Landscape Photography: Start to Finish

 

Landscape Photography: Start to Finish

 

Lesson Info

Lightroom and Photoshop: Intermediate Techniques Pt. 2

Show you how to make the move in Photoshop. This is actually a good photo to do this on. So, what do I got here? I got, see this guy sticking out over here? So, I want him gone. The lightroom spot removal brush is not gonna do this. Okay? So, and we get that because it's sampling from a part of the photo. So lightroom sport removal brush isn't gonna do this, so this is a job for Photoshop. Sorry if this looks a little dark to me. This is a job for Photoshop. So, let's go up here to the photo menu and we'll go down here to edit in and you'll see that Photoshop is one of the options there. If you have plugins installed, you'll see that all the plugins show up right inside of here as well. So, jump over here to Photoshop. Notice, we didn't have to make a name change or anything like that, we just kinda take it, take the default settings for what it is. For me, the best way to get rid of something like this and most of what I do in Photoshop is the content aware technology and so for me, w...

hat I would do is... We can try to do this in one full. I take the lasso tool. The lasso tool right over here. And just draw a selection around it. Since this is the background layer, all I have to do is hit the delete key. Did I unselect? There we go. All I have to do is hit the delete key and that opens up the fill, select the content aware, and then hit okay. I don't think it'll work. Eh. It's not great, right? We have, like, yeah, the part of the beach is up here now. Somebody just got beat from property up there. So, what I would really do is probably do this in segments, probably take the segment here, hit delete, hm! Still not great. Let's try that. Right, so we get the sky. We might just have to put some beach from property up there. Hit delete again. And then one more time, I think it'll get rid of the rest of this. It's funny, so I actually ran through this image this morning and it actually did that really good. Like, it just cloned the boats and the dock right over there. Try it one more time. That's the interesting part of content aware. See? The more times I do it, I'm getting closer. We're gonna leave it for now. The interesting part of content aware is it works differently, If you don't like the way it works one time, unselect and reselect again and try it because it works different just about every time that you do it. So, a couple other things that usually follow that up with is you'll see a little bit of a patch there, you can see that? So, from there I'll go over to the, right under the spot healing brush is the patch tool. So from there I'll go to the patch tool. The patch tool works kinda similar to the lasso. You lasso an area and then what you do is you take it and drag over something else. If I don't like it, then I just take it and drag it over something else again. But you could go in there and you can kinda start to cover your tracks. Your, especially edges. I think I made that one worse. But I usually go in and I'll start to lasso little areas with it after I do the content aware. Content aware will do good sometimes, it'll leave some edges and then just go in there and use your patch tool, I'm making it worse. Spend some time with it, I actually , it's funny, I swear this morning I did it in almost, like, two or three selections, it was done. But that would be more of a job for Photoshop. Especially you know, if you wanted telephone poles, this one's pretty easy. I'm gonna go straight to the spot healing brush, so the lasso tool works good for big areas. The spot healing brush also has content aware attached to it and so all I do is paint. Again, I usually do it in smaller segments. Just paint. If you ever see a line, just kinda brush over it again. And then, you see that little line there? That would be a great place to select with the patch tool. See if you can get it to match up a little bit better. Or not (laughs). I'm new to this program, gimme a... (audience laugh) I'm gonna try it one more time with the healing brush, maybe I'll make it a little bit bigger, and then I'll spread it out. There we go, okay. You had a question. Yeah, do you- Save me from my bad cloning. You're doing a great job. Do you usually clone on your background layer or do you make a second layer, like, copy that layer? Good question. So, do I clone on the background layer or do I make a separate layer. I would, if you're the non-destructive type, then yes, you'd wanna make a separate layer to do this and keep your settings. You know, I kinda know, it's like, once I do this, I don't really wanna put the telephone wires back, so I'll do it on my background layer. If, again, if you're non-destructive and you're super keen on being non-destructive, you can make a new blank layer. Right? Just hit the new layer icon. The key is that sample all layers up here, you have to turn that on. Because if you don't, and you think you start painting on that blank layer, it's sampling a blank layer. So it's not gonna do anything for you. So turn on sample all layers, and then you know, now let's say I wanna clone all that out, by the way, I'm using the wacom pen, so this is pressing light, that's pressing hard. You can see the difference. So now, especially with the wires and everything, I can get, I can really get in there. But yeah, all this stuff is now on a separate layer. So then I save that in case I ever do need to get back. It's good practice. You know, non-destructive is a good thing, non-destructive is a good thing especially when you're first starting out. I think it's good to learn, learn what's non-destructive, learn what you can do to back yourself out of something. And then you have ways to back yourself out. I think the more you do it, the more comfortable you get with your changes, and the more sometimes you think well, I'm not gonna go back and put those wires back in, okay. And then sometimes it's not worth the time for me to work non-destructively when I know the change I did only take five seconds. So if I ever needed to do it again, I could do it again. Yes. How does on one erase compare? There's one on in a couple of the apps in the enhanced app and then the layers app. There's something called the perfect eraser. And that is closest related to content aware. So that actually works pretty darn good. You just paint with it. You don't have to sample, you don't have to do anything, you just have to paint with it. So it's called the perfect eraser, that's the closest substitute to content aware. Cool. Alright, let's see. So that takes care of our jump over to Photoshop from here, what I'm gonna do is go to file, save, okay? I don's have to change the name and I don't have to change the location. Just save it, close it, then you jump back over to Lightroom, we can look what we got. See down here? So now you've got, if I hover over this photo, that's our original. You can't even see the name, that's the raw file. And then if I hover over that one, that's our newly edited version of it. So, don't change the name, don't just save as, don't change the location because then you screw up that link between Photoshop and Lightroom. Just hit save, it comes right back here. You can get to it. Is this about, like, saving the file for things like Facebook, right? I've actually just seen pictures that is very sharp and very clean but when I do that, I don't get that clarity when I save it as JPEG. Do you have a special tip for that or? Um, for saving it for Facebook? Yeah. Um, I sharpen a lot, like you could see by my sharpening settings, like, I sharpen pretty decent, I'm a liberal sharpener. So I sharpen quite a bit and then I'd go file, export, I don't really do anything, you know what? There is sharpen for screen, so when you downsize an image, you lose a little bit of quality too. So that's why there's screen sharpening, so I'll turn that on, I'll keep it set to standard. So, it'll add a little bit of sharpening to it right after it downsizes it. That's about all I do. Facebook just, they just, they're not pleasing with images to begin with. So, they always kinda collapse them down. And actually, is there a specific size that is saved for example the dimensions. Um, I don't know what Facebook will crunch, I think Facebook will automatically crunch it to their size, I know whenever I'm gonna post something online, I usually save it to about 1500 pixels on the wide size. So, that's a good size, you know, that's a good size if anybody looks at it on their screen and takes their browser window and extends it, 1500 pixels is a good size for that. I don't think Facebook is gonna show you that 1500, I think it's actually gonna crunch it down to whatever size they want it to be, but if it does get out there, 1500 is a decent size if people are gonna look at it. You know, people with 30 inch screens, bigger screens than that, it's like, you know what? You really want it to fill a screen? You'd have to save like, you know, a 4k monitor. I mean, that's 4000 pixels across. Cool, if you're gonna look at it full screen, are you willing to put your images out there at that size? And then the other thing is, you know, how long it's gonna take to download that image, it'll kill the speed of your website. So, 1500 I figure, you're gonna look at the image that big, anything else you know, I need to see it. Unless you wanna buy in print. (laughs)

