Post Processing Vol2 - Learn a creative Photoshop Workflow for your Landscape and Nature Photography | Daniel Gastager | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Post Processing Vol2 - Learn a creative Photoshop Workflow for your Landscape and Nature Photography

teacher avatar Daniel Gastager, Professional Landscape Photographer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (2h 33m)
    • 1. Intro Video

    • 2. Raw Adjustments in Lightroom

    • 3. Selective Noise Removal

    • 4. How to use the Orton Effect

    • 5. The best Filters in the Nik Collection

    • 6. Advanced Contrast Adjustments

    • 7. Advanced Color Adjustments

    • 8. How to prepare your image for print output

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





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 how I edit one of my favorite pictures from start to finish. Every single photo is unique and so it needs different adjustments than others.

After watching this tutorial you'll be able to process your own images in a completely new and advanced way. The following steps are covered in my Skillshare class:

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 to remove noise locally without destroying the details of your shots.

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:

Colors are 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 the last chapter, I'm going to demonstrate the best ways to prepare your landscape images for print output.

Meet Your Teacher

Teacher Profile Image

Daniel Gastager

Professional Landscape Photographer


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

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

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

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

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Intro Video: Hello, everybody. Welcome to my second post processing masterclass for landscape nature for talks. I think this tutorial you learn all the techniques you need to know toe process. A landscape image in Adobe Photoshopped. From start to finish, we will work on one off my favorite waterfall images in seven different chapters. You will learn all the professional techniques like the order in effect local. The noise adjustments, color adjustments, contrast adjustments. We will talk about luminosity masks, and I'm also going to show you how I prepare my images for print So you have your beautiful art on your wall at home without any problems. My name is Daniel Gassed Aga Birth name Flash aka. I'm, a professional landscape photographer for over seven years now. And yeah, I used photo shop on a daily basis, as you probably already know, and my skill Ship Channel is full of Photoshopped classes. It's such a wonderful tool where you can add it and also enhance already good landscape images to make them even better. So who is this class for? It's for landscape, for nature photographers who want to improve their photo editing skills and maybe also want to get some new inspiration on a professional post processing workflow. Alright, guys. So now it's time to get started. I wish a lot of fun with my tutorial. Feel free to contact me any time. If you have questions, it's quite in depth. But that's the point about learning and skill, and in this case, hopefully many new skills in this amazing program. So don't hesitate like a said asking your questions. And I'm also really curious about your results. Post them in the project section here on skill share, and I'm always there to help and give you a thumbs up. So, like a set, guys have fun now and see you later my 2. Raw Adjustments in Lightroom: I would just start. Now, Um, this is the final image to see. But like I said before, I want to guide you step by step, so I will start off the raw file and this is the one here. And when you look at the which you first of all, see that it's really dark. But that was on purpose, since I wanted to keep the texture in the water. I don't want it that when it's so smooth and washed out from, like, say, 30% as 32nd exposures. I don't like this, so but it's just my taste, of course. Um so I always make show shorter exposures and, uh, to keep the structure the dynamic in the water here, especially when they have it in the foreground. Um, so what happened is three images to dark like you can see. And I also had to bump up the I also a bit. So I am Yes, so it doesn't get too dark, but that's no problem at all, since I used a Nikon D 800 e. And it has a really good sensor. So the dynamic range helps me to get back details in the dark parts here by just increasing three exposure. If you use another camera, it can be a little bit more tricky. There are actually two options you can do you condone. Wash out the water losing texture by increasing the shutter speed, or you make two different exposures. You make a longer one for, uh the forest and a shorter one for the water. And then you can merge them together in photo shop. It depends on you what you like. Um, so but in this case, it didn't like a set. I used the Nikon camera, the new one a new one. So I have no problem by increasing the exposure they don't in post. And that's what one off the steps I will do now. But first of all, I would go to the develop module by pressing d Here it is. Yes, it shows me the history. Graham on top here. Like I said, you can see it's too dark, but it's no problem. But it's also good that I have some space here on the highlights on the right side. So I can always bring back some exposure and, um, but first of all, I will go to the camera calibration section and I will change the profile here. I mostly used Adobe standard camera neutral and camera standard, but especially in really dark scenes. I like to use camera neutral because it reduces the overall contrast in the image. You can see this when I click here. There you see, I get back some detail in the shadows, especially when you watch the history you can see better. Here is the double standard there, you see, I have some really dark parts here, and when I click on camera neutral, it gets a bit brighter and I also get better colors, in my opinion. So that's the reason why I, like camera neutral I also I can also try a camera standard, but in this case you see it gets even darker, so it really depends on the image. But let's say 80% of the time I use camera neutral, and what I also like to do is I like to increase the saturation here in the loop in the blue primary General because in my opinion, it really gives the image nice color of all. I. I don't like vibrance and saturation that much in light room. I rather do it here like I said, and you can increase it really high if you like. Because yep, in spring there's there really lush greens, you know. And when I under exposed the image on in a raw file in general, I lose colors, so I like to bring them back. And I also like colorful images, so I have no problem with that by, but I won't increase it to 100. That's a bit too much. I will probably go to, like, 75 something like that. Okay, let's close this. The next step will happen in the basic panel, and what I will do first is I will increase the exposure because, like I said, it's too dark something around there and now you see some details again. He and the image off course. It will get a little bit noisy now, but that's no problem, because I will show you one off my little tricks and the technique in photo shop in the second chapter, how I, um selectively de noise parts off the image. It won't be on. Say it won't be able to remove it everywhere but that doesn't matter because yeah, when you print it and will be gone unless you printed, like, super huge. But sometimes it just happens. That image is a little bit noisier, but I don't bother that much. Ah, the next thing is I will decrease the highlights because, like you can see no by increasing the exposure. I lost some detail here the upper part because of the evening light. So I will go down. If the highlights a bit to get this detail back, something like this. I will also increase the shadows to get some detail. They're not too much, just a bit same of the blacks, the blacks, out of doctors, pots and you concede you into history, Graham, that it gets shifted to the to the right a bit more. Okay, I will also bring in some overall contrast, but I'm look over doing it since I always want to keep some spare room here on the history , Graham, because I will make my final steps in photo shop later So I don't want to, um at too much contrast now would go down with the whites a bit. The whites are the really brightest parts so I can Yeah, we cover something here. Sometimes it just happens that some parts of tube right, But it's okay for me since there was some light up there. It's okay, Vince. A little bit shiny. So I have don't don't have a problem with that. Okay? No, we'll add some clarity, but not much. I always use it between let's say, 10 and 20. It's mid tone contrast that gives you a little bit crunchy look. But in this case, there was a lot of missed and moody light in there, so I don't want it destroyed with adding too much clarity was when you Stephen, I go up and I go up too much. It looks, starts looking to crunchy. And unlike this, So I always use it in a really lower mound, you know, something like nine or 10. Okay, then I will work with the temperature. I want to bring it down a bit because it was really cool in the forest, and I will later on make some selective temperature adjustments in photo shop. But right now, I overall wanted a little bit cooler, since I also want to keep the water a little bit cooler. I always like when border is cooler than the environment. So you have a nice contrast. It's a little bit too green so ever And bring some magenta sin Look much just a little for my first step, Okay? I won't touch vibrance and saturation to like I said before. No, I will use a graduated filter. And, um yeah, get some highlights back here in the water by bringing in some whites. Not much, just a little. I will drag it up here. Everything beneath years, 100%. And then it's moves out. And that's the reason why I always start somewhere in the middle. Because when I start here, then I never see 100% of the effect. And I can always readjusted later, have one. So it so I always start somewhere here. I'm sorry. No. Okay. And then, like I said, I can always readjusted. I think it's fine how it is. Okay, let me Jack, What else would I do? May be used to raising up the shadows a bit. Mawr. Okay, Sounds looks good. And now I will work with the hue a bit, um, from yellow, because when you want to adjust the green tones. I recommend using the yellow tones because that will affect them or than the green towns actually like You can see here. You see everything gets a little bit more yellow or orange, and now it gets a little bit more green, and I like to get it a little bit more green. Not much, just a little something like this. That's just a small step. Later on and photo shop, I will make the bigger steps, but I think it's a good basic when I increase that a little bit so they get even more lush . But that's good. Then I will apply lens corrections. I used a Nikon say, a Nikon 16 to 35 lens by I s 0 410 and 1/13 off a 2nd 16 millimeter, and this land has a lot of distortions, and in this case I don't mind if there is distortion, since there's no building or anything in it. So I remove it. When you see here There you see it, there's a lot, you know, it removes all the distortions, and maybe I will even use loose on detail here in the parts and commerce. I don't like this, so I will. I won't do this. And I also don't want to remove Devyn getting that much because I want to keep their dark look off the forest. So just a little bit wills to remove chromatic operations. Okay, I think that I don't have to No, it's fine. I don't have to correct a perspective here. Okay. And the final step here in light room will be shopping. I always I always use the same method. I use something between 44. Let's say 40 and 50 this case 45 that I will go down if the radius so I don't shop and everything too much, and then I will increase the details for more details. So I get a really nice crispy look and they never will mask it out off the water. Or let's say I will try to max it, mask it out off the water, something like that, and I will also remove a little bit off ruminants noise, but not much, because, like I said, I will do. I will do some selective noise removal later on and Photoshopped. But in this case, it's Okay, let me check here If everything is nice and sharp. Yeah. Even cause off even when I have ice. 0 400 I still have nice details here. 36 megapixel sensors. Awesome. This case I'm satisfied. And yeah, that's it. Actually, maybe I couldn't increase the card is a bit here. Just a bit more. Okay. Yeah. Like I said, I think that's it. That just the first steps? Of course. That's how I prepare images in light room. I don't do that much. I always try to keep the history Graham without too much contrast. So I have a gap here and there. And so I have a nice, clean image to work with in photo shop later on. So, yeah, that's actually it with the chapter one Now, um, in the next chapter. Then I will show you how I selectively remove some noise in the shadows and how I remove some annoying parts of the image, for example, like this spread stick here. But it's not a big deal. I think the most interesting thing will be their selective noise removal. And the video will have seven chapters and all together. And like I said, We're here in the 1st 1 now. And in the next video we will continue in photo shop. So thanks for watching so far. 3. Selective Noise Removal: okay? No, we in chipped a tooth. In this video, I will show you how I selectively de noise parts off this image, especially in the dark parts and also in the lighter parts. Like a said in the first chapter, I shouted them for a higher so and I also had to increase the brightness a bit since I wanted to keep the water motion. So I have to make some selectively, some selective adjustments to get rid off the noise. But there's no problem. I will show you my techniques in photo shop, and I've also show you a real quick how I remove some annoying parts of the image. But that's not a big deal. Like I said, this chapter mainly focuses on removing noise. Andi took it started. I will show you my first trick. I always do, and I do this by right clicking and the neck go to edit in. And then I open this file as a smart object in photo shop. The reason is, um, when I do that, I always have the possibility to go back to my previous raw