How to Process a High ISO Cityscape Image
the high eyes of photo. So this is a photo from Vinnie's and this is a story I was having dinner with. Some friends came out and I was going home on my way home to Kenya Bridge, one of the best bridge where you have this amazing grand cattle iconic view. And it was loaded. It was a very nice sunset, which you cannot see because of the role file. But it was an amazing sunset. And the, uh, it's it's funny because it was so crowded I couldn't put my triple down, and I was. And so I did an experiment. I said, Okay, a whole I Can I go with the eyes? Oh, so I was shooting with 16 35. And so what It is I went to a four, which was the widest I could, because it says, Oh, yeah, I should get a 20 millimeters. So I went out of four. Couldn't go hired in that because that's how much I could. And because it's funny, has a five x s stablization I knew with the two seconds timer, one takes a photo, I could go toe 1/10 of a second as the you know the slowest should speak. We're still having a sharp ph...
oto, which I couldn't do, is can a cannon. I never go on the 1 30 just a second. But Sony, because of the five excess you can, you couldn't get a bit more slow shutter and Isa 1001 and 50 which is pretty high. And I think I got the best shot of everybody else at night because off one reason three eyes gets goes to the bottom part of the photo. When you shoot the Grand Canal in Vinny's ascending Paris the time in London, Dodson in New York at night after sunset at the blue are so the sun is done, you get all the slide that reflects in the water. The problem with 45 2nd exposure to get really big. They get big blobs of white wrong in the water, and sometime that's distracting. Sometimes too much, too much dodging. You see, with this, this is a fast exposure, so the light is a little bit blurry. We see if some of the waves in the water and I just love that photo and you will see why, in a psych so regular workflow. We'll put up two shadows. Bring on the highlight. And this photo is actually in my book and as a print although is that one you know, 1250 Aiso. So I'm gonna do my white point. I'm going to do my black point. But now we're gonna have to do with noise and I'm gonna boost the exposure cause a little dark because I'd shot one tens of a second. So it's a photo that usually I would just throw away, you know, 1 1050 Not by me, please. I'm a professional photographer. I don't shoot anything at above 100 days of just getting, and now I've become addicted that so whenever I see you know, a river and there's some lights, I take two photos I put on my tripod on hundreds of four seconds and I take a photo like this, you know, high speed, because sometimes you get happy surprises like everybody else got but completely gone and blurry, cause we're doing no one exposure. And you know, I just love how the water is the light iss. So now let's look at the white balance. That's gonna be a big difference in this photo. They light too much blue cloudy, a little warmer shade. Better. I think I'm gonna add a bit of much in time, a wine, and, uh, I'm gonna add some exposure, and I'm gonna add some contrast, so it's already looking better. This was a photo. Where got the most life on my social media last year, which was an accident. I was not there for doing photos. Just so you know, sometimes it gets crazy clarity on this one. Not gonna touch. I might add a bit. We haven't done vibrance and saturation so far. The thing The reason is, every time I did this, plus 100 minus 100 black and white, I'm contrasting the photo. And by doing that, I'm adding a lot of collars. So so far, I've never done vibrance and saturation. But now I'm going to it because I just think it's gonna be better. So saturation is gonna take all your colors and make them more vivid on unequal manner. Vibration is a something with a brain. It's going to detect which call is already very vivid, which one of a little more dull and is going to try to balance it for you. So I usually go a bit strong and vibrant and very light on saturation. That's kind of my workflow, but again, nice photo. Ben. Is it sharp? You might say, Let's see. I'm gonna 100% and it's very, very rare, Very noisy, So we'll have to deal with that. Especially this part, but it's still kind of sharp. They're, you know, 1/10 of a second as I go far away because I met before he gets a little blurry that it's still came out great as a print. But we have to do something about the noise, and there's not much we can do. We can do a little bit, but I'll show you. So I'm going to jump right into noise reduction. And when you do those region the best used to take something where you have sky and you have bowling. So you've got to see the very nosy photo. That's why you're used to never used up a photo, but it printed out pretty well. So what I do on this one, remember, I'm trying to do my nose reduction and my sharpening to match 100 from this one. I'm gonna go crazy on those reduction. I'm gonna go like city for maybe even like 35. Try not to go that because it gets really blurry. But like 35 is kind of OK. And then the amount of sharpening is gonna be 65 65 plus 35 if I'm not mistaken is 100. Now you see how it brings back the noise year again. So hold on the option keen do you doing? I'm asking You want zero sharpening whatsoever in the sky Sky does not need to get sharp it. So we should have a little bit of this. But we need print. It makes a kind of a nice grain. It turned out really well as a print which I thought was not usable. But, you know, we don't always have a tripod on us, you know, Uh, it's kind off. That's what you know, life is all about so on this one, let's do some local adjustment to take it to the next level. So a little great and told on one thing I've not showed you yet, is if and I'm going over do that if you if I did go something like this. You know, if I really make this really dark, the problem is no. I'm making the buildings really dark. Also, I I only want to darken the sky, not the buildings. And two years ago, Adobe came up with this new feature which is here called brush. It's amazing when you click on it, you've got to choice a plus brush and a minus brush. The way the miners brush works is that if I click here long before I do it, you want make sure that you flow and by default it is that 50 is not 100. Because if you do that, it can create Little Hallows or run the buildings. So I'm gonna go here and now you see the resumption called auto mask. The way this works is that if I click here, you see, I make my brunch bigger and remember, it's right. Click and drag. If I click here because of the plus off my razor, it's basically any razor is on the building. Camero and photo shop is gonna do its best to total mask. Meaning is going to take. Oh, This is the sky you only wants to bright in the building and not this guy. So I usually do that with whatever is close to the sky. But once you've done that, I take it off. I make my size smaller, or you can right click and make it smaller. And then I paint here because I want to make sure, really I don't have this darkening the sky on my buildings. I only wanted dark in the sky and that the building. So you see, I'm gonna take over, lay off before after I'm only making the sky darkened. In this case, it's too much. But I want to chew this tool. So I'm gonna take back on overlay and I'm actually gonna redo it because I just wanted a little bit. I just want to show you this toe, which is recall not too strong, something like this, something similar here. And now I need to break the tones you see here. Breaking the tones is also putting and fastest on where you want people to look at. Of course, I want people to look it in the center of my photo always. So I'm gonna boost the exposure a little bit, and that's gonna make a big change. Maybe add a bit of warms and ah, minus charities, All right. And I want people to look inside of the photo, and I'm gonna put this here and just record the tones here even more. And I like this little light here so duplicate and put this year like this and voila, some issue before the circles and after seeing greedy puts mawr, you know, attention. In the center of the photo Z brush is a brush is very important if you don't use the bush is very important to make some little shine on the water. So I'm gonna key here on. Plus, everything comes on to Zurich second exposure, and I just want to make a bit of shiny on the water just a little bit, you know, not to match, but something like this. And for photo that I thought, you know, I was never going to use in an up to be the most liked photos on my social media of 2016. So, you know, life gets funny in some ways, and I sure that before any after any question on this one? No. Cool. All right, then. At this point, you know, I can keep calm down and the profile bridges going to update and and the world found unabated and it's right there and I can always Oh, I went too far can change this or that and we'll out.