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How to Make a Black & White Panorama

Lesson 4 from: Black & White Photography Post-Processing in Lightroom CC

Serge Ramelli

How to Make a Black & White Panorama

Lesson 4 from: Black & White Photography Post-Processing in Lightroom CC

Serge Ramelli

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Lesson Info

4. How to Make a Black & White Panorama

Lesson Info

How to Make a Black & White Panorama

And so as I was driving into Yosemite, I ended up at the most iconic place. Which, of course, is the tunnel view. Ah, that's Ah, it's a great place. When you come to use, the media can go right up there. You have a view of the bride Veils full. You see, on your left you have El Capitan. Great, great, great view. The only problem is I was trying. I wanted to make a panel. I wanted for composition purposes. I I wanted that tree to be in the frame. So I took two photos, one like this from one of this and ah, Then I'm going to stitch it and still have it as a role file. Someone ascetic boasts. And the reason I do this is because Hollande millions foot emerge Panorama. There is a something in photographic that we called police border the ideas you basically look all around your photo, you make sure you don't have like, one killing. And that's kind of like half in half out. That's never really good on having that tree half in and how just didn't work for me. But that worked. Now there is dif...

ferent types of projection limit. Take photo off. So we have spherical. Why not? Cylindrical. Okay. And then perspective. And I think this one I went for perspective and photo crop because I like how I look. I think the brighter it's for a little bit bigger. It just looks a little more straight. So, um, I'm gonna take I don't need to take a murder because I've already prepared it for you. And I'm just gonna click here and click on Constrained to Image. So we have we have it cropped. And now it's two profiles. And now I got presets. So since I got presets, I can you just go here? Basic BWC doesn't work on this one. Oh, so here. Why not? And why not? So what I usually do, So that's gonna happen. So I'm going to reset the photo. I'm going to start over and then I'll sit. It was a preset. And you bill like this and you'll see why at the end of the class, But I won't tell you before. Okay, so I'm gonna show you again. So get you. May said first thing, Let's crop the photo again. And, um so we're going to go into open in the shadows, Bring on the highlights during the blacks. Do we know why it's holding the option key to make sure I'm really hitting white point and a black point and I'm gonna jump right into black and white, so something I'm going to take the target. Usually, that's why do you take the target a tool and ah, I click on this guy and you see if you ever do it, That's like, OK, I'm gonna overdo it. You can see here and I'm going to jump in. You see how we have a lot of Hollows all around El Capitan and here around the trees, that's not possible. But if I bagged his down, you know, around you in the 30 40% I'm still dark in a bit this guy. But I don't get this artifacts there. Um, in this one, I'm just gonna make this little big beers we have more room to play with. And, ah, let's here. I'm gonna click here, and I'm going to click on the tree and go up or down. It's actually very similar color toe. What's happening, Sky and I would love to do that It looks great to me, but the hollow is just not gonna work. So we have to find a way around it. And also, you can take every color like, Okay, there's no red in that photo. And that's the problem. When it's overcast, the sun is not there. And there's really nature. Doesn't have caller. So orange yellow. There's a yellow tree there. Who? But I'm not. I'm not gonna touch this one. Green green may do something. Oh, there's a bit of green. I think I'm gonna go darker, but making sure I'm not over 50 aqua. Okay, Scott, that's this guy, maybe 40 but I'm afraid I'm gonna get some Hello effect. I don't want that. Whenever you see, I see a lot of people retouching for you. You see some holloway face. It's just that they've gone too far with the picture. And just the world file cannot handle it, you know, because you can create Hallows. You know, if I would put I don't know, like for example, you know, uh, clarity all the way. And you know, wides and blacks completely. She will crazy on the sitting, sometimes you can create were things you know. And in that role, Father is actually doing really well with that. But basically, you know, if you got some hellos, you've gone too far too far. Okay? So back to the black and white panel. Ah, which is here. So I'm kind of happy with the conversion there. And because every photo is a challenge and I'm always