adjustments. That's a cool thing on the second benefit off this smart option is when I use a water filter, let's say, a collection filter or some sharpening filters. They all applied directly to the pixel based layer. And then I can readjust. I can only work with the capacity and add a layer mask, but I can't go back to the photo, and the smart object helps me to go back there. So especially at the beginning, when you're not sure what you're exactly doing with this filter and you want to have the opportunity to readjust it, just use this. In this case, I use it for my raw adjustments. So when I double click here, then you see I get back to the raw filter and I have all my adjustments are made previously . That's a cool thing, because I could, of course, also make a difference. I can go to filter and camera raw filter. I have this opportunity in there, we photo Shop CC, but then I don't get my previous adjustments, and I don't have a true white balance. Have a cooling or warming filter thing, but it's not with Calvin, but in this case it doesn't matter. I just want to have the flexibility to readjust my settings from before, so that's the reason why I did it. But I don't want to do it on the base layer, since when I make adjustments there I am will have problems to go back and do something something different. In this case, I want to make a copy by pressing Control J. And then I will flat in the bass player. The reason. Hopes. I'm sorry control. See ah rest arise. That's that's what I call the restaurants. That means I removed the smart object on the base layer. Now I only have it on the top layer, but it's okay. It's an exact copy off the base layers, or right now it doesn't have any. It doesn't make any difference by turning it on and off. But now I can work with this one without affecting the one below. And now I will apply some noise removal to do this click on it again on their don't gives me my raw adjustments and now I will click on detail and here I can increase the ruminants . I already applied something in in in light room, but I want to do more and I want to use it selectively. To do this, I will. First of all, increase. It's here. Okay. Press OK. The good thing. Like a set before I can always go back and re adjust it. Just quickly show you double clicking again. Sorry for the big Nice on and here on detail. You see it? Ah, yes. Gets video option to readjusted that the cool thing. Um, since I I have a copy it they're adjustment only is applied to the copy here will show you by assuming in turn on and off, you see? Oh yeah. I lose noise. That's good. But I also lose a lot of details since I applied it on the whole image. I don't want this. And that's the reason why I want to work selectively on. The best way to do this is using a luminosity mask. In my previous video, the post processing tutorial Volume One. I already already showed you in detail how I use my luminosity masks. And I, of course, will also show you how I apply them to this image. But in this case right now, I won't go into much details since I only want to use it for knows, noise removal. So we'll just quickly show you how I and create this mask and how you use it for this purpose. Um, to get the mask, I have to go through the RGB Channel that through the RGB channel. Um, because it's always based on the tonality often image. It's not based on colors or anything. It's based on the it can be on colors. But in this case, I wanted to be based on the tonality, and that's the reason why I first have to goto the RGB general. And to get the first luminosity selection, I would quickly show you I will just control click on the channel And here you see it, the marching ants selecting something. But it doesn't really tell me much, so I have to save this selection. To do this, I would just click on this button here and now you see the luminosity mask. That's what I was talking about before. Um, when I look at the mask, you see that it's a really smooth transition. It has Reese moved transitions and a lot of great owns. That means all the light tones are selected, and the doctor to get, the less are they selected, you know, and in this case I have a lot of gray ones, like a set, so it's a really smooth mask. I have just a little bit off the adjustment happening, but off the selective off the selection story happening in the gray tones and lessen the doctors. That's the cool thing about this mask. So I don't get reared its just or transitions when I make adjustments. In this case, I don't want their lighter parts. I want the darker parts. I want to selectively remove noise in the dark parts off the image because that's usually the parts with the most noise in it. And when I do this, I don't lose the details in the mid tones on and in some lighter towns, and I want to keep them there to get the dark tones. I have to invert this mask. To do this, I will control click on the channel I just saved and then I press control shift I in route oops, my bad again control shift I for invert and now I can save it. Press control d. I removed the selection and now you can see It's a different story. Here you see the complete opposite. I have a lot of dark tones selected and lesser light tones. There also some great tones in it. That means when I make adjustments, it also effects thes parts here, but less than the white parts. But I want to shrink it down since I want a more precise selection. And to do this again, control, click on this channel now and now I will control all shift click. There. You see this X here? That means I am shrinking it down. Click on it. I can save it. And here, you see? Okay, Yeah. It has a darker tone selected much less off the water here, since it's not as dark as the forest. Uh, you see the difference. But I wanted even more details, so I will control all shift click on it again and again. Conclude a couple times Cannery click, And when I click on it there you see? Okay. Now I have a selection off the really dark tones. It can maybe even shrink it down a bit more just to see the difference. Control all shift click Safe control deeds room. Okay. Yeah, I think I even like this better because it doesn't select too much. So don't lose details in that many parts of damage, so yeah, well, use this. I will control. Click on it. No, I pick the foreground color here to black countries. Press X sort switches to black. And now I can add Oh, sorry. My bad. I wanted on white because I want to be I want the dark parts to be selected White collar means selection happens. Black column means no selection. So now I have it on white And now I add a layer mask. But just pressing this button here on the bottom And there you see all click on the mask. I have the selection from before dark parts are selected, White parts are selected dark parts and not selected. And it's a good thing when I sue in Let's say you here. And when I turned the mask on and off, then you see the difference, huh? Before I removed noise everywhere and now only the darker parts on when I turn off the layer completely, I see in the really dark tones. Okay, there's less noise. Not much, though. It's it adds up, in my opinion, because when you print really, really big than you, of course will see it. And when you remove it at the beginning, you won't increase it for the other adjustments. Yeah, I see it. A really good He and the branches. I hope it can be seen in the video. But here on my screen, yeah, it will be good. And when you tried at home on your pictures, you will also see the difference. Of course, I could have picked this mask to have mawr noise removal, but I think I'm fine with this one. And what I can also do now is I can just go back to the raw filter, and I can further increased the luminosity at eliminates noise reduction. Say I want to use 50 press. OK, And now Renee and its first get the process done. Ok? And now when I assume in and it turned on off Yeah, I see it even better. But it really keeps the details in the mid talents. And that's what I wanted. Turn off the mask. I see the difference. Yeah, it was a detail, of course. I also removed more noise but it's always a balance act. In my opinion, it's You have to keep some details because otherwise it will washed out, and at the same time you want to remove noise. Otherwise, it looks too noisy. So in this case, it's a good middle path, in my opinion. But I would I also want to do is I want to remove some noise in the water because it also got a bit noisy in my opinion, not as much as the shadows, but still. And to do this, I can just use a nother luminosity mask, and I can add it to this mask, which I already created. But first of all, let me delete. There was channels. I don't need them because they only make the fire bigger and that slows down the process. To do this, that's just click on it. Then I click on the trash can here and then I remove it, and I want to keep the light one the light mask from the beginning, and I want to shrink it down a bit more because I only want to affect the water of it. To do this, I first of all control, click on it and the night control Old shift Click together, the more precise control de to the select. And then I see Yeah, that's what I wanted. I wanted to pick the water and what I do now is I will control Click to get the selection really smooth and nice. And I want the foreground color here, toe white on the left side. Then I click on this mask and I was old backspace and then it will added to the previous mask show you all backspace and from there this when it all click on the mask. You see it. OK, now it's it's added together on now I have a noise removal happening in the dark tones and also in some of the latter toes. And that's what I exactly want it. No, when I check out the water Yep, nice. It's move and not too much details lost, but also some Moyes Mobile Perfect Turn off the mask. You see the difference? Yeah, really milky, but in this case I keep the details perfect. Good. Yeah, that was my main let's say technique to selectively remove noise so luminosity masks cannot only be used for color and contrast adjustments that can also be used for sharpening adjustments and noise removal. So now I don't need this layer anymore so flat. The whole image perfect can also delete There was chance to not get the file to bake. And now I will. Like I said before, I will remove some knowing parts here. And that's actually not much. Just this red stick here and some red colors here on the on the Rock. I don't know why they're there, but they're going, so I will remove them. I won't do it on the background layers, so I make a copy. Control Jake Perfect. And I have two main techniques to do this. There's nothing fancy about it, but a yeah, I would still show you. The first thing is I will use the lasso tool, and I will draw around this to get through the lesson tool. It's here on the left top. Or you could just press l and then you have it, so I will draw around here. To have a selection doesn't have to be too precise. That's good. I do it with a welcome template. I can write highly recommend this because you can work really precise of this of this pen. I use it for, like, one of the have used now, and I enjoy it. It's what much easier to make selections to use Dr Byrne and some other things. It's really made my processing a lot easier. So, like I said, I can highly recommend it. Ah, and the next thing now is I want to fill this selection with some, um, parts around it. To do this, I go to edit Phil, and there you see the option, not foreground color. I want content of air and color adoption. That means it will pick some content around it and some color around it. And it would feel this selection of it and the press. Okay, so you see it. It doesn't always work. Of course. Sometimes it has to be redone sometimes, but in some simple ways like this, it's a really good option. I have a action for it, because then it makes my life easier to create an action that just go into the play button here. And then I click on this option. But in hell the right top they're says, new action. And then I can name the action, and I can also pick a function key in this guy's case. Have F three so it goes faster. But of course, you don't have to pick one, and then you just click on record and now you will just do what I just did. And then we'll record this process. And when you're done, you can just click on the stop button here, and then you have the selection here in your menu bar. This case, it's called content Aware Fill and then you can use it all the time of just a simple button click. And yeah, that helps to speed up the workflow. Okay, I will redo it a couple times because it left some parts here. Never just now press for free in the U. C. Bomb done. Here's also something red and a like it, and also here it doesn't have to be to detail because it's a really small part of the image . But removing the red thing helps. Okay, that looks good. And when I want to get some backs and detail, he and a grass, I could use a stamp tool by pressing control. Yes, I can go down if capacity a bit. You see, when I go here to opacity, I get these arrows and that I can slide it. I never wrote like a one or something. And some other cool trick here is to just the size off the brush. You don't have to press plus and minus or go to the menu here all the time. You can just hold on Ault and right click. And when you go to the right, it increases the size. And when you go to the left and decreases the size and at the same time you convert the hardness. When you grow up, you got a soft brush, and when you go down, you gotta harder brush. And that really makes your life easier. And like I said, it speeds up your workflow, get used to it. You will love it. Okay, now I will simple something from here, and I tried to get it there, which is pressed out here, and then that's already Okay, Some small adjustment doesn't have to be big because, like I said, it's a really small part of the machine. You see it? The red is gone, and that was the main reason. Not really complex at the bottom at the top. Sorry. Here There's most of guy here watching the beautiful Wonderful. And he had a red check it on, which is also knowing So I will remove it by pressing elegant drawing around it. OK, pressing a free. OK, not completely gone. When the print bake, I would see it. That's okay. Perfect. That's it so far for this chapter. Like I said, the main part worst removing noise. This was just some small little trick here of the stamping. But in this case, I'm satisfied. I removed noise in the dark parts and also in the brighter parts so can now flat in the image and start with my other adjustments