Intro and The Basic Lightroom Formula
We're here, tio, talk about photoshopped light room for landscape photographers, basically my entire workflow and it's in an entire day, so I'll go over everything pretty much from start to finish, you'll see my raw files, I don't really hide anything and we'll go over the entire processing, so sound good, cool. So take it least you guys and everybody watching you're in the landscape photography, right? The interesting part about landscape photography is at least my feeling on it when it comes to camera and post processing is we want to capture obviously the best image we can in the camera, so today is not necessarily about that. By all means. If you have any questions about what it would settings I might use for an image, I'm happy to enter that stuff, but, um, I'll talk about the stuff that we did in camera, but when it comes to post processing to me, our job is a landscape photographer is to help somebody feel like they did when they were there. All right, it's a little bit differen...
t than some other areas of photography, because if anybody that shot outdoors before knows that when you take that camera and you point at something and you take a picture there's no way what's on the back of that screen looks like what you just saw your camera just can't do it, and we're not out there. We're not using diffusers and flash and strobes and all these things to balance light because this is mother nature and the flash is not going to reach a thousand and two thousand feet in front of us. So there's no way that that picture looks like what you just saw. So my feeling on it is is it's our job when we get on to the computer to make that happen because you can't make it happen in camden there's things you can do to help, but really, when it comes down to it, my job on the computer is to make that happen, okay, so that's a lot of what we're going to talk about today, a quick rundown of the day we're going to start off, I'm going to kind of just jump right into the light room in the base. I want to show you right off the bat how much power we have inside of just just some of the basic adjustments inside a light room, so not going to get all crazy and use five different programs we're going to start off with like room from there, we'll jump into some specific editing scenarios, things that we encounter, his landscape photog. Offers what happens if you have to put on a really wide angle lens and the scene calls for a polarizer? Well, if you ever put a polarizer on a really wide angle lens, you'll notice there's a blue grady in in the sky because it's so wide so how do you take care of those things so things that hit us as landscape photographers when we come back from lunch, we'll talk a little bit more about some of those specific things we'll even get into focus stacking panorama isn't all that and then what I did is I saved a workflow section for the end of the day sometimes I start with it it's the morning kind of just ate breakfast and I know everybody's concerned about work flow when it comes to how to organize and do all these things but it's just it's just a little tired so we're going to jump right into the fun stuff at the end of the day what I'm gonna do is we'll go through an entire shoot, so I'll show you how I organized this you how I get it from my phone if I'm taking in the iphone pictures, which by the way, I think some cool stuff to share with you on that later but have if I'm doing anything on the phone if I want to have my photos on the phone on my ipad on my laptop how I ended the photos how I don't spend six hours editing the photos and then all the way over to the print so we'll save that for the end of the day we'll do the whole thing in the last class all right, so let's go ahead and get started here we're goingto we're gonna start off just the develop module inside a light room is probably it's kind of be probably eighty eighty five percent of what I do to my photos on dh you'll see that it helps us tame so many different areas so let's go grab a shot that I'm sure none of you guys here have seen before so this is mount rainier we're in seattle so you guys like, wake up and see this every day does he ever get tired of seeing it? Okay? Because I go to portland a lot and it's like god forbid you go take a photo of mount hood and show it to anybody important okay? Yeah I mean, not that gorgeous mountain and it was like, you know, that's mount hood but it's so cool anyway, so I'm glad to say that you guys love mount rainier it's a beautiful thing and I got out there one morning it's funny because if you've ever been out there there's a place called reflections lake that has this great reflection in it and you just drive up to it this place was about a mile and a half hike and I'm thinking it's hike it's got to be better right? And I get there and there's literally no shoreline to stand on like you have to like creep through bushes and all this stuff and then basically you're in the water so I had to do what I never ever want to do and that's put dead trees in my photo just to get a foreground in there but this is the this is the shot here so let's go through and and talk a little bit about some of the things that we do the basic panel is pretty much where I'm going to start off with temperature tent the white balance settings