Photoshop and Lightroom for Landscape Photographers

 

Photoshop and Lightroom for Landscape Photographers

 

Lesson Info

Landscape Panoramas in Photoshop and Lightroom

Let's talk a little bit about panorama so your landscape gotta shoot panorama what the very very first thing I would save you is if you're out shooting try this alright it's amazing the pan around I'm walking around was in yosemite last month and I walk around yosemite and I have a a nikon d eight ten and my poor little dave hands like sitting in the back of the whole time because I'm like walking around with this thing you know it's pretty compelling what you can do with this thing especially when it comes to panorama so main thing I could say is not all panorama zehr created equal right? We get out there and we think oh, I should shoot a pan oh and that's a lot of photos to shoot you get everything set up and then processing it takes a lot of time when sometimes you don't even know if that's what you want you don't even know if it's gonna look good so I shot panos of everything I did here I'll show you everybody was making fun of makes that was shooting so many panels uh here so I me...

an I was shooting panels of everything that is a vertical pan oh, I'll tell you why in a second I mean, this is like right out of the iphone that's pretty compelling you know and if you're wondering yeah that's going to fall apart like if I tried to print it that's pretty hell I forget I mean, this image was something like eight or nine thousand pixels wide like it's going to give us a pretty decent sized print if we want to print it and you could see look at the detail on that thing so what I would say first don't discount your phone right there's panel what's on there there's one built into the phone I would not would not discount that this was a vertical panel because when I held the phone up I could either get this like I could either get this shot let's go back I could either kind of get like that shot or I could get that shot, but I couldn't get both all right, so I'm sitting there and I'm like I'm looking at it I'm thinking so what happens if I just go like this? I go up and down it sounds all I did random random tip for you on that is if like when you if you go like if you go like this, what happens is your iphone meters just like your camera does when you go like this it's like mita ring off of everything in the foreground and as you get up top the sky starts to get blown out, so what I did is instead if you just tap the little little panel arrow it goes down so I just started the top I just go down it meters off of the sky and everything's smoothed out nice so not that you guys came here to learn how to use your iphone but I don't know it's there's uh there's something I think we're going to be using it more ast time goes on the quality is getting really really good at the one place I would say it falls apart is if I had a really good foreground and wide angle it's going to start to fall apart they're the other place I think it starts to fall apart zoom I just don't have zoom on it but when you're just trying to capture like a cool place it's it's pretty compelling but let's pretend we don't have the iphone so we want to shoot a panorama you get to a scene and you're like all right I shot it with the iphone it looks cool but I know this is this is a cool panel I want I want to be able to print so we'll go ahead and start to emerge one together here um so here's one taken in colorado a couple years ago all right uh pretty simple shooting the panorama I overlapped by about twenty thirty percent so you have to do too much more than that give the camera about twenty thirty percent overlap I should have wide. You could shoot him. Vertical there's, you know, that's kind of the preferred way that if you shoot him vertical what you start to get us more top to bottom and that's that's ideally good. I was just on a tripod. I didn't have the I didn't have my l grip on my tripod. And I didn't want to finagle with you in a vertical, so I just shot it wide but shooting of verticals. Good. And if you want to go wider, you just take more frames when we get into light room. Uh, the workflow is we we want to merge it together first. All right to me, it's easier to edit one photo, then to edit this photo and then sink the changes and try to get everything to look the same going across. So to me, I just get the merge done and then edit the photo. So we'll go, and we'll select all for the photos again. Light room has like room six slash cc has panorama stitching in it built in it. If you have light room four five or in any version before the latest version, then you'll just have to go photo editor in and you have to merge inside of photoshopped elements also does it as well, ok, but six. Last c c has panorama. Mert, I will say the big, big benefited this one. I hope it's not going to make a liar out of me. The big benefit of this one is that you can find out pretty quick if it's a panorama you care about. Because these what I used to do is if I thought I wanted a merger pano together, I should take the raw files, save him out as low quality j pegs, then going to photoshopped, merge that together because it takes, like, ten minutes to do it on the raw files, do it on the low quality j pigs. Look at it, see if I want emergent. If I did, I'd go on. But you see how fast they built a preview for us. So this point you can decide who I want to go forward with this. I will say, yes, I want to go forward with this. I am not gonna auto crop on purpose. Auto crop will get rid of that stuff and not goingto auto crop on purpose. We're going to try something so let's. Go ahead and click on merge. By the way, just keep it on the default one all right, click on merge, and it'll start it's merging process, which is really a wonderful time for somebody to ask a question about a panorama? Yes, one of the biggest problems that I have when I do pan knows is that I'm from chicago and so there's a fantastic skyline and there's a great place to shoot the skyline. The problem is that I get shadows at the edges of where the photos should stitch together see flee so I do the overlap and I still get shadows from where the piano's don't stitch smoothly, so I'm not really sure what I'm doing wrong what were what what program are you using to stitch with? Well, now I could use thes because now I have these but I didn't before I think that it has to do with the quality of the picture that I'm taking not necessarily the quality of the program that I have thing that's a tough one because I haven't I haven't seen it happen on the edges like that if you have a computer with you, we can look at it in and break one of the breaks we'll take a look at and if I if we find something on weaken we can share it with everybody but I haven't seen it happen, so I don't know what teo well let's say that one but hopefully it it's halfway done by the way these air like the eight hundred files, thirty six megapixel files and you can imagine the size ofthe what it's crunching through so how you doing over there? I'm doing great good really good people dropped off because it takes ten minute not at all we're asking questions they're like I want to squeeze my question and right now what app to use for panels on your iphone when you do you just use the this the camera the iphone okay have you played with any of the other panel I used to play with the panel laps until the iphone panel