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

Portraiture Shooting Tip: How To Crop Your Photos The Right Way | Photography Hacker

Portraiture Shooting Tip: How To Crop Your Photos The Right Way | Photography Hacker


Hi, I’m Maggie Hudson. Welcome to PhotographyHacker.com Today I’m going to share with you a really quick tip that will vastly improve your portraiture. Try not to ever crop your
frame at any pivots and hinges on the human body.
What I meant by that is: neckline, waistline, shoulders, elbows, wrists, knees, and especially feet. It can create an unsettling jarring effect to the viewer. A quick way to fix it is to simply step back a little
further, capture a little more the human body, or if you can’t actually fix that while you’re out
shooting, if there’s no way to step back, you can zoom
in a little further. This will reduce that jarring effect and
refocus the attention back on the subject you’re capturing. Enjoy this tip. Have fun with it. Thanks
for stopping by! For the latest news, videos, and some exclusive content, make sure you
sign up for our newsletter at PhotographyHacker.com

Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial

Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial


(upbeat music) – A model test is an
opportunity for a photographer and a model to build
their portfolios together. If you start in model testing, it’s gonna open doors in the
fashion photography field. The end result that needs to
happen in a great model test is that that model looks
their absolute best. When photographers fail at this, it’s not because they’re
bad photographers. It’s because they just don’t know what agencies and agency
represented models really need. In this tutorial, you’re gonna learn who to shoot and how to shoot them. I think we might do a hair and
makeup change at this point. Exactly. That arm can even like, yes. One foot bent that way, and
turn this foot this way. You’re gonna learn about
working with modeling agencies to shoot quality models. I love that ’cause that
lengthens your lengths, which your agents will love,
so bring that back out. Kick that foot. Good. You’re gonna see me shoot two
different types of models. We’re gonna take one model
that’s considered editorial. Go for it. Yes. And another model that’s
considered commercial. So let’s do that hand. Wrap it around your neck and then we’re gonna lean
in and gimme a little laugh. Perfect. Love that. We’re gonna use simple lighting, some natural light, some strobe. And then you’re gonna
open up your body to me as you come in here. Let’s try it. Perfect. Yes, perfect, good. And simple camera techniques. I love when I come lower with the model and they look like above me. It just exaggerates that. To get the quality that you want in as fast as possible time. Good. I think we’ve got that. With this tutorial, you’re gonna get my
Comprehensive Posing Guide. This is a great resource
to see what types of poses agencies are going to wanna see from a successful model test. Oh gosh, I love that! I’m gonna give you an
email template to send to modeling agencies. It’s gonna have the right
tone and the right language that’s gonna increase your success rate. My favorite thing that you’re gonna get from this tutorial is my
top secret packing list. It’s gonna make your
process so much easier, and it’s gonna give agencies
exactly what they want. Whether your goals are
to build a new portfolio, monetize model testing
or take that next step in your fashion photography career, these resources are foundational so that those things are easy,
seamless and quick for you.

Creating Website Buttons From Images. Easy and Fast Photo Converter

Creating Website Buttons From Images. Easy and Fast Photo Converter


Hi Everybody, Today, I will show you how to make website
buttons out of your photos Open Contenta Converter PREMIUM and use the
button “Add Photos” to add a whole folder full of photos. Click “Next” In the Convert tab, select the output format
“PNG” and tick the option “Do reduce or enlarge size of images. Pick the profile “Advanced”. For this tutorial, we’ll try the button size
200 x 50 pixels . Enter 200 for the width and 50 for the height. Change the Picture position setting to “Crop
and preserve area in:” and select “Center” as area to preserve when cropping. Now go to the “FX” tab and click the Effect
“Frames” under “List of all effects”. In the parameters, pick “round05”. This will give
the button a 3D look. As an option, you can also add text to the
buttons. To do this, go to the Watermark tab and put
a check on “Add a watermark” Enter a short text that you want to appear
on the buttons. For this example, we’ll put “Click me”. Change the font type, size and color by clicking
these buttons ( […] ). Make the text label large enough to fill the
button area. For this example, we’ll select “36” for the font size and white as text color. Align the text label to the middle by choosing
Center for Horizontal alignment and “Center” for the Vertical. Now, you’re all set. Click Start to begin
turning your photos into website buttons. Thanks for watching.