that that to me is is one of the keys we have to convey what type of feeling we have they're generally I love warm feeling so I'm always going to go a little bit toward the warm side there with my temperature slider uh exposure exposure for landscape photos is one of those things that's it's hard to set right away because generally way have competing shadow and highlight problems in our photos okay when it comes to landscape oops portrait photography a lot of times they're using you know, strobes, lighting and diffusers and soft box and all these different things help balance that but with landscapes you can't there's just a lot of harsh lighting circum stances there so the exposure I think you're going to find you always battle with it it's like I want to go darker because I know there's a lot of detail in the sky and I want to go brighter because I know there's a lot of detail up in the foreground here so so what do you do so the way that I kind of combat this is tigh go straight down here to highlights and shadows so what we'll do is we'll pull the highlights back you can kind of see that there's a good job of just kind of taming that top area a little bit all right? I'm not gonna go all the way I don't have to go all the way on then we'll open up our shadows a bit here one of them will tell you is be careful when you have the edges of the trees there and you start to really get drastic with your highlights and shadows you'll start to notice a tiny bit of glow get a little bit out of it it's going to be just fine, but if you get really drastic with that stuff, you'll start to notice a little bit of glowing there, which is why I'm not just gonna crank back on my highlights ah whites and blacks, whites and blacks is it's a good way to just get an overall amount of snap and contrast into the photo there's a nice little formula that you can use for, which is if you hold down the option all came click on the white slider you'll see everything is probably going to go black and then if I drag it to the right hand side, you start to see a couple little specks there. All right? That means I have a white point in the photo, I do the same thing on the blacks, it goes white by dragon to the left start to see a couple little specks. So that means I got a black point in the photo so what's that really do for you think about contrast, all right? You had contrast, it boosts the whites and boost the blacks. So it's the same idea here we're just kind of if you were to think of our history ram, which, by the way, what I just did is just a different representation of doing levels if you've ever used photo shop before or moving the history and you'll notice I don't keep the hist aground open much because the only reason I would use it would be for that little highlight area over here in that little shadow area over here, and I just did that with those sliders so that's why I typically don't keep it open, but that's what we did there, the nice thing about that is that my my editing environment here is going to be different than yours gonna be different than yours in europe if somebody's going to be in a bright room they might be in a dark room somebody might have a window near um somebody might have ah light stand here so what happens is is that all affects the way that we had it our photos? All right, if you're in a dark room, you might edit your photos a little bit differently than if you have a light shining on your computer screen we can tell everybody hey, this should be your editor environment we know that will never happen. So what this does is this gives you a good base because when I do this white point, I know that on any screen that's the white point for this photo doesn't just matter on my screen and put him out any screen. So if you're developing brighter or darker whatever that just helps to even the playing field now that doesn't mean that everybody else's screen that you give your photo too is calibrated. Everything is going to look great, but at least it keeps it is consistent as possible for you, so we got our whites and blacks clarity just kind of adds a little bit a little bit of boost in contrast to the photos here vibrant is vibrance is great on portrait ce because it'll it'll boost the colors of the leaves, skin tones alone with their landscape photos, you're going to find that you can go and you can tweak the saturation a little bit more that boosts everything in the photo and then generally were okay with that, we don't have to worry about skin tones or anything starting toe look radioactive so we can boost that up there. All right? So once I get done with that, I'm gonna hit the back slash key so that before that's after before after so pretty decent change already, but we're going toe kind of take it to the next level here, you notice before I wasn't, I wasn't really able to get my highlights where I want them. I wasn't able to get that sky where I want it, so we've we've exhausted the basic panel probably warm it just a little bit more just because I liked that warm feeling here, but we've pretty much exhausted what we could do in the basic panel. And so what we have up here are just three tools that are probably going to be the other ten to fifteen percent of where we spend our time inside of late room, so we got the graduated filter, the radio filter and the brush, so