Edit like a Pro - Learn how to create and use Luminosity Masks for your Landscape Photography | Daniel Gastager | Skillshare

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Edit like a Pro - Learn how to create and use Luminosity Masks for your Landscape Photography

teacher avatar Daniel Gastager, Professional Landscape Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (2h 55m)
    • 1. Intro - Guide to Luminosity Masks for Landscape and Nature Photographers

    • 2. Explaining and creating Luminosity Masks

    • 3. Creating Sets of Actions

    • 4. Advanced Contrast Adjustmens Part 1

    • 5. Advanced Contrast Adjustments Part 2

    • 6. Color Channel Adjustments Part 1

    • 7. Color Channel Adjustments Part 2

    • 8. Advanced Color Adjustments

    • 9. Dodging and Burning Part 1

    • 10. Dodging and Burning Part 2

    • 11. Editing from Start to Finish

    • 12. Final Words

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About This Class

In this class, you will learn everything you need to know about luminosity masks for landscape and nature photographers. It's a complete guide about how to create them from scratch and how to use this advanced technique in Adobe Photoshop

I created ten different chapters about my favorite steps I like to use and which I have in my toolbox to edit landscape and nature photos professionally.

After watching this course, you will be able to understand what luminosity masks are and how to create them and, of course, use them in your workflow. You will learn how to adjust contrast and color in an advanced and precise way. 

You will also learn how to use blend modes together with luminosity masks and how you further enhance your shots with advanced dodging and burning.

In the last chapter, you will see how I process one of my favorite images from start to finish using only luminosity masks.

Feel free to contact me anytime if you have any questions about this advanced but fantastic topic. :)

All the sample images + my Luminosity actions are included in this class.