Landscape Photo Editing Workflow – Part 2 RAW Processing

Landscape Photo Editing Workflow – Part 2 RAW Processing


hello I’m Robin Whalley welcome to this
second video in my new mini series the series is looking at how I edit this
image to come up with a finished version if you miss the first video I’ll put the
link in the detailed information below in this second video I’m looking at how
I convert the raw file and I’m using Capture One Fuji Edition now there is a
free Capture One version for Fuji which is very good now don’t worry if you’re
not using Capture One the process is very similar in most other raw
converters it’s more important to understand the concepts of what I’m
doing if you’re not familiar with the interface it’s arranged here in a series
of tabs along the top left and each of these has a set of tools in it at the
moment I’m just looking at the exposure evaluation I’m going to start though
with the lens correction module which is the next tab in there I can do several
things but the key thing I want to do is this diffraction correction what it
actually does is it allows for any diffraction in the lens because I’ve
been shooting at a fairly small aperture and it will correct that and sharpen up
the image if i zoom in to 200% you might be able to see what I mean here you can
see the bridge in the distance if I turn off the diffraction correction it
softens turn it back on and it sharpens it up the other thing that I’ve got is
the chromatic aberration on because where you can see these branches against
the edge of the lake here there’s a little bit of chromatic aberration if I
turn it off you can see the colored fringe one thing you can do in this is
analyze the image so that you get a specific chromatic aberration correction
and that’s a little bit better than the default I’ll zoom back out now and I no need to
look at the next panel which is the color adjustment panel now in here you
can see that I’m working on the background image and this represents the
entire image you can see on screen I have the option to add layers and adjust
those layers individually and I’ll do that in just a moment
first though I want to create an overall well-balanced image the first thing I’m
going to do is correct my or change my curve you’ve got a various different
curves in here which you can apply if you’re using Lightroom that’s very
similar to the camera profile adjustments you can apply now I’m
actually going to use the film standard adjustment here it makes a nice job of
the image and it tends to open up the shadows in the Heather which I was
worried about previously so that’s an improvement on the contrast level next I
want to adjust the white balance now the image is rather blue at the moment so I
just want to warm it up very slightly and I may actually increase the pink
tint just very slightly as well now I don’t want to go overboard at this stage
I certainly don’t want these distant hills looking orange and that looks
about right to start with the other thing I can do is adjust the shadows
independently so you’ve got this color balance option here and I can go to the
shadows and I can actually say well I want them to appear blue and I can
increase the saturation of the blue in the shadows no that’s actually picking
up some of the Heather as well so why don’t I go to a magenta bluey color
and that looks about right I could also do the same with mid-tones if I want to
and you can see that applies an adjustment to mainly the Heather but
also the sky to some effect and you can adjust that and how you want it to look
so I’m just going to move it more to the Reds and I’m also good to just dumb it
down very slightly I’m then going to move on to the highlights and those I
want to be more yellow and I can can those down a little bit as well now
having made those adjustments I’m not happy with the tent I think it looked
better when it was the original tent which is just a little bit less than
that let’s move on to try to address some of the other colors in here now one
of the things I can do is use this color editor and in here I’ve got a picker
tool and I can actually pick the Heather to adjust it and here you can see the
original color in here you can see the adjusted color so I can now increase my
saturation of that color and I can also darken down the Heather very slightly
because that has the effect of intensifying the color and making it
stronger I can also push the hue for that Heather over to more of the orangey
red end or I could pull it back and make it more blue I’m gonna put it more to
the orangey red so you can see here we’ve got a blue a magenta color and
this is a warm and magenta color now the other area I want to sample is this
grass and I want the grass I’m just going to widen that slightly and I want
the grass to have less saturation and I want it to look a little bit darker and
I’d like to just warm it with very slightly as well so I’m happy with that
finally I’m just going to pick on the yellow in the sky which happens
also be the same as the grass in that so I’m just gonna have to reduce the hue
just very slightly just to balance out between the two I’ll adjust the sky
independently in a moment because trying to adjust the grass and the sky at the
same time causes the image to fight with itself so what I need is a separate
layer that I’ll be able to adjust that on independently and I’ll show you that
in just a moment let’s then have a look at the exposure panel and this is where
we’re going to correct some of our problems now at the moment the
highlights are just a bit too bright so I can use this dynamic range slider here
to pull down that brightness and recover it so I’m happy with that that is
created a good dynamic range in the sky and I can do the same with the shadows
now that will open up the shadows in the image which you can see over here I’ve
got the levels adjustment and I can actually make the levels here the black
level just a little bit darker so that the blacks in the image become more of a
true black or I can soften it very slightly which I’ll do open the shadows