in the next chapter. And I will show you how a further enhanced the mood in my image, especially using creating some dreamy look since it was in the forest of some evening light happening. I like to get this misty feeling back, and how I do this will be seen in their next video. Like I said, so see you there 4. How to use the Orton Effect: Okay, welcome to check the three. Now, I will show you how a further enhance the mood in my images. In this case, I like to use the, uh, the old in effect. Um, it's a really common used method lately, but you can really do it differently differently. And you can also really mess things up quickly if you don't be really, um, precise. And let's say if you don't use it in the right way, everybody has his own taste, of course. But like I said, you couldn't really overdo it fast, so it really destroys the image. Um, in my case, I use it really settle. I have a couple of different methods to create this organ effect on what it generally does . Is it soft inst image and at the same time, it adds contrast. So it gives it a dreamy kind of look. And it helps some scenes to, um, increase the mood. Let's say when you have some really misty light going on in the forest, like in this case, I had some evening light peeking through at the top on There was some ah, with the water flying around and missed in or that, and I like to enhance these kind of moods the same time you could use it. When you have, let's say there's a rally of some fog and the morning sun hand hitting it. Then you get this really glory look. And with the old in effect, you can further enhance that. It really depends on the image, how much you used in which version off the effect you use. Like I said, I have a couple once I will show you three and it really pants which one I like the most. I will show you all three. And then I picked the one then I think the best in my eyes. I have an action for this, of course, because I don't do it manually all the time. And this also one option in the next section from Google in the Nick color Effects pro panel from Google. It's a really good filter, and I will show you later on which filters I use in general. Um, but first of all, like I said, I will show you some place or to create the old. In effect, the first way is I make to background copies. Okay, and on the lay on the top Here I apply a filter. So I go to the filter menu, go to blur causing blur. Like I said, I want to blur village. So I get this soft Look, um, now I can pick a radius here. Uh, it depends on the image size. In this case, I had a high resolution camera. The Nikon D 800 e eso I usually pick a size between 30 and 40 but in this case, I downsized image a bit for performance issues, so I can better record this video. So now I made a 24 megapixels file out of it on. And that's the reason why I will go down off the radios a bit. Something in twenties that's a 27 depends. The night press, OK? And when I do now is I go to the blend mount and I pick screen to lighten the image like you can see here. Then I will stab those layers together to get a comedian. You want to that I will press control all shift eat. Now I have a new one and like you can see now it's too bright. Of course, So I want to talk in it down again to do this, a press go to the blend modes and then I pick multiplied. And now you see, uh, it's dark and again. And now I've merged those three layers together. Perfect. And now I can work with the capacity because, like you can see now it's got really dark and contrast e. So we'll go down to something like, Well, let's say 25. It's usually a good starting point. And now I could check, um, what it did when it turned on and off. You see? Uh huh. It brought contrast to the image, and at the same time it soft it a little bit. It enhanced this dreamy mood, and I really like this. It could happen that some of parts of the image to get a bit too dark because of the contrast adjustments and some other parts can get a bit too light because of the contrast adjustments. And if I don't want this, I can simply block the effect out off some parts with, let's say, a mask. I could just paint somewhere why I can do it better with a luminosity mask in this case, I don't bother much since it was a forest. So it was talk already so I don't care about darker parts here in the corners. I will use a vignette later on anyway. But what I see which I don't like it got a bit too bright in some parts off the water and on the top here. So I will block this effective luminosity mask two created a control click on the RTB town on there are TV channel. I save it with this button and there you have it. Now I will shrink it down but control clicking on it. Then control all shift click, click a couple of times because I know that I want their the brighter parts not the ah Mentone lights and so on. I just want the brightest parts. So I picked this one here he had It looks good. So I control click and then I add a mask here to the layer And there you see now I have the exact opposite. I didn't like this because now I have the effect applied only to the water since it's white . But I wanted to apply here in the forest so I have to invert it. So cross cultural I And there you have the opposite perfect Andre Knight to others on and off. You see it at the top here, especially, you see, it's settled, but it removed some of the effect here in the water. That's important because it allowed the adjustments add up, you know. So when I make more and more contrast adjustments, it can happen that some parts of the image get way too bright or, let's say, way too dark, and then it's really hard to turn it back. So I always try to remove adjustments in the parts where I don't like them at the beginning already. Okay, what also happens when I used this glow effect is that I lose some details, and to overcome this, I can bring it back with a filter. And to do this, I will just a control all shift its toe, get and completely new blank layer on a blank about committing U layer, and I will apply it filter through it's called. You could find it on the filter other, and it's called High Pass. It sharpens inches in the image it increases. The contrast on edges. And it depends on how much pixels you pick. The higher amount you see, the more I, um the more pixels are selected, so the more contrast I'm ending. But this case, I want a small contrast in a smaller sharpening amount not so small because they don't just want to sharpen the image. I also want to increase a bit off the structure. So I use something around seven. You see it all the contours here, they will be increased in a press. OK, then I, um, see the grey image. But this case I have to apply it to the layer below. So I have to use a blank note and you have three options. You can use overlay, soft, light or hard light in this case, you soft light because it's it's in the middle of those. It's not that hard of a contrast adjustment. So I take this one, and when you see now, yeah, it brought out the detail, but way too strong. I don't like it. I just wanted to be applied to the gauzy blur layer. And to do this, I have to create a clipping mask by right clicking on it here and a press create clipping mask. And there you see, Now it's you see this arrow here Now it's only applied to lay a below. Not in general, on when I turn on off there, you see, it's really settled, but it brings back some detail. That's a good thing. Uh, let's say I am not sure which pixel amount I should pick. Select, keep trying until I find the amount. Like then, of course, it's hard to always delete the layer, creating new ones and so on. To overcome this issue, I can just create a smart object. And that's what I told you at the first chapter and sort of the first, the last chapter already, that a smart object helps me toe get back to the filter I used so I can readjust the settings. I could have done this also already with gauzy blur layer, but in this case, I was kind of comfortable with three amount I picked. But when you want to try and arrow at the beginning, you can off course also create a smart up shack at the Gazi Burr layer. That's no problem at all. We show you how it works. So let me delete this. I will click on control all shift e to get the new layer back And then I will right click on it to get the smart object it should say here, convert to smart object That takes a while until it's horrendous. There it is. And now I can open up the filters again. Go to other I pass picked seven pictures like an since I like it Press OK, try to blend mode soft light. You can, of course, play with the others as well. Then I will create a clipping mask so it only interacts with the girls and blowing hair here it iss perfect. If I find the effect too strong, I can work with the capacity. Or I can just go back to I pass and that you see, I can readjust the amount of pixels. So I want to pick 10. Then I have Ohio radius. Yeah, perfect. But I like seven. So go back to good. Okay, I don't want this effect to happen in the water because I want to keep it nice and smooth. It's or its already not applying too strong to the water since I have a mask on this Gaussian blur layer. But I want to further keep it out there. So I will just use this luminosity mask here. Maybe not. Maybe another one. Let's say maybe you should get down a bit. And chick, it's Yeah, I use this one. And when I take the foreground color here black and then I use a mask that you see Now I have the effect. Only the water. I don't want this press control I and now I block it out of the water. Perfect. And I probably also want to block it up here because I want this evening light too soft, the trees. And so I can just paint black on this layer now to block the effect. Every use 100% capacity on this will keep the light nice and soft up there. So the high pass food that doesnt shop in it too much. Okay. Perfect. This is the first method. I can now group it and call it Alton one. I will delete those general masses. And it was a no show you the second option. It's a bit easier. I go toe first of what I have to make a copy of the press control Jake. Go to filter again. I could use a smart object, of course. Go to blur, causing blur. 27 pixels amount. Let's say 25 now you see, it's really blurry. I want to add contrast now to do this. I just opened this layer menu here, go to levels, create a clipping mask because I only wanted to interact with the gods him blow layer. And now I can work with the contrast. Yeah, something like this. Good. Now it's a bit too strong in the highlights, so I will create a luminosity mask again. So control click on the RGB Channel. And it's important that when you make a new adjustment that you always re create the luminosity mask because when you save the channel here, it will stay untouched, you know. But when I make another adjustment, the channels above will change. So let's say here when I make it darker, you see the channels here, they're getting darker. I'm gonna make it brighter. They would get brighter, but the mask foods, they distain the same. So did say, I brightened up the image. And now I want to work with the highlights. When I picked this mask, it's completely wrong because it was built on the image before. So I have toe redo with this luminosity mask so I can make the adjustment based on the brighter image now. Otherwise, that would get rid halos and interests. And that's what I don't want. That's not the purpose off the luminosity mask. So it's like a sale. It's important you always redo it after you make some adjustments. When you made some small shopping adjustments or that's a noise removal, then it's probably not necessary. But when you make further contrast or color adjustments, it can be, and mostly it is okay. I want the brighter parts, so I will shrink it down again. So I press control and control all shift, shrinking it down something like that. Okay, that's good. And I will apply it here to the mask. I did it by clicking Ault and Beck Space so it added up to this white mascot. Had the foreground color the black, so it just brought in the black paint into the mask based on the selection I made before, and it's good now, it blocks the effect out off some parts in the water so it doesn't get too blurry into bright. But it also removed the effect up here in the trees. I don't want this so I cannot paint black the trees again to get the effect back. And the problem can be now that I destroyed the luminosity selection like you see here. And when I say want to get it back in their pain points, then I don't have to selection again. That's a problem. And to overcome this, I will show you a little trick. First of all, I have to remove this by pressing control off that easy. There it is. And now I will group this adjustment by pressing control. I will group this. Uh, yeah, we dis adjustment. No, Sorry. After group the delay A mask, not the whole adjustment. Press control G. Ah, what happened? Now let me check. Ah, no one low And that there was wrong. I'm sorry, but I group everything when I group this mask. Then I lose the clipping mask. But that's something new for me. Also limit driving a group it. And now let me see if when I creates. No, no, I can't. But I can movie. No. Okay. There was a bad idea. Don't group it. Otherwise I will lose the clipping mask. I don't want this in this specific case. I have to do it like a idiot because I would otherwise used the clipping mask. But I will show you in the further chapter what I meant exact exactly with this kind of technique. So I have to be kind of precise now, but it's OK, since the sunlight was really strong up there. Anyways. Doesn't matter if it fits into the water a little bit or into some other parts year. Maybe a little baby will look even better than that. Do it like this. Okay, so, no, I have to blur effect back here. Up in the ball, in the trees. That's good. Okay, good. Ah, Now the same thing happened. Like before I lost some details. So I will create a new layer by pressing control. Old shift e. I want to use a smart object option now because they used to seven pixels again on the high pass one. So I click here that, uh, press a soft light. Too strong again. So I would create a clipping mask. Perfect. Now interacts again of the layer below this morning, Kate, in this case, and there you see it at some detail. Perfect. Now I can group everything if I want. Let me check the difference. Oh, okay. Maybe in this case, I want to add even a bit more detail. So let me redo it now. I could have done it if the smart object, of course, easier he ever pretty probably do that. Convert to smart object so it can recheck. Takes a