Image Processing Demo: Local Adjustments
Like we did at the end of the last segment we're just gonna do a final edit using a whole bunch of local adjustments. So here's the image straight out of camera, I think, lets hit reset just to make sure. So nice shot in Mongolia by my colleague Drew. But we can hope to get something closer to this with a few local adjustments. Mine's probably not gonna look quite the same as Drews but we'll see what we can do. So again, before local adjustments, lets think about the kind of base adjustments. Exposures pretty good. Lets add some clarity just for general pop and some structure as well. I think it's nicely in focus, yes it is. So lets now think about local adjustments so lets grab a gradient mask and drag this down cause I'm pretty sure there's more good stuff to look at in the sky. So after we've drawn the gradient, if we want to just play around and edit it, we can just keep drawing until we have something that we feel looks better. So I'm gonna darken that off a bit and then pull in t...
he clarity and maybe also curve as well. Just to get it a bit more dramatic. Lets think about our car here, or forward drive. It's sort of sitting in shadows slightly. Lets I just open up, I don't want to go too bright on the exposure because that's gonna ruin the rest of the shot but it'd be nice to just open this up a little bit more. So dodging and burning if we make a new layer, lets call that lighten. Bump up exposure one and half stops roughly, something like that. Take our brush open up the size a bit, have a lower opacity and a lower flow, and then we can just brighten up the side of that. If that's kinda going too quickly command Z, so we can undo, drop opacity and flow down a bit, and now it's gonna build up just a little bit slower. Just to lighten that guy. There's some nice rocks and kind of vegetation going on here which looks pretty good. So we could make another little layer, Front Grad. Choose it here or press T on your keyboard and just draw up like so. And that gives me just the gradient at the front which I shall add, let me just zoom in slightly, add a bit more structure or clarity. If it's affecting the four wheel drive too much, no it's actually kind of a positive effect, it's fine. But what I could of done if my front grad was doing something negative to this one we could just take our erase brush and just kind of take that gradient away so it fits around that object. So that's looking good. We can also turn on and off to preview. That's just made that bit, little bit crisper at the front. What was this layer doing? Oh that was the sky. Always name the layer so you know what they're doing. So that's the sky. And can probably steal sometimes it's a matter of playing, but maybe a bit more contrast and maybe there's really nice colors in the sky. So we can pull that out or we can even do a color edit to pick within the sky itself. If we wanted to enhance anything. So like those warm tones, we could maybe darken just those down a bit or make them more saturated. Just a subtle tweak, like so. Then lets throw in some vignetting, like so. So we've got our lights and layer, which remember was just doing the truck. But we could use that elsewhere. I'm not sure if there's anywhere I would do that but maybe just really low flow. If I just want to kind of, maybe even lower opacity then that. Bigger brush, just kind of lighten up any areas that think might benefit, then we could do so. Maybe a little down at the front here, like so. So I think that's probably where I would leave that one for example. And again, how many layers was that? That was background plus three layers. Lets look at the image. Lets just say new variant, so that'll give us a virtual copy and then lets look at them side by side. Command T to hide the tools. So it just goes to show really how much data is hiding in any raw file, so especially that sky. If we just grab the no exposure slider and just pull that down, you can really see how much scope there is for adjustment. So don't disregard any raw files straight away. It's amazing, really, what's hiding beneath. So with just a few simple layers like so, if we just option click those layers. Oops excuse me. So option click so we can see before and after, like so. So the layers, or local adjustments, really bring out that extra dimension to an image.
Imagine if you could capture, tether, adjust color gradient, and manage files in one program? Enter Capture One and, David Grover, a Capture One educator and expert. In this class, you'll learn how to maximize every shot. Here's what you'll learn:
With Capture One, manage your photos and edit all-in-one program for a simple streamlined process.
- The interface and tools, so you can customize a workflow suited to your needs
- Techniques to grow a searchable and automated image catalog
- Ways to simplify your workflow so you can tether and adjust your RAW files WHILE you shoot
- Tips on using the color management tools to get that cinematic crisp look
Software Used: Capture One Pro 10, Adobe Lightroom CC 2015.4 - 2015.8