I hope you like it too. And it's, you know, also done with the tutorial. I hope you enjoyed watching. I showed you some of my favorite techniques on based on three of my favorite recent images , Um, they were weren't easy to, uh, post process. But that's the point. That bother tutorial. It was fairly advanced. Of course. Like I said at the beginning. So I didn't explain everything in detail for this. I have my other three tutorials available. Uh, but still I was I hope you were able to learn something new. And I also hope you enjoyed it. If you have any questions, feel free to contact me on my website or suggestions as well. Of course. And yeah, I say thank you again. Enjoy shooting good light as always. And see you next time. Bye bye.