while. OK, there it iss filter, other high pass and no, I would pick nine pixels and I got it. Create the clipping mask and Peritus. That looks good. Perfect. I would call the group Walton number two, and now I can already check the difference. You see, that's Walton to and that order one in this case, maybe even like autumn to a bit more. It's a bit more dreamy. Kind of. Look, if it's too strong, I can work with the old ball. A passage. The off the group, we're going to go down to, like, 75. So it's not that strong, but in this case. I like the effect a bit more than the 1st 1 because it gives it yet looks a bit more dreamy , and I think that fits nicely to the forest scene. I will further work of the contrast later on anyway, so it removes a bit off the mood again. But it's a good starting point. In my opinion. I will still show you the third method, and I will probably even combining with one off Those two here show you why. So the third method is a, um, Nick Filter. I have to sneak food the menu up here from the new collection by Google. It's for free now, so I highly recommend it. There's no reason to not get it and try it. And I mostly used the color FX Pro four panel, and they're some of my favorite filters here, and in this case, I will use the Calama glow filter in the future chapter. I will show you more about my favorite filters, but right now I would just use this one, so I click on Climate Low. It's exactly not exactly, but it's pretty much the same like a Gaussian Blur filter. But The good thing is I have some more options. Like you can see here. I can work off the set of saturation and I can work with the temperature of the image. In this case, I don't want to reduce your saturation, so go back to zero. He is the glow. So I could work with the Gaussian Blur that, you see, I like the default in this case, but I want to warm up the image of it. And now I'm only watching some parts of the forest and up here on the light. I don't care for the water right now on a if I want to, Let's say further work of the shadows. I could use the shadow slider. When I turn it up, I removed the effect that off the shadows, Burnett it down, get some more effect into the shadows. I don't care right now because they're only watching some parts up here. But I can do the same if the highlights. Now I get a stronger effect in the highlights, and then I go and bring it down again. Oh, sorry. Here I get the lesser effect in the highlights. When I turn it down and get a stronger effect in the highlights and maybe want to even increase it a bit. So yes, something like this. Okay, so I press OK? I won't use this filter now because I have a problem When you see, when I increased the warmth, I also warming up the water. I don't like this effect because water needs to be cooler, in my opinion. And it was even really cold, So I should the water be wrong. Okay, So I will use a mask to just use this defect in some parts of the image which I like. And to do this, I would just all click on this math button here. So I get a black mask. Okay. Now I press be for the paint brush. I can increase it with my little trick I showed you before I will paint white. Every prospects took at the white color and now I use the opacity. About 30. When I pressed three, I get 30 when I pressed four. Get 40 minute, press five, get 50 and so on. It's easier. So I pressed three now and now will paint in this effect up here in the friend Evening light seen something like this before the enhancing later on. But that's a good starting point that will also do it on some of the greens here with some evening light can hit it something around here and they're not too strong because I already added glow before something like ISS, so that's a bit more incremental. I want to hit the water like a set, and now I have to glow only happening in the forest. So that's one more method to use this order in effect, and I quite like it. And now I will combine it with one off the others. So first of all, I have to do you need it again? I just showed you how I can use it. But like I said, I would combine it so deleted and I will activate auto too, because I like this one of the most. And based on this selection, I will understand the layer by pressing control. All shift you right Click on it, use um, convert to smart object so I can go back and forth, open up the glamour glow again. Okay. Settings were zero warm for us really high and highlights also press OK, Okay, Now you see wayto warm. I don't like it at all, So I will use the black mask to hide everything. And now we just painted up there. Well, like it painted for white brush again. Some were here. You're in the greens, it in the forest, not too much since I used the globe before. That's good, Perfect. And now I can group those two again. I have this marked in a shift click on the bottom and the Nepalese control Jay's or have them all. And now I call it Organ Blust. Glamour, glamour. No to going off. And if it's too strong, I can remove something effect out of some parts. Here. It's the bright part, so I will add a layer mask with a black brush and I can pay it out here. 30% of passage, like just in the water so it doesn't get too bright. That looks good on going off. And if it's overall a bit too strong, I can, of course, further work of capacity. So, like I said now, I combined two different methods to use the order. In effect, I used the glamour glow and my order to version usually only used one off them. But in this case, I like the company on the warm feeling from the glamour here off the image in some parts off the fourth time. I like how it blurs the award, the Waterworld Indiana version on the stories by a combined it. And when I fight when I'm fine with this, I can, of course, merge all those options together Now is because then I will save space. My file. I will do this at the end of the video, so it doesn't get too big. But if you always want to have the opportunity, the adjusted you conjugate color Havana, the high panel for the work of it cause that object. Okay, I will delete water number because I don't need it. And I will keep those two like that actually always wanted to do in this. So are you. So I have since two You act more off the interest. You a standalone. It works good. The next chapter will show us my other A collection and how I used Pacific. This image shoots you later 5. The best Filters in the Nik Collection: So welcome back in Chapter four. Uh, no. I will show you how way, uh, use my favorite filters in any collection by Google. I have a couple and they don't always use the same ones. But there are one of true which I use quite often. What? It's a two or three on and you can find them here in the filter menu. On I Go to Color FX Pro for or Click On This year. This is the main tool I'm using. You have some more options in the nick collection, but like I said, I like the filters in college FX pro for the most. There you see the color at a glamour glove from before. I will delete it because I don't need it anymore. And now I have my favorite filters stacked up here. But you can, of course, find them somewhere else as well. The saving you goto landscape and you can hear check all the filters and mark the ones of Golden Star if you want to add them to favorites and then you can find them here again. I don't use all of them all the time, of course, just like I said two or three and this case now I was thought of the pro contrast filter. Click on it, and in my opinion, it's a really intelligent filter because it kind of searches the parts in the image which need some contrast, and it will brighten and at the same time, at structure. Ah, when you look at the filter here, you have different options to do this. It has a slider called dynamic Contrast. That's the most powerful one. Then you have the correct contrast. That means you can baxam normal contrast, and you can also work with the color cast. If there's some that's really cool. And of course, you can also block the effect in the shadows or in the highlights by using the sliders here and at the same time you convert with the overall capacity. You can also use control points. That's a big feature feature here in and Nick Collection, but I don't use them. I like to use mass in photo shop, so I always masked things. Our later if I don't like them, okay? So, like I said, I will use the dynamic contrast first. Not strong, though, because it can mess up things really quickly because right now I have it on 13% of when you turn it on and off. You already see okay, it right in some part of the image. And it also adds a bit structure in the water. If I overdo it, it really looks bad. Quickly, too bright. And at the same time, I would destroy dreamy look, I wanted to get if the order in effect autumn effect. So I used really settled something like between 10 and 20. Depends of the image in this case I wanted on 11. That means really, really settled, Like I said, Okay, now I can use the correct contrast letter here, you see? Okay, It messes things up really quickly as well. So I will be really settled too. Mostly between three and 5% not much. And now you can also correct the college color cast if there's one or let's say, if I want to remove something, because sometimes I like the color caste happening like bluish tones in the blue hour or red tones and sunset also on in this case. Let me try. Ah, yeah. No, I don't like it. I want to keep it a bit greener. So I will use it. Yeah, I won't use it. So in this case, I will leave it zero. And now I press OK, so it applies to the image. There it is. Now I can turn it on and off to see the difference really settled. But it added some nice contrast. A wall I can now for the work of capacity if I want Right now, I don't. And I could have, of course, created a smart object before. So I have the opportunity to go back and re adjust. Um thinks. But this is a filter. I really used a lot, so I'm quite comfortable doing things in there. But if you're not like I said, you're smart object and you have the opportunity to readjust things like you. What? Okay, that's good. The next folder will be a colorful too. Usually I do my colorful the later on, but in this case, I want to use all the pixel layers first, the pixel based layers, because I want to have the possibility. Or let's say, the opportunity to readjust things. And when I mix pixel based layers into my workflow then I don't have the ah can't readjust the adjustment layers because when I have pixel based layers, they stand everything together and then all things beneath won't be able to really won't be able to be readjusted. So things like this will be done later on. Right now, I'm only using picks layers. So this is the reason why I'm already starting with a color earlier. And this is called contrast color orange. Uh, it's a really cool filter. I used to really settle, but it adds up at some really nice effect. It enhances the contrast in some specific colors, and the image can really benefit from it. In this case, right now, it looks crap because the defaults just look so it's just not good. So I will reduce the oval contrast. And sometimes there's a little box that when I used this lighter, nothing happens. So I just have to increase the brightness by 1% there, you see, and now it fixes it. I don't know why, but I found it out and just do it, okay. And now I can pick this color slider here to pick the color range I want and the filter will increase the contrast in it. You see, How did the image changes when I slide it? Uh, Yep. And I am. Yup. That's personal taste. Of course. In this case, I like it when the greens are staying green, the yellows a bit enhanced. So something in the 100 range turn it on off there, you see? Yeah. I like this. Maybe maybe even a bit. Dr. Greene, something like that. Yep, that's good. It's a bit too strong. And the effect? I could not work with the percentage here, but I don't use this. I use mostly the capacity and I go down way lower because, like I said, it's too strong for me. So I use something over 45. Yeah, that's good. And I press okay. It really depends, of course, on give it. It works of every image, actually, by the capacity is always different. Do you see? Added some nice contrast to the green and yellow tones. Perfect. And now I want to further enhance this nice evening light up there. And there's a nice field of doing this. It's called sunlight. I also like to use it on sunlight scenes. Not often, but sometimes it gives a little bit more strength. But let's say glow to with seen up there that you can see it overall, it looks crap. But first of me zero out the situation. I would go down zero opacity, and in this case, I will use a control point. Now, it doesn't happen a lot, but sometimes I do. I press plus here. And when I place the point here. There, you see? Uh huh. OK, it should only affect the upper parts here on the image. When I press ault on the point and a pick, they move my mouth. I can doubled the point here and use it on a another part of the image. I will still use the masking function later because I don't want it to happen in the water . But up here, it's fine, but your pass it is way too strong. First of all, let me group those points so I can adjust them at once by marking them and then press control gs. So I get a group and now I can work with the capacity here, you know, something like 60 years okay for me, I mean, was it here too. Perfect. And now I will add a little filter here because I want his help to happen at the same time . And I will use a brilliance in warm filter so I can increase the warmth appear. But I only will use it on a specific part of their 1st 4 Go down with the capacity. Oh, sorry. Physical. I will go up to. I have to go up to at least 12. Otherwise there will be no effect. Don't know why, but I found it out. So I go to 13. Then it would go down with the capacity because I don't want it to happen everywhere. Just up there. Several years. Plus here again and go up here. Maybe a bit too. You been divorced? Perfect. Now I pressed. Okay, Because I want to mask some things out in photo shop. Especially here. The water. Like I said, There, you see a defect. It's way too warm here in the water. So I will know at a mask. First of all, I would call it, um, sunlight, plus warmth. So I know what I did. And now I will use this white mask and I paint black on it by pressing B to get the brush readjusting the size. I have black color. Let's say I want to pick 70% capacity. And now I will just painted out some off in some parts of the image. Like I said, especially here in the water, Go down. If you're passively like 20 they can also painted out