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

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1. Intro - Guide to Luminosity Masks for Landscape and Nature Photographers: Hello, everybody. Welcome to my brand new skill share class where I will teach you everything about wants Topic Luminosity mask. Do you want to process your own photos in a completely new way? Well, let's say, do you like this at once? Three d kinder effect. This class is the right for you. In this course, you will learn everything about luminosity masks. I will show you from scratch how you create the masks, step by step, how you further enhanced them and also how you combine them to get even more powerful results out of it. I will teach you how to create luminosity actions, so you only have to press a button to create them and speed up your whole workflow. You will learn how to use them for advanced contrast adjustments, color adjustments and, of course, also dodging and burning called light painting. So if you are a landscape or nature photographer who wants to finally achieve a completely new look to your own images, and if you want to reach the next level in post processing, this class is right for you. My name is Daniel Flash, aka I am a professional landscape photographer for over six years now, and I'm using luminosity masks in every single post processing work. When I discovered this technique, like five years ago, it completely changed my photo editing style. I achieved completely different results which were totally on another level. And since then, I further find them and yeah, updated my techniques every single time. It was possible to achieve this advanced. And yeah, professional Look on my own images and that's what I want to teach you in this sculpture class. In 10 different chapters, you will learn everything I know about luminosity masks, and your images will shine in a new way after you finish this course. So which a lot of fun now, I hope you will enjoy watching this class and feel free to contact me any time in the community section Year on skill share. I'm always there to help, and I'm also really curious about your results using my techniques on your own images. So post them in the project section on skill share and I'm there to give you suggestions or just the thumbs up. So like a set, guys have fun now and see you later. Bye. 2. Explaining and creating Luminosity Masks: Hey, guys, Welcome to my luminosity masking tutorial. Ah, and this course we will talk about many things. First of all, I will show you what luminosity masks actually are and hope hopeful they are. And then I will show you how to, of course, create them and also how to use actions so you don't have to move. Yeah, create them manually. All the time can be a lot of work. And of course we will. Yeah. Look at the ways what you can actually do with them. So I will show you how I make contrast. Adjustments, color adjustments and also some Yeah, dodging and burning called life painting. I mean, that's what I will use it for. And yeah, I will show you some sample images. So you see what technique works best for each image and so on U s. So a lot of stuff. But I hope you will learn something new. Of course, it's quite an advanced topic, but I will try to explain this. Yeah, Good. It's possible. And I would say we would just stop. Yeah, jump right into it. And I will show you hope to create luminosity masks And what they actually are. So let's get started. All right. So a first of all, Like I said, I want to show you how to create luminosity masks and most importantly, what they actually are. So I created the blank workspace here, and I will first of all, use a radiant with a black color, and I will drag a line it doesn't have. It doesn't have to be super precise, but something like that from one side to the other, when I hold shift dynamic A Yeah, straight line. And oops. Do you see something like that? Okay, perfectly. And yeah, the reason I'm doing this is because luminosity masks are based on tonal values, mostly also in color values, of course, but mostly on tonal values. And to show you what they actually are, it's good to have a Grady int like this because there I have a lot of tonal values from dark to bright tones and also mid tones. And when I create a mask and actually apply it, then you see which part off the tonal range actually selects subjects, so that's a good way to see what they do. And that's what we're doing here. all right. So like I said, they're based on total values. And to create a luminosity mask, I have to click on the RGB channel. We also have to color channels, and I talk about the color chance or it talked about them already in my advance color adjustment tutorial. And we also will use them in this class here. But yeah, for this circumstance here we will use the RGB channel because it represents yeah, everything, all the total values. And to create one luminosity mask, we simply have to control click on the article, and that's it. And yeah, there's a lot of stuff to explain and to understand. So as you can see here Sorry. As you can see here, um, it selected the bright tones because the first mask you're creating is representing every single tone. But the selection only select the brightest owns. So as you can see here up in the channel, it looks like my radiant. So it actually shows all the tones, all right, from black to white. That's the call. It does the channel up here, But the way selection works and how mask masks book. It's actually pretty simple. Everything but what's white? Or let's say close toe white is selected and everything which is black. It's not selected, and there are some tones in the middle, as you can see here, those they're so narrow that photo shop can't draw those marching ants around them, so you can have mid tone masks, and I will show you how to create them, which is so narrow that Photoshopped tells you it can't make a selection based on the marching ants. I mean, it can't show you the selection, but it's still there because that there's no like super bright tone, which it can yeah, select based on the marching ants. But it's just something to understand. Um, so that means when we are controlled, clicking on this RGB mask The Wave Photoshopped works When you yeah, create a mask. Another Maskell selection. It's elects the bright colors at the bright tones, but it doesn't mean that a that the RGB channel, it's only based on the bright owns. I hope it's understandable it shows every single tone, but the selection can only select the bright tones. But that's a good thing, because that's the reason why they're so powerful because they help us selecting the tones we actually want. We're in a really precise way and weaken further, shrink it down, and I show you what I mean. And yeah, and to overcome this issue, we can create channels and channels work differently. They work like masks like we could. You can apply to a layer or something, and then you can pick black or white tones whatever you want in the masks, so but I will show you. All right, so here we have a selection. And as soon as we saved this selection by pressing this mask button here we have a channel mask. And now a channel mask is something different than the RGB channel, because this channel mask doesn't change since its a mask or, let's say, a safe selection. So let's say when we use a level slayer and sorry notebooks, let's say when we use the levels layer and we make it darker, then you see because usually that's our image here. Then you see remake everything. Docker and the channels are changing, too, but this selection doesn't since we saved it. So that's the reason why it works differently, so those channels always represent our image. And since our image red now is a greedy int. Yeah, it looks like this. So it's important to save your selections, which you like, and by saving this selection, we can now for the worker. If it, for example, when we control click on it, Photoshopped does. It's thing again. It select the bright tones or red. But let's say we want the opposite. We want that it's elects the darker tones, so repressed control shift. I two inverted it. Now it's selected the darker tones, and when we now save it, you see it's actually the opposite. But it doesn't mean that we change the total value off the image. It didn't invert black and talk, cause when we do that, it looks really bad. We show you that in a yeah, one of the images later, which we will work with right now. We simply turned the mask around, so that means now this mask selected cause it's white, it's selected the doctor tones in theology be chill and a de selected the brighter tones in the RGB channel. So this has nothing to do with a RGB channel. It's simply a mask. We saved based on the selection we made before, so I guess you know what I mean. It's like it's like a simple A A mask, like we would apply one here. It's the same, all right. And now we have a mask which select the bright tones and also a mask which select the doctors. It's pretty cool. And let's say now, um, we want a mask which selects the middle's. So what do we do to get to the mid tones? We have to subtract the bright tones and we also have to subtract the doctors because what's left in the middle's. And to do that, we will press control A. Based on this, I want to be channel here. We selected everything, and now we want to substructure it. And how do we do that? It's actually quite simple. Like I said, we were subtracted. So we will press control Ault and then you see my hand up here. You see this little minor station? There was German. Sorry miners Icahn, and then you can actually subtract it. So now it's obstructing the bright tones from this mask, and we also subtracting the doc tones from this mask and now we have this warning, which I mentioned before. Photo shop isn't able to make a marching and selection on pixels, which are not more than 50% selected. But it doesn't mean there's no selection. We'll show you what I mean when I press OK, you see, the marching ends are gone, but there's still a selection in the back background. So now I will click on this icon here. And then I have to press control de to actually de select the selections because even when you don't see a marching and it's still there and when you don't press control D and when you make an adjustment, you might be surprised what you're actually doing. Because there was still a selection in the background. Well read. And when we now click on this, you see, that's a really narrow selection. That's like now it's selecting the broadest mittens really soft metals. It can be useful sometimes to use such a mask. All right, so now we have three already. You can call this. We can call this highlights mask. Think I wrote it wrong, huh? Let's mask and we will call this docks mask. And this is, uh, mid tones mask or it. So I hope it's understandable. The RGB channel always represents the tonal values off the whole image. It shows the dark tones, the bright tones in the mid tones. And when we make a selection off course, since here we have the white part, the selection will select that, and then we can save it as a channel. But when we will return to channel around, it actually selected the doctors, all right, And now let's say we want to further enhance the highlights mask. So what will we do? We will control. Click on the RGB China. And when repressed control old shift, we're substrate ing darker tones. It's important to know the shortcut control. Old shift always substrate the next darkest tones. So, of course, when you're working with highlights, when you're substructure ing darker tones, what you're left with is even Brad atones. All right, so as you see here, let's start again. Here's our highlights. Adjustment a movie. Now press control shift and subtract something, then wrists obstructing darker tones with every single click. Since we're left with really bright tones until we're left. Sorry and now we saved that, and we will call this brightest highlights and then can be That can be useful when you, for example, work, want to work with some really bright sunlight or something, and you don't want to enhance everything around it. Only with the small son part than this can be useful, and we can do the same with the dark tones. But since the problem is that the problem is that control all shift substrate darker tones . So we, of course, can't make a selection here. Press control shift I toe invert it. And when we now press control all shift on it, it again gives us the mid tones because now we're substrate ing the darker tones. So that's actually a short away. To get to this mid tone mask you, I can show you that's the same. So yeah, we don't want that. So to actually select our darker tones, we have to go to all the docks mask. That's how Photoshopped books because now use obstructing the darker tones, not from the image only from this mask, and that means we get a more precise selection off our doctors. Since this mask doesn't represent the tonal values it only is a mask based on our RGB channel. That means white here means it's selecting those dark tones. All right, so, control, click on it. And now controlled shift, click And again and again and again and again to get, like, a really dark shadows. And now we save it. There you see it. And there we now we call it. Yeah, darkest docks, for example. All right. And when we now make a note a mask of show you what? This can also be good for. So when we go back to RGB Channel and repress control A for everything and then Reese obstruct by pressing control adult, we have subtract the brightest highlights and the darkest docks. I'm gonna be safe that we have a mask which select a lot off mid tones and highlights and shadows, but not the brightest highlights and not the darkest shadows. This can be useful when you want to make a fairly strong adjustment to your image. But you don't want to dark and like the shadows too much. And you don't want to bright in the highlights too much. You want to work in between? Yeah. We called control called us whatever brought well, why it mid tones mask all right. And now, like a said before, when we make a levels adjustment to you, you see the channels of changing because they're representing our image. But the mask still say to say, Stay the same. So that's important to know, because when you work with your channel, every few image without using luminosity masks, which can happen. Of course. Let's say you want a simple levels adjustment or something, and you like the result, and then you want to make a luminosity mask. You have to create it again because the mask from before are representing the image from the starting point. So that's the reason why it's important tohave actions, so you only have to press a button to create them, which is much easier. And, yeah, that's what we will do in the next chapter. If you there 3. Creating Sets of Actions: All right. Welcome to the second chapter here. I will show you how you create your luminosity actions. So you don't have to Yeah, make them by hand all the time, since it can be a lot off work and time consuming. And we want to save time by editing, so we will create actions, so you have to only press a button, and then you have all the mask you need. And that's what we will do now. So, yeah, let's get started. Um, to create actions. You, of course, Don't need this Grady int. I simply still have a dare, of course, off the last chapter, and it's easier to see which tonal range is actually selected. Um, but when you have a normal image, looks perfectly fine. So all good. All right, so it's so creating