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Urban Landscape Post-Processing Techniques

Lesson 2 of 8

Working with Local Tools

 

Urban Landscape Post-Processing Techniques

Lesson 2 of 8

Working with Local Tools

 

Lesson Info

Working with Local Tools

local tools is the things that are going to make your photo, uh, pop for real. The reason is the eyes goes to the broad spot of the photo so you can buy what we called dodging burning. You can make the viewer, you know, have a pass into your photo. First Example if you click here on this tool, which is a grated filter or press jeep and you make So what's gonna happen is I'm gonna make a filter. But before I make the future, I want to say what I want to do. What I want to do is I want a dark in a little bit to top of this kind. So for this, I'm gonna click here on minus exposure, and all the different sliders that I have here are gonna come down to zero. Except the exposure was gonna b minus. And I'm going to click and drag and whatever I'm doing here, let me overdo it so you can see whatever I'm doing here is gonna be at full strength. From the top of the photo to the first line and from the green line from the Green line to the red line is gonna be on agro radiant, based on the size o...

f my great and so very short. You can really see, you know, the great aunt or very thin moose. I'm looking at something like this, and the whole idea here is I want people to look inside of the photos, so by darkens the top in the bottom, I'm forcing the eyes to look inside. It just gives more depth to your photo. So something here. Now I have to get the value said I can just drag and drop, you know, click and drag. I'm sorry, the bottom for the same idea, but not as much. I'm gonna go much lighter like this and maybe this one. If you want to change, you can just click on this one and I'm gonna make I'm gonna make it a bit lighter here, So I'm happy with that. And now comes the next tool, which is even more amazing. The Rachel Filter mediums of Monsieur, The radio filter This is hard goes you click and drag and it makes a circle now something here if if I boo the exposure and if I make sure that the effect is on inside, meaning that it's only gonna affect inside of the circle. I have, like, a little lamp here where I can go anywhere in my photo and, you know, focus some attention. So what I usually always do like here. Remember how we have blue here and it's kind of visible magenta and red everywhere. I want to add more some news. His son is here, but the yellow of the sun is kind of gone. Maybe because of the role file, maybe you know the way I did it. So what I usually do is I'm not gonna dismiss exposure, but I'm gonna add a bit of yellow just to bring back the sun. Now, one thing that's super important. When you do that, you have to make sure that your feather is that 100%. If not, what's gonna happen is gonna be one big year old circle. Which people are gonna guess that you did something there. But if you feather it, nobody's ever gonna not this. And if you want to see the before and after of just that, first you can click the overly out because he felt Price P is gonna be the before and after Of everything we've done so far. Okay, but if you click here on this first toggle between current settings and default for the visible panel on Lee or common option P, I'm just going to see before Well, after the original circle, you see, are kind of brings back to sun a little bit crazy. Um and ah, but I don't stop here, You know, I'm an addict. I don't stuff here. I'm gonna key here and one of the rule. I remember listening Teoh years ago to a glass with Joe McNally. Very famous food refer, which probably you guys work with here. And he said something to me that really struck me. He said an object which is partially lad, is more interesting than object that is fully lead. And I realized that, you know, photography is riding with the light so nicer, more complex. Your light is more interesting. Your photos are going to be so. What I usually do is I look for what I call even tones. I mean, meaning an object which is fully led, and I want to make it partially later. So what I do is I'm gonna take this circle here. I'm going to duplicate it. And you see how this on. I'm gonna make this much Moeller see houses, Niceville. French houses are nice, but they have the same tone value. They have the same brightness or darkness everywhere. Now, if I put a bit of exposure here now, you have to be general, Don't go that crazy But a bit of exposure I can Maybe at a bit of yellow and a bit of exposure. What I'm gonna do is I'm basically gonna It's gonna go from, you know, a certain amount of brightness to a little brighter back to cinema Brightness is gonna you know it's gonna break the tones. That's my favorite expression. Break the tones So I want to break the tones I'm gonna right click Epic it. I'm going to do something here. Maybe here just to put a bit of more shine Let me show you before the circles after I'm just getting the eyes a little bit very suddenly and you know, don't overdo it If you show photo someone says, Oh, you did something there then you know you've gone too far And one thing you can do because the problem is that the eyes adjust very much is you just go on to another photo and then you go back to this one and oh, I did something. And if it's the case, then you know you went too far. But if you're like, oh, did I dodge the photo or not? You know you got it right, because you don't even know if you did not done yourself. And that happens to me all the time. I take a photo and I did this circle and