here because I don't want it. That's too strong here. And, uh, rocks. I mean, I assume in I can work a bit better. That's the reason why I like to use a welcome tablet because it really helps me to be processed. Okay, Perfect. And now I can turn it on and off. And there you see nice glowy effect up there and, uh, tree and I see they're still some color cast down here in the waterfall to remove it. Just paint in case there's something appear. Let's it down here. I want to keep the cast here of it. But now it should be good. Yeah, I like the glow up. They're perfect. Okay, See the mask. You see, it looks a bit wild, but with the, uh, welcome tablet, Like I said, I have a lot of control sold. It's working really good for me. Okay? The next filter lets it will be even the last one, uh, isn't a contrast filter kind of cool interest. It's called dark and light and center and okay on it. It adds a vignette. But at the same time it's a contrast filter because it darkens the borders and it right in the middle. And so you can completely change the mood. An image I really like This effect almost do always use this filter. And when opens, you can see here I have different options. First of all, I can choose the shape off the vineyard. I can have have a vertical and a horizontal one. In this case, I like the radical one. Then I can place the center. I wanted to be somewhere here. The good thing is, I could always we do it for the like it you know somebody there. Then I will work with the border luminosity. It's a bit too dark for my taste, and I can further painted out for the shop later. Let's see something like my nose 31 and at the same time, I don't want it to be too bright in the center. So something like 17 can also work of to center size in this case, when I turn it on off. Yeah, I'm actually quite happy, Rivet. So that's good. But I would probably for the work of the myth, the center here, something like that. Okay, No, I press OK. And now we'll paint out some parts where it's a bit too much. All right? I don't want the effect. I will add a first of all, let me rename it. I don't like to see e p thing. There's okay. I will add a white mask and I will press be for the brush and I will paint black of 60% capacity. And I don't want this top to be darkened because I want this in light to be strong. So that's good here. And I also don't like it to be that dark here in the corners up there. It's fine, but not here Also notes here and here that it's OK. It's the controls he on. Maybe I don't want it to be too bright to you. Okay. Perfect. When I turn it on and off, you see hip. It has some nice effect painted out. It's where I don't like it. Maybe you like it here. Okay, Perfect. No, I'm satisfied. I can group all those adjustments. Now I have the top one selected, and then I shift. Click on the bottom on and I press control G and then I will call it first Adjustments off first steps. Good. And when I turn it on and off there, you can see the overall difference. It's already looking really nice. I referred. I really nicely enhanced the light up there and also added some dreamy look of some contrast and color adjustments. Really satisfied? If it's too strong, I can further work of the overall a passage off the group. If I want to say something 85 maybe you can decide it for you. You know, 85. It's actually not bad. I like it how it is now. So I'm done with this chapter. You saw some of my favorite Nick filters have a couple more, but I don't use all of them all the time, Of course. So this case, it's fine for me. In the next chapter, I will show you my advanced contrast adjustments who are used luminosity, masks and also some further, no masking and selections. So, yeah, statue in See you in the next chapter. 6. Advanced Contrast Adjustments: you guys know being chip to five in this chapter, I will show you some of my advanced contrast adjustments. Ah, when you look at the image, you already see that we did a lot of things order in effect, some Nick adjustments and so on and considered this chapter, I will do some contrast adjustments. The whole reader will have two more chapters, one for color adjustments and the last one Some tips for printing eso just Let's get started now. Uh, first thing I will juris. I will darken the image of it because like it's in the forest, it was already pretty dark. There was some light spots on the top, both in the foreground. We already had some darkness, so I would like to enhance that moved a bit, but at the same time, I don't want to get the image. I don't want the image to get too dark, so I just won't just decreased the brightness. I will decrease the middle's in this case. I will prevent the dark parts too. Get too dark. Uh, so first of all, I will create a mid tones luminosity mask, and we had with us. I will go to the RGB Channel Control. Click on it. I will save it. Now you can see the velocity mask based on the highlights, I will shrink this down a bit because when I want the Midtown's, I have to select the whole image. And then I will subtract light and dark tones. So I'm only left with Mentos and I will prepared us with the light mass lights mask first so that considerable shrink it down or control Click and then ever control called shift click Did they get some lighter tones? This case, Maybe something like this that looks good. And at the same time I will to select the doctors To do this, I will control click on it on the light parts. I want the opposite so I will control shift, I invert. I will save it here 1/2 the doc toes. I don't want all the dark tones to be selected, so I have to shrink it down by pressing control and control. Call shift shift controlled Ault shift. Yeah, it's a bit too much. Still So Control Control. Old shift. Yes, there it is. And now I will substrate them from the whole image to do it, have a press control. Eight. So the whole images selected. Yeah, and now will control all click on the light mask. And there, you see, there's a little minus on the other hand, and I will left click on that, and I will do the same with the doctors. Okay? And now I will save it by pressing this button, pressing control of a press controlled deep to remove the ends. And there you see. Now I have only the midterm selected, not the doctors, or at least not all of them since here you see on the trunks tree trunks, there are some great tones. So they get some adjustments. But not all of them. And at the same time, to really light tones aren't selected as well. So I won't talk them too much. If that's too much for me, I could shrink this adjustments. I could shrink this mass down as well. So I will just control click on it and then control all shift click together. Mawr enhanced version. Oops. Sorry, Daddy. Selected all shift, huh? And there it is. Yeah, looks good too. Ah, yeah. Maybe I even let me. I think I even preferred this one? No, I will try this control Click and then I will add a levels adjustment layer. Here we are back to our original image. And now I can work with this'll area. I will darken it down. And there you see a dark and image nicely, but too much. And if it's too dog, I can bring big backs of brightness here and maybe add some more contrast to you. Okay. When I tried going off there, you're conceited difference. Huge difference in my eyes. I really like the effect. And when it's getting too dark in some parts here, I can stop the effect out of it by using another luminosity mask. First of all, I will delete all those channels here. I don't need them anymore, Uh, by clicking on them. And then I click on the trash can there iss Okay. And now will create in another Minahasa team. Ask. I will control. Click on the on the Arctic detail. Save it. There it is. Control. Click. Because I want the doctors have to invalid control shift. I save it. I will shrink it down now. Huh? Oh, my God. Sorry, drink it when there click too fast on this happens. Uh, yeah. Couldn't be a bit more still. Yeah, that's good. Perfect. Um, what I will do now is I will group this adjustment because then I'm not affecting this luminosity mask here, and I will show you it would control G to group it. And we're called the group Minuto contrast. And during this, like I said, I won't destroy the luminosity mask below. I can now add a layer to the group, and now it will interact with the luminosity mask in it. Show you. So I have a black mask here, there, Black color. Sorry, I select this one by control clicking. I go back to the white layer. Now I have to selection here together with the black color. Now I will just press all back state space toe, fill the mask with the selection. You see it perfect. And now it interacts with this luminosity mask without destroying the selection. That's a good thing. When I turned this mask your on and off there you see the difference. It's not much, just a little bit, but it helps to get some darkness out off the parts here in the image. I really like this. I could now work with capacity if I want, or I can. For the work with the darkness here, something like that. That's the good thing about this workflow. I can always readjust my sliders here in my, you know, make some different adjustments. Perfect. I like it so far. Let me, uh elite. Oh, sorry. Let me their lead. Those channels. What I just clicked on was accident. This'd panel here is called TK panel. I usually use it for all my adjustments. It's from the photo photographer called Tony Piper. He invented this panel and it's really useful. It helps you to create easy all the luminosity mask and some different other adjustments. I really like it. I just don't know if you use it. So that's the reason why I do all my mask by hands. But if you want to speed up your workflow and even if you want to get a better workflow, I highly recommend this panel you confined in a good light. That us if I don't get any money for it, I just recommended because I like it really much also. But like I said in this case, I will continue a building the masked by hand. Since I don't know if you want to get it or not. Okay, So when I look at the image, what do I see? I see that I would probably like toe Ah, I want to Bright in some parts Here. In the image? No. First of all, I want to decrease the brightness appear because in the water it seems to be a little bit too bright. I will. I want to keep it brighter since there was evening light hitting the water up there so it would be silly to decrease The price is completely but a little bit. Maybe can help three image. So what I will do? I will create a luminosity masked by control clicking on our tribute. I will save it. There you see the lights mask and now I will for the decrease it f further enhance it by control clicking control All shift Uh huh. Clicked a couple times. So get a more detailed mask. Yeah, that looks good. I will control click And now I go to curves. There it is. And what I can do now is I can work with the blending modes here, off this this layer I don't have to work with the CUF here. I can use the blend mode and then I can further used to curve. So I have doubled the effect. Onda have more control of it. So first of all, I ever used to blend about multiply to darken it down. And there you see, it darkens the light parts nicely. But it's a bit too strong and I don't want it everywhere. So what I will do? I will group this again at a black layer to it. A black mask. Sorry. Call it dark and lights. And now I can paint white on this black mask and I will now at the darkness to the parts I want. But in based on the luminosity mask below it, that's the cool thing. So I will press X to get the white color. I will use it. Let's say 30% capacity. And now I will paint here in the water. Looks good. No, too much like I said, Ah. Yep. And maybe maybe doing here smell it can happen that I lose contrast cause off the darkening when I to to overcome this, I Oh, sorry. That was my fault group that I recognized it. Let me control. See, to get rid of that I have to paint here. Not on the luminosity mascot. Just did the mistake I wanted to avoid, but good that I was able to show you now have a paint on the black mask. And now I would get the effect here. My bad. No. Yeah. Perfect knowledge works. I will decrease the color off this year later in the future chapter, it's a bit too colorful. Okay, Perfect. And if I decrease, let's say when I decrease the light tones too much, um, it can happen that I lose contrast. And to overcome this, I will just, um, open up the curves layer here and now. I can add some contrast to tour the curve even when I docked it before, because I used the blend mode. I still have the ability to use the curve here, and we'll just add a little bit of contrast to you if the default preset linear contrast. And now I got it back a little bit. When I turn it on and off you see the difference here. And like I said, it got a bit too colorful here for my taste. But that's OK. I will fix that later on. And if I want to get some brightness back, I can just paint black here to remove the effect of it. Nice. Okay. Next step will be I want to brighten up the foreground of it just a little. To do this, I will use a levels adjustment layer. And now I would just watch the foreground to you. And now I will the left. It's like the history of the red part. Here are bright parts, bright brightness tones. And here are the doctors and there was on admittance. Okay. Uh, okay. So, like I said, I would just watch the bottom. Cain looks good. Maybe get back some punch. So something like this. Now I will inverted by pressing control I And now I can just paint on the parts which I want to bright up. So this just press be the naked X for the white color. 