an action is actually quite simple. We only have to press the play button and then we create a folder and so on. And yeah, that's it. So I have to do now a lot of steps to create the actions. I will create five highlights masks five stocks, masks and five mid tones masks and you're creating them. Takes a bit of time, but when you have them bones here than you, good to go. So yeah, that's what we will do now. So festival Let's create a folder and we will call it Livanos. Let me know city masks. And first of all, I will create the highlights and we always have to created based on the Autobytel. So record control. Click safe. Call it how that's one. I want to still keep the selection and now closed the action because then when I pressed on it actually have to selection right now when I needed. So yeah, and it's important that you don't make to miss too many mistakes in your selection in your action recording, because then you Photoshopped always repeats every single mistake until you get to the final result. So, yeah, it's not necessary. All right, so no control D. But it happens to me, too. So next one, let's to tro click. It's always important to do it based on the RTB tell, because when we do it based on this channel, which has created and it's the the action really records it based on this channel. So when we delete this channel because we don't we don't We don't need it anymore. Or let's say we start a fresh image. This channel isn't there. Of course, there are only the RGB channels, so when we then press the action button, it can create it because the channel, based on let's say that the action we created before so the channel, which is based on the Channel mask, is not there anymore. You get the idea so shrinking it down once by pressing control. All shift. Save it. Call highlights, too. Stop. Do you select next one and it's three. Record control. Click control shift once. Twice Save it, call it, but it's three. Stop de select, and that's what we will do for the next steps. Korda's Let's four record control Click on Rural Shift once, twice, three times. Save it. Call it well, it's four. Stop it to select. There's this automatic process now, but like I said, we only have to do it once. No highlights. Five. And you could could Sorry you could go down even further, of course, but that's usually not needed. And when it's necessary, then you simply create the highlights. Five mask and then manually shrink it down One more time. Record tour. Click control Shift Once, twice. 34 Save it, Call it. Let's five de select. No, no, you see now I made the mistake. I would simply re click it. And no, I stop it. Perfect. But there can actually no work. We will try those. Ah, let's delete this. I don't notice tryto the action died. Works perfectly good. Now it's crucial that he don't make any mistakes in those actions because later on you will be in like it's annoying. Okay, Now we will make the same with the docks. So festival docks one. They're a bit more complicated because you have to invert everything first, but he ever do it only once. So control, Click on the RTB control, Control Old No sorry Control shift I to invert control eyes to invert the mask and control shift eyes to invert a selection. Save it. Can we call it docks one and stop the action here and he select. And now it's important that we have to redo this because when we create more precise, too dark dark selections on this channel here and been restarted for fresh image, this channel is not there. Yeah. Then we get a problem because then it can create it. So we have to pick the arch of a child Control. Oh, sorry. Festival. Have to start the action. Of course. Talks, too. Press record. So now control. Click control shift. I save it. And now we control old shift. Click on it. There it is. Save it. It's called talks too. And we have just delete this one and stop and to try. If it works, delete this. Yep. Looks perfect. And so on now. So next one will be stocks three Press record. Troll. Click on it. Control shift I to invert safe this channel control shift. I once twice save it. Call it. Talks three Delete this one and it next one looks full. The court control shift. I save it Fruit on wants tries three times. Save it. Dogs Full fleet stop District and no one more Time docks five. Press record control, control shift. I save it. Bring it on Once twice. Three full. Save it. Courted Talks five. Delete this chill and it de select. Perfect. It's boring, but like a survey dual only once and now we will create the mid tones, and it was important that recreate highlights and darks first, because now we can substructure. It's obstruct them from the whole image. Easier because now we simply have to press the highlights button and the docks button and then Reese obstruct him from the whole image and save it as, um, a tone. Yeah, I will show you. First of all, let me deletes all those challenges here. It's also always important that you delete them when you don't need them anymore because they make your image is huge. Don't save and front that don't save a final image of channels. Gentle masks going on here because yet I could set it increases. Your father says a lot. Okay, I know. Like I said, we will create mid tones final steps. So, first of all, a really narrow mid tone adjustment and channel. Sorry. And then a bit wider. So record that's creates Let's one and docks one control A. For the whole image. Sub strapped by control, old salads and darks press. Okay, save it. And it's called Midtown's one. Did you eat those too? And and now we have to de select in the background. The narrow adjustment doesn't show too much agains all right and no so on. So it turns to record. So first create how that's too and talks to select the whole image. Subsidiary control A. So now subtract highlights to and talks to save it and we will call it it turns to. As you see, it's a bit wider now. Stop de select. Oh, no. You see now I made this mistake. I left those two channels here, so that's through it again. It happens sometimes, but not a problem. It's only for demonstration purposes. Okay, So again, record create highlights too. Talks too. Select the whole image. Control all to substrate act Save it. That's called it again returns to and now you d you delete those two here? There it is and save it and decently. There we go and three more times And then we're done. So record how Islets, Three dogs, three selectable image and now it's obstruct. Save it mid tones. Three Really Andi stuff and and press record creates. I leads four and the docks full. Select the whole image. Then Reese obstructed again. Save it, Call it mid tones for delete this and this. All right? And no Stop. And Terry Perfect. And one more time, Mittens. Five press record. I know. It's five docks. Five. Oops. No, I recorded this little mistake, but yeah, doesn't matter. Controlled a sub. Strict. Those two. Save it. Call it mid tones. Five. Stop. There we go. All right, Finally done. Well, that can be a lot of work, but you do it only once, and then you have all the actions you need, So yeah, I hope you saw it. It's kept boring, of course, to watch, but yeah, it's important. I think, to do it at least once. So you see how the process works. And now we have, like, life masts, each really powerful. And we can work with them in the the with them in the next chapters based on some of my sample images. And yeah, when you don't want to create them by hand all the time. Yeah, you can simply contact me here in the community section. Either way, you're right. Your email down there and I can send you the action or you contact me on my website using Elma website. But you will also find in the profile on my personal profile here on sculpture. And when you contact me there, then I can send you the action so you don't have to do it by hand all the time. All right, So, yeah, enough of this chapter. And yeah, Finally we get started with the real processing. So you see there, guys. 4. Advanced Contrast Adjustmens Part 1: Hey, guys. So yeah, finally, we can get started with editing some example images. I will show you in this chapter how I use the masks I just created in the previous one. And yeah, show you some contrast techniques you can use to tonal balance your images and to give them more pop and never show you two examples. And you will see how those techniques apply to Rhea. Those two images. So, yeah, let's get started. All right, so you have the first temple image. As you can see, it's a really dramatic evening in the Italian Dolomites. It's but one of my favorite places for sure. And I love the light. It was perfect. And yeah, so it's an easy choice for me to pick as an example shot. And what we will do here is, First of all, we're going to check out the image and what we like about it and what we would like to enhance. So I can immediately see that, of course, like this light poking through the clouds, Only light. No, not all this or late. Late light. It was like 30 minutes before sunrise. Sunset. Sorry. And yeah, it casted a lovely golden shine. He owned the peaks and at the same time I really liked the color contrast on the left side with the blue compared to the yellow. And as you hopefully learned in my advanced color tutorial here on sculpture I mentioned that I really like complementary colors. So I like blue and yellow together and yeah, that's what makes this image you. So we're not working with color in this one now, but a so you probably already know. When you enhance contrast, you automatically also enhance color. So when we dock in something here, we also enhance blue. And they had the same on the yellow side here. So it will go. Yeah, that will just happen. So and we don't have anything against it most of the time, or it so And what I also like is delight here on the path. Some nice detail, in my opinion. And, yeah, like I already said the golden light here on the peaks and we want to enhance that. Okay, so first of all, I will ah work a bid with the highlights. So that means I would probably darkened them at least a little bit And to do that, we will create a wow luminosity masks which we Yeah, ah, which I explained before, and I will probably pick the highlights for one, since that's already quite dark. I mean a really bright version off the highlights with less darks than the one here above. So when we press press the play button, it gets created. And as you can see it, it does exactly what I wanted. That's perfect, cause it select this bright part here. And also you are a little bit here in the clouds and I don't care about this side, but I love it here. So what I will do now is I will go to a levels adjustment. You can pick levels or curves, whatever you like that basically do the same, just in a different way. And yeah, now, of course, it doesn't do anything since the mask is applied. But now I can dock in it, As you can see here in the highlights, do you see better? And that's what I meant before when I darkened something than it usually enhances the colors as well. So that's really cool, and I don't want it everywhere, so What I can do now is I can group this and Adam asked to the group because when I paint on this luminosity mask, let's save of black. I want to remove it over here. But then I decided maybe I wanted back at least a little bit, and I repaint the near The selection is destroyed and we don't want that. So that's the reason why we add a mask to the group where the luminosity selection is inside inside. Because then we can selectively paint out our luminosity of selection adjustment without destroying it. It's a cool way. So first of all, we have to go back here and is to re panel there we all. And now we will paint on the group like a set and we use a black color because we don't want it to be active here on this side. 88% is fine. You can repaint all the time, and I maybe it won't wanted that's strong here and this part off the image. So I will also painted out at least a little bit like 33%. But I like it everywhere else. Yeah, looks good, Perfect. And we can call this darken highlights really simple. It's just so we can remember they don't. All right, so what we will do next? Next? I want to enhance this light over here, and I will do it in two steps. First of all, I will use a mid tones Ah, adjustment to brighten it because right now there are no not so many highlights over here. Since I, um, you made a darker exposure in the field, so I don't lose any information. So now I have to bring them out here with a mittens mask and wants the bright enough. I can use a highlights mask to further brighten it. Or, let's say to further you make a little less step to make it look more punchy. All right, so what we will do, we will go to our actions here, and then we will go down to the Midtown's. And as you learned in the previous chapter, mid tones are simply simply the left over from the image after you removed dogs and pilots and we have five different versions and one is like the widest range of tones and five is the broadest or was it in a different direction since chick. Ah! Oh, no, The opposite. I'm sorry, guys. So five is the widest range of tones, and one is the broadest. Okay. And I think we will pick the middle, and it's always good to try it out. You can click on the action, See, as you can see now here what? It's elects and re hide it. Then you see Okay, it does actually a pretty good job selecting this part. And if you don't like it, you can always delete it and try out a another one. So maybe we will just try out to mittens to also just to see how it looks. And maybe it's even better because it aim isolates the blacks at least a little bit more. All right, So know its height. This and I will now show you a little trick. We will further enhance this channel mask. I would call it enhancing the mask, and it's actually quite simple. So what we will do is we will press control. L So now we are here. Control. So now we are here in the levels off this channel. And when we now talkin via the dogs and brightened the highlights. You see, we get a better isolation from the rest of the peace, and that's one of my favorite steps I like to do with luminosity masks. You don't have to stick with them masks you created with your action. You can further enhance them. And it's really powerful when you want to work really locally. So I mean, not just sometimes it can good look good. Look sorry. Sometimes it can look good when you use a mid tones mask in general and apply contrast overall. That can look good, of course, but when you want to work like, really precise and locally I love Teoh further enhance my channel mask with, um excuse me, I love to further enhance my channel mask with a levels adjustment is adjusted because now , as you can see, I isolated even more and that's really cool. And now we can also work with this path here if you want, and maybe a bit. Yet this part. Yes, well, so that's really cool. Soon I will control click on it, and it was important because, as you saw when I created the luminosity mask, the selection was still active. So you have to de select it because otherwise you can't work with the with the channel properly. All right, now let's create the levels mask levels. Just spend. I'm sorry. Here we are. When I click on it, you seep basically the same here as in the midterms channel since its Yeah, representing it. And now we can go really extreme if you want, because read now, we're only looking at this part off. The peace can make a pit bull contrast something like that when we turned it on and off. You see, we actually added some nice punch to this part here. All right, so