Photoshop and Lightroom for Landscape Photographers


Photoshop and Lightroom for Landscape Photographers


Lesson Info

HDR Demo for Landscape Photographers

We know that most of the time I'm just going to edit one photo rarely am I goingto bring bring more than one photo together, but I do want a demo one of the things that you can do, teo teo, to kind of bring everything together. It's called hdr light room like room six slash light room c c actually hasn't built in where it'll do hdr foryou so before late room six, you couldn't you couldn't actually do ht are inside of it. You had to go to another program I get to use photo shop, but the new reversing a light room lastly take all these different versions of the photo and merging together, so I'm gonna do just that going to go select each one um, I could regret this. I'm just going to select every other one because the one thing that does take a long time so I couldn't regret I couldn't regret selecting fight could regret selecting three photos, but you're going over here to photo merge hdr what it's going to do is kind of do what we did before the shadows, the highlights kind of matching...

all that together that's pretty much what it's going to do? I want to I want to show you at least what it can do because I think it's you have to know its limitations again there's going to be coming from maybe you can't get what you want out of one photo but if you have another photo you can merge those two together and you don't always need to jump the photo shop to do layers and all that stuff to do it but in about five to ten minutes it'll generate that preview that's unusually fast generating the preview talk amongst yourselves grab a drink of water there we go. All right, so remember that preview we just waited oh, so long for that all right, this doesn't actually start to change until it's actually emerged everything together so I'm gonna go I'm gonna hit the merge button right now and let's merge it together I kind of went past it common questions like what happens if there was a plane flying through this you could see there's there's the contrails on there that those are always fun. I think the f a a actually has a has a geo tracker on me and they reroute planes like I could be out in utah and reroute a plane from new york to miami just just to get the trails out there but uh but if you had if you had something that was going across the photo that's, ghosting and one of the things that you can do this got de ghosting settings in there so we'll try to reduce that for you so just a general approach to hdr ah lot in the online or in magazines talk about the dangers and pitfalls of how you can overdo it can you talk a little bit about I know a lot of its gut but what what's technical thatyou can scale back from making your pictures look overblown or cheesy so so to me to me hdr is the effect all right hdr is is that that surreal harry potter kind of type of a look to me that's what it is h dear has a very technical definition which is what we're doing here and light room will give you that which by the way it's done it's it's converted this in tow one photo here the reason why I wanted to show you this is because look at the exposure slider here I can take this all the way to black all the way to a white there's like a crazy amount of detail and a range in what we did here so I can I can I can go as much or as little as I want with this stuff that's what light room does? My crew is going to give you the official hdr version of your photo to me that's not why I do hdr all right you've seen throughout the editing process so far we don't really need it on most photos if I wanted to I could have grabbed this photo I could have brought back the highlights look there's lots of detail there I could open up the shadows plenty of detail there so we don't need it so light room just gives you the official you know, total range from to meetyou really about the effect and light room's not going to do that for you so that's you know the plug ins you see photo matics out there hdr affects pro different ones like that those programs will let you get that effect that surreal, edgy, glowing type of a look some people like it some people don't like it you hear you hear about it being overdone all the time but I'll tell you this much you want to try something, go home and take a photo and just crank the hdr settings on it up everything eddie everything god he setting you can possibly find on crank it up and then do the one won't photographer this has to be real and get your highlights get your shadows the way that they should be show that photo to a family member I bet you nine out of ten of them are going to pick to crank up hdr one it's just that's just how it happens I mean that's what people like you know so same thing with saturation you know you get your own style and just be comfortable with it because it's your style get rendered the scene as you saw it and if you see the world that saturated then rendered the scene a saturated another photographer is going to look at and say those skies over saturated there's no way they were that blue show to everybody else in the world and they love it, you know I mean it's just that z the way that it works so if you see the world in black and white convert him all the weapon white hopefully that um all right, so there is the emerged emerged photo inside of late room you know, I can't do a landscape day without showing you hdr I'm not going to do it again today, right? Unless I absolutely have to I'm never going to move to merge more than one photo together if I just can't get it in one photo that I will, but you'll see a couple instances into this is that today, but for the most part um we're going to stick with just working with one photo, but we do have just silly amounts of of range in this photo by converting talk a little bit about exposure here let's go down and, uh, get back to our basics we'll run you through another photo here, all right? So let's introduce a couple more techniques into the photo um I'm gonna go through the basics really quick and make it a little bit warmer this I could open up the exposure a little bit more all right it's a given take I know I'm gonna have to pull back that's guy but that's okay, I know that I'm going to do it probably not going to do it too much with the highlights I'll bring that back just a hair and open up some of the shadowy areas do our whites in our blacks get our white point and get her black point here a little bit more warmth let's go to the graduated filter be a little bit to break let's go to the graduated filter and probably easiest thing to do is just hit a couple of different versions here just one stop will do it quite often always moving around too and you could see it's already added a little bit of blue back into the sky teo to kind of take care of the warmth that we had there um close that up let's