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Urban Landscape Post-Processing Techniques

Lesson 1 of 8

Getting Started with Camera Raw

Serge Ramelli

Urban Landscape Post-Processing Techniques

Serge Ramelli

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Lesson Info

1. Getting Started with Camera Raw


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2 Working with Local Tools Duration:11:01
4 HDR Cityscapes in Camera Raw Duration:09:39

Lesson Info

Getting Started with Camera Raw

bridge is a great way to start. When you you know, you open up photo shop. This is where you have you row fouls. Of course, I'm working with role file so that it can do a lot of it in camera. I find today Camaro can really do, like, about 80% of the job and then 20% in photo trip itself. So I'm going to start off with a pretty simple role file. This is a foot off me and like little medieval town in in the north of France. And so that's the world. Father or profile usually is very, you know, neutral. Like not much colors going on. You feel it has potential, you know, you got censored us. It's row. It's like right of the camera. There's no contrast, no saturation, no sharpening its row. So I have a workflow. Is camera there really like where I start off by when that's my workflow? Now it works with good cameras with like, if you're sensor is a bit old, these were flown by not working. I'll show you a way around it. But what I usually do is I open up the shadows completely at plus 100 on ...

the basic Camaro settings, and I put my highlights minus 100. Now, with some older camera, when you go plus 100 channels, you may have a lot of noise. So in that case, you can just go in a plus 50 minus 50 if that doesn't work for you. But for this one, this were shot with 27 are. So it's a very good camera. It's got great low noise. And but then, you know, it looks kind off aged. You are. It doesn't look very natural. So what I do is I hold the option key on my keyboard, and then I go left on my blacks until you see about, I would say about 3% of the photo. You see that little blue and yellow and red spots. This means that it speaks a 100% pure black. And that's what you want. You want some pure black in your photo? Not the whole photo. You know, I wouldn't go. I wouldn't go something like this, You know, that would kind of be too much. It would, really, but, you know, something like this could be okay. I do something with white. So that means we have, you know, some pixel which are pure black, which is great because you want to go from pure black to pure white with information all over. Then I'm going to do the opposite. I'm gonna hold on the option key. I'm gonna move right until I see some red or yellow spot. That means that these are pure white. Now, if I go too far like this, it's not a good idea because all the pig soldier pure whites are gonna almost not get printed if you bring the photo because it's really like no information there. So you wanted to go to the limit, something like this. So now we have amore balance, contrast. If you press the peaky, you'll see that before all this flight to see they all come zero and after. So it's already looking more interesting. Now I usually dive right into the white balance when I did that. So what? You know, usually this has the three common white balance for Herbert landscape. Daylight gets warmer. You see how it gets warmer. It's interesting. This was an amazing sunset, By the way. It's funny out because I went to no money to get some sunset, didn't get any And I was driving back and I was starving. So we said, Let's stop in time. Yeah, we're close to him. Yeah, and I've never been there and no idea was a medieval town Amazing town, Amazing sunset. And in five minutes, I got better Fels that I got in a month. You know, it's like that's what photograph it's all about. You know, sometimes you strike lucky, sometimes you don't. Anyway, so daylight this kind of I like this one. Cloudy is gonna get warmer and shades gonna get warmer. The thing is, you know, it's interesting to play when you do her Benin skit. With contrast, contrast off dark investors bright but also contrasts of color warm against against cold. So if I go into daylight now, I get a lot of blues back and I still have some yellow here. And I think it's more interesting to have a sky going from blue toe warm. Just all warm for this. What? I think it works better. So I'm gonna use delight because I'm a magenta addict. I'm gonna add a bit of magenta like instead of plus 10 I'm gonna go like, maybe plus 20 or something. Just give a bit of my gentle feel That's That's my drug, Magenta. Ah, And and then I'm ready to add some contrast to the photo. Of course there is. Some sensor does there that, you know, we we need to take care off. So for the censored us, I'm gonna take the spot removal. Or you can praise be on your keyboard. Usually what's kind of cool is you want Oh, so you're right. Click to make it bigger, smaller, and you want your sense or dust removal tool to be Actually, can you zoom in here at 100% and then let's go and sees a dust which is here. Okay, so