just a little bit more and now I can go and balance out my exposure settings now
contrast if I push it up it just makes the image look a bit ugly what I want to
do is reduce the contrast now as I’ve done that you can see up here in the
histogram it’s opened out the shadows even further so again we haven’t gotten
much of a black point in the image one of the things I can do though is use the
exposure slider and if I move the slider over to the left it darkens the image
down quite nicely the brightness slider though can be used just to lift some of
those shadows a little bit further and all the time that I’m doing this you can
see the shape of the histogram is gathering into the center and flattening
out so I’m lowering my contrast and we’re at the point where we can tackle
the adjustments independently now and we’ll tackle the sky and the other area
is this heather in the foreground I’m quite
happy with the hills in the distance and the middle area to create a new
adjustment layer I can add a layer here and you can see that’s being created
we’ll call this sky and now I’m going to actually create the
area that I want to adjust and I’m going to use this linear gradient mask and
you’ll find that you’ve got something similar if you’re using Lightroom and a
lot of other rock converters have this feature in there as well so then I start
by just drawing out the mask and the selection that I want to make I’m
reasonably happy with that what I can do now is use it to increase the contrast
in that area or I could reduce the exposure but what I’m going to do is use
this recovery just to recover the highlights a little bit more I’m also
going to open up the shadows slightly because this area up here as we said in
the first video it’s just a little bit too dark now I quite like that but I
also want it to be a little bit more saturated and especially the saturation
in the Pink’s so I’m back now in the color adjustments and what I can do is
pick the pink in the sky and I’ll saturate that more now it’s a little bit
narrow at the moment so I’ll just widen out the range of colors that we’re
affecting and I want to blend that more evenly into the sky now I can adjust a
hue to make it appear a little bit more orange and I can also make it darker or
lighter now I’m just going to reduce the saturation down a little bit because
I’ve made it too strong but overall I quite like that effect if I wanted to I
could adjust further the Kelvin scale here to make it warmer or cooler I’m
just going to make it that little bit warmer and we could adjust a tint to
make it a little bit Pinker as well now overall that’s really really strong so
I’ll go back to the exposure layer and I’ll adjust the saturation back down and
I might actually just increase the exposure level as well
so all the time I’ve been working on the sky layer and I’ve had access to all the
same controls that I had previously I’m now going to add another sky layer and
this time I’m going to be drawing it just here so you can see the selection and I’m going to use this now to lighten
the exposure so just call it sky two and now I’m going to open up the shadows in
sky two and I’ll probably brighten it as well I’m not too happy with the
adjustment yet so I’m just gonna move it down a little bit further just so it
covers more of the sky and there we are I’m quite happy with that now the third
layer know that I want to create is one where I select the Heather in the
foreground so we can see that being selected what are the problems I’ve got
when I select this prop play is that it spills over into the water here now what
I can do about that is use this luma range filter and I’ll just display the
mask and now I can use this so that the adjustment doesn’t affect the bright
areas which you can see that know that I’ve
got my selection in place I can adjust the brightness or the exposure and I can
reduce the contrast as well finally the saturation in that area so that’s
starting to look a little bit better again
I’ve got my curves that I can use and that’s intensified the color in the
Heather quite nicely and all I’ve done is adjusted the exposure values really
and just adding in a small amount of saturation again what I could do is go
back and target the specific color that I want to use so go to the basic editor
this time and we’ll add in sorry the I’ll use the advanced editor just so I
can up this improperly and I’m going to just boost the saturation in the Heather
and we can push the hue slider over to the right just to warm up the heather as
well though to be honest I don’t actually
like that so I’m just going to reset it and this time I’m actually just gonna
warm it up very slightly in that area now what I’m trying to get to is a
reasonable starting position I’m not trying to complete the adjustments in
the editor and this looks like a reasonable starting point for further
adjustments that I’m going to make in Photoshop using the Nik collection and
then after that Photoshop itself one of the thing I want to do though before I
move on is just check the sharpness now if you zoom in to 200% I’m just going to
move around so we can see them the distant Hills need a little bit more
sharp link now I need to select the background layer because I want to apply
all my sharp link to the background layer I’m just going to increase the
amount I’m just going to reduce the threshold very slightly and we can
100% that’s done a very very good job of pulling out loads of detail in the image
now I know I complained in the first video about how sharp this lens is but
that’s not a problem because when I later soften this down you’ll understand
what’s happened so back to looking at the overall image
there’s the adjusted image that was the starting image and if you compare the
two you can see it’s made a substantial improvement to the overall image in the
next video I’ll look at how we can adjust this
further using some of the Photoshop tools and the Nik collection I’m Robin
Whalley you’ve been watching Lenscraft I’ll see
you in the next video