aiming to get a similar look. I like this idea off, giving it a different number. This one is a little too bright to me, so I'm gonna, you know, make the over exposure a little darker. Don't make it too large, because remember, the linear grading is coming and you feel make it to a dark than the leaner graded is not created seven impact. So you don't want to do that? Maybe just add a bit of contrast. And I like that and I'm gonna call this. I'm gonna call this basic B w to the return of the BW. Okay? And it just gives me a different option. Remember that if I go here and click on the 1st 1 to get of a gracious this one a za better contrast. Ah, And now I'm ready to Ah, I'm sure you see, that tree for me is to close. That's what I was looking at to close the photo. I want more room. So I'm better off. You know, doing something like this, making more panoramic and getting that tree there completely. Uh, let's see. Here. Maybe you get more that Yes, I'm talking about. Okay, so now I'm ready for this tool, and I'm gonna the leaner grading tool. I'm just gonna lower the exposure a little bit and again not to I always do it in to pass. But you see, now I'm making the top of the hill too dark, so I got to do something about that. And there is this new option we've we've seen before, which is the brush. If you click on the brush and you hold on the option key on your keyboard and you make sure by all means that auto mask is on and that the flow is around 51 58 by default, I think on light room it's at 100. So you need to make sure it's at 50. Ah, because let me show you what happens if it's probably is not gonna be because it's live. But if I am not 100 sometimes what can happen? So what I'm doing here is I'm raising whatever is going on. But sometimes I'm assuming in tow 1.1. Sometime when you're 100 you can get a little fringe effect here which get a little bit here. So by security, I'm just gonna redo this. I'm gonna go out 50 on the on the integrated on the leaner tool. So I'm gonna No, with the exposure a little bit and I'm gonna click here of Sorry. So that's a music I used to do all the time. If you're the leader of radiant, you go to click on ingredient and not on that brush but that brush. If you click on that brush, you go out of the leaner great until into the brush tool. When you think on that brush, you are into the touch up of the near right until it's kind of there right next to each other and the bull school brushes. So kind of tricky took me some time to figure this out. Okay, so now let's go to maybe 1.4 and again. So the tree thing is with the brush by default, It's a plus. I'm adding. I'm adding the value. I don't want that. I want to see that. I'm gonna go miners. I'm gonna go the option key. And you, you keep your finger on the option. Can you go there and you see what's going on? Okay, Its a mask is there. You know what's cool? Went on. That's how you say in the US What the hell is going on here? And you go like this and you raise. But you see, my flow is at 100. So, Command Z, I forgot that. And I'm gonna put a florid 50. It just looks more natural. If the flow that even the great you know, it's too little dark, but it's just nicer. Make sure you're you raise it at 50 El Capitan. And because the minus is here, I'm fine. But if I would go here instead brushing, I could create some a light spot, because when scares, not that much. But let me show you something. Maybe lower the value of this a lot. And now if I'm out here, I'm gonna create a bit of a hollow there, so I don't actually want that so I can go. Plus, making sure the auto mask it on on the plus cause I'm trying to bring back the value, but without putting it on a captain. Okay, let's go back to fit. Well, that's wait. Oh, yeah, because I went too much from the exposure to show you. And I just want to make this a little darker here and again, if you want to see at the end of every panel in I trim, you get this little thing here off on. That's a little too much on this one. So because I like to read to pass, I like to just make those cattle darker and redoing it again a second time. The doctor you see here, I got a little hollow effect there. I don't like that. That's not good. And sometimes it can be really strong, so I'm gonna make this go away, makes us go up a little bit. But I still want to give this to be dark. And I'm gonna make this dark also. So I'm closing the panorama. So the top and the bottom is dark. And sometimes on the top of that you can because it's completely authorized. There's no law against it. You can first go to remove chromatic aberration and on about profile correction. So that's gonna take a lot of the VIN eating off, and you can put it back. And unity works really great, because in the old times, the first lance had a lot of vignette