you're right. Click and you can make it bigger, Smaller? I want this. I want the inner struggle to be about the size off my dust. Okay, something. And that's a big dust. That's a big dust. Okay. And you see it's gone now. Okay. So you can go back here back to fit into view and let's see, there is ah fume or here. So that's kind of my knowing, But you know, it's part of the game. You change lands. It was not. The beach changed lance a few times, and that's what happens so important that a bit of time to do that, you can click also in visualize spots, and it's going to show you and I would click on show overly. Take that out so you don't see what you've done just to make sure you don't have a big dust left. That's cool. So I can shortly back in like I'm gonna click on the hand tool and usually so now I got, you know, im pretty happy. That's p for the before p for the after. And usually what I do is I continue on this low checklist, not clarity, which is the only slider and exposure we haven't touching clarity, weapon, touch, clarity. I don't use it on the floor because if you use it, I think it gives a too much of a sort of age. You are. Look, I want it just to be a bit more natural. I use it locally, but not globally, which you'll see in the next video. So I'm not gonna touch clarity, and I'm going to go here on tone curve. Sometimes you can, you know, a just a little more the exposure. So what I usually do is I just play around with shadows. So gonna bring on the shadows. Maybe a bit more dark, So I just You know, I do like this. And you know what? That's kind of nice. Maybe a bit more darks. Let's he delights. May be a bit mawr. Yeah, but light, you know, better contrast highlights. So I usually readjust Was a second slider a second panel? I'm sorry. Third panel is sharpening. Sharpening is very important. So I'm going to zoom in here 100% and it's a pretty sharp photo. So this was shot at 100 eyes on a try, But so I have this former that I've been using for 12 years, which is very simple. Whenever I'm at eyes. Oh, I just put my nose reduction at 10 and I put my sharpening at 90. The a. D. Is this, uh, the amount of sharpening in the amount of Fluminense? No selection should be equal to 100. Why? Just because I said so. It's completely arbitrary. It's something. Have been using for 10 years. It might not work for you. It works for me. However, when you do sharpening, you see here in the sky it's when you sharpen this guy. No. Is comes back in the sky and makes little grain, which some people find sexy idols. So what I do is I'm I'm gonna hold on the option key. I'm going to do a masking and, you know, whatever he's black is not gonna get sharpened. And now I've got a smooth photo that's pretty sharp. And I usually I would over sharpen it if I would print it. You need toe over, sharpen a bit when you print, but for that, I'm happy. Um, next thing is, we have you saturation in the minutes on this one. I'm not gonna touch much on and, uh, pretending I'm not going to touch lens correction yet. Why not remove chromatic aberration? Chromatic aggression is little red or blue fringes. You might have around. I don't know if there is any in this photo, you can go to 100% and see. You can look especially where the sun is. You know, if there is anything, so you can turn it off. You know, I find with the current lands that we have and shooting Sony, I don't get that much chromatic aberration anymore. I used to a lot 56 years ago, but now it's like, Oh, chromatic aberration Haven't seen you in yours. But anyway, I just put it in case, you know, and let me go back here, Teoh fit into view and about a profile correction. That's just gonna do some correction. It's going to take out a lot of the vignette ing which you have, you know, which is this whole darkened around the corner thing? Um, I usually use it because it's kind of nice, and that's basically what I'm going to do in this photo. That's the basic retouching.

Class Description

Capture amazing photos of cities when traveling and know how to make them pop in your post-processing. Join Serge Ramelli as he walks through the best camera settings for the best skyline and urban shots. Know the best time to take a photo walk of a city. Once in Adobe Lightroom® and Adobe Photoshop®, Serge will go over how to blend different images shot at different times to get the best possible exposure for your photograph. He'll also walk through how to make adjustments or add a sky when the weather isn't working the way you want!

Software Used: Adobe Photoshop CC 2017, Adobe Lightroom CC 2015



I loved this class. It was simple and easy solutions to processing beautiful images. I came away with so many ideas on how to improve my photo editing skills. Thank you.

Pleshette Fambrough

Excellent class. Simple to follow, great examples and real techniques to help me take my photography to the next level. Thank you!

Beatriz Stollnitz

Good class for anyone looking for tips and tricks to improve their landscapes and urban photos. This is not an advanced class, but it helps if you have some experience with Lightroom or Bridge.