Photography Tips: Photomerge a panorama in Photoshop (Pt.2)

Photography Tips: Photomerge a panorama in Photoshop (Pt.2)


stitchy stitchy time. Now a couple of weeks ago I put up a film showing you the techniques needed to
shoot a panoramic image using a long focal length lens and
explained the reasons why the techniques in the steps you need to
take to do the camera end and if you get the camera end right then this end, the editing, the creating of the pan stitch in photoshop becomes really really simple so if you haven’t
seen that film theres a link to it on screen right now give it a click, go and have a look the pop back here. So let’s have a look at our images, first thing I need to do is get my screen recorder running so that I can show you what I’m looking
at and go into Photoshop and lets just pull up the first image, and as you can see it’s a slice of bread it’s a long narrow kind of a shot we bring out the next one see how they kinda marry up, this little gap here between the rocks is this little gap here and so they can be overlaid pretty much like, I don’t want that to join at the top. pretty much something like there we go
you see how they sort of match up bringing the next image this is why it’s so important to be careful shooting these images to make sure that
they can be overlaid and sort of join together, let’s just see where that goes its something like that again that’s pretty good there and so on as they sort of come in you can see, even in photoshop im just kinda lining them them up very roughly and that’s not very good, let’s see if I can get it in the right place that’s about right there now notice there’s some little steps going on there and that’s because I didn’t have the camera quite
level as I said in the last film you can see how these sort of line up together and we’re gonna stick some together
using a command in the automate commands in a moment the care taken with doing a manual exposure has really paid
off because as you can see if you look at these images exposures are completely consistent, I shot raw files just in case they needed a little tweak and that could be done im not going into that stage here, this is about doing the stitch, it’s not about lightroom and converting raws, but I shot raw files in case they needed changing but they didn’t so all I did was chuck them into lightroom and exported them as they are and that’s
what you’re looking at on screen here we’re not gonna do post production work on these before they’re stitched let’s just get them joined together so
lets just pull in the other images onto screen and i’ll just roughly sort of show you what they are, here we go, one more there and you see how I got my little sort of band of rocks on the right hand side and on the left hand side in the neck so that they will sort of join up something like that and here’s our final image. All you have to do to join these together is you go into photoshops file automate commands and then pop down here to Photo Merge really really simple, that’s going to open up this window and on the left hand side you’ve got
various the opportunities to do different things
their perspective controls and then of course Perico I’m not going to
each of those here because you can experiment with those
for yourself that they were kinda flattened perspective they will kind of give it a wide angle lens look they’ll do all sorts of stuff like that for you
im just gonna leave it onto auto, now we can either we can really browse and go look for our files we can just pop in here and import them clicked and open false ego you see and they will
just pop straight into their we gonna do no needles and threads hey
guys you just click okay and away we go you can see
Photoshop is now doing its thing is now looking at the images is analyzing all the different little
bits and pieces the jaggery exit edges the rocks et cetera and seeing what
matches and seeing what doesn’t is in creating
each of the segments onto a separate layer so that they could
be repositioned bringing if you wish to the I find Photoshop
tends to do it really really well if you’ve been following any my bids for
a long night something new Photoshop hah print his a pretty rare thing isn’t it
but I have an you know and and the new software
undoubtedly does things better for your health I saw it does matter is still the
same come out its still in the same place there we go he
say have we done it now Photoshop has created this panoramic
image here you can see the ages all the different
shots going across the frame we’ve got a couple to gap same well I
didn’t have the camera quite straight as I said and I’m here in our Layers palette you
can see all the different liars the sequence which one of you can
see see how it’s found edges of things and and kinda join
things together and it’s interesting the sinews in all
tiny slice at that particular image there but it’s not all some job so all that’s
left for you to do is to crop it under the crop tool we’ve
done all that stuff for the top the empty space I on this gonna let down and remove it as another little
gap to the left it’s not polite in there the real the empty space at the bottom
had my camera being completely level that would not %uh happen certainly not