now let's group this again at a black mask. And now we will painted in really locally for soft brush, zero hardness or 1% whatever 55 capacity. And now we can paint it in here to add some nice little detail also here. And the good thing is, since we have it in a group, we can repaint black if we overdid it somewhere, which we don't want maybe appear true. So that's a cool way. As you can see, If it's too bright down here, we can of course, I'm go about over it with black. So it's not too. Is not peeking something like that. Pretty nice. Of course, they're simpler ways to do it. You could probably just use a levels without, Um, there's luminosity selection and crank up the highlights and then painted in locally. But then you have the risk with bleeding into the shadows, and maybe it's not too precise. So when I want to get, like, really, really, really locally, I like to use luminosity masks. Let's say when I want to right and everything here all it said there than maybe I wouldn't need one. But I still like to use because it gives me It's a security for me. It's a safe way to not yeah, being sloppy in the processing, But it depends on you, all right? Yeah. Like I said, I really like it. And what we will do next is ah, we will, um maybe one second Let's paint black, uppity underside, because that's not to talk and not to practice. Sorry. Okay. And let's call this Brighton Peaks. Oops. Sorry. I have to. Okay. And now and yeah, what's really important This when you made changes to your image using luminosity masks. Then you have to recreate your masks because they will stick the same based on the image before the adjustment. It's not a channel. The channel appeared that change. So that's the reason why we always to recreate our masks based on the channels because they change with your image. But like I said, the mask from before the state of same. So when you're brightened something a lot and then use the same mass like before, Ah, it can happen that you have reared artefacts because the tones are not mentioned any more. Okay, so now we will do two more things here to this image, and then I will jump to the next one. This is not a from start to finish editing, because I will just show you some favorite steps I like to use so you can apply them to your own shots. But at the end, off this tutorial you will see how a there will be one chapter. Where will show you how I added one shot from start to finish using only luminosity masks. But right now I will show you all the techniques I like to use. So that's, I think, a good thing to yeah today. Okay, so now let's delete those channels and let me He's grabbed my coffee work week, all right? And like I said, I want to work with this slope here on this rich whatever it is and also with this highlight line. That's what we will do next and maybe a bit here in the mountains. So we really create another mid tones mask this time atones three. De select. Let's watch it and it's actually selecting a lot of things which we like it so, but we will further enhance it. So control L. Now we will do our thing again. Maybe not adding too many highlights since the selection's already quite quite good. But we will isolated a bit more from the blacks by adding blacks something like that. Now let's press control. Go to Yeah, we don't have to go to levels all the time. We can also go to curves off brightness and contrast. This time, let's use brightness, contrast and let's add yeah, brightness and also contrast. But that's too much. So we will group it again, adding a black mask, and now we can paint it in locally here, down on this, on the paff, without inter, acting with the docks. And we can also brighten it a bit here, this side, especially here in the clouds, because it became a little bit too dark in my opinion, millions. So here. And if you don't like it in some parts, we can repaint it. Since it's a group, we felt destroying it. It's really cool. And of course, we will work here. If the rich left the yeah slope, that's Rinas and maybe also a bit here. Maybe even a bit more End of picks. Something like that. Re pains if we did it too far and it's the powerful thing about the group, all right, that's 10 Ozonoff. That made a big difference in my opinion. Every like it. And we can, of course, always work with the capacity. If we if we think it's too strong, that's called it Brighton. You lights perfect and no. One more thing. I want to add more detail to this rock here, So first of all, I will check my doc's masks. I will probably pick number three, always like to start off the middle and see how it looks. No, it looks nice. It's important that when we brighten the docks that we don't lose too much contrast. So there, two ways we can overcome this. We can use a levels mask, but and we can write in it. I mean, the blacks and the levels mass gives us the opportunity toe. Also add black sub back so we can maintain the contrast or we can create a substrate. Did docks mask? That means I will pick, um really wide tones off dogs. And then I, ah, substrate act darker tones. So I have something like a mid told stock mask. That's what we can also do, and I will show you how to do it. But I would be almost I like to add blacks in the levels because it's simpler and quicker. So, yeah, let's say we will pick the stocks mask. And now let's go to our actions and it's pick Select Ox five that stalker, and we can now maybe make it even talker. We don't need to have actions, but we can do it by hand control. Click on it, control shift, click on it and let's click a couple times and save it snow. We have the even darker tones, and we can select this one now. So on what we can do is now when we control, click on the stocks mask and when we control old click weaken substrate the other dogs from it, There it is and save it. And there you see, we have a mid tones kind of mask because the darkest tones are less selected. Yes, you can see here and and that way we, um, maintain the darkest owns, so we don't use to much contrast. So let's control click on this and go to levels and we only looking at this rock right now , So that's Bretton it. You see, we have brightening the rock, but not everything here. So that way we maintain contrast in the darker tones. Course I don't want it that bright, but yeah, just for demonstration purposes. So let's say we will use this mask record levels and brighten it, too. Then you see those dark tones get a lot brighter then before, So that's a good wave, and you have when you want to create an action for mid tone stocks mass. That's fine. It's actually really cool way. I just Yeah, there's actually nothing against it. I really like it, but sometimes I've and it has to go faster. I like to simply use the levels layer because I will show you what I mean. Use the other adjustment when I go to levels. And when I at baxam contrast in the mid tones, You see, I maintained contrast here as well. But I can do, of course, the same with this mask, so I can also add back contrasts. In this case, I like the It's obstructed docks mask, actually even more so. I will keep this one of the group it. Let's add a masked to it black. And now let's paint it in my rock here in the foreground and maybe a bit here to cause sometimes, yeah, it looks good in other parts as well. Maybe not a strong here there. And like I said, we have a group. So we can, of course, always repaint. But maybe here and we assume in we can use that. All right, and it's called this Brighton Doors perfect. I like it really nice. And when we now group everything and call it simply adjustments. And when we turned this on and off, then you see what we actually did with some simple steps. I really like that. All right, so that's it. With the first sample image using contrast, luminosity, masks. And you in the next chapter, you will see my second example. So, yeah, see you there. 5. Advanced Contrast Adjustments Part 2: Hey, welcome to the second chapter where we'll show you a another example. Images based on luminosity masks. I mean, I will use contrast luminosity masks to enhance the image. And, yeah, let's just jump right into it. So here we have one of my favorite shots from the Canadian Rockies. It was an amazing experience. It was cooled like crazy like minus 30 degrees. But the morning was so calm and yeah, simply loved it and this mountainous Amazing. So that's the reason why I am picked it to show you some processing steps, and what we will do here is I immediately see what I like. I like the ice. I like the river. I like the trees and attacked amount. Pretty simple, isn't it? So that's what we will enhance. First of all, I will further darken the rivers, so we create some nice contrast in it, and we will dark in the trees to separate it from the snow a bit more. And at the same time, I like to work with the sky and also with the ice here. So that's what we will do. So first of all, I will again create a dog's three mask. We will start with the middle and you see it here tided, and it actually isolates everything really nicely already. So I would think so. I think I will keep it that way. And now we can create a and that ah, levels or curves adjustment, whatever you like. That speaker curves this time something like that. And now we can darken its by dragging down here and also here, so to maintain a bit of contrast. So now we're adding some highlights, some strong highlights and also shadows. Something like that. And when you don't have a mask, a luminosity masks, then it's looking like this. So you see the power off those masks that maintaining or let's say they're restricting the adjustments only to a certain part. Yes, you see, really cool. And let's group this because we don't like it everywhere. I don't want it to be that strong here, down in the ice and also not too strong in the mountain and not in this part off the trees . The rest is fine, and when you look here, it made the trees a bit darker, not much, and that way we are isolating him a bit more from the snow. So that's called this dark darks, and now we will do the opposite. I will create a lights, mask, hopes, lights, mask, maybe a lights. Three again. Now you see, we're selecting a lot off the snow because we want to further brighten it, especially here in the trees and maybe also bit here. So we will create a level slayer, and now we go really extreme. So if the mid tones and add a bit docks back and this you can see but brightened the snow a lot, but not the trees. And that happens a lot of times when you have, like, a really Grodd adjustment, some local tones, not a wide adjustment. Then you sometimes have to go really extreme, like I did here in the levels to actually see something. But then it's even better because you have, like, a really local, uh, contrast or color adjustment, and that's what we want to you in the trees. All right, so now we will group this at a black layer mask, and now let's at this adjustment with like 60% through the trees repainted to you in the mountain. We don't want it there. And we've like 33 year, 30% here in the snow, cause we want to Brighton this also, but not too much. Maybe also between the eyes. All right, it's citizen off. You see, It created some nice contrast. He into trees repainted in the sky. We don't want it there. Okay, Perfect. Critical. And let's call this, uh, yeah, Brighton snow. And now I want to work a bit further. If the ice here, we will use mid tones. As you see they're not too bright and not too dark, so they're basically mid tones. I was starting for mid tones. Three mask again and let's see if there's a good job I was Save it to levels. And now I will First of all, use a blend mode because the cool thing about blend modes is when you combine them with a just within adjustment layer, you can you use that the adjustment off the blend mode and at the same time from your adjustment layer. So that's really cool. And that's what we will do here. So I want to add contrast to this part so I will pick soft light or overly or maybe hard light. In this case, I would probably use soft light. And you see, it already adds a lot of contrast and color at the same time. And when I want to further enhance that, I can maybe darken it a bit or even add more highlights and also breaking the metals. So now you see, we have a really strong adjustment, all right? And what we will do next, we will add a group and use a black mask. And now, since um yes, you can see here it also selected a little bit off the river. And we don't want that because when we now oops, when we now paint in our adjustment, we will also affect the river, if you know really precise. So what we will do is we will create a not a dark slayer. Talks three. Let's say there it is. As you can see, it's elects the river really nice. And then we now invert it. Control shift I and save it. You see, recreating a black part here. Okay. And that means when we further enhance it with a level slayer, we're making sure this one here this part is not affected. Okay? And when we now use a brush to enhance this channel mask with a overlay blend mode, let's say like 55% capacity, 60 whatever and painted here Sorry and painted in here inside here we are actually further enhancing this mask, and you see it takes a while until it's selected here. But Ria is. You can see it doesn't affect the river too much. And now we can paint on the ice without destroying our river. Maybe only some parts here, but that's fine. But you see how powerful that IHS and it's I call it masking the mask, something like that. But it's important to keep this splint mode overlay or soft light, because when you paint normal, as you can see it, it doesn't have any restrictions or so on. It just paints heart like it once, and they can also be good sometimes, of course. All right, so now we will control click on this and complete control H to hide it, and we'll be now painting. Our adjustment from before were only affecting the ice north, the river as you see only the ice. That's the cool thing about it and maybe a bit too snow. Of course, since we didn't de select us. No, but only the ice here, the river Really cool. And it's no de select this There. You see that here? We had some problems since the rivers floating above the ice, but it doesn't matter. We can always repaint if we want or simply leave it, since it's only a small part. But I like it on the rest. Really Cool. Maybe a bit more down here? Yep. Perfect. Okay, now let's delete the channels, since we don't need it anymore, something like that. And last but not least, I want to look of the sky. Its first coldest enhancing ice. Okay, and now let's work a bit with the sky. So what we will do? We will again use a mid tones mask. Let's use mid tones. Four. Just to try it out. Yeah, maybe a bit too much. Let's use mid tones to To less. Yeah, as you see now again returns. Three is probably the best choice. Not always, of course, but a lot of times Yeah, I like it. And now I will make a stronger adjustment. But I will apply it, first of all, to the whole image, because midterms usually saves us from destroying blacks or bright tones so we can make stronger adjustments without yeah, getting to contrast. E. But as you can see, it doesn't really cool job to the sky into the mountain. So when we talk in the mid tone, see in the curve and also add a bit of highlights Beck and at the same time raise up the shadows. Smith. So it doesn't get too dark. We have a really cool adjustment, in my opinion. And no, we were a group that at a black mask, and we will use a Grady int by pressing G flight 77% capacity. And now we will drag our adjustment only to