Now, this is something that I have studied a lot because it really struck me with time. I'm gonna go here and I'm going to go to, um, opening Camero and I'm going to do an HDR. So in this one, I'm gonna set it all, and I'm going to do my HDR. No, I've been photographing landscapes and escape for 12 years. And the 1st years a lot of people fit 67 years was responding to O to any photo that I do like, Oh, you're really good at photo shop, you know? And honestly, I hated that because instead of your saying, Oh, what a nice bridge there go. You know, the attention of the on the effect And I don't know if you guys know, uh, gentlemen name, but the name of Peter Leak. He has galleries all over the place, and he's apparently the most sending artists on fine art on the planet. And I got very offenders. Gary's a lovely start, very centered very soon to myself. Very subtle contrast e and stuff like that. And I listen to people and they're like they're just saying, Oh, what a nice beach went on ...
respondent. Nobody says how goodies was Photoshopped. Any photo shops a lot like double exposure, shooting one thing at one an hour, inching and learning both. I mean, he uses a tool out there to create emotion, but he he has a magic formula, and that's gonna interest you if you're into colors, is that he pushes a sunset to the limit of human experience. What I mean by that is sometimes adding, magenta can be nice, but if it's too much, it's like a moon, Sun said. It's not a planet Earth sunset. You will never have a sense like this on this planet. And so what he does that he pushes a color to the max but of human experience. So he's reds are crazy red. But there are read that you have seen in the Caribbeans when you've been on holidays and you see crazy sunsets, you know? I mean, you know, Husten said, can become re separated. I mean, sometimes seeing them like, How am I going to do that? Read in photo shop. It's so red, you know. So the problem is not the saturation. The problem is to you the from the U meaning the type of color. So and so his photos are very vivid, but they stay within your expense. And some I go up out of that world. So, for example, I shot this and I was completely off on my white balance on this one. So it's like the white balance is, like, sort of very yellow or something. So if I go to daylight, let's do a bit of retouching first. Let's do putting shadows. Look at this. HDR files crazy, crazy, crazy information. Bring on the highlights on in this case because the three foot it was kind of you see, I don't go all the way cause I don't want to get too much detail there, but I go to see it's going. We were there. So you want to bring the highlights too much? Sometime blank and the white and even the highlights. I'm gonna go back here. The thing is, what do I do with the white balance? Um, no, I should. Okay, let's see. So what shows? We have cloudy shade and she is very yellow and, like I don't remember it. I don't know why that photo the sunset was not a role like this. It was a lot more magenta to subways and there was a lot more blue. So you know, you have Because if if I go like this and if I go like this, you know I'm gonna start having some, like moon or Mars sunsets. You have been to Marsh on the moon. You know how this crazy since it can be there? It's crazy. I haven't been for well, but I heard it's amazing. And so on this one, you just play along with the white bus and try to put it as you remember, you know, and but it's still very over exposed. So until I do a little Grady int, I don't really know what I'm doing because I have a lot of information. Thanks for the HDR, but now I have to play around with it and you get back what I want. And so, like, um, I gotta go like a big blue. I mean, you could do whatever you want as long as you stay with the human experience. That's what I was trying to communicate. Really. I like the blue and ah, I think it's missing some colors here. If only there was a radio filter that could put here that might be one, so that's kind of cool. Uh, let's go right away on the sunset. Do a circle here with the sunset. Let's make it a little brighter. Maybe add a bit of yellow and magenta. It's more red. One thing that my business partner is really good in color. It's a always said, Oh, you've got too much green in your yellows. That's his favorite for a sentence. You got too much greening your yellows. I'm like, OK, I got too much in my yellows So and that's this kind off off yellow, That's what I mean, like, there's some kind off. It's kind of money, you know. It's not really nice. This is much more pleasing. But that was, you know, I don't get like it's It was a great sunset. I'm still not quite there yet, so I'm on a Raedle circle and want to add a bit of Majin time. Maybe add a bit of saturation, like in doubt what you can do. You can also not touch the collars and just add saturation and lead the software. Do the job for you. So it's going to detect whatever color is there, it's gonna put it more vivid, You know, which is usually what you have around sunset. Okay? And I'm gonna click here on the end to go back to the journal settings. I'm gonna maybe the worthy exposure want to get, like, a radius sunset feeling. Ah, and, um, at some vibrance and as, um, saturation. And so I went from these very muddy sunsets or very weird. And to this one, that looks more realistic to me, but still dramatic and still kind of cool. Ah, so that was the main thing. I want to show you on this one. Maybe I want to make you see, I don't think that's not us pleasing. So I'm gonna make this a bit, doctor all. So when you do that and you've got a whole bunch of sliders, you're better off raising and just freaking minus. Everything comes down to zero, and then you re draw your circle because most much faster than trying to make everything down to zero. And, uh and well, I think it's here before, after before, after Interesting. Yes. Um, I would like to know you. You presented a few off your new photos on some of the old photos with an old camera. My question to you will be How does the new camera impact your HDR were? Flu? It's a great question. A lot, because good, more dynamic range. So I really like I would still do anything here on this one because the sun is right there in a shot. But if I don't, we have the sun there with the new cameras, and I just take one shot. But I always under exposed my shots. I always exposed to the highlights because the software does much better off opening of the shadows and being on the highlights. You will always recover more information channels than you will in highlights. I mean, let me show you what I mean by that. If it's completely burned, it's burned. You can you know you were there and you can, you know, bring on the highlights. Feliz. Nothing there. It's just white, I think. The under photo and open in the shadows. You know, I still have information there, you know, it's it's usable, you know. Of course, there's no is, but it's usable. So to answer your questions I used to bracket everything was fighting Mark too. I almost don't with Sonny Seminar. How did you get that started? Take from the sun. Um, if you should like nobody, The rule is efforting above. This one is after more You close your shutter and depends which lands. But with a 17 40 from Canon from F eight on, you've got the starburst effect and also has to with the way the sun goes through that hole off the statue, it just But if you want to, just good a 13 above is gonna go. It's gonna make that Starlight effect, and it goes away. If you if I were shutting this and therefore I wouldn't have that but the fact that it picked there would help me. So, yeah, I like that. You know, I could spend more time. You know, I think the greater feel through there, but I like that. I like the photo