30% opacity is fine and no, I will paint where I want it. I told you before that I use a rockem tablets. So that helps me a lot by making precise two paintings, Lionel paintings and adjustments. Sorry. I will also do it in the water a bit, but not too much. Yeah. And also here in the grass up there because I want to You get the a little bit stronger effect from the evening light and also here a bit. That looks good. I like it. You and I turn it on and off. You can see the difference, but a bit too strong up there so I can just paint black to remove it. That's fine. Perfect. Uh, maybe it's a bit too strong overall. So I will go down with the capacity. No, I So I will go down to, like, 65 maybe. Yep. And I would call it writing. So I know what it did after. Maybe you want to change it. Okay, that looks good. It can happen that I make adjustments in later on. I will make another adjustment than I see. Okay. I have to correct some things. Maybe I made it a bit too bright. Then I will talk in it again. And maybe they never life in some parts again. it's a bit tried, an arrow and everything adds up to an overall group adjustment in my, in my opinion, so could happen. Like I said, that I use a Brandon layer and at the next step I will use a darken layer and then I will mask some things out. But that's totally okay. That's the reason why I have this nondestructive workflow. And that's the reason why I do all my pixel based layers at the beginning so I can always re adjust those adjustment layers. Okay, next thing I will use a levels adjustment at the naval dock of the image again. Something like this. I'm not that strong like that. And now I don't want the darkening to happen in the doctors again. I could now use a luminosity mask or I used this upward level here because this will stop blocked the effect out off the darker tones. The overnight you can see. I can really decrease the contrast during this, and I will probably use it on five. And though I can make it, you, doctor and maybe even some towns here yet that looks good. I turn it on and off. I like it, but I don't like it everywhere. So I will use a mask to block the effect out of some parts it's to do is I would paint black press B, get the black color by pressing X. They use 50% of passivity. And I don't want this to happen here. Up in there, The sun part, a sunny part. I also don't want it in the water here and look in the grass here. And we'll somewhat here in this water part on here. No, Rosie here was fine. That's the good thing about this mask about this adjustment. I could always redo it like a set. Okay. Yeah, that's good. I like to get this darkness. This dog look from the forest. I want to keep that. Okay. When I watch the image, now I see that I want to. It seems check. First of all, let me call this Dr. It's a bit like, paint it a bit like painting sometimes. You know, when you use this, uh, watch it burn and can happen that Yeah, you feel a bit like a painter, but it's okay. It really helps the image. Sometimes I missed something appear my workspaces. See, I won't bother fixing it right now. I will do that later on. I hope you can still follow the video. Um, okay. Now I will use some touch and burn layers. And to do this, I will create a blank layer. And Dutch means brightening and burn means darkening. I like to use two different blend modes for this. I like to use overly for dodging. That's what I will do first, call it Leo Dodge, and I will paint with white to brighten. But at the same time, I can also paint color. So then I won't lose color in some parts of the image. Mindich Brighton them assure you, when I paint white here can happen that I lose colors. This case is already really green, so it's not that big of a deal. But maybe I even want to change a bit off the color so I can paint with color to enhance further enhance the saturation. Let me delete that, because that looks Lockard. I will create a new layer, use the blend mode overly and call it dodge again, and now will pick a color here in the image to do this, I would just click on this white party, their white color. And now I get the color picker. And now I can pick a color which already exists here. I will pick something up there. Yep, something like something like this year. And then I can further enhance the color here. Yeah, something like that. It's good, Perfect. And now I have the color selected in the paint. If it I use a small a pass ity something that 10% and no, I will further enhance their greens in this image. Okay, that really looks nice. Maybe you're here. There. It's personal taste, maybe something. Your beliefs. I want to be more precise. That can do it differently. Of course, it's a only want toe work of the green tones. I can make a ah color selection. To do this, I would just go to select color range. And now I have this color picker here and I can pick a specific color. Let's say I want the green tones and there you see, I have it. The green, maybe here green tones. Yep, I can work with the fuzziness, so it's the more detailed or not and then I can pick this plus picker to add some more colors if I want. You know, something like this Maybe there you see the selection when I click on OK, there you see it now I can save it as a channel if I want, so I can use it later again. Press control D And when I watched the channel there you see Hot All the green tones here are selected and that's what I will use Now I will control Click on it controlled each to hide the ends. That doesn't mean the selection is not there anymore. It's just hidden and now will further paint. I have to read just my color again. So pick I won't appear something like that and the level paint again And now I will only affect green tones. That's a good method, in my opinion. You see it so I don't have to be right in too much about painting somewhere else. There, you see doesn't get adjustment e in the water. That's a good thing. Perfect. You, of course, have to watch out that you de select your selection even when it's hidden, it's there. And when you make further adjustments, then you make it based on your selection before. So when I'm done here too much when I'm done here, I will de select my selection by pressing control D. And now it's gone. That's but that's the good thing about this color range selection I can now. It makes my life easier working with specific parts in the image. Perfect. I like it when I turned on off your there you see the difference. And now I want to ah, burn a bit. To do this, I will create a new layer called burry to darkens and parts, and I will use the blend mode soft light. I use soft light for burning and over late for dodging. I found out it's a bit better because, uh, overlays a bit stronger and it helps me to brighten up things faster. But at the same time, self dies a bit softer, so it helps me to prevent the dark tones to get prevent getting the doctors to dock. Ah yeah, I have a press be for my brush and then I would pick the black color cause I want to darken 10% capacity and now I want to use it somewhere here to get those tones a bit darker and a bit more contrast. Also up there, it's got a bit too bright. In my opinion. Yeah, well, it's Look, that's a bit too much, but here, that's good. Also here in the water a bit to enhance the contrast. So here I said, you okay. And what I also see is, um because of the spray. I lost some contrast up here. I want to get it back and I will do this in a second. But first of all, let me check my burning. Yeah, I like that. Maybe I can even through the bit more here in the waterfall. That's good. If it's too strong, I can off course always work with the A pass ity on. I can also, if I want you some of the other layers where I brighten thinks I can use this and I paint white. And then I can bright and back supports here. It's good, perfect, nice and contrast e. I will group. There's two now and call them Dodge Burn and what it did. And now I could further adjust capacity on both layers. Of course, But in this case, I'm fine with it. How it is. Um, like I said before, I want to add some contrast up there because there was some spray happening to do that. I will just use a curves layer and I will pick a medium contrast. It's too strong on the whole image. Of course I don't want this. I would control I to invert. And now we're just paint on the top here to remove that spray. You look to get back some contrast there. Something like this. Yep. That's good. Maybe a bit too strong, so I can reduce your capacity. I want perfect. And some parts in the image got a little bit too dark now. So I want to get back some detail in the dark tones to list. I would create a luminosity mask by clicking on the RGB channel on their Arctic each. I'm sorry. Uh, here it is. I will save it. Have to invert it because I want the doctors control shift high. Save it. And here it is. And now I can shrink it down to get the doctor stones. Something like does too much. Still, there's something like this control. Click on it And now I will add a curse layer and I will do the same thing like a dick. Before now I will choose the blank mode screen toe brightened everything up. But you see, I lose a lot of contrast. So I will now pick three options. Strong contrast to get something back off it. I mean, I turned your chest in on off there you can see Ah ha! I write in the image but at the same time and maintained contrast in this case, I brought into the big too much. So I want to decrease the opacity so it doesn't look too bright. That's good. I would call it lighten. Okay, Now I will make two more adjustments and then I'm done with my contrast section. First of all, let me delete those channels. I messed up my working space. Like I said, I don't want to do it in the radio Now. The next chapter everything will be fine again. I will want to darken those parts here. They're a bit too bright, so I would create a luminosity mask. Save it, shrink it down, so make it the brightest parts up there safe the channel there, it ISS. I will use a curves later. Go to the multiply blend mode. I'm just watching the trees here. Good baxam contrast. And when I turn it on and off there, you can see the difference. It's too strong. So I have a group it at a black mask. Now I can paint white and without destroying the luminosity mask. That's what I showed you before. And there, you see, I am adding something off the talking. Not much. Just a little. And I will call it Dark Lights. Perfect. Okay. Mm. Maybe they want to Brighton. Something's a bit more here now. Not too much. Okay, that looks good. The last step will be a little vignette because I want Teoh the viewer, to pay attention to the waterfall. And to do this, I will create a coast layer. No. Sorry. First of all, I rule make a selection with the elliptical marquee tool. I am drawing the circle here, something like this. And now I can move it around. And now I will make a curve. Slayer. White means adjustment. Black means no adjustment. I want to be I wanted borders to be darkened, so have to invert it. There it is. And there you see, it's a bit too. There's no transition or anything. So I have to soft in this mask a bit to do this, I will just go here and I will feather it out. Something like that. Okay. And now I can just use the blend mode, multiply. And there you see dark and sketches and leaves the middle alone. That's way too strong. So we'll go down if you're passively or something, like three or so. And there you see small difference. She wanted more. Your control of seven, of course. And yeah, I like it. How it is seven is maybe a bit too much. Let's say five. Okay, I would call this moving yet, and yeah, I think ever at another levels layer and brighten some parts a bit more. Who play a pit? 20% opacity painting my light tones back in here. Okay, that looks good. I would call it right again. Perfect. Now I can, uh, at everything to a group by shift clicking down here pressing control. J and I will call its contrast when I turn it going off there, you can see the difference. The big difference. In my opinion, it's too. If it's too strong, you can further work with your wall. A pass ity. I always like to do this because at the end you see the final result. And then, like I said, you can work a bit rivet. In this case, Um, maybe I don't even needed degrees too much. That's fine. Perfect. Okay, Uh, right now I see that some colors are a little bit too saturated. And I also want to work a bit with the color caste and at the same time with the color contrast. And these are things I will show you in the next chapter. So right now I'm done with my Contras. Adjustments, adjustments. I hope you learned something here. And, uh, yeah, like I said, see you in chapter six. 7. Advanced Color Adjustments: Okay, guys, welcome. In their sixth tempter, I redid or reorganized my working space here. So now everything's fine again. Um, now I want to show you some of my favorite color adjustments. I like to work with color a lot. I further enhance colors, sometimes a decrease situations and I also have called a contrast color contrast means that I have a contrast between cool and warm tones. So there's not just a contrast possible. Dark and light owns it also possible with blue end warm tones. And that's what I will do here as well. But first of all, I will start with a adjustment to the water because I like when water is a little bit cooler. In this case, this creek was really cold. It comes from the mountain street, and it was melting water. So in May, So yeah, it was fresh. So, um, I like I said, like to cool in this on. I have different ways to do it, but first of all, I want to create a mask. So I have most off the parts most parts off the water already selected. And to do this I will use a luminosity mask and usually I use a RGB mask and then further work if it But in this case, I want to use a mask based on one off the color channels because sometimes it helps me to get even better selection, especially when I have a lot of Connor in one image. Show you what I mean when I create this RGB mask and I click on safe and I click on it, you see OK, the water's selected, but I also have a lot of parts on the outside selected. I don't want this. I want further restricted masks, so I will just give it a try and check out the other channels. First of all, the red one. There you see you. It's similar to this one. A bit different, but still there's a lot off selection happening outside off the water. The Greenman. Yeah, kind of the same. And then there's the blue one. And here you see ah ha lot off the water selected that meat. That's because there are already blue tones in the water. So deliver nasi mask has, uh, you have more to select there than on the outside, so I will create my mask based on the Blue Channel. To do this, I will control Click on the Blue Channel here, and then I will save it. This also works with, let's say, a red sky or yellow start sky or let's say the green forest here. Then I can also make my adjustments based on the color channels. Of course, depends on you. In this case, the blue channels works good, but I want to further work with it. I've oneto shrink it down a bit because I want there's still some selections happening here . I don't want this, so I will get a bit more detailed. So I will just control Click on it, control all shift and shrink it down a bit. And there, you see? Yeah, I like it better. I can still work referred later by painting on the mask. But right now I'm satisfied. So now I will control Click. So I have to selection and then I go to photo filter. And there I have different options. I have warming