do it again under it. And then I discovered that I did it. You nailed it. That means I did it properly among because even me, I don't notice it when I did it myself. Crazy. So the last tool, which is the most powerful toe that we can use to enhance our photo is the in famous brushed O K. And the way the brush works. Same ideas. Whatever you're doing here on the right eyes, only going to apply on the brush to brush, get any bigger or smaller before we brush anything. What's very important is you want to make sure your flow and density usually around 70 or 80. The reason is if it's too much, I assure you, 101 100 and put a big value. If it's too much and you know I'm going to really see that something is being done here, I'm gonna delete it. But, you know, if you lower the flow in density and you brush Graham and you put less value, it's gonna be a lot more subtle. What I'm trying to do is the brush. I usually just Well, there will be too much yellow there, but I just want to add a little bit, you know, off highlights, especially in the reflection in the water. Very light. Um, maybe a little bit in sky, you know, just a little hint off bright ness show you before the brush. And after the brush. Yeah, pretty decent. And so on this photo, I might, uh, one or crop it or not, because you reason like, the thing is, that bridge was really going up. Everything is kind of crooked in this medieval town. So where is the rising where it's not theorizing. So sometimes I like to do that in photo shop. I think the crops will is better in photo shopped for I'll do maybe a final crowd there, Um, now something. What I also do, which I didn't show you, is the good thing about Camaro is that it's fully non destructive, so I can go here that can take this one. And I said, You know what I want at a bit of more clarity there on top of the exposure. So I'm gonna go here and add a bit of clarity. And that's what I usually do when when anything is, you know, buildings, breaks, texture. You know, I wouldn't do it on forest and trees, but on bricks. I always add a bit of client it just to make them pop a little bit so you can always go back and adjustments and conceal That is too much. So I can go back here on the leaner ingredient and, you know, and so I wanted darker or wanted brighter. That's the great thing about, you know, nothing is happening to Euro fell. It's you know, wot development is only an instructions off things to do to your photo. Now I'm pretty happy with that. I just want to do one last sitting that I usually do. Which is, um, this one, the camera calibration, which is really cool camera calibration. The way it works is you got different profile. So I'm going to show you one that's extreme. It's camera, landscape, camera, landscape is just gonna interpret all we've done so far in a different way, much more vivid on this one. I think it's a little too much. I'm gonna go back to Adobe Standard. But what? What I do here is you've got some different sliders that you can play around with to give, like a final color touch to your photo. So, for example, shadows eso you gotta watch out because it's really strong. If I go here or there, I'm really gonna add a lot of my agenda in the shadows. A lot of green and shadows. So be gentle wizard sliders. I usually crazy about magenta adding Libya Magenta in shadows, Red tie. Marie. Anything which is red is gonna change to Ah, a sort of a purple red here in a more orange red here. So you can you just you know what? What the slider is? Name doesn't matter. What you can do is just play around with it and see what it does. And if you like it enough, um, saturation. So that's on Lee the Red. I'm only saturating the red, so maybe I want to set right to read a little more in this photo. The green is not much green in this photo adult thing. I'm going to do much with the green blue. Let's see. Maybe so That's gonna change a bit the sky because there's a lot of blue in sky, so Well, uh, yeah, maybe add a little book, this and maybe a bit of saturation. So that's the the last camera commission, the last panel we haven't looked at. So let me show you get to before any after. So that's our first project. So when you're finished, you can click here and basically, by default, this is gonna be you know, we are in a row format and now we're gonna go into photo shop and into photo shop. You want to? Yes. Signed by default, you got a profit or energy, which is the camera or light room profile which always livid on if you want. You couldn't go 16 bit too, if you want to print this or this is really gonna be like a you know, nice photo you want. Make sure all the grains I clean so you can do that. And if you click here to open in footage of a smart object, basically, I'm gonna by double clicking on it, Let me show you. In fact, like, OK, I'm gonna open up photo shop, but because it's a smart object, I can double click on the layer and go back here and do some changes. If I didn't mark this, check this. So I have to click here on open object. If I didn't check that, it would say open image. And it would just be what we call a rast arise image. Meaning just pixels. It's it's completely I cannot go back and undo what I've done. So go on, layer here. I'm like, Oh, I don't like the white balance. I can double click here, and I'm back here in camera row and I can just change the white balance, for example, make it a little warmer that can keep okay. And I'm back into photo shop and you know, the world of women has bean updated

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

Reviews

Kat
 

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.