the top part here. Very actually wanted really cool because it was too strong at the bottom, in my opinion. And it's called us, adding mid tones contrast. And when we de select this mask, you actually see that we had a lot more contrast without it, and we don't want that, of course. So that's the cool thing about luminosity masks, and now we will do one more thing. I want to enhance this part here a bit more. So we will go toe highlights and like yeah, really bright Highlights highlights four and it's pick. Ah, brightness contrast. And let's first of all, juice the blend mode multiply too dark and everything looks really nice. But at the same time, we will bring some brightness back. So it's the too dark. That's again the cool thing about combining luminosity masks with ah, blend modes. As you can see here, I really like what it does to the sky. So we will again group this and now we will paint it with a really soft brush only for a sky and the mountain. And when we don't want it in the tree here, we can create another luminosity mask off a really docks. Really dark one. See how that looks. Yep. Selected. And now we paint black on the selection sword removes everything from the tree. Yes, you can see here, so yeah. Recall. Nice. So that many ways you can use luminosity masks as you can. As you just saw, you can combine them in different ways. You can make a really extreme channel mask adjustment with, like, overlay painting to separate certain parts, and at the same time you can simply make a overall contrast adjustments using mid tones. And you can also, um, let's say repaint tones where you made a selection. Let's say the same with the trees here. I made a darkened the sky, but maybe overlapped the bid with the tree. Since they're poking into the sky, then I can use a dog's mask to actually prevent the trees getting adjustment. Adjust it. So, yeah, recall. And now let's a group everything and let's call it clips. Let's call it adjustments. Remember, turn it on and off. You see, it's really settle, but it doesn't really nice job perfect. And the cool thing about those groups. Overall, I can always paint out maybe some adjustments in certain parts. Where didn't like it? Oh, it's too strong if I want to. Okay, so that's it. With the second example image using contrast luminosity masks. And now in the next chapters, in the next two, I will show you how to use color channels to use contrast adjustments. So, yeah, see you there. But 6. Color Channel Adjustments Part 1: so welcome to the next chapter. Uh, here you will see how I use color masks. Can you call it kind of masks? I don't know. Luminosity masks based on hollow channels because they also have, like, a really strong ability, which helps you a lot in your post processing. And that's where we will take a look into now. So let's get started. Okay. So here you have an image from Northern. No, Norway. And it's one of my favorite ones I ever took because I like ice like water, like mountains. So it has everything. Okay, so what we will do, You see the ice and the water in the foreground has a cool tint. Well, it's a cool carletto, and at the same time, the mountain and the clothes have a reddish Call it so we can use this to our advantage. Sometimes it's better to use color channels than the RGB channel. So the contrast the luminosity channel because I'm sure you ever tell you what I mean. When I click on this blue channel up there, you see, White is selected, darkest, not selected it really nicely. Nicely select the foreground, but not the mountain. too much and not the doctors here in the river. So we want to use that. So in that control, click on it. I make a selection the same. Like I did with the attributions just now based on the blue child. So it mostly interactive blue tones. Okay, so and when I further click on it, I mean control old shift in, enhance it When I saved this you see, I have a really precise adjustment. No, based on the foreground, when I control, click this and use a levels layer. I can no work with the foreground by adding contrast. I really like that. Yes, you see, and I don't want it in the sky. So I will group it at a black mask. And now I will paint it on Lee where I want it without destroying my luminosity selection. It works really cool with ice and water And like really blue skies and so on. If I don't want it every rail, let's say not too strong than I can always Yeah, repaint. Perfect. So does on and off. Really cool. I don't want it up in the sky repainted there as well and so on and we call it contrast foreground. And now we can do the same with other channels, of course, so we can now pick directional if you want. So let's go there and you see it's elects. Also a bit off the foreground, since there's some magenta is tone in there. Ah, but we want this guy. So control. Click on it and save it. And maybe we were shrink it down a bit more by control. All shift clicking, Save it again. Yeah, mate might take this one. So maybe now a curves adjustment and let's see what we can do can darken it a bit and add contrast. Maybe a bit more punch to the mid tones that's like a really strong and just been now, like input 25 on the docks. It's really dark already, and when you don't have a luminosity mask, you see what it does. But with the mask told a different story. And I like how it adds punch to the sky, but without affecting it too much and actually like it in the whole image. Look too much in the foreground, but especially in the sky. So what I can do is they will add another group but now ingredient with like 55% capacity. That means I will remove it by 55% in the foreground. The rest is nice. Okay, when we will call it contrast red tones. Something like that. Now we can delete those challenges again, since there are useless since we change the image and the challenge. Don't change with it. Let's take a look at our channels again. The green tones. Yeah, I think I want to use a opposite off direct owns. We'll show you what I mean. Let's control click on it and let's shrink it down a couple times by control. All chief clicking. Save it. And there you see, it's separate. It's the sky, and when I use my levels to further enhance it separates it even more. That's really cool. And now I will use this in two ways. First, I will use it, how it is and use a levels adjustment layer and we will add some contrast to our clouds group. It's and yeah painted. Where were you? I want it. So does this part here in the mountain, something like that? Maybe not that strong. So Now we can go. Don't go down with capacity and let's call it talking clouds. And now I want to use the opposite. So we will control, click on it and then control shift I to invert. And now we have to sky mostly. Select it and the other side off the mountain. And let's control click on this. Oh, and use a levels adjustment again. And now I can talk in the sky. So we've a group that and now we can painted in those parts where we want it. And if it's too strong, I can always repainted. Follow up capacity to smooth it out. Pretty cool. Okay, And now one more thing. Let's call this darkened sky. Uh, let's check the color channels. I think blue is perfect. I want to bright in this part here and now. You see, it's actually dark thought. It means not selected, but I can always invert the selection, So I will do that. So, control, click on it. Control shift I to invert, Save it. And now you see, we have a perfect selection and I'm a can make this even more precise to buy control. Old shift clicking and there we have it. Perfect control. Click Co. Two levels. And now we can use the blend modes screen to brighten. Yes, you can see. But when we want to maintain contrast, at least a little bit, weaken further Rope of the Levels and at a bit called Dressed Back something like that. And now we will group that and repainted here again on Lee where we wanted. And that's not everywhere. And now it looks like groups. What set Now? It looks a bit too flat, in my opinion, so we can add back some punch by using the slider inside here to make that. And we don't want it there. So we will paint black or it perfect. That's called this Brighton Mountain and let's group everything and we will call it again. Adjustments and let's see, Maybe it's even a bit too dark it down in the bottom, so I will. I can also I can actually paint the adjustment Indira's well, if you want to, so it's a bit like an copy the base layer and make the adjustment again. No, add a lot of highlights, group it at a black mask, and we can paint in those sided stone here. The bottom. Something like that. Okay. No. You saw? Yeah. Really cool. Now you saw how you can use color channels to you Make adjustments to your Yeah, no to the color, but to the contrast. And of course, when you add contrast you also affecting color. So askew. See here our images more. It's more colorful, of course. So that's like a nice side effect. But you see luminosity mass a really powerful in every way. And in the next chapter, I will show you another example how you can use color tones to create a velocity, masks and work on a night image. So, yeah, that's you there by 7. Color Channel Adjustments Part 2: Hey, welcome to the next chapter. Here you will see again how I use color adjustments. I mean color channels to just contrast. That's the right way to say it based on a night image. So let's get started. Okay, Zo, here we have one. It's from Iceland, some nice Aurora and some frozen waterfall. I really liked it there and with nytimages. A lot of times you have a lot off. Cool tones and cool tones are usually blue, so that means it makes it easy to use a blue channel to create masks for adjustments. And that's what we will do here. So here we have one. But as you can see, it's elects the ice and this guy a bit, but not the Aurora. But it's fine. But when we picked the Green Channel yeah, what it does, it selects the Aurora, of course. So that's what we want to you. So, first of all, we will select the Blue Channel control, click on it and use a levels adjustment. And yet we will brighten the foreground quite a bit. Do you like that? And we will mask it. A group of story to add a mask And then we will painted in here where we want it. No, that once you into snow. And also maybe not that strong. 33% here and oops in the waterfall. Get this. Nice separation. Okay, Something like that. Pretty cool, but it's too strong. I can always repaint black to reduce the adjustment. Okay, It's no check our other channels we want. I think we want to use a another blue challenge, but inverted this time. So, control, click on it. Control shift. I save it. And now we will shrink that down. So, control, click. Don't control shift, Click a couple times. Okay, Now, let's use a level layer adjustment. I'm sorry to further shrink it down because I want to work with this part here now. And let's see what happens when we use a soft lights brush to paint on it. White more passivity, okay. And no black because we want to make sure we're not hitting the ice, at least not too much. And the blend mode helps us. So we're not simply painting over everything. It's restricting everything at least a little bit. Okay, Something like that. That's fine. Maybe Here. Okay. So what we will do now. We will create a new layer the first time control shift e and we will call it come a verbal . And now we go to the camera office because we can also. So we can, of course, also apply luminosity masks to pixel based layers. So what we will do, we will add a whole bunch of clarity and go up with the shadows and maybe with the exposure in general. So we see the nice reflection down here. Something like that, and a bit more clarity. So and that's press OK. And of course, now it looks really bad. So we were at a black mask. But what we will do now is we will grab this mask, hide it controlled h. And now we paint our adjustment of a normal brush. Of course, like 55% opacity to the bottom part. You under seasons were having this mask. It's not affecting the ice. Too much recall like it. And now off. Of course I can go de selected. I can again go to the camera, ruffled and reduce some things. Maybe it's a bit too dark, a too bright at more contrast and more clarity and so on. Maybe more whites if I want to. And now it's again on Lee affecting the white part here. Really cool. Okay? And no, it's can keep that. But it's used the Green Channel and let's see what we can do with a curve Slayer can brighten it had some contrast something like that. So the Aurora is a little bit more punchy. And now the group, everything again added black mask and of course painted also and only up here in the sky something like that. Maybe a bit down in the reflection. Something like that. All right. Really cool. And yeah, that's actually it. It's called. It's a trusting Aurora. So now you saw how you can also you work on a night image and how you can use the camera roll filter to apply certain adjustments by together with luminosity masks off course. You don't need a color channel mask for this. You can use the normal oneness. Well, in this case, it was just an example using the color channel since yeah, we have a lot of blue inside there. So that helped a lot. Maybe I can show you one more trick here. Let's add a nutter. Luminosity. Sorry. Camera roll Food, too. Come, uh raw. Go inside there and again. A whole bunch of clarity and white highlights. Dogs And maybe doctor the bit more. Something like that. And now we will invert this and check our Lucien. Look in. Yeah, we will check the blue one. Hide it. And now we can paint in the adjustment here, down in the blue tones before defecting. Everything also devote awful control. De There you have it. Let's say you want to. And hence this reflection a bit more. So the green Channel levels and bump up the greens. Really extreme group everything at a black mask. And now we campaigned everything. Only here, down into the greens. Not this part. Something like that. Never every group everything and call it adjustments and turned on and off. Then you see, we all really made a big difference. We added really locally with the blue ice tones and the green aurora and already changed the image a lot. So that's also really powerful Way to lose. Use luminosity, mess on a night image together with color channels and chemical filter. Okay, so now we actually done with the contrast adjustments. In the next chapter, I will show you how I like to use color adjustments together with luminosity masks. And as I promised at the end, you will see how I process an image from start to finish, using only human luminosity masks together with yeah, adjustment layers and, uh, come over off of this. Okay, so, yeah, but first of all, let's see you in the next chapter using color adjustments, so 8. Advanced Color Adjustments: all right. We'll come to the next chapter where we will talk about color adjustments together with luminosity masks. We show you how you can precisely mask our different areas and enhance the color Actually really powerful way to do that. And so you can make sure that only the part you actually want will get saturated. And that's what we will do now. So it's just jumped right into it. Okay, so here we have the image. It was an autumn afternoon in northern Norway, and I really liked how the sunlight hit the yeah, colorful leaves. It was amazing contrast compared to the dark rocks and the background in the shadow. So, yeah, I seen really spoke to me and I decided to take a picture of it. Yeah, that's why we're here. And you know what we want to do? Years, actually, quite simple. But like I said, luminosity