came out it was really good here, let me uh while it's I think it's done but um I just go into panel mood because we have a camera here we comprise zoom in so if you see that little arrow if you want to flip and go like down no top without whatever just tap the arrow I didn't know that somebody in the in the group had to tell me because I didn't know I could switch it so I felt kind of stupid jews just like yep all right uh so we have our we have our panorama over here. Uh, first thing I would do here is let's go develop it remember I talked about editing one photo versus editing all four of them beforehand so I'd rather just edit them now so since I think we want a little bit more exposure from it um option all click on whites option or all click on your blacks little black we're a little contrast e up front so I open up the shadows just to bring that out get me out too much ah little bit of clarity will help us here uh warmth that helps out a lot gonna grab a brush and I use one of my preset brushes I've got one um sunshine just use your left and right bracket keys by the way and you can just gonna try it's gonna paint a little bit of sunshine right over there and then let's just go to white puffy clouds in the clique new remember we can stack brushes on top of each other if I just switch to something else now it would change the effect if I click knew I have one called white puffy clouds which will happen to work for white puffy clouds just like that and then the last thing I would say we just kind of rotate this a little bit cool so remember before when I said I wasn't gonna cry auto crop out all the stuff I'm gonna show you something it's not always gonna work but it's worth a try when you have when you have these little empty areas over here we can bring this into photo shop so I'm going to go photo edit in and by that I mean you can skip this part we could be done with our panel right now but if you have some of those areas and you want to try to bring some of them back in it could be important detail area then you don't wanna have to crop it anymore and try jumping over into photo shop because what photo shop has is that crazy content aware stuff that my disclaimers sometimes we'll fix it and I stress sometimes number its senses fear so it sends his fear and knows that I'm in front of the group so chances are it's just going to say no come on there we can't let zoom in so there's our theirs are empty area right up here want to go grab my tragic want tulle and click in the empty area and that selects it and then if I shift click because if I click again it makes a new selection but if I hold down the shift key a little bit difficult to see but see how ysl plus icon next to it so if I click here it adds to the selection and then I just go to edit phil choose content aware and sometimes maybe possibly it will go in and fix it it's really like building up the suspense, isn't it it's okay, thank you so there we go look at that how do you know where it was in the sky it's done that went really good all right, so there you go um this doesn't happen a lot it actually hasn't happened to me in a while but I've seen it happen before you see the line I'm gonna undo and uh what I'm gonna do is I have my selection if you just go to select modify expand just expanded by about two pixels it grows the selection just a little bit and then I'll go to edit phil and wait another ten to fifteen seconds as it decides what to do but that'll help get rid of that line I just meant that that selection that it shows the first time was probably a little bit too close to transparent and nothing in the background there but that'll kind of expanded out a little bit it should blend in pretty nicely maybe erica and up in the sky little bit of funkiness there but I mean I think we'd only see it because we know we don't know that anybody else would see that but it's looking pretty good and if we wanted see how big we could print this thing sixteen thousand pixels wide so there is an advantage for not doing it on your iphone if you want to print it really big uh let's take a look at what this is an inches so yeah we could go sixty seven inches so that's probably almost a two hundred forty pixels print so it's pride almost as tall as I am that we could print it not teo not too bad and that's the difference between the iphone not one of the differences but but why we can't shoot everything on our iphone yet but pretty cool yeah kind of make it a little bit bigger on the screen here it's a lot of fun all right sir I think you had a you had a question a question that comment is that uh on one of the other groups that you used to work for they were recommending for pixels okay could before you give it a try doug wants to know uh does matt ever use a nodal slide to reduce parallax I do not okay um for the nodal slide is basically something to put on your tripod if you haven't seen one yet and that parallax is that you see the slant and your lose the top on the bottom so the nodal side will help you avoid that it would be I just don't have the patience to get it out I usually just have my tripod of my bald head and I'm shooting and I'm not usually around that stuff but they are when you use one I will say it's pretty cool when you use it and you use it right because when you stitched together that panorama you don't see any of that stuff it's like it stitches together and it's good but it's just a little bit extra work out there what else got way got it tons more I was wondering if that pam panorama is still a raw photo and if it still gives you the option to pull down over exposed areas yes it is still right actually converts it technically tua dia dmg photo and yes, it will have a ton of of leeway to pull back on highlights and shadows I got it um and then we've got a couple questions about sharpening like versus clarity so linda wants to know please explain when you're in light room when you focus on clarity versus sharpening I've been avoiding sharpening much in light room but loving clarity and loving is all caps by the way, I I always thought sharpen e was more important to leave uh til the end like before outputting yeah so the the lines have blurred between sharpening and tired and I don't say that to be a bad joke, but clarity looks like sharpening a lot of times you know it kind of brings out details in your photos so it actually does look like sharpening it sounds linda, I hope you're okay with this, but if you're happy with the way it looks like she said she she's loving clarity leave it if it looks sharp that's all that matters at the end of the day I don't care how you get there if clarity got you, they're great if the sharpening sliders got you there great. All that I care about is that your photo looks sharp and that you're happy with the way that your photo look. So they both really have it's, it's, it's. They've become almost interchangeable these days, so it's tough, even to kind of create a line between two as far as what she said about leaving sharpening toward the end. Remember, when I go down to the detail panel here inside a late room it's white room doesn't stack adjustments on top of each other, so I could go to sharpen first or I could go to sharpen last. The end result of the image, if I save it as a jpeg, aren't printed, the end result of the image is exactly the same. All right, so that doesn't matter of where I sharpened.

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