Mountain Landscapes in Lightroom and Photoshop
Focus stacking thie idea behind it is trying to get the sharpest photo possible. All right, when we shoot at f sixteen f twenty two s. O let's, let's, start down landscape photographer if I go out, if I go out and shoot this scene all right, and I shoot it, a deaf aid what's gonna happen is that I'm I'm going to be a little bit soft on whatever I didn't focus on, okay? And you can't say focused on infinity or dear what's, the other hyper focal distance not that at f a that's not gonna work if I focus up here that's going to be soft if I focus in here that's going to be a little soft and that's going to be a little soft in f ate okay, just because it's shooting an faa. So at faa, you're gonna lose something on both sides of this at sixteen of twenty two. Now that opens it up a little bit, actually closes down, but opens up possibilities of what we can do because now now we'll get mohr and focus in the photo. So if I focus up here or I focus back here, everything in the photo will probab...
ly be acceptably sharp, I mean, you're really not going to see it, okay? But if you're looking for that extra bit of sharpness, alright, like ultra ultra sharp photo meaning and a lot of times think of it this way. You're standing there in front of a scene and you've got awesome light there's a beautiful scene unfolding and, you know, like, I'm gonna want to print this big all right? This is like, I I am I am a lot of landscape photography is about luck your stand very like, wow, I got lucky tonight I'm going to print this big. This is a time to consider something like this because you want ultra ultra sharpness at f sixteen of twenty two everything's going to be acceptably sharp for most people from most print sizes, but it will start to get a little bit soft. All right, whatever you focused on will be sharp. Whatever else is going to be a tiny, tiny bit off, what you can do is go back down here to let's, say, f ate. And what I did is I took this photo and I focused up here. All right then I took another photo, and I focus back here. If you notice this is a little soft affront to go back to the other one, see that's a little soft back here. So I got both of them in so we can use focus. This is focus that we can use this as our benefit in the landscape photographer to get the best of both worlds, the other advantage of this, which is actually the reason I ended up doing this is it was windy as you khun believe up here, okay, so all these all these little flower and everything were moving and the shutter speeds that was getting the shutter was staying open too long and everything was shaking on me. So the reason what really brought me to do this was I had to get I wanted a faster shutter speed. I didn't want to crank up the I s o because I don't want to introduce too much noise to the photo, so I just shot in the face, so I got these two photos we're going to need we can't do this inside a light room, so what we're gonna do is shift, click and select both of them uh, go photo editor in and we're gonna open them as layers inside. A photo shop and photo shop has a tool inside of it that is meant for focus stacking it's actually meant more for a macro, so if if you do macro work where if you've got a macro lens, even if you shoot it f twenty two I feared that far away from your subject. Whatever is an inch behind your subject is still going to be out of focus with a macro lens. So it's got this, this focused acting where what macro photographers do is they focus in different parts of the photo, and they're macro shot and then stack it and move it all together, and then they get all that stuff and sharp so we can use the same thing as a landscape photographer to help out. So what I've got here is let's label these the top layer if you notice the mountain here is a little bit soft, okay, foreground is good, so let's just label this foreground I turned that off, you'll notice that's dead on and this is a little bit soft. So let's label this background so we know which one is which here's, what I would suggest there's an automatic way there's a manual way. Try the automatic way first takes a couple of seconds, it's worth trying. I can tell you this I have ah, I've used this image before something's changed in photo shop because it usedto work great, and when I tried it earlier and rehearsed this, it didn't work rates and I tried everything I could do and it didn't work the way I used teo, so I don't know what's changed, but I want to show you at least because I think it's worth trying anyway because if it works it's it's it's wonderful on it but what we do here is we goto auto blend layers and we don't want panorama we want thie stack images version all right and it even shows you it shows you the version like an example and is using a macro image as an example, so I tried it with seamless tones and colors on tried it with seamless tones and color's off it should work better with it on but it doesn't work well he away but let's click okay way could see what happens at least knowing what happens behind the scenes is crazy like when you see what it's doing and it worked fine all right, so that's zoom in first off look at the layers palette so it created all those masks by itself pretty crazy um it was all kinds of patchy and weird when I did it before, but it looks pretty good all right? We're done so pack up, I'll go home apparently I have no idea what I'm talking about it didn't do well before, but if anything give it a try so it worked pretty well on this one if it ever doesn't okay it's gotten our mountain and our foreground really good if it ever doesn't then let's revert back to we have to layer stacked on top of each other you can kind of probably guess we're going to go with this it's it's very similar to the oneonta