we sharpen so we'll go back here to do a little bit of sharpening remember you gotta be zoomed into one hundred percent what I zoom in on most of the time I'm gonna zoom in on the foreground all right? So up here is going to be that's where your eyes gonna be drawn in the photo so unassuming way in a lot of second there we go, vera if you don't know how to zoom in like room, the easy thing to do is in your navigator right over here you'll see fit fill one to one and then three to one so one toe one is one hundred percent that gets me into one hundred percent and again formula crank up the amount radius, put it a one point for and punch up your detail a little bit there get everything nice and sharp in the foreground and then we'll just go and throw here's a good example if I just throw a vignette on here that I don't necessarily want to just draw attention right into the middle so what I'll do is I'll go through some of the, uh some of the sky presets and where they and I've got the vigna and I'll just click through light, medium or top left which is kind of what I want it's a little too dark so maybe we'll just go back to the vineyard and then if it ever looks too dark I mentioned it before all they do is just access these tools up here all right? So I used the radio filter for that you can see that's my little spotlight and just drag that around and I can pull back just move it around okay all right so what's the extra here to me the extra is kind of the next step. What do you want to draw people's attention to in the photo? All right, this is to me this is crucial as we're shooting outdoors again. Nobody you your camera didn't capture what you saw beyond that nobody's going to feel what you saw unless you show up, right? You weren't standing here. You don't know what the breeze felt like. You don't know what the water felt like. You don't know if it's cold you know, if it was warm you don't know what was catching my attention. All right, I know it was catching my attention but you guys don't cause you weren't standing there you something else could totally be catching your attention in the photo so I know for me you know this this kind of here's, the highlight of the photo so that's when I moved to the brush all right, this is where we kind of get a little bit more creative with it so we can increase the exposure and just paint a little bit on some of the parts that we want to draw attention to. Its probably too bright, so I just bring it back, but to may this is kind the area I want you to look at maybe even a little bit right up here, but this is the air I want you to look at okay, so I could move that exposure around I can add a little bit of warmth to it just warm it up a little bit I can even add some clarity on that a little bit of contrast back into it as well and then overall once I'm done with that here, let me show you the before and after every one of those little grad filter and radio filters up there they have a toggle switch so that'll show you before and then after so before and after we'll close that up overall as I look at the photo I could probably stand to brighten it just a hair more so we just increase that okay so let's take a look back cesky so that's before that's after before after big change right? And hopefully you know as you look at this you guys have all shot stuff like this that's what your camera saw right? I didn't do anything wrong I didn't cheat would have been much their friend if I used a graduated filter would have been I used a polarizing filter on it. What do you mean that's? What the camera sees you know this is what this is, what we come back with and and it's just hard for your camera to capture everything that that you kind of saw on the scene when you were there so before after okay so uh we're about wrapping up with with the segment you wantto anybody questions yeah so do we have any questions here not yet well we have a bunch from online so this is good most every time I bring out the shadows like you did it introduces a lot of noise using the noise reduction super softens the details how do you address that? Um I'm going to show it later but if that happens what I would say is is step number one if if you bring out the shadows and it does introduced too much noise then that means that that exposure was probably too dark you know we could bring out a lot but we can't bring up too much also a lot of it depends on the camera okay if I were to bring up an iphone photo on here and start cranking up the shadows it's going to fall apart if I bring up the camera you know just depends on the camera but what I would say it is there's not much I can do for that specific photo in the future what I would do is take a dark one take a light photo and then I'm gonna show everybody had emerged that together later on so okay um matt why do you only bracket three shots would you not get mohr toe work with from or exposures like bracketing five shots? Thank you from new orleans cayenne um, hi, new orleans. So so I only bracket three photos, because that's, all that I need minus two stops is going to get me all of the bright parts of the photo that I need. The zero photo, the metered photo's going to kind of be my baseline, and then plus two stops, gets me all the dark stuff that was in the shadows that I need would doing more get more. It would just don't think you need it. So there's, not many scenes, and you saw, was shooting into the sun, and we got everything we needed. So, that's, why I only do three minus two zero plus two. Um, when I take fog pictures and zoom in, I see colors in the fog. Will the chromatic aberration to eliminate that may be okay? It's. A safe answer, maybe give it a try.

Class Description

Outdoor photography is about capturing the feeling you have when you are actually out in nature. Learn how to make photos that reflect the beauty and mood of the landscape you see with your naked eye in Photoshop and Lightroom for Landscape Photographers with Matt Kloskowski.

In this class, Matt will show you his personal workflow for enhancing outdoor images, so they reflect the world as it truly looks and feels. You'll learn how to: 

  • Create the best looking skies you've ever seen
  • Manage the entire landscape workflow – from start to finish
  • Implement the "go-to" adjustments Matt uses on every photo

Matt will even offer insights on preparing and printing the final image. You’ll learn the latest techniques for giving photographs of beautiful places the same color, atmosphere, detail, and feeling they had when you took the photo.

Whether it's images of the sun, water, snow, trees, or that magical light that you are always looking for, Photoshop and Lightroom for Landscape Photographers with Matt Kloskowski will help you bring your landscape photographs to life. 

This course is part of the Lightroom tutorials series

Software Used: Adobe Photoshop CC 2015, Adobe Lightroom CC