they all do the same thing. They all let us paint exposure onto a photo or sharpness onto photo just in a different way the grad filter to me is is my favorite one for the sky because it simulates that neutral density grad that we use in the field so you hold that in front your camera it's dark transitions to clear so what we do is we bring our exposure down I don't really know how much at this point but I just bring that exposure down and then I just shift click and drag downward so now I'm able to do exactly what I would have done in the field to the sky able too dark in that sky kind of tame it down a little bit and uh and still keep the foreground where I want it what's nice about it is in the field if you've got a grand filter you're stuck with the one that you have you can buy one stop you come by to stopping by three stop you got three filters you gotta figure it out nice part about this is is you don't have to worry about if I if it's too dark I just kind of reel it back in there the other nice part about this is that remember how I warm the photo before if I go here and I tweak the temperature I can get a little bit more blew back into the sky so by warming the whole photo by bringing the warmth in the foreground, I also made the sky look a little bit yellow. I could bring a little bit of blue back in there. I want to go too far with it, but it's still a little tender blew back into the boat and then the other cool part this is probably one of my favorite ones is just a ziff we used one of these filters in the field, we hold it over. Whatever that line is over gets dark. All right? It was always something we had t deal with in the field. No, one of the tricks I was always taught us like you hold it over and you kind of move it up and down during the exposure. But it's a fast exposure doing it's a sixteenth of a second doing that's not going to help it, so but that would help kind of ease the transition a little bit. So imagine what we have here. If I were to use a slider and opening this up, what it would be the shadow slider, we'll have a shadow slider with the grad filter see that? So look at the difference. So now I'm able to bring the details back out of those trees, it's not going it's not going to do anything to the sky because the sky is not a shadow so it's not going to see that it's not going to affect it it's just going to affect the area and the trees here just like that okay, so as we go through here that's probably about all it would dio there's not too much more to do to the sky here, so we'll close that up and then, uh we scroll down here just to kind of round out the workflow come here to the detail panel and we'll add a little bit of sharpening you've got to be zoomed into one hundred percent so I'm gonna zoom into one hundred percent on the photo here and, uh, I wish I could give you some long, elaborate formula for sharpening, but if you're watching this class, that means that you like to shoot van landscaping, outdoor photos and that means that you're lucky when it comes to shopping because you don't really have the worry too much about what's going on there just crank it up until it looks sharp all right? There's not really much of a formula for with people and with a lot of different areas of photography, you know, event photography, you're going to deal with noise and movement and all these different things, but with landscape photography, chances are you're on a tripod she's gonna have to deal too much with movement and and you're not going to feel too much with noise. We're gonna talk a little bit about that that stuff later, but you don't have to tell too much with that stuff, so you're essentially going to crank up the amount slider until the photo no longer looks good and your landscape photos will hold a lot of sharpening because there's a lot of detail there, so if I could if I could give you any bit of advice it's don't overthink the sharpening part too much okay it's a crucial step because it's really going to help your photos stand out, but at the same time there's not much wrong you, khun do the on ly wrong that you could do and I get I get people that ask a lot, you know, like, how do you know how much is too much? If if the photo goes from being that to that that's too much? Okay, if the photo looks crunchy, if it starts to glow around the edges around it, that's too much. I can't tell you what too much is going to be because going to be different on every single photo. So the best I can do is tell you what to look for, and that is when it's crunchy starts to glow back off. All right, you can get yourself out of trouble in here if you keep your radius right around one point four on biff you you're you won't get yourself into too much trouble with amount even if you crank it up the details where you'll really start to get into trouble because if you crank that up way too much, it starts to get all texture and crunchy there so we're going to back off so somewhere around forty fifty as a max on the detail is going to be that so have at it with the amount setting you can get, you can crank that up the radius setting just leave it like one point for one point five and then and then your details slider don't really go much above forty fifty all right? Last thing I'm going to do here is go down here to the effects panel and just about