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Lightroom and Photoshop: Intermediate Techniques Pt. 2

Lesson 31 from: Landscape Photography: Start to Finish

Matt Kloskowski

Lightroom and Photoshop: Intermediate Techniques Pt. 2

Lesson 31 from: Landscape Photography: Start to Finish

Matt Kloskowski

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Lesson Info

31. Lightroom and Photoshop: Intermediate Techniques Pt. 2


Class Trailer

Course Introduction


5 Things Every Landscape Photographer Should Know


Camera Gear


Gear Q & A


On Location: Weather & Safety


On Location Pre-Visualzation Sutro Baths


On Location: Camera Settings


On Location: Composition


Matt Klowskowski - My Story


On Location: Bracketing


On Location: Artistic Choices


On Location: Pre-Visualzation Marshall's Beach


On Location: Long Exposure


On Location: iPhone


On Location: Wrap Location


Location Challenges: How to Shoot in Open Sun with No Clouds


Location Challenges: How to shoot Cloudy, Stormy, & Blah Weather


Location Challenges: How to shoot Beaches


Location Challenges: How to shoot Waterfalls


Location Challenges: How to shoot Panorama Vista Scenes


Location Challenges: How to shoot Lakes


Location Challenges: How to shoot Mountains


Location Challenges: How to shoot Deserts


Location Challenges: How to shoot City Skylines


Location Challenges: How to shoot Snow


Location Challenges: How to shoot Backlit Situations


Outdoor Landscape Workflow & Organization


Basic Editing in Lightroom: Part 1


Basic Editing in Lightroom: Part 2


Lightroom and Photoshop: Intermediate Techniques Pt. 1


Lightroom and Photoshop: Intermediate Techniques Pt. 2


HDR for Landscape Photography


Panoramas for Landscape Photography


How to shoot Landscape with Adobe Photoshop in Mind


Sky Replacement in Photoshop


Processing Project: Stormy Mountains


Processing Project: Crashing Waves on the Rocks


Processing Student Raw Images


Final Q&A


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 Materials

Bonus Materials

Matt's Photography Gear

Ratings and Reviews

Christian Ruvolo

Mat Kloskowski class is really amazing, full of very useful tipps and inspiration. Wonderful pictures by him help to understand the explanations an I am learning A LOT from him!!! Thank you for the class!!! TOP!!!!


I love Matt's teaching style, humor, honesty, friendliness. I love On1 and all the other demos and critiques he does. He makes me enjoy the craft/art of photography much more and is a great inspiration.

a Creativelive Student

This class was for beginners and I believe Matt did a great job of giving students an great introduction to landscape photography. More on the practical than technical side, but that seems appropriate for an intro class. He comes across as a "real" guy who loves what he does and is eager to share his knowledge. Those new to photography will get a lot of helpful information and tips in this course.

Student Work