gorge photo where we stacked two women is on top of each other what do I do? I go to the top image at a later mask right? The layer mask is white so what color do I paint on it with black so take my brush tool set my foreground color too black and then what layer is this? I mean visually we can kind of eyeball it that's the foreground layer this top layer is the foreground there meaning that's what's sharp in the photo so what I'm gonna do is paint on what I want to hide what? I want to go away you'll probably want to do one hundred percent capacity having a half blurry, half sharp mountain is good. There we go. So now all I really care about the detail on the peak there. So now what we did is we just painted in the sharp parts of the photo so we have the good foreground on the layer below are in the layer below we have the good mountain back here layer above we have the good foreground and all this is doing is just showing in hiding remember, you know way have kind of all different levels here later masking could be brand new to somebody and you could've been layer masking for ten years now keep it simple try white if it doesn't work try black okay so if you don't understand what the layer masculine just remember takes white and black try one if it doesn't work try the other one will show in hyde both of those areas but now we have that ultra ultra sharp photo I could print this at a huge size and it's going to be tax sharp ok, take it again it's another thirty six megapixel file it's a sharpest khun b so that za neat way anything to do something good to try especially if you find yourself in front of one of those scenes where you're like this is it I don't know that I want to do this level of work on every photo I don't know that I'd go focus stack everything I shot but if you're in front of one of those scenes like this is it it might be worth doing cool okay, true awesome anything else I should cover let's do one question would you like to cover something? What wink right what did I miss? Yeah no I supposed todo I think we're good you want take it question though before we get a break sure when talking about sharpening for landscapes often feel like my foliage looks like it's been painted rather than photographed is that something you've dealt with and what would be your suggestions on how to deal with that so when sharpening their foliage looks like it's painted sharpening should help that noise reduction it say that one's kind of throw me they said when they do noise reduction it looks like his paint because noise reduction tends to blur things right but sharpening should actually make it look sharper less of a painting yeah um you less sharpening what's that use less sharp used less sharpening and maybe don't start if those areas air over already sharpening don't shark maybe that's a good option yeah I remember something I was supposed to do okay because somebody asked it over the last break ok about thea because I tell you talked about the presets and I never showed the presets the ones that they get if they buy totally lets you want michel right now all right hold on I'll show you the priest that's really were like oh yeah great well I'm not gonna buy this while mask in that set up I want to let you know what he's actually talking about the presets if you buy this course you get twenty two of his landscape presets which is pretty cool it's a really good value it's normally a thirty dollars value if you bought it off of his website and they're like one click preset so you just drop your landscape image in and you just click it and it's like a baseline starting point for youto edit from saves you a ton of time and they're the ones that matter actually uses which is pretty cool so he's going to show some of those off to you right now all right so here they are so there's yeah there's twenty two of them the idea is is when I'm lost on a photo and I just I kind of just want a starting point of this click through so let's go ahead and hide that make louise but I mean there's basics so there's like I the way I created it is I figure I have a light basic style and then I have ah heavy basic style so I kind of just click and it really depends on the photo which one needs a little bit more the sunshine look sunshine strong this fall colors won't do much for this one but on a fall photo would hdr look and then there's the hd are strong ah brilliance and warmth is nice kind of makes everything warm sun glow is another cooling here let's get pride get bored of looking at that photo little bit glowy uh this one I called midday shooter so if you're out there in midday it's a good overall like it's assuming that you're going to have a lot of shadowy stuff because your camera's going to throttle back on the exposure so called at midday shooter bold colors to make things really bold forests and trees I got switched to a different image for you because it's not gonna work on all of them here out there's force and trees. Uh, let's see, your forests and trees is a little bit of blue. The garden, which is more of a garden e type of look, this one is a good one into the sun, so if you're shooting into the sun, it cranks up your fill light because if you're shooting into the sun everything's going to be dark in front of you, so I don't probably actually work okay for this because we have some, uh, areas over here twilight, which would work good on a twilight photo silhouetted landscape, the mat faded. Look, so if you're looking for that type of style the golden hour, which is gonna warm things up the vintage look into g black and white basic here we know what you gotta do, black and white on your seventy right black and white basic, black and white bold. So just one click little things kind of give you a starting place, and then you can always go in tweet the sliders