Landscape Photo Editing Workflow Part 4 Special Effects in Photoshop

Landscape Photo Editing Workflow Part 4 Special Effects in Photoshop


hello I’m Robin Whalley welcome to Lenscraft and this fourth video in my mini-series
editing this image in the first video we went through an assessment of the image
in the things I wanted to change in that video I mentioned that the Heather was a
little bit too sharp for my liking and I wanted to soften that we’ll be dealing
with that in this video which concentrates on special effects and I’ll
show you how I’m going to use the Orton effect to soften the Heather in the
second video we actually looked at processing our image in capture one
which is how we ended up with the image that you can see on screen now in
Photoshop and in the third video we then looked at how to edit that image using
the Nik collection to emphasize some of the elements in the scene and this was
the image we produced now if you miss the first few videos of this series
don’t worry I’ve put the links in the video information below I’m going to
start now by creating a frequency separation and use that to create a
norton effect now if you haven’t seen this done before you can find
information in a video that i’ve published previously and again I’ll put
the link in the video information below now to do this rather than we create it
manually I’m going to be using an extension panel for Photoshop called
whoa frequency equalizer Pro and again I’ve reviewed that and you’ll find a
link to the video in the information below now in frequency equalizer Pro
there’s this option here to create a quick frequency separation and I’m going
to do that and it will decompose my image into two layers and I’m going to
set a pixel radius and this effectively controls the level of blur in the image
and I want something around 30 pixels given the size of this image as a rough
guide work on the number of megapixels in your image as this is a 24 megapixel
camera somewhere between 20 and 30 produces the right level of blur let’s close that down now and I’ll show
you what the frequency equalizer has done so we’ve got our image now
separated onto two layers we’ve got this low-frequency layer and a high-frequency
layer no the low-frequency layers got all the color information from the image
and as you can see it’s blurred and that’s what we’ll use to create our
artifact the high-frequency layer has all the detail and if I turn off the
low-frequency you can see what that does but together the two layers actually
just create the normal image there you can see I’ve turned off the separation
that’s being created if I turn it back on there’s no difference this is how I
create my Orton effect so I’ll go to the high frequency layer and I’ll reduce the
opacity down to something around 80% and as soon as I do that we get this lovely
blurring effect on the header and it may be too strong but you can see it’s
soften the header up very nicely unfortunately softened up all the
hillsides as well and the sky and I don’t really want that I’ll show you how
we tackle that in a minute on the low-frequency layer what I’m next
going to do is duplicate it so I’ll use command + J on my keyboard to create a
duplicate and I’ll rename that soft glow and I’m going to reduce the opacity of
that layer down to something around 20% to start with and now I change the
blending mode of that layer to be soft light and that creates this lovely
glowing effect that enhances the saturation at the same time so if I turn
that off you can see the original turn it on and you can see this lovely
glowing Orton effect now that we’ve got now the thing for me is the Orton effect
shouldn’t really be plied globally to every element of the image it starts to
get a little bit samey after that I really wanted it to deal with the
heather in the foreground and possibly soften up some of the clouds in the sky
what I need to do know that is add a layer mask so that I can hide the effect
so I’ll add my new layer mask I’ll invert it and that hides the artifact
from my image next I’m going to use a luminosity mask to select the Heather in
my image now I could use a saturation mask and that would work as well but I
think the luminosity mask will work best and I’m going to use this panel that
I’ve previously reviewed called interactive luminosity masks and it’s a
free panel that you can get again I’ll put the link to that video in the
information below and I’m going to create a luminosity mask and in there
I’ll create a zone mask though the areas you can see in white and the areas that
are being selected by my luminosity mask and I can move this left and right to
either select brighter tones or darker tones so I want to select something
that’s picking up on the Heather and it’s probably slightly darker tones at
this stage and I can use these feather sliders to restrict or enlarge the range
that’s being selected now I don’t really want the effect to be seen in the
shadows I really want it to be seen more in the higher lives so I’m happy with
that and what I’m going to do now is create a selection from it I’ll hide
that panel and now I’ll hide the selected edges so that I don’t see them
anymore now over here I’m on my mask that’s attached to the entire group and
what I can do now is select a white paint brush so I’m using white with the
paintbrush and I’ve got the opacity set at about 50% I’ve got a soft edge to the
paint brush and the size is set suitable for this image I can adjust the size
using the bracket keys on my keyboard so the left bracket will reduce it the
right bracket increases it and now I’m going to just paint over the areas where
I want to see the artifact so the Heather here
is one of the areas where I want to see it and again the heather over here now
are painting the areas of the heather to start with just to create that softening
effect on the heather because that’s my priority and the thing you’ve got to
watch out for when you’re using this technique is that because I’m using a
soft blending mode here on the soft glow layer it will actually darken and
intensify the color so you may get a color shift involved here don’t worry if
you find that the whole thing makes it look too saturated we’ll deal with that
in a moment so let’s Oh turn it back on and you can see that
I’ve restricted my adjustment now just to the Heather if you look at the
maskers I’ve created you can see that it used the luminosity information that I
picked up in the luminosity panel now just soften the edges of the path as
well slightly I’m reasonably happy with that maybe we want to include a very
slight soft glow in the distance that looks reasonably good and now maybe just
on these clouds here to soften them up possibly
those clouds as well so let’s look that was the original and that’s my softened
image using my artifact so I just renamed that layer now if I think that
the image is looking a little bit too saturated now what I can do is add a hue
and saturation layer and just make sure that that’s outside of my Orton effect
on the layer stack now because I already had a hidden selection that I was
painting through it’s actually created that adjustment as a mask so I’m just
going to remove that mask and just add a new one in the human adjustment layer
we’ve got the master saturation and that will allow me to control the saturation
on the master layer which I probably don’t want to do too much and it would
also allow me to then pick a layer now in here we’ve got the magentas that are
in the heather and I can pick those and it’s actually saying that we’ve got them
as red now if I wanted to I could shift those and turn them into a different
color so maybe I do want to shift them very slightly
and I could also increase or reduce the saturation level depending on what I
felt was appropriate and I could actually change the lightness or
brightness of those now if I look back at my original image with that turned
off I’m actually happy with that so I’m not going to make any further
adjustments to this I’ll remove the hue and saturation lab and I’ll just accept
that I’m happy with that image now if you feel it’s a bit too light or too
dark I would suggest adding the curves layer
to it so that you can lighten it up or down it down I’m quite happy with that
now I think that looks like a good finished image I’ll just again make sure
that I’ve got that curves adjustment on the very top of the image and that’s me
complete now this has been the first mini-series that i’ve tried where i’ve
tried to demonstrate the end to end editing of an image right through from
assessment through raw conversion through enhancement using in this
instance the Nik collection and then onto special effects
now the first video a lot of people were very keen on this mini series now we’ve
finished it I’m hoping that you’ve enjoyed the series and thought it was
worthwhile if you did please leave me a comment below because I’m wondering
whether or not to do a number of other of these mini series where I demonstrate
different tools because I don’t always use the tools that I’ve demonstrated and
used in this series if you want to see something else another mini series with
another image and other tools please let me know in the comments below and I’ll
see what I can do in the future I’m Robin Whalley
you’ve been watching Lenscraft I’ll see you soon for another video

3 thoughts on “Landscape Photo Editing Workflow Part 4 Special Effects in Photoshop”

  1. Thank you for this . The vast majority of the image I like …but I’m still ‘troubled’ by the water …it looks very bleached and flat to my eye …I would have expected a bit of sky tint reflection in it at least .

  2. Thank you for this series; I found it informative. Looking forward to future series, in which you demonstrate additional tools.

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