every landscape photo gets a vignette, so I just had a little bit of a vignette here this kind of darkens the edges tamed everything a little bit I might I didn't do any cropping I'm probably going to go to my crop tool and take my straight in tulle and just drag along that shoreline it's looking a little bit not too much but it's just looking a little bit off landscape photos can be hard sometimes with that because you don't have a horizon line then it starts to get a little bit tricky like what do you what do you straighten off? Because that shoreline could could actually be fading away from you, so a lot of times I will I will go and I will straighten based on that shoreline if that shoreline is fading away from me and I start it makes the photo actually look more crooked. Another little trick you can do is I'll fake it here like let's say let's say this is what the photo looked like and I didn't have anything to straight in and off of a little trick is if you take the straightened tool and you drag vertically along something, it'll straighten your photo based on that so tris are usually a good thing I'm if you're shooting super wide angle on the trees are growing inward we got some other work to do but that's usually a good a good kind of rule of thumb there if you can't find something horizontal to straighten off and grab your grab your straightened tool and try to find something vertical and just drag straight up and down there okay, so uh let's take a look and backslash key remember that shows us are before and the backslash key shows us after so before after um yeah, I know you know it took ten or fifteen minutes just to kind of explain the setting to we're going to start to move a little quicker I'm not going you are going to do whites and blacks we go through during the day and I'm not going to explain it every single time but ten or fifteen minutes as I explained things but hopefully I see it's it's not like I pulled out every trick in the bag for that mean we use the basic panel used a graduated filter sharpen convenient all inside a light room so if you think there's a complicated workflow there's there's other things that we can do later on when we come into certain situations but I want to tell you that that probably the big bulk of your photos can can all benefit from just some of these basic changes this is always going to be where I start I'm going to try to get as much as I can done right here with all these different settings too okay, so uh questions just like yes I got one get back there I met I have two questions I feel like after stand up well, I know you don't have to if you don't want him I'm comfortable either way one question is why do you do the vignette on each of the landscape that you do and the other one is what is that really neat trick that you just did with the straightening thing because I don't know about that okay, so two questions, why don't I do the vigna? Um, the venue is funny because if you think about it, we, like that's, always been known as a problem, right? It's like it's a lens is it's eleven problem lens corrections actually fix that stuff to me, it's part of a style to me, I just I want I kind of want people to focus in generally there's, not a whole lot going on and just in my personal style, there's, not a whole lot going on in the edges of the photo and the vignette just kind of naturally helps people settle in toward where I want them to look in the photo. You'll see later on as we go through different examples. Sometimes that point where I want them to look at the photos and a diff prince spot and and there's some things that we can do. In fact, that it's a good question. Let me show you so let's say I let's, say, hell, I pull back on the vignette. I I actually have a actually have a couple. I've got this whole workflow panel of presets that I'll kind of just almost used as a way to just run me through my photo and will give me a lot of different options, but one of the sections that I have in it are vignettes so rather than go on manually at the vignette every single time I want to show you guys how to do it because I kind of feel it's important before you create a preset for it but I have a vignette that does a light it doesn't medium vigna it does a strong vignette and then what I created is some of the radial filters and so what I'll do is if my focal point is in a different part in the photo I can focus in the top left top right bottom left on the bottom right not for this photo but it's going to happen to us at some point today where the focal points not going to be in the center of the photo so I use a lot of my presets for that if it doesn't happen but it is a style thing it's it's definitely more might just my personal style for the photo um and then the other question wass waas was wass wass over the straightening thing so I went to my crop tool and there is little straightened tool so the way the straight until works is you're supposed to click it on something that is horizontal and drag it across and then we'll straighten for you okay if you can't find anything is perfectly horizontal then that's why explain try something that's vertical works great at the beach anything final horizon because I can guarantee you none of my horizons will ever ever be st I used to do you guys ever have one of those little bubbles