Class Description


It’s one thing to learn how your camera works and study the theory behind landscape photography; it’s quite another to put your knowledge into practice out in the field. Take this class, and you will learn everything you need to know about taking amazing photos of the great outdoors - and turn them into beautiful display-worthy masterpieces.

Join professional landscape and outdoor photographer Matt Kloskowski for this class, and you’ll learn:

  • How to use composition and proper lighting to shoot landscape and outdoor photographs.
  • How to get your images from camera to computer, and how to pick out the best of them.
  • How to enhance your images through Lightroom® and Photoshop®
Matt Kloskowski is a Sony® Artisan of Imagery, and the author of 15 books on post-processing in Adobe® Lightroom® and Photoshop®. In this class, he will walk you through everything that he does to plan his outdoor shoots, select his gear, capture great shots, and post-process his images to evoke the beauty and grandeur of the outdoors.



Lessons

1Course Introduction
25 Things Every Landscape Photographer Should Know
3Camera Gear
4Gear Q & A
5On Location: Weather & Safety
6On Location Pre-Visualzation Sutro Baths
7On Location: Camera Settings
8On Location: Composition
9Matt Klowskowski - My Story
10On Location: Bracketing
11On Location: Artistic Choices
12On Location: Pre-Visualzation Marshall's Beach
13On Location: Long Exposure
14On Location: iPhone
15On Location: Wrap Location
16Location Challenges: How to Shoot in Open Sun with No Clouds
17Location Challenges: How to shoot Cloudy, Stormy, & Blah Weather
18Location Challenges: How to shoot Beaches
19Location Challenges: How to shoot Waterfalls
20Location Challenges: How to shoot Panorama Vista Scenes
21Location Challenges: How to shoot Lakes
22Location Challenges: How to shoot Mountains
23Location Challenges: How to shoot Deserts
24Location Challenges: How to shoot City Skylines
25Location Challenges: How to shoot Snow
26Location Challenges: How to shoot Backlit Situations
27Outdoor Landscape Workflow & Organization
28Basic Editing in Lightroom: Part 1
29Basic Editing in Lightroom: Part 2
30Lightroom and Photoshop: Intermediate Techniques Pt. 1
31Lightroom and Photoshop: Intermediate Techniques Pt. 2
32HDR for Landscape Photography
33Panoramas for Landscape Photography
34How to shoot Landscape with Adobe Photoshop in Mind
35Sky Replacement in Photoshop
36Processing Project: Stormy Mountains
37Processing Project: Crashing Waves on the Rocks
38Processing Student Raw Images
39Final Q&A