masks. They seem to be complicated. But once you understood them, it actually really easy to use. And you can You don't have to create, like, five or six mask for each image to make an adjustment. Sometimes it's just enough to create one or two masks and then you already started the next steps. So yeah, that's also also happens, of course. And in this shot here, um, we will enhance the color off the Leafs and maybe add a little bit off blue to the background to create a nice color contrast, cause I like blue and yellow in contrast their complementary colors and they look really nice together. And that's what we will do here. Okay, so first of all, we will check our channels because since we have some obvious yellow orange colors, um, I can guarantee you that Yeah, when we pick the regional, we could like the best selection off it. Since you read is the warm color and yeah, yes, you see, it's elects the warm colors, so it looks really good. So what we will do is we will control, click on it, save it as a selection, control de to de select and let's see what happens when we isolated even more so control old shift, click on it maybe two times just to try it out. And now we could like the really brightest leaves. Maybe we would only shrink it down once, not twice so deleted into it again. Yeah, it looks better. I like that. So now let's control Click and we can use a hue saturation mask if you want, and now we can. You know, of course, crank up the saturation a little bit, but we have to make sure that we're not clipping any color channels, since it's already really bright yellow color. But but still looking fine, in my opinion, and what you can also do is we can work with the brights, since we can do that here in this hue, saturation mascots well, and the proofing is. Usually you can pick the different color channels, which is also totally fine. But sometimes they can bleed into other areas, since yellow also effects like oranges or browns and so on and greens. So when re enhanced yellow, we mostly enhanced other colors like like a set green, since in directs as well. So when we using luminosity mass, we can really target the area we want, and that's what by we doing it here. And so like I said, we can brightened like the whole image she and this in this scene. But since we used to mask, it's just the trees. So we will use something like that. And when returned his on off, you see that we already added some nice contrast, but only to like the brightest areas off the trees. And it's a really nice effect. And also here, down in the reflection. I really like that. And what we can also do is if we let's say, want to change the color tone a little bit. We can now let's recreate it. Since we changed the image already, we can also, based on the red China There it is, use another of selection. Maybe we'll even pick this one now. So control click hue saturation. And when we go to the Yellow Sea and this channel, we can play with the color tone. As you see, we can make it a little bit more read or add a little more green. In this case, I might add, like one or two points off green, since it's acting lice nicely with the contrast, in my opinion, that's really cool. No, I like it. And if it's too strong in certain areas, we can, of course, always group this at a mask and painted out of black in Yeah, some parts with, like, 40% capacity if we think it's sick, like I said Too strong. Okay, Nice. And now we will work a little bit of the shadows. So again, uh, this time I don't need any color, cause shadows trust you as you see Really dark. So you don't have to create a color mask or something since, yeah, just the tones are obvious. So we would go to our actions and let's create, like, a docks. Three maybe. Do you see Ah. Oh, role. Here it is after delete this one. Otherwise, I'm confused. So here it is. But that's actually too much. So let's delete it. And we will create docks Fife's because the rest of the image is actually quite dark. Yeah, let's check this one. Yeah, that's better, but I want to shrink it down even more so let's click one more time controlled shift. Save it. Yeah, I will try one off those two year. Let's first go with the one we just created This one select. And now we can go to either photo filter to add a cool tone or to the color balance, whatever you want, but I think I will try out the photo filter. There it is. And now we're actually adding warm colors. We don't want that. I want to add blue. And when he turned us on and off, it's a really settle adjustment issue, see? But we can go up if the density. So we're creating this nice, cool effect in the shadows really settle. But I like it when we double it. And I also like to combine blue with the cooling filter sometimes because the negative different variations off blue tones in the shadows, as you see here, Maybe I don't need it that strong in the second layer. Something like that. When I group this and I called it shadows, then I can turn it on and off for the rocker. If it if, let's say, if I don't want it this part off so on, maybe I don't want it here. So I made a group to the group already grouped it. There it is. So let's at a mask you. And now I want to paint it out. He and the foreground, because there it doesn't have to be to blue and not also you. I complain to reap, repaint black if I want to get the adjustment back, all right. And when we group all two of the those you see, we created some nice color contrast Blue shadows, yellow highlights Really simple. But yeah, of course. Also quite powerful. Okay. And I have a not an example. It's this image from Iceland. It could be actually everywhere in the world, but flowers can be everywhere, but I like those lupine flowers a lot. And the sunrise was quite amazing. So it's one of my favorite pictures actually run away. But I really like it. And what we will do here is first of all on this picture, I will show you some more color adjustments. And in the next chapter later on, I will show you some light painting. I mean dodging and burning, which we can also use of luminosity masks, of course. But first of all, it's used the color adjustments. So what I want to do here is first of all, I want to see what the color channels are doing. In this case. I like how the blues their work off the flowers here so I will select the blues, Save it and yeah, I can actually keep it how it is control. Click on it and at a hue saturation layer. And I can crank up the situation quite a bit if I want, but I have to make sure that the flowers are not clipping since this can happen, of course, since they already quite blue. But I like it. Yeah, looks nice, but I don't want it in the sky. So I will music radiant 100% and dragged like over there. So it's only saturating this part. So you like that? Yeah, ever. Call it Blue Flowers and I can off course also work again. If the lights inside the flowers let's say I want to yeah, make them a little bit brighter so they stand out. I can, of course, do that really nice. So now it's delete this General, Let's recheck and I want to pick the reds and I want to use a photo filter and at this warm affect this glow, especially to the foreground, so it gets enhanced. The sunlight is casting some nice light, and I want to enhance that so adding on a mask and I want to maybe not 100% but at least 50 . I want to remove it a bit from the sky because I want to keep this nice, bluish tone in the clouds together with the yeah, yellow sunrise light. So I have this contrast to know when I make everything warm in the sky, it looks grayish and I don't want that. So what we will also do is we will pick another. Let's see which one another red adjustment and go to color balance. And we will add a lot of blue to the mid tones. But it's not a strong since we're using the luminosity master, it's not bleeding in every single MMA tone. It's just bleeding into the Yeah, a mask based on direct owns. So I will group this too. And then I can painted in here on top in the clouds. So I keep this nice contrast, as you see, and I assume in really cool. And if I wouldn't have this mask, you see, everything will be like totally blue. I don't want that. Of course. Maybe also hear it. Okay, No. One more thing. Let's check which one we want. I think we will use another Retz. One costed selecting all the nice highlights which we like here and let's go again to color balance. And now we will add some yellow and some more red and also to the highlights. So we're getting this nice, warm look, and if we wouldn't have this mask, you see it would look totally crazy. But in this way, we're only adding it to the highlights, and it's a bit too strong around the sun. We don't want to lose any color information there. Yeah, it's almost clipping. So we will paint black a little bit here around in this area. And let's say, if we don't want to, it enhance the contrast as well because, as you can see, it brightens the image. We can always change the blend mode to color, so we're only enhancing the color. But in this case, I actually like what it's doing, so and we'll keep it how it is, All right. Yeah, we can adding warmth, and this was one adding blue and this was forfeit, all right, and it's group everything again. I returned his on off. You see, it's a nice little adjustment, especially here in the flowers. I like how the warm sunlight got enhanced. Really cool. Um, yeah, I really like it. And like I already said, in the next chapter there, we will talk about dodging and burning, burning and how you can use it with luminosity masks. So, yeah, See you there, guys. 9. Dodging and Burning Part 1: Hey, guys, welcome to this chapter where we will talk about dodging and burning together. If luminosity masks, we will enhance color and contrast at the same time in a really local, imprecise way. It's a really powerful way, our way to add punch to your images. And that's what we will do. No. So let's just jump right into it, all right? So we're back here to this shot, and I still have the adjustments active from the last from the previous chapter. But what now? We will further enhance the image by not just working with color off course also have called trust. So, first of all, to create a dodging and burning layer, we have actually two possibilities. It all starts the same. That's what we will do. So, first of all, we have to create a blank layer, and now we have two options. We can either paint on the blank layer before you colorful or black and white brush, using different blend modes to add contrast or color. Or we can go to edit Phil and pick 50% gray layer. And it's like the most common way to use this dodging and burning technique because now when we use soft light, you see nothing changes, but we can now paint on it and at different adjustments to it. So flat is a contrast blend mode, but I personally like to use blank layers because the effect is exactly the same. But you have the opportunity or the possibility to control click on the layer and readjust the painting. You just did. I can show you what I mean. First of all, let's say yeah, we don't have to pick any colors. Let's pick what black and repaint on the flowers here. Whatever. Okay. And when we now control click on it. We're selecting the whole image. But let's say we don't want that, so we will delete that at a blank layer again. Go to softly blend mode, paint black and where we now control click on it. It's selecting what we just painted. And now we can further enhance this with levels so so on. So that's really cool. That's the reason why I like to use blink lives. But you can do, of course, whatever you like. All right, so But what party? Actually, what we actually want to do is something different to you. Um, we will again create a blank layer, and we have to possibilities when were dodging and burning. Let's say we have a really colorful object subject. Sorry, like those flowers and when reap paint with white color on them to, let's say, Brighton them, then they're losing their color because when you brightened something, you actually reducing color. And when you're darkening something, you're enhancing color. So to overcome this, we can use a brighter color to actually brighten it, not white. And that's what we will do here. So first, if alive, assure you what I mean. Let's go again to soft light picked a white color and thats Let's no paint on its You see we're making it brighter. That's without any mask. Now we're making it brighter and really losing color. So now let's choose a different way. It's thes elected, and we will pick a color with the We click on this, um, white color. Here we get the eyedropper, and then we can pick a simple color. And let's say we want some kind of blue, since the colors of the flowers are some kind of blue or maybe even purple because that's prettier and then we will brighten its and we would just go up here for brighter color. Everything appears brighter. Everything down here is darker, as you can see. And here's the light, the bright side and here's I mean, he usedto less saturated site and here's the saturated side. And let's say we will pick something in the middle and when we now paint on it, you see, we also bright ning. But we also enhancing color as you see here and when you see there, yeah, we're brightening everything and doesn't look that good. But it can, of course, also work. Let's say you want to write something and de saturated at the same time, then, yeah, this can be quite powerful. All let's say you have a black and white image that you can, of course, use it or you have a scene rare day like inventor or something. When you have a lot of snow and you don't want to add any color to the snow, then you can, of course, use that as well or just simple on them. Yeah, not too saturated subject. It's also good to use, so there's no bad or let's say right or wrong, but as always in photo editing and doesn't say all the time, every single image is different. And, yeah, every single adjustment applies differently to each image. So and it's the case years. Well, okay, so now I showed you those two ways, and what we will now do is we will use it together of luminosity masks. So yeah, like I said, I want to Brighton to call other flowers, so we will go to the Blue Channel here, click on it and save it. Let's go back here and we will add a blank layer and let's call it dodging flowers or whatever enhancing flowers. And it's important that you create a blank layer every single time you want to enhance apart in your image, because when you want to and were grift capacity because you don't like it 100% your reducing every on every single out of adjustment as well. And that's not good, of course. So in this case, you're only working with the flowers, and we can pick either overlay soft, light or hard light. I mostly like to use soft, light, hard light. It's actually for like refined details, and we will also use that. So now let's say I want to keep the color or something like that, which we just picked. And now I can paint on the flowers for make them brighter. And now I don't have to be so careful since I have a luminosity mask active. Oh, yeah, it's important. This off course doesn't work like a usual mask. So when I paint on it and I have the feeling I want to redo something in paint black that I'm actually talking. So I have to you add l am asked to this mask and to this layer to actually get rid off some off my adjustments. It's important to know so yeah, like I said, really threatening some flowers here. We can, of course, also changed the color tone after sometime if we want. But in this case right now for demonstration