on your camera? Do you know how many I've broke because they're not cheap I mean they're like just expensive enough that it hurts and you know, being a I don't know I mean they're five, six, seven dollars something there just expensive enough that it hurts and it's like I put on top of my karen that I put my camera bag and I just hear crack so I just stopped using them I just eyeball it and I'm usually wrong okay all right let's go let's say let's take a look at a another photo here um going to switch gears mohr teo well sunset probably about twenty minutes from my house this is this is really you know when when you start to see some of the creative things that we can do but it's going to be the same settings? So what did I say before? You know, exposure really difficult I can't crank it up can't crank it down and no there's detail in both spots, so what I'll do here is I'll switch over to the highlights I can tame that open up the shadows still lots of shadow detail there okay blacks and whites option all click like so to me this is a big part of this is color temperature all right uh it had a much different feeling when I was there this was no ah a little bit after the sunset twilight the blue hour it took on a very, very blue tone to it so I'm definitely going to go toward the blue side and then even tweet that toward the magenta side a little bit okay that's more of what it felt like to me clarity we cannot a little bit we don't have to worry too much there's not that many details in here and then saturation will just kind of boost the colors for us. Um let's go through here so I've got that done. Um it's come down to the er you know, I just said that I never have a straight photo I think I might have succeeded let's try it it's just a hair off. But every once in a while you get lucky so we got our cropping done. I might even grab the crop tool here and I might add to me this is just nothing great going on here so I might crop some of that out kind of this pull that in a little bit more um let's see here bring down the overall exposure, open up the shadows a little bit more and personally I'd like to see more of the foreground. One of the things that you could do is you've got the tools up here so let's see, I've maxed out my shadow slider over here, so if you max that out, then there's nothing saying you can't go and paint some mohr on, so if you go to the brush tool over here, uh, you could increase the exposure, which is going to make everything really, really bright. I don't think that's what I want to do, but I can open up the shadows a little bit. I might even have to go with the exposure I think I got the shadows as much as they're going to go so I can bring that up just a hair. Okay, um and the same thing goes with with what I said before, I'm a big preset guy, so I create precepts of all this stuff and it just makes it really easy for me as I'm looking through it so I could just go, you know, like I have one called brighter foreground, which does exactly that. So as I paint here, only delete as I paint, it brightens the foreground and what I do is I don't know anybody you guys create presets ever make you so what I do is I kind of put my style on him like I like things warm so like when I make something brighter I also had a little bit of warmth to it so rather than just make it brighter minds will take care of two things at the same time uh so we got that taken care of we got our cropping we have our overall color let's go down here to detail really? The foreground is going to be the bulk of all the detail here so again I just crank up my sharpening radius detail all night, give that much higher I think I think we're plenty sharp I'll go back look at the boat yeah that's fine. So we're plenty sharp on everything and then we'll go down here to effects at a little bit of a venue you notice I always kind of feather it out a little bit that's why a cz you start to create these things you khun kind of tweak your own butt makes it a little bit easier light medium strong too strong here we go. All right let's take a look so before after before after all right and I mean not gonna lie sometimes I'll develop a photo I wish I could say I did it sometimes I'll develop a photo and I'll take it a direction and I'll be like sure, if I like that so there might be times were like I'll come back here and I think you know, maybe I did bright in the foreground a little bit too much I kind of like it a little bit darker so you can go in there and you can you can bring those things down it's gonna happen it's you know to me I think it's kind of ah a process so good. All right, so that's another example of just our basic stuff let's go through one more before we before we switch gears and we'll take a look at super crazy contrast beat scene okay, so there there is there's little let me reset the photo there's little there's a ton of contrast going in here I'm shooting into the sun so right there that that's going to make your post process a much more difficult and that's what I said in the beginning of the class which is, you know, there's no way like what we see is what our camera sees our camera cannot capture all that stuff. So that's it's our job to make this scene looked like it did when we were there, so when I was there um I know that the sky was much darker so I could definitely