filters, cooling filters and colorful dose, and most of the time I use the warming filter. Any five there cooling filled 80 and the blue Felder uh, this case, Let me try to blue Filter and let's see how it looks. Oh, uh, let me turn on off to see the difference. And there, you see? Yeah, the water gets a little bit cooler. I like it. Not everywhere, but in general, I do. I can now increase the density if I want will decrease it. And I will just to see the difference. I also, uh, used the according filter any to see what looks better. And in this case, I think I like the cooling filter better because it cools it a little bit more. Yep. I like this one unknowable for the work of the mask. Because I don't want it to happen everywhere. And maybe I will even increase the density of it, something like this. And when I group this selection and at a mask, I can no paint it out where I don't want it or let's say I was invited to a black mask. Now I can paint white and do it rare. I wanted to happen here and, of course, here, here. Oh, sorry. Talk. That's good. Perfect. You see, if there's a bit too much contrast yet you see the bread tones here? I don't want this to happen too strong here. That already look strange. So still some sunlight hitting there. But that's fine. No, let's see. Play a bit. I want the cooling. What happened here? Oh, no, that's just wrong. Don't like this. Oh, let me let me delete the group, uh, group only. And now everyone to check the mask again. And I see that this happens. Let me paint white Europe up there. No, not that strong. That's a bit difficult. I think I will remove something of the blue tones in this part of the image. So too strange. So you get again. No, I will paint black 30%. Yet that looks better. I think not. Yep. Trial and error, like always. Ah, okay. I can, of course, further work with the capacity. If I want my will do this something like that. Good step and I will call it cooling water. Let me delete all those channels. And now, Ivo, further over the color contrast To do this, I will use my favorite color adjustment layer. It's called Qala balance. It gets a lot of options. I can work in the mid talents, in the shadows and in the highlights. And I could use the sliders here to add or remove some off the colors here. And I like to do every single tone separately because let's say I want to work with the mid tones do adjustment here, but then I want to paint it out. Summer when I did all the other adjustments on the same layer, I paint this adjustment out as well. I don't like this. So I will do it separately like a set. I always start with the highlights. I want to add some yellows. I'm just watching here. Not much. Yeah, I want to add some yellows and also some magenta tunes. And also some red tones. Okay. No, well, inverted some. Now I can paint with white and just appear to adjust tones. You hit it by the sun. Okay. I would call this color balance Lights, Andi. Now I will use another column balance layer and I will work again with the highlights. But now in general. And I would just remove a bit off the green by adding magenta and had some blue, so it's not too yellow. Perfect or cold us again. Call a balance lights? No, I go to the shadows and I like the dark in the shadows. But let's say I like to cruel the shutters, so add some blue and at the same time you see the shells will be darkened. That's what I wanted to say. That's really nice effect. So I increased the color contrast and I also want to remove some off them agendas there. So I will add some greens and yeah, that looks good Already. Let me turn on off. Yeah, Perfect. I would call it Color Balance docks if I just want to adjust the color, not the contrast I can use the blend mode color. Oh, look, Luminosity, czar color. And then it leaves the contrast the load, you see? But in this case, I liked the darkening effect. So I will keep it on normal and the last step will be Mittal's. And they I see what I would like ever probably cool them a bit. And also add some Reg. I will do it separately. I will add some and I will do that separately. So first of all, I will cool them. Call it color balance mid tones. And then I will add another one. And I will had some magenta and red to it. Here it is. But that's too strong of an adjustment. So ever go down. If you passed these something like 30 let's say 40. Perfect. I like the result. I'm looking here. I'm seeing it. So in a group, all those control g and then I call it color balance. When I turn it going off, I see a huge difference. I guess you concede us Well, maybe they're darks a little bit to balloon now in some parts here. So I will add a another color balance layer. I never warmed them up a bit, things like that. And in road. It and I were just painting this part here with, say, 50%. So here, delivery less of a pass Ity here. I don't like it there. Trotted. Aargh, Like always. Okay, when I turn this on off Yeah, I like this better. Perfect. Good. Like the result Now I will work a bit with the color, especially the yellow color. So I go to Hue saturation. And then I covered two yellows and now I'm just watching the upper part here when I'm working with the hue you see here, adding red tones and now adding green toes. In this case, I want to add some reptiles, but not much. Just one. And the only wanted to happen. So in some parts, not everywhere. So I had press control I and now I will paint white and let's say 80% here and also there because it's a little bit too green for my taste here. Yeah, okay. Perfect. And then I would do the same again. And now I want to add some greens here. So I would do the opposite. See? Too much, of course. But I were painted for lower capacities. First of what would invert it. Press control could be sorry and no 30% and no ever painted here and there You see the difference. Now I have some nice green tones here. If it's too strong, I can, of course, go down with the capacity. Okay. Still too, but still a little bit too green here. So when you want to work with greens always used the yellows they affected the most. Yeah, that's better here. So, in Virg do you 30%? No, I'm painting it where I wanted No, every real, just somewhere. But And when I still see here is this'll, it'll splash up there. It's annoying. So I will now skip my color adjustments. I will goto contrast cause it's bothering me. And I had some contrast at this year and no, I will paint back some contrast there to get rid of it. Yeah, that looks way better. Something like it was a bit too strong something this year. Okay, it can be done since it's non destructive. So that's the good part about the world. Okay, let me go back to my car. Adjustments. They look good so far. What I will do now is they were grouped in called it Hugh Yellow. No work with capacity again. If have owned this case, it's fine for me. I mean, you see the difference. Not much, but it's there again. And now I will work with a selective color adjustment. Were you on the bottom and it's a really powerful tool, in my opinion, because here you can pick certain colors and then you can work with the colors in it. Let's say I want to just the Reds. And now I can say if I want remove Scion or s i n to cool it a warm it up in this case, I want to add a bit say in to cool it a bit I couldn't do the same team agendas, you know, just a little bit, maybe, and the same to cool it a bit and I can also dark in it, but I liked it Good. If I want to, I want to set to the same if the yellows Uh, I will do that separately because it's a two global adjustment, in my opinion, but I can do what I could. Also can do is I can use the neutrals And then I'm affecting the color itself. They see it not only the color in the color, but the whole image can also dark in the image like you see here Maybe I will do that just a little bit on the yellows. It's pretty powerful, in my opinion, on with a gentleness and that looks good. Did they see the difference a bit too strong? So it would go down if the rapacity and now I use another selective color and I will work the yellows like I said before. And I want to add some greens again. Just so I will remove Magenta as press control eyes so I can paint. And no, I want to add the greens here and this part of the image because there is a little bit too yellow for my taste. It's a bit too much green up there. Looks okay to me. Ah, let me work with the whites because let me see what happens whenever the whites I want. I want to make water a little bit bluer. Just a smidge. Okay, You can play yourself of that like you see, but it's really powerful, in my opinion. Uh, in the greens, I can have some magenta, so it's not too green that okay? No, I can group it and call it. It's, uh, like tiff colors. And when I turned it on and off terraced a difference sits settled. But it's there. I like it. Really powerful adjustment can be used further, More or less depends on you. Okay, so I'm fine with it So far. Really like what I did here? There's one last step. I'm always doing Let's it. Sorry I always do at the end. It's called saturation reducing, let's say, creating a saturation mask because it can happen in the image when you make all those color adjustments and contrast adjustments that some parts of the image could really saturated and one off. What I can do, of course, is I can just go here and go to a hue saturation layer, and then I can decrease your wall saturation at the blend mode saturation that only effects the color. And at the contrast, and then I came inverted and painted out of specific parts. But that's too complicated for me. I have a better way, and that's using a saturation mask. It helps me to get a really smooth color, reduce smooth, saturation, reduce. And I was sure you know how to create this. To do that, I will first delete this year, and then I will create a completely new layer by pressing control. All shift E. We don't need it forever just to create the effect Here it is. And now I will convert the image to this of a group of filter other H s B h S L. It takes a while here This we have a RGB image and now we will convert it to a HSB image. It will make the image look weird there, you see, And the green parts here now are the most colorful parts in the image. And to make a selection based on them, I have to go to the Green Channel And there you see there are selected. When I control, click on it and save it. Then I have to channel here and now I can delete this layer because I don't need it anymore here, back to my normal image. But the layer is still at a channel is still there. And you see, I'm still having my selection when I know, click on the channel, Go to Hue. Saturation He was the blend mode saturation and no, I can decrease it and it really helps me to reduce the most saturated pots and it looks really natural. Uh, if it's too strong, I can, of course, rope of capacity. And I just want to show you the difference when they use a normal hue, saturation layer and your saturation reducing, then it gets way stronger. Then it does with the saturation mask. Yeah, Perfect. I like that. Let's say yeah. Maybe I don't even want to reduce that much color This case have already really satisfied. Said something like minus 13. It's fine. Okay. Perfect. When I look on the image now, first codus situation asking and it also wanted to show you Yes. Sorry. Let me delete This year I was too fast. I can, of course, further work of this mask here because when I now control, click on its control shift. Old click. Sorry. Control shift click. I get the more restricted version of it when I save it. Here you have it. And this is the one I wanted to use, actually. So I would just control click on it, go to a hue saturation call It set rich everything. Saturation led mode. And now I can reduce the overall situation a little bit. That looks good. Perfect. I would call it said to operation. I'm asking. Okay, now I can group all my color adjustments by shift clicking down here. Control G and I would call it the color having that turn it on and off. I see the difference, You know, You see at a huge color cast going on, and I fixed it quite well. If it's a bit too blue, I can always reduce the overall capacity again. Maybe something like 95 really slow. And there you see the difference. Really nice. Maybe I want to had some yellow in the color balance. Just a bit here in the middle. Yeah, that's okay. Not much. Just a little bit. Perfect. Okay, so I'm pretty much done now with my tutorial here, I, uh, guided you through all my techniques I'm using to enhance this image. Ah, there's some techniques I already used in my volume one video, but it really depends on the image itself. Sometimes you need completely different adjustments. Sometimes you use them completely different. It's always it's not always the same. It really depends on the image. Like I said, So I think it's always interesting to see how specific images are. Let's say how different images are. Just that I, um Now we'll show you my last chapter. And it's about preparing this image for print In the last volume and Volume one. I showed you how I prepare my images for rep and now I will do the same for printing. There's no magical things happening, actually, but still there some points you should remember. And you should follow. And then you can master this. Let's say, um yeah, not master. Then you can guarantee that your prints are looking really good and that you're satisfied when there are hanging on your wall. So, like I said, I don't know if this chapter and see you in the last one. Chapter seven and yeah, probably seconds. So see you there. 