purposes, I think it's totally fine here. We are also here, and it's selecting all the nice colors in the flowers with the luminosity masks, so we don't have to worry about all the other color tones. It's really cool and misuse even return this on and off that changed a lot, and what we can now do is that's the cool thing. First of all, we have to de select because the adjustment was active in the background and what we will now do is we will add a white layer mask and repaint somewhere where we don't want it, especially here in the deep shadows. So over here, maybe he also okay. And what you can also do now is we can control click on this. And when we add a hue saturation layer, see here we can no further just the saturation or de saturated a little bit. And we can also work with the color tone to make it a bit more purple. Really nice. All right, And now let's through the same with the Reds. So first of all, it's delete this year. Let's pick the Red Color Channel, this one save it and we will shrink it down once, cause we want to get more precise. Something like that. Yeah, and now we will add some yellow orange color to it. So first of all, let's create a new layer and we will call it heading light something like that. And first of what we will pick a color which is in the sky somewhere. So, yeah, we only working with the colors which you already have most of the time. Something like that. Maybe you can read. Do that as soon as we found the color, which we actually quite like. I think it will pick this one. Yeah, maybe further enhance it, something like that. And now we will activate this control h to hide. And now let's pick again. Now we can pick actually hard lights because we're working with the brightest parts here in the flowers. And we have to do this in a real opacity because hardly is actually quite a strong adjustment. And because hard light is so strong, I think we can even add a bit more dark colors, something like that. And no, with paint on our flowers here to make them stand out a bit more and since were selected to red color tone, it's mostly selecting the highlights which are casted on the flowers. Here we can to go a little bit more extreme since the lightest casting everywhere, but it's still not, um, doing it all around since your area using our luminosity mask something like that. Let's turn this on and off. You see, it's adding some nice contrast to those flowers Really cool de select. And when we control click on it, we can again, further adjusted if you want. Maybe darken it, Let's say at a bit of contrast, but also light Really nice. And now we will go to the luminosity plant bones because we don't want that. It's changing the color too much. Okay, really cool. Now two more things which we will do. Ah, first of all, we will enhance the sky and also the sunlight. And then we will add a little bit off blue toe tones to the shadows. So that's the next steps. So first of all, let's delete this one here and this and then we will go to the Blue Channel because we want to work now. Maybe not even the blue Nah. Now we want you split. We will use red again because I like how the texture in disguise still active. So first of all, new layer mask. This time we will use overlay overlays, a stronger color contrast adjustment, then soft, light and different than hard light heartless, brightening a lot and overlay and soft later, more like a contrast adjustment. So let's pick this red one here. Control each to hide, and we will pick a darker color. He up in the sky. Maybe is something like that. Let's try and let's paint and yeah, I really like that. That's adding drama. And it's using the same colors which we have in this guy. Really cool de select and what we will now do it. We will add another layer. Use soft light and we will pick the color of the sun somewhere around. And no, no, it's first use note, not any blend mode, because then you see what will happen. We will have really nice, bright cast. And now we can actually pick soft light or overlay whatever we like. You see hard light. It's way too strong. Let's see how soft lad looks. Yeah, it's Britain. It's quite nice. And normal is actually doing this nice little shiny effect. Yeah, this case I think I will keep it on soft light. And what we will do now is we will deactivate this mask and go to our luminosity selection . But in this time we will create the Dark's ducks four, because we want to keep it out off the shadows. This brightening effect You want to keep them nice and dark. So we will at this mask here to our painting and inverted. Oh, no. Sorry. Oh, yeah. Inverted Soria and go to levels and further enhance the shadows. Something like that. So close Black is actually blocking the adjustment. And it's important that we do it with this layer deactivated because before we actually painted already across the image. So that means we brighten the shadows already, which we actually wanted to prevent from getting the up writer. So we would create a luminosity mass based on the brighter shadows. But we don't want that. We want to keep the dark shadows. So that's how it looks then, yes, you see, And now we can actually go more extreme since we have this nice blocking effect here in the shadows doubled it. And I can, of course, always hand painted least a little bit. Let's say we don't want it to be in the clouds. And when we group that and turn us on and off, you see, we have this nice effect here, and we can always add a mask to the group. And when we don't want it to be the two strong down here, we can, of course, repaint. All right. That's also a way I like to use dodging and burning to enhance sunlight. And there's one more way to do that. Actually. Let's say we will pick another color, something in the sky and we want something more saturated. We can add says just a simple that here with soft light and keep it how it is. So it's actually been stronger still, and we would group all this year and call it sunlight. Okay. And now one more thing. We will select the shadows again. Maybe docks full. No, thanks. Forest fire. Fine. And now we will add another layer mask you and we will use the blend mode color and we will add a bluish color to it will pick something which we have already something like, Maybe not so saturated something like that. And now we will use this selection. Hide it, control each 10% capacity. And now we're painting. He had thrown in the shadow. So we have this nice cool effect as you see here. And if it's too strong, we can, of course, always go down with the capacity because I like to use shadows. I want to keep them cooler. We can, of course, also go too soft light if we actually want to further enhance the contrast down there. So, so hip, Um, looking quite nice, all right. But I think I want to keep it on color. Okay, so now let's group everything and it's called it adjustments. And when he turned his on and off, you see, that's a huge difference. So, like I already said, I really like dodging and burning together with luminosity masks, adjusting color and contrast at the same time, you can get really local and precise, and it's actually like you're drawing a picture all. It's like painting an image. So if you're a painter and you also want like photography, then you would love this. Probably a lot sincere. It's actually like painting. And when you are using a pen like this, when the rockem template, it's even better. It's even more precise. So yeah, like I already said, I really like to do it, okay? And in the next image. I will show you some more ways to use dodging and burning or, let's say, actually, quite the same ways. But every single photos different. So, yeah, see you there by 10. Dodging and Burning Part 2: Hey, So now welcome to the second last chapter where I will show you some or steps you can use to further hands your image using dodging and burning. So, yeah, let's just jump right into you. Uh, all right. So here we have an image from before, which you already processed using luminosity mask, as you can see Now, I want to further enhance it at least a little bit to show you one more example how to use those techniques. Okay, So when I like to do when I have sidelined like this, I like to enhance light spots like painting technique. And I further want to enhance delight. Yeah, hitting the mountains and the path and so on and increase the contrast by adding some doctor shadow tones. So that's what we will do. So, first of all, we will use another blank layer, and, uh, we will call it like painting something like that. Okay. And then we will pick the color again. The eyedropper, They like that. We'll pick one which we like. Maybe this one. And now we will change the size. Well, let's say that you have the form factor off our rush First of all, we want the direction in this angle and then we will make it looked looked. How do you say in English? Elliptical lips? Yeah, something like that. Because you want the the light poke through like this, as you can see and when we do it. So me or something like that, we can now work with the blend mode. Let's say we want soft light. You are so flat. Looks good. But now we will pick another color, even brighter, and we will do it again. But smaller something like that. And that's that's the reason why it's important that before, in like a couple chapters before we darkened this party off the sky, because when we make it shiny riff a like painting than it can blow out quickly. But when we document before then, yeah, we don't have the issue. All right, so now let's changed back to Howard Waas Something like that, and you see it at some nice effect. But of course, don't wanted every room. I don't like it in the shadows here and also not here. But the rest is fine, so we will create a luminosity mask. Thanks for for example, and that see how it looks? Yeah, actually, probably fine. It's further enhance it. So we get a bit of separation, something like that. And no, we can activate our like, painting again. Control, click on its Hide it. Oh, no. Sorry, de select. Sorry. First we have to add the layer mask. Now control, click when it's hide it and we have to paint on the layer mask. Otherwise, you were being black black on our blank layer and then we're talking. Actually, that's what we don't want. And now we will paint here in the shadows. As you see, Do we not here? But the rest is fine. And the auditors on office here I have a nice shiny look and we can also may be paying the bids down here in the Valley. So it's not too bright over there. All right, de select in the background. And now we have to have this nice shiny feeling. Okay, so next let's see what the color tells are doing it. We had a red one is nice. We'll pick this one. Save it when you have golden lights. The Red Channel. It's mostly the way to go when you want to isolate things. It's really cool. That's further Shrink it down. You know, something like that. That was good. We can even enhance it a bit more if we want. Because we want to work with this light here. Really? Like to use levels on my childs masks. Okay, so no control click. No. Sorry. First of all, newly a mask, a soft light. We will use a other colors, actually. Fine. Hide it. And now we're painting through our luminosity selection, as you see here. So here, down the path here and again, he and peaks. And when we don't want it everywhere, we can need to add a blank layer mask and painted owlets. Maybe it fits you there. Okay. Really nice. Perfect. And let's call this adding light on. Now, let's say we want to work a bit of the clouds, so we will use the mid tones. Maybe mittens four is a good choice. We will see. Second to de select. No, again. Let's try metals. Three. All right, here we are. And now we want to darken the clouds here and will be further enhanced this by adding darks . You're separating the towers a bit more because we don't want to talk in them this Now we will add a blank layer again, use a soft light and this time, no color. Because we simply want to darken. So we will select this year control H to hide. And now we can paint black and with painting black. It's not that we actually adding black colors, simply darkening. And that's what we will do here to the club clouds to make it look more dramatic. Oh, yes. Really quickly. But here. Oh, sorry. Adding Liam, ask. But I had this election activist you can see and now in Adam ask. I actually get the mask here. I don't want that. So let's me let me delete that. And now I want to paint black in some areas where I think it got too dark. Something like that. Okay, really cool. I like it. Maybe I want to add a bit more contrast here, so not a blank layer. And now we will use overlay because overlays a stronger contrast adjustment. So we will call this life painting number two and we will pick again color here inside. And now we will use a normal size and we will painted in. So, like light is fleeting inside there. Yeah, I like it. And now I actually want to keep it like this. I don't want to use a luminosity selection. I want this bright look here. Okay? And now one more thing, we will again use the reginal. Save it. Oh, roll button. Sorry, Reginal. Save it there. This and we will use another blank layer. And now we will use hard light because we really want to emphasize this year under in the peaks. And we will hide the selection so we can paint pick a saturated, more more saturated color because hard light is already right enough and no real paint off , like 11% capacity to our peaks here and to this part of its hitting the light. There were the light of sitting the most all right here to here. Maybe a bit here in disguise. So it looks like the sun stronger, dear. Okay. Really cool. And no, the last step one will mask a soft light. So, in general, I can say usually I like to use soft life when I'm actually burning. So that means when I'm darkening something and overlay when I'm dodging so frightening something. It's like a general rule of thumb. But of course, it doesn't always apply. Sometimes you really want to keep this soft look of our harsh life than use mostly soft light. And sometimes you want to add, like a lot of contrast that you can use overlay. So it always depends on the image. Like always, say and hard light. It's mostly to add, like some last final steps to add some last punch, too. Parts real itis already hitting or where you want to mimic the light is hitting there. That's when I like to use what letter? Okay, so one more step, we would create the dogs talks. We will create dogs three and dogs full. I think I You see, I made a mistake. I had still the selection active, so let's delete that here. Then what's That's what happened when you have selection still active than your God. Like something really weird. Good that you see it? Yeah. All right. So again, let's create dogs. Three de select and now dogs. Five de select. No, it's now it works when we will shrink docks five down a bit more by control old shift a couple of times and now we don't need dogs. Five anymore. And now we will substructure again this really dark channel from the mid tone darkish channel. And then we will burn a bit into the peeks here to make them a bit more dramatic, but without darkening the darkest highlights too much so we don't lose information. So that's control. Click on it and then control, all click. So you see this minus and then we save it and then we have to subtracted version. Here it is. And we will use this one control age to hide. And now we will use the black color again and like 33% capacity and we will burn into peaks here. So they're more contrast. He lost a little bit of