see all the detail in the sky could see the colors in the sky and I'm but I can't really do much with my exposure, so what we'll do now is go to shadows, I'll bring the exposure back up, actually, and I'll open up those shadows and they'll take my highlights down, you can see I contain that a little bit more now, this is a this is a good example because this touches on I've got a list of things later on that we're going to cover after one of the segments where, just from running into people that I see, I see people stress over a lot. One of those things that we stress over is the sun okay, and making the sun, not white. Well, the sun is white, so it's okay, but what you do have to be careful with is when you, when you bring your highlights down, see how it kind of makes the sun look a little artificial, especially like around the edges there. So in this type of a photo, you gotta be careful with it. So when it comes to shooting into the sun, we wantto try notto really do too much to all of our highlight settings are shadow settings are going to be the bulk of what we're going to do on our highlight settings were going to take care of that with one of the filters, so we're not gonna worry too much about that. Ah why did this is gonna be about color too I want a warmer feel there's a lot of warmth going on on the rocks on the side here so I want to definitely make sure you get that warmer feel onto the photo we'll do our whites and blacks were gonna get a white point pretty quick it's called the sun and we get a black point pretty quick too because there's a lot of detail back here okay let's uh go to our crop tool and we can take our straighten tool I'll take this moment to introduce another another handy little thing which is under your lens corrections panel there's something called a profile lens profile so when you attach your lens of your camera you take a photo you import into light room it's got profiles for all that stuff alright it's built it all okay if you enable this check box you'll see a kind of tweaks a little bit of some of that distortion and it also removes a lot of some of that vignette ng here we're just gonna add it back later but that's one of the check boxes especially as you start shooting wider that you'll want to make sure that you hit okay the other one is down here under upright it'll analyze your photo and go look for straight lines and it'll automatically fix things for you so you can always go over here and just click otto and give it a try I'm not sure if that street but let's see is it me or does it look crooked it's may okay he's like yeah you uh see yeah I guess it did I should trust the computer it's a lot better than me but here that's off and that's on and it's got some different versions over here it's got level it's got vertical which I can't imagine would work here it's got full which apparently those don't have any code behind them and I actually don't do anything so we'll just clicked back on in fact none of them do anything except auto come on guys you work okay just one you know what I'm determined I've got to see if they were level there we go it actually there is code behind him okay I take it back they actually work alright so but that's a neat little trick teo straighten your horizon lines because that way you don't have to go grab the thing and you could just let light room do it for you. The other thing too is you know we've got lens corrections over here where we can start to tweak some vertical and horizontal distortion everything but what's cool about the upright technology is that it analyzes the photo in a different way so when you get over to some of those those advance let you think their advance they should be more powerful but honestly, when you get to those it's like it's pushing pole, right, you straight on one thing, you make something else crooked where this kind of looks at a bunch of different parts of the photo and straightens it for you. Uh, all right, so what are we going to do here? We've got to do something with the sky. The sky is a little bit a little bit too dark. You got my graduated filter I showed you before. Honestly, what I usually do is just kind of run through some pre sets one stop hard on stop soft, I usually use the soft one I can kind of run through a couple of them and to say, I'm going to go to the one stop and then the other thing is I've got some other ones like blue sky see, it makes it blew her, uh, son glow kind of put some sense in which is actually not kind of looks. It looks cool, it's just I know it was much more blue and that's to contract that's why it's called super cloud contracts. All right, so I'm just gonna I'm gonna stick with a just a grad filter here and then what I'll do here is you'll notice the settings that I gave to that grad filter. Automatically it's it's not just a grad filter I actually make sure that I opened up the shadows whenever I had one of those so that we don't have to tweak all those sliders every time and I might just add a little bit of blue back into it here. Okay, close that up and we'll go down to our fix at a little bit of a vineyard. I think overall, I might just tweet the exposure just a little bit brighter. Okay, so let's, take a look here backslash key before, after before, after so lot of stuff what we can do with that, um, you know, you run