8. How to prepare your image for print output: Okay, guys. Now you finally made it to the last chapter of my editorial. Um, here I would like to show you how I, um, prepare my images for printing. I have a yearly, some things I always do the same and some things that do differently. But, um, it's always really important that you work really precise. So that means while editing your images already, you have to be careful what you're doing, because when you mess up things, let's say colors over in your, um, stamping wrong you're getting halos or edges were inches or whatsoever. And when you're printed big than you are, of course, also see it big. So, like I said, you always have to be really careful with that. So you have to be really, really, um, good in post processing, of course, when you do it a lot, and at the same time, you have to be if the watch out, um, it's also important Why, when printing is color management, because when you send your file to a lab printing lab, they usually tell you what they want. So what color space do they need? Do they need s RGB adobe RGB or whatsoever, and in this color space, you should send them your image. So before you have to make a conversion and to get the right colors, you also need a really good monitor. Shouldn't save money there. I mean, it doesn't have to be the most expensive one, but a use a ISO. See what's called CS 240 like $700 and it's a really good investment. It has 99% adobe RGB color space coverage and 100% S G B and I really love it. And I always added my images in pro for rgb this because I work a lot of luminosity masks and they get the best trenches trenches. So the best transitions when I have the biggest color space possible. But when I start preparing for print, I always converted toe S rgb. So then I have no problems with the lab. When I sent them the file and there's one off the first step I always doing, and then later I do the resizing. Let's say when I print really launched, I have to resize it a bit, and when I I also have to shop in it and there's a really nice tool in the nick collection I'm using because it gives me different options for sharpening. And it worked really well for me so far. So that's all. Nothing magical. It's just things you have to remember when preparing your images. Okay, Um, when I finished the image here, this is my master file now. So when I prepare for printing off a web, I don't want to touch this, so I will make a copy off it, and then I will work for the river. I see you have some leftover sear me. Delete those general store Don't get a huge fire. Okay? And now I would just duplicate this image to do it. Just click in which and duplicate press OK, and now will flatten it because I don't need all those layers here. So click flat layers, okay? Perfect. And now will convert the color space toe s RGB. That's the most common Connor space. There's some laps which are using adobe rgb. That's cool. The color the lab. I'm musing. It's called white wallets. Germany delivers worldwide. It's amazing in quality and they use s rgb. So I have to convert my images to that. And to do it a click on edit and tonight to profile. And there you see No, I have pro photo and now I'm converting. It s RGB press. OK, In this case, I have no complicated colors, so I don't see much of a difference from Pro Photo s RGB. There are some images where you see a huge difference, especially when you have a monitor which can show a lot more colors than s RGB, especially in a really bright and colorful sunsets or sunrises. But in this case, it's fine and no made the conversion and when I also need to do is like I said, I have to resize the image. I have to sharpen the image and especially I have to sharpen it differently. Then for rap. When I shopping for print, it's usually a lot. It's too sharp on the monitor, but on paper it would look good and it also depends on the viewing distance. Usually don't take the print and press your nose on it and then you check every part. Usually you watch it from, like, one or two meters away, and then you make your yeah and then you can you can you look it and you can enjoy that way . Way better because then you see the whole work. And so, like a set, it needs to be shopping. So you see the sharpness, even from far away on some papers are also decreasing sharpness in general. So you have to overcome this by over sharpening the image. And what's also really important is soft proofing because the image on the paper never looks to seem like on screen. And when you have a color calibrated monitor, it helps you a lot too soft proof. Because then you have a standard profile in your monitor. You and then you can make your decisions on the profile there that gives you so you can simulate how the image looks on the print. Okay. And different methods methods to kind of Grady in one of their I have a color I Qala profile. That was the call I call a pro. That's what I use to make a calibration. Elaine, One of the shouldn't save any money there when you're serious about printing, because it will happy a lot. So you're you're Yep. Prince are, um, pretty and they satisfy you? Ah, yeah. Like I said, when you do the stuff proof, the lab gives you a A I C. C. Profile. That means you can simulate your info to shop. How the image would look on paper. It's not the same 100% because on screen there's bad light, it's bright and the contrast is really good. So there can be some parts on the screen, which are dark. Let's say there's some parts of the screen which are already docked. There will be even darker on paper. So you have to overcome this by frightening up those parts, because otherwise you won't see anything on paper later because it doesn't have such a huge dynamic range on this greenhouse. Okay, it's also it will happen that you make mistakes. That's okay. I did the same. But usually after the first try, you already get better. And with a really good monitor and a good soft proofing, it will be if the chance will be smaller than you do mistakes on. Yeah, so preparation is key. But like I said, there's nothing magical. A lot of people do it. It can be done. It just show you how I do it. Uh, now I converted the image to the image to s RGB, and the next thing is I will resize it because I want to point it a bit bigger. So I go to image, image, size, and usually this is a 36 megapixel file. But I decreased that at the beginning, so the performance in the video is better. So I made a 24 megapixels file out of it. And now I can also watch what this means in centimeters or interests. I'm in the group, so we use centimeters when you use interests. And, of course, it's a lose interest until you see it's a 20 by 13. And when you want a bigger you have no, you need to increase the size. And what I what's also important? This you have the rip rip. I'm not in this story. You have the sizes here and the resolution and my opinion. It's the best when you keep the resolution at 300. Or let's say at the native resolution off the printer you're going to print on. And that's what the LAPD tells you in this case, whitewall prints at 300 pixels per inch. So I keep it like this. And then I resize the image. You could, of course, also decrease the resolution than you got can automatically print bigger. I can show you here when I go heat down to 240 you see? Okay, the sizes increase and I get a bigger image out of it. That's okay. Let's say the native resolution off the printers 180. Do it. But in my case, I want to keep it on 300 because White Ball does it. So I get the best quality possible. So what I have to do now is to get a better image. Bigger images have to resize it, and they're different options to do it. Photo shop does a really good job in that, and I like to use the re sample mode called pre Served Details. It also tells you it's for enlargement because that really keeps the image nice and sharp, and it's not too soft after the resizing. In this case, I want to get a 30 by 20 just a bit bigger. And there you see how it looks after the re sizing. When I turned a resemble on I'm sorry. 30 by 20 when he was automatic. That means preserve details You can also use by cubic smoove. And there you see you lose a bit of the details here. I like to use preserve details. That's perfect. When you have this checked here, then you automatically get the sizes you need when you change them. Here and there you see the dimensions off. The image also changed. You get a 9000 pixel by 6000 pixel. Now that you re sizing. But at the same time, I kept a resolution on 300. And I could also make a mix out of it, of course, but say I resized it. And now the printers resolution is 180. I can uncheck. Oh, no, I can't. Sorry, my bad. I will check re simple. And do we re sizing and keep the resolution on 300? Okay, that's how I always do it. That's good. So no, I press OK. No, I have a bigger file and I watch it here. The details are still really good, and you usually don't look at that close. So that's fine. Anyway, I like it. And what I will do next is shopping. And there's one true which I like a lot into. The Net Collection by Google did all the testing for me already. Um, it gives me different types off sharpening methods for the different type of output. The problem is, it's only in German. I have the German version and I can translate it to English. I don't know why it's possible of color fix, pro former number of the output shopping. So I just try to translate. But when they're only the save them, the options are all in the same position. So when you use your English division, you can just pick the one I pick here. Um, so, yeah, but put tried the handle. Try. I will pick that up with shopping here and it opens up. There it is. And there it gives me all the options. Like I said, it's in English and German story. I will just tell you what it says here. Here it says display. But that's for Web shopping. I don't want this so I won't pick this option here. I will goto inkjet, yet that's what I will do injured, And there I can view there can pick the viewing distance. In this case, I like 60 to 150 centimeters because that's the usual real distance I have. And there I can pick the paper type. I can pick texture and fine art canvas. Normal paper met, uh, luster and glossy. I like to print on met paper. So that's what I will pick here and there. I have toe used to resolution three. Image has I don't didn't wrote it down. Of course I didn't write it down. Of course there have to recheck it. I'm sorry. It's, um 9000 by 6000. OK, so I will go back to ah, put jumping up. Then it will readjust the shopping. Go back to inkjet. Being distance 60 to 150. I use Met Hope That's the right pronunciation. Um, not glossy one. And there I can pick my resolution. It's 9000 by 6000 and you see the shopping changes and there I can pick the stretch strength off the shopping. I can also add some structure, local contrast or focus happening. I don't want it because I only want the output to be sharpened. No creative things anything, and I always like to over sharpen it a bit. Something like 125. Because like I said, the print loses three. Image loses a lot off sharpening rent printed. So this is fine for me and that's actually done already. That's it because they all did the testing for me, that all the different happening methods already. It's so to give you always to write, sharpening amount and things like this, I just have to pick the type of Prince I want and type in the the size and the viewing distance and the paper type, and that's it. That's really, really cool. No, I will press on. Okay, so it will start shopping. There it is. The image now looks way over sharpened. But that's what I told you. It has to be like this because it loses sharpness on the paper. That's okay. I don't care for that. When I turn it on and off Perfect there, I see it some. Now it's shopping and the last step will be up. Sorry, the last step will be soft proofing on. I already have the different I see see profiles from whitewall and to open those. And to simulate the printing, I have to go to view proof set up and custom. And there you see, my custom proof is the S rgb and there I can simulate. Now, in this case there you see, after different proofs available and already loaded the ones I like And this is this is called White Wall here, See? Print Kodak pro Andorra mutt met. That's when I like one click. Anything else they tell you if they have, If you have to check some boxes here this case, Black point compensation This is fine. The night press. OK, And now when you look up here, there you see, I have to profile a plight now. And if I want to see the difference between the S RGB and the profile of white, won't I just have to press control? Why? And there you see, there's actually not much of a difference. It's only brightening up the parts outside here a bit, but that's fine. Since the print will all ready, the print will be darker on paper, so that's good. But it lightens up a bit and I will still do it a bit further by going toe filter, camera roll filter and then I work go up with the shadows. Right now I don't like it, but the print will work better if it because, like I said, the dark parts in this image will be even darker on paper. So right now it's getting a little bit too dark and too bright. But it's out of experience, I tell you. Paper doesn't have that much dynamic ranged in the screen, so you always have to brighten up your images little bit so you don't get to Dark Prince. Okay, so But you see colors actually are really fine. They don't change it all. It's just the contrast. I could now make further adjustments. Let's say the colors changes. That happens. Let's say you have a sunset or sun rays and there's some color changes. Then you have to make some for the treats so they look the same. In this case, you can jump back and forth by pressing control wide to see the difference. But it's important that you, of course, safe your file as a RGB, not with the White Wall color profile, because otherwise they will mess up your printing. You see the profile is not applied anymore, so that's fine. I am happy with that. I brighten it up a bit. I also, um, shopping that I can maybe increased the saturation a bit because it can happen that it loses a bit off that just slightly and that's actually it. I'm done, um, so like I said, there's nothing really magical needed When you have good equipment, you need a good monitor, good calibration system, and you need to profiles from their printing lab. And then you're pretty much good to go to prepare your images for the paper. I can highly recommend the nick upward shopping are by Google. I hope you can use it in English. And of course, I almost ever always used in Jet because I print on this type of paper and I used this type of printing method, so I'm fine with it. I already a lot off lots of printing, and it always works good. So when you use this method, you should be fine. I remember the color space that's also important, and yeah, then you're good, like a set. So now we are at the end off the tutorial. Volume two I hope you learn something. You saw some off some new techniques and also some older ones. I showed your morning one already, but like a set and really depends on the image. Which one you're using there, always working differently. And like I said, I hope you learned something. If you have any questions, just feel free to contact me. I'm happy about every email. If you like the tutorial, let me know. There will be really cool and yeah, stay tuned for some next tutorials in the future. And while waiting for that, I wish you a lot of fun shooting. And, of course, also, uh, post processing. So see you next time, guys. Bye bye.