contrast when we added so much light. We don't want that. So here. Yeah, recall de select and that's turns on off. You see a nice little detail. Pretty cool. Ok, And now let's through all this and we will call it dodging and burning and will be turned on off. You see, we actually were quite happy with this result already. At least I was. But then when you use dodging and burning, you can really changed the mood. Often image dramatically. I really like it. Okay, so, yeah, that's it with this chapter. Now, you saw some other ways to use those techniques. Mostly the same soft light overlay, hard light. It just depends on the scene where you use which which split mode and painting color is always helpful when you want to further enhance it or when you want to change the color. So that's what you learned here and in the last chapter, I will show you now how I process one image from start to finish using all the techniques you just saw here in this tutorial. So yeah. 11. Editing from Start to Finish: Okay, so finally, we are in the last chapter. Congratulations. If you made it so far. It's a lot of work and showed many techniques, but I really hope there was something for you. So you learn something? Course everybody does it differently. And, yeah, luminosity, mascot. Such a wide topic that it's really hard to Yep. Demonstrated in, like, 10 minutes. And then just one image. I think that does. It doesn't give it any justice if we do it that quick. So, yeah, I hope those examples helped you at least a little bit. And as promised, I will now process a emit an image from start to finish, using only luminosity masks and yet the color techniques and so on. We learned here in this chapter and just in this course and yeah, I hope it will be interesting for you. And we will get started now. Right here. Okay. So this is the shot I picked. It was a wonderful golden somewhere. Morning in the mountains, close to my hometown, like, one hour away in the German Alps. It's a beautiful place, really popular not only in Germany, also internationally, so yeah, I really like it. there, and I've visited, like 10 times already, 15 times, but this was by far the best I got, and it's like already six years ago. But it's still one of my favorite images, and this is the reason why I decided to process it. I already did some raw adjustments and, um, as a excuse me some raw adjustments and ah stitched the pentagram. Oh, and now we can use our luminosity masks, so that's what we will do. First of all, we will analyze the image and see what we actually to see, what we actually want to do. So what? I immediately see us. I want to darken, decide a little bit because it's quit right, and we will add some more light to it with our dodging and burning, and when we don't darken it before, then it can happen that it blows out even more and we don't want that. Then we will also enhance this foreground here by adding clarity. And, of course, you will overall work a bit of the color to make it even more golden and add a bit of pop, and that's it, cause you don't have to do a lot of things to change them its image or to make it better. You mean the file is already good? Like this one? Uh, then you don't have to do much and you will see, like four or five steps are sometimes enough. So Yeah, First of all, we will create a how that's mask something like that. Good on curves. And we will use, multiply and maybe darken it even more. I won't explain everything now again since Yeah, you learned that in the previous chapter. Us already. I will just tell you what I use. So this this year and then we group it's I had a mask and we will painted here in this part of the sky so it doesn't get too bright. Oops. Something like that. We rolled the lead. This general here. Oh, sorry. I accidentally deleted this. Didn't want that General here. Okay, Andi, Really nice. Now we will, at some mid tone contrast. Real pick metals three. It's my favorite to start, go to our levels and now we will be quite extreme because we want to further carve out the mountain. So select that a mask it again. Now we will use ingredient. And we will. Was it like this? Yep, that's quite cool. But I dont wanted this part to be too strong, so we will remove it up a bit here. And since we have a luminosity selection, it's quite smooth. So all good, Perfect. And now we already made a bit of contrast here. So it's good that before that before we that we darken it before. Okay, Now let's work with the Blacks. And we will, um, do the same thing like we did in the Data chapters. We would create a docks mask and then a dog's 51 and we will further shrink this down. The control old shift. And it's picked this and we will subtract this, but with control, cult and save it. There it is. And now I want to brighten the dogs without losing contrast in the darker stocks. That's what we're doing here. Group. It had a black mask. He was a greedy int. Something like that. Maybe a bit more. Here went there. That's it. And if it's too bright, too, you can always that big some punch you. Yeah, enhancing the mid tones in the levels. So now let's delete those channels here because we don't need them anymore. Something like that already really nice, in my opinion. Now I want to further dark and decide here because it became a little bit too bright, in my opinion. So I will use a lights three mask. Yep, that looks good. Save it. Photo curves and dark in its but at the same time, we will have contrasts with a curve here so we don't lose too much contrast there. Well painted here something like that. Larry look too much here. We can always add some punch back by using the kerf. That's a powerful thing about blend moats and, uh, adjustment layers at the same time. Maybe it's a bit to dog him to Falk, so removing They're a bit okay already. Quite cool. So you see, changed a lot already, and there's actually not too much to be done anymore. It's looking. It looks quite cool. So now we will do something different. We will press control old shift E and create a camera oferta because I want to add warmth, but not everywhere, of course, only to the highlights. So the play of the temperature and also, if the tint and we will use some negative de Hayes to make it a bit more foggy. And we can also play a bit of to Hugh in the yellows to make it a bit more rent, something like that number the press. OK and we, of course, don't want this everywhere. So we will again use a luminosity mask. Highlights one because I don't want it to be in the darks, only here in the sky let's apply it and we will further enhance it. So it's a bit more here in the sky and there, you see, there's some nice effect and we don't have it here in the shadows, at least not too much. And we can always paint here in a little bit because the stones have some bright parts so it can can happen that its adjusted as well. But we don't want that. All right looks really cool. And now we will do the same thing with the shadows. So another one come over raw and we will add some blue to the shadows because I want this nice color contrast, maybe also a bit of my agenda, not much, and also clarity, so the shadows get a bit more defined. But as you see overall, no, it doesn't look good. Applicable. Whites punch in a bid. Yeah, overall, it doesn't look good. So we will add a black mask to it. And we will create a darks to mask because you want a lot off dark tones to be adjusted. I think I have stolen. There's still something active. Let's delete those first of all, so again, dogs, too. There it is, and now we will hide it every painting it in on Lee, where we wanted in this case, here in the shadows. No soap. It's here, but mostly here. The thieves control D to the select, and there you see a nice difference also like it here in the reflection. So it's a bit more defined, really cool. Okay, so it's cold. This adjusting shadows and maybe those darkest tones are a little bit too dark now, so I will go to the docks five and use brightness contrast, and we were brightened them a little bit group. It's and then we will paint here in the darkest parts so we don't lose any information there. It's important that you take care off your tones all the time. Oops. Yeah, Looks good. I don't want it in the lake, so you'll remove it here. Something like that. Okay, so now we can use some dodging and burning. We will call it Darkened Mountain. And I will use the mid tones. Kristen mountains? Usually not. No, not the metals. Sorry, cause then I will affect a lot off the focus. Well, we will use the docks. Let's say it talks too. That looks good. That looks perfect. Next leave. We can now make sure that we don't hit the sky. So first of all, I will for the enhance it so more gets selected here in the mountain. And now we can use our blend mode overlay paint black in the sky and separated from the mountain. It's okay with bleeds in a little bit because not everything here in the mountain needs to be selected something like that. So now we made sure that we don't bleed into the sky. That's more important. And now let's control click on this, hide it, and we will use a soft light and black color of like 33 or something capacity And then we will paint here and in the mountain. Something like that. It That looks nice. I don't want it here in the trees too much and not here in this shadow part, not the rest. Looks like super cool may hear Been left if Perfect. Okay, So what else would we do? Ah. Uh huh. That's actually not too much to be done now. It looks already perfectly fine. We can let me use a hue, saturation adjustment, yellows, and we will make them a bit more red, but not everywhere. So we will invert it. And when we used to actually, I think we don't need a luminosity mask right now. I will simply painted here in this corner. Since there's a lot off green and yellow, something like that looks better. We go down with capacity a bit. Okay, so, no, let's grab our shadows again because they want to make them a little bit cooler again. But especially here in the foreground. So I will pick the docks. It'll go toe photo filter and a cooling filter. But that's way too strong. So the group it at a mask and we will paint again with like 30% capacity and make it the sky a bit bluer, too. Across the sky gets selected years. You see that looks nice and then it's too strong over. We can always go down if capacity Okay, I'm almost I'm almost there. Maybe one general, mid tones adjustment. It turns too. So it's not too strong. Let's go to curves. Let's see what it does. It actually does something really nice. So I will darken it a little bit and also add some punch to the highlights. And there we see especially like it up in the mountain. But I don't want it down here too much. So I will remove it with a black black color black layer west. Something like that. You see, That's my way, how I work. I make a luminosity selection. I see. I will take a look where, like it where don't like it. And then I used a group to mask it out further darken Mittal's. And when we see how it was at the beginning, there's already a huge difference. Well, actually, yeah. Well done. Actually, I will do some basic life painting now you to decide to add some nice strong light here and we will do it Guided by We will use highlights too. Yes, and hide it. And then we're going to paint to make it a bit stronger. Something third. And now we were at the blend mode. Soft lights, Yes, that looks nice. Something like that Together. Reveal luminosity mask so we don't paint into the mountain too much. All right, maybe I want to talk in this part here a little bit more. I will. And another dodge and burn layer. We never use dogs. Three. Hide it, paint black and darkened. This part you pid. So it's more maybe also this part. So it's a bit more contrast e and a little bit here in the trees. But maybe not too much appear because otherwise this tree up there gets to talk. Okay, let's use one more lights mask and we go to color balance. And then we had some red to the highlights. Now, when we actually adding the trusting the mid tones here, we're still affecting highlights since we're now affecting the mid tones in the highlights since we used a luminosity mask, I mean, it's a bit too strong. You can always go down with the capacity. And now let's do one more thing the same to the shadows but the darkest shadows Because I don't want warm shadows when they are actually not warm. So So we will overcome this by using Scion at least a little and blue and green. And now it's too strong. So I will go down with the capacity. Okay, I think that's it. That's no group everything. And we will call it adjustments. Let's delete our generals. And then we will look at the before one after there. It is really, really powerful. And you can over always go down if the overall a pass ity for when you say it's a bit too much Died a bag like 5% or something if you want. Okay, so yeah, that's it. I hope you liked it. Ah, quite a long tutorial. I showed a lot of things as already mentioned that the start here, but I love showing you guys how I added my shots because there's always something you can learn. In my opinion, how many doesn't better, how experienced you are? And yeah, hasn't already said I love doing it, and I'm really curious what you could do with my techniques on your images. So I hope you enjoyed it. And you can always contact me if you want and show me your results and so on. I'm always there to give your critique, so yeah, because it guys, thanks a lot. Thank you for watching and yeah, to next time. By what? 12. Final Words: So my last words, guys, it's your turn now, As I already said, I'm curious for your images. Post them here on skill sharing the project section. I'm always there to give your critique suggestions thumbs up whatsoever. It's so interesting to see other people's work, especially after they used all the stuff I teach. Since it's a lot of work, a lot of work and, uh but a really like when it pays off and when people learn something and maybe even it's just one or two steps. When you learn something new, I'm always really happy. So feel free, like a said to post it in the project section. Maybe also give me a positive review. If you like this tutorial, it's such a cool way. It's such a cool thing to see when actually people tell me what they think about it. They like also what they don't like, of course. But yeah, I do my best to show as many steps as possible. So, yeah, tell me what you got. You have many ways to do that. He on skull share, you can used the community section to ask me any questions. I'm always due to answer used to project section like a set to post your images. And yeah, maybe you want to give me a positive for you would be really happy about that. So yeah, on the one less thing. As you saw here in this tutorial, I used a lot of steps creating did a lot of steps creating the luminosity mass. It was It's time consuming and a lot of work. And if you don't want to do that, you can contact me on my website anytime. Also in school, change a community section, whatever you want and send me your email. Maybe you want to connect. Maybe you want to, um sent me a message on my website. It's better because then I see your email and I can send you the actions so you don't have to create them by yourself. Yeah. Also ask me whatever you want to know about it. So So yeah, I'm always there. Subsidies, Danielle miners photography, don't you? And there you have a contact section, So yeah, that's it. Now, Just wanted to say that a T end and like I mentioned many times already, I hope you will like it and Yeah, see you next time. Bye bye, guys.