in effect when he was really dark all around. So if you go to, um, the effect tab, you've got pushed Obviating you can put the amounts there. So I show you how it works. That's the first letters your month. Then you will. You have the way we call the midpoint. Um, so midpoint is you know, it's gonna go more more in the center. So I'm gonna go back here, here, around this so very square, and you just and feathering no feathering. That's gonna weird. And a lot of feathering. It's nicer, but you don't have to do a lot of feathering because something can be cool to have, like a bit of an effective I really want to get the eyes inside of the photo. So no, I did like a complete different the four was different than the other one. So I'm going to do Ah, I'm gonna take you on a preset and call this one basic black and white to with Lena radiant. And by the way, I made a mistake, as I call it great in here so I can go here. It's okay. And I can just You can right click and rename. I want to call this one. Basic believe Black and white. Leaner. Okay, cool. And I'm gonna go back here where I waas. So the preset takes you back there, and now you can press after go full screen. I'm liking the photo. I'm liking the photo. I can feel the soul of Ansel Adams flying above this. Not quite there. And he would say No. You need the radial filter. IM said. Are you sure, Ansell? Yes, I'm sure. Okay, so here's a radio filter and I'm gonna make one big in the center. As usual. I always want people to look in. The center also is a star of the show is El Capitan. But you see, by default, it's on the outside. That's kind of really knowing. So I'm to I'm gonna invert the mask and feather it. Okay. And now I've got a little spotlight there, which I think it's cool. And sometimes I like to in the same time, on the top of adding a bit of exposure. I like to go a little minus charity to defuse a little bit more than the clouds. Wherever I am, I defuse wherever I am. Okay, so, no, I'm happy with that and something. Remember what I told you, but I want to break the tones. I want to do that. There's no exception. So I'm gonna write, think and duplicate, and I'm gonna put this over. Let me zoom in a little bit, because this is such a big photo. Um, this is the bride veil full that you see from the tunnel view in Yosemite and on this one, I'm not gonna go minus kind of medical plus clarity. Not a huge change, but I want to bring more attention to this one. Okay, let's see here. This amount I'm gonna go maybe to the 14 and see what we have. 18 Yeah, I think that's gonna be kind of better. And, um, where else can I break the tones. El Capitan is El Capitan and keep you toned ones we see in falls. 00 this is much better. So I am gonna Maybe there is clarity and there's white. So you see, Now it goes from, you know, a certain tones a little brighter back to Santo a little more interesting. And then I'm gonna go here. I'm going to duplicate There is a little slope here. Maybe that could be interesting. Let's go back to fit. And, uh, yeah, that's kind of cool. And again, you know, just make sure you don't go too far. Well, one thing I didn't show you that You see how my mouse is inside of photo? I can see the little pin where I can see like this this be ever is determined by exists Shredded pin. Right now it's on Oto Winds on Oto. That's what happens when it's on Always. No matter where I go, the pins don't go away. When I'm on photo, they go. We want to go out of the photo. Um selected. The only only the one of selected is gonna be visible and never is Never. It's kind of hard because you want to go back and you know, we do something you can't. So it always probably the best Just want assuring kids. You don't know that option. And I think on this one, because it's such a big print, this one is like gonna add up like it's a big, big print. And this is a very small resolution, you know, for tutorial purposes. But let's see here. I'm gonna go like this. And I usually, you know, I look at the photo and I'm like, Oh, maybe I went a little too dark there. I'm looking. Is there a place where the tones are too much even. But, you know, I'm liking this. I'm liking these backside ski before After before, after I think Ansel would be a happy or not. Maybe you. But, uh, you know, if you studies work, he likes to do this up. I think a lot. And, um not I'm not saying I have his talent. I'm just being inspired by him, Really? So here's a little leaner. I think there's greater is a little too much. So instead of just lowering the exposures, just can make it bigger and just making go down a bit, so it's a bit more agreement. But I like the idea of treating black and just give different layers, and it gives more deaths to the photo.

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