into a we've probably all either done it or run into somebody very purest that we look at those shadows and say, oh, there's, no way that your camera captured those shadows I know my camera captured the shadows but I can tell you, when I was there, I could see all that stuff the sun's out sons out, the sun shining on it. I could see all that stuff in there so it's to me, it's important to bring it out because I want to bring out what I saw and sometimes I want to bring on I want to make it look better than what I saw, I kind of want to enhance it a little bit all right, so, uh, that kind of wraps up our basics just kind of running through, just going through the basic stuff inside of light room. Um, any questions out there when you had the brush panel open? I saw you access your presets from that panel. Is that correct? Yes. Oh, it's, if you what you do is just think everybody can hear the question, but it's in the brush panel, you can access presets, so light room actually has a bunch of pre sets that it comes with if you look and see it's got all these presets up here and it's got, you know, iris and hands softened skin teeth whitening but doesn't have any landscape presets, so when I what I usually do, it is if I always find, like, always brushing something brighter and a little bit of warmth, what I'll do is I'll set those settings there and then if you go all the way down to the bottom, you can save it as a preset and then it will show up in the list here I put numbers in front of mine for one, they start at the top if you put a number in front of them, and then the other thing is, is that kind of like, I always know, like, used number five a lot, so rather than kind of searching for the list, I always know my favorite ones, like you'll start to remember the numbers after a while have a question about diffraction and banding in the skies when you shoot around f sixteen how do you handle that? Especially when it shows even more when you convert it to a jpeg? All right, so there's a diffraction banning so there's really two there's two different things in there, the fraction is mohr more. The quality of the lens, especially has issued a wide angle lens. And as it gets out toward the edge, is I can probably find a photo that you'll see it in. But as it gets out toward the edge is, um, you'll start to see just a little bit of degradation on or blur that really that blurry? Wow, that's a good photo. Anyway, the idea is, is you'll start to see a little bit of ah, little bit of degradation as it starts it. There we go a start to get out there that there's. Not too much you can do with it. What I would say is let me see if I can fight. You know what? What a good example would be because the only thing that I would worry about uh would be like let's take this go back to the photo that we edited earlier if you really zoom in and by the way if you're asking about the fraction you're a pixel peeper okay that that's something that's the on ly way you'll see this stuff is you zooming but you'll start to see a little bit of degradation you'll start to see cem you could see that the color fringing around there about the best that you can do is you can go to your lens correction and and there's a little a little check box here called remove chromatic aberration thing ok doesn't have thinking on there but uh removed chromatic aberration you see I'll get rid of that little fringe all right that's about the closest related thing to diffraction that anything that you could fix here in satellite room but um what I would say is is honestly it's you're the photographer is going to be the on ly person and see that when you put that print on the wall nobody's gonna look that close at and if they do they're another photographer and you're never going to please them because they're always gonna look and say I could have done that so hard so on and then the banding in the sky that's a tough one um banding and I don't know if you've ever seen any banding in the sky but it's it's like a stepped type of a grady int in the sky it rears its head every so often the worst is when it rears its head during a print inside on the computer screen you won't see it too much but the only trick is really just blur it a little bit but if there's clouds and things like that that gets that gets tricky so what I can tell you is that and to the person that that is when you print when the ink settles and hits the paper it does tend to spread out a little bit so sometimes you won't see that banding as much but a blur is really the only way I know how to get rid of that one you wanna take one more picture on the internet so chris has a question I find lowering my exposure on grad filters sometimes ends up muddy do you find yourself using a combination of contrast clarity and saturation to do the same principle but without the muddiness? Uh, yes, I agree it does end up buddy which is in the photo that we're looking at right now, which is almost exactly what happened and you could always boots the saturation if you have clouds in the sky which I did in this one, you could boost the contrast, but what I'll usually do is obscene manually going there and twenty tweak the temperature because muddy usually means yellowish. And and if you tweet that temperature toward the blue a little bit that way, get a little bit back in there.