Things Landscape Photographers Stress Too Much Over
We're going to kick off into our second segment here ah couple things that I'm going to do during this segment we're going toe to spend a couple of minutes on this slide because we've kind of talked a little bit about this one, but from there we're going to jump into some some more work flows, so we've seen a lot of the basic stuff you know howto editor photos you've seen the graduated filter and the brushes and all that stuff what I want to get into next is things is a landscape photographer that we're going to run into over and over again times where maybe we have to layer one photo on top of another somebody asked the question to do earlier where, you know when he opens up the shadows, it gets too noisy. Well, that means you're gonna have to take two photos in that situation, so how do we start toe layer these things together? We're gonna talk a little bit about waterfall, workflow, beaches, panoramas and I'll kind of give you a preview when we come back from lunch time I have a who...
le class on the sky so it's all about the sky it the sky is probably one of the most important parts of the photo for a landscape with so put a whole class together for with replacing even all the way to replacing the sky, which if you're opposed to it, then you have to leave because it's a secret witchcraft and wei have secret handshakes anyway. Uh, all right, so things we stress over too much these air, these are things that just, you know, I get out there, and I see probably one of the most beneficial things that I get to do during the year. Um, I teach teach several photography workshops, so I do a couple of private workshops back in tampa where people will fly in just for small three or four person crew oops on don't usually go out, try to get out to three times a year to do like a twenty, twenty five person workshop with some friends of mine, where we take a group out to a cool location. I got to say, like, every time I do one of these, it is the most enlightening experience as somebody teaching because you get to really hear the questions because these are the people getting out there, and when you see him get it, it's a great feeling, but you also get to see the sticking points. So when I see somebody struggling with composition that's a sticky point we're going to spend a lot of time on because I want them to get that when I see somebody struggling with s o that's a sticking point we're not gonna spend a lot of time on because I don't want you to worry about noise, okay? I don't want you to when it comes to landscape photography ninety seven percent of the time we're on a tripod, right? We're on a tripod and ninety percent of the time we don't care what the shutter speed is, okay, we don't care, so we're on a tripod and we don't care what the shutter speed is at that point, you're going to put your s o on whatever the lowest setting, your camera will allow you to put it on, and you won't have to worry about noise reduction it's I mean it's that simple you're on a tripod you're not worried about shutter speed, you're not having a crank up your s o to get a faster shutter speed or anything like that, so we don't have to worry about so over by far, the biggest question is always noise reduction and it's just interesting coming from a landscape photographer because most of the time we shouldn't be shooting at these higher isos and it's great to be a landscape photographer because you really get the have some of the cheapest gear out there, and I know you don't feel that way because I know that you probably got a closet full of fifty dollars bags in search of that perfect bag, right? You're always looking for that perfect bag and you think you found it and you tell all your friends I found the perfect bag until the next perfect bag comes along, but you really do when it comes to your camera, the the on ly thing you want a bigger, better batter? Faster camera four is a bigger print size because that's only that's all it's going to do for you, right? I don't need to shoot a one hundred twenty eight thousand eso indoors to freeze a basketball player or something like that because I'm not a sports photographer. If you do that as well, then you might have to get those cameras, but as a landscape photographer, you can really go with with a lower and type of a camera because you don't need a lot of those features, you know don't need fast frames per second, which is a lot of the bigger cameras offer so noise, forget about noise, I'll show you noise reduction later on say how we do handle that if you ever do what is the common question to follow that up is what are some things that we do need t raise the I s o for if I'm standing in front of the scene and there's, maybe maybe I'm using a flower or some wildflowers as a foreground it's a little bit windy uh that's a time where I might have to raise my eyes because at a lower aya so the longer the shutter speed the more time I'm giving the wind to move those flowers then I might start to crank it up a little bit sharpening sharpening is the other thing, so we talked about that a little bit before don't stress out on sharpening too much don't don't create a workflow within a workflow of scharping like, oh I have got a sharpening work you need a sharper or flip again you're a landscape photographer ninety seven percent of the time you want everything sharp from front to back okay? And if you don't want everything sharp from front to back, then maybe you want the foreground focus you could still crank up you're sharpening settings and you'll see here I'll show you later on inside of leg room how we can we can remove the sharpening from those areas but I don't stress that on sharpening really, really simple for landscape photographers we don't have we don't have skin or things teo degrade you know you're you're like half portrait half landscape photographer so you have to worry about skin a little bit but again some of the things we can show you later we'll help out with that and then the other one is highlights and the sun so the sun is white it's going to be white, no matter what you do photo. So when when you're standing there and you're taking a picture and you see the little blinking on the back of the camera, and and this actually happens, someone calls me over to their camera at a workshop and says that I got the blinky zits. Blanco, I can't get it to go away, and I look at it and it's the sun, it's, white it's not gonna have any detail to it. So don't stress out about that part. And the reason why I say that in the midst of this class is when it comes to post processing. We're not going to stress out about it, either. We're gonna let the sun be white.
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