an extent then we can get the United bring in a
bit more cuz I quite like this rocks and here in the bottom corner
sorta popping up there yeah I think that crops goodson’s click
enter there we go week rocked our image that’s
what it looks like the next that would be too do any post
production work that you want now that I am we’ve got our image just get rid of
these original so that we can get ourselves into a mess with whose weekend Amanda crook 2010 regains put
down there for a minute get rid of these gonna I’m still learning my way around for the
shop CC because it is slightly different as a
few things in slightly different places you know is much the same thing from
post-production work you wanna do in Photoshop to conduct change colors now’s the time to do that
we join the ends together the nice in seeing this they look good takin care
without exposing manually has really paid off and
everything lines up beautifully beginner do any work in
post-production me the same this is a copy and so you can come back and work on if
you wish I’m just gonna merge the liars so that it becomes on 21
liar and then I can just type look at it so
let’s just pop into all levels palette see what that looks like his grams is
equivalent but dark and I agree could be a little bit more punchy pull
that down a bit brighter maybe now on looting detail in
here around the white Simon take that off
look to see the difference hope in the video is picking up there we
go so that’s before and that’s after that’s nice I’d like to pop a bit more color into it
and control your command you on a Mac just bring up the saturation
pilot just push the Calida a little bit scattered about ask a bit
mad so you can see the difference is taken out here to about 2019 for do the preview hope we can see
the colors change that’s without and that’s way that’s quite nice and so on if you wanna darken the sky do
a little bit fiddly diddly that’s absolutely cool there’s our image if I just can’t see if I can find the ten millimeter image to show you start
the lost a.m. wrong one foolish just surrounding this the wrong way as a set I’m still learning my way
around new Photoshop it does a few things slightly differently just gonna open are on 10-meter image popular in so we can compare the two zoom out hit sank on the sidelines now if I zemin onto those little rock sticking out on all ten millimeter an inch see how
they start very rapidly for partner completely
pixelated there’s very little data going on in there at all for do the same thing on are long lens pan stage stressed and I bet then we go she can see the image just
bring in here on these rocks this time notice those are not falling
apart we’ve got a lot megapixels police starting to go around
about their and this image could probably do the
finish on it but we’re not going into the Photoshop techniques about right now it’s want to show you the
stage and the reasons you might wish to do it so
as you can see 10-meter image totally pixelated resume
right in bigger with our long lens pan stage and its
holding together beautifully and really is all there is to it as any
other software that you could use the Penn State’s is dedicated software out
there and Photoshop a semi skimmed a common
fiscal elements and will also have a Penn
State’s command any other night I don’t use it they got a guy so that’s
how simply is too great a pan stage and if you get it right at the camera
and what we did in the last film it makes this end so simple go have fun go play with it and enjoy subscribe to our YouTube
channel to be notified each time we upload one about cool
photography videos well for more great photo tips workshops
and training come in CSR website photography courses
stop base

How to Quickly Design your own Photography Logo – Photoshop CC Tutorial

How to Quickly Design your own Photography Logo – Photoshop CC Tutorial


Welcome to InspirigBee.com Today I am going to show you How to Quickly Design a Photography Logo in Photoshop Hi Viewers, Welcome back to Inspiringbee.com This is our second photography logo design tutorial one of our viewer suggested as make more photography logo tutorial so that’s why we make this video Before start tutorial you can download any camera vector PNG image like this. I downloaded this image from Google I selected this one OK let’s start

9 Powerful Photo Editing Techniques For Creating Stunning Photos

9 Powerful Photo Editing Techniques For Creating Stunning Photos


– Have you ever looked
at photos in magazines, and they just didn’t look the same as those coming from your own camera. Sure, those magazine photos
are taken by the pros with superior camera skills, but the pros have a secret that make their photo so much better. And today, I’ll reveal that secret to you. My name is Mark Hemmings, and I’m an internationally
recognized photographer and photography instructor. In this short video, I’m gonna share nine powerful photo editing techniques for turning average photos into stunning magazine-quality images. And all of these edits will take you three minutes or less. I know these nine techniques
work really, really well, because they are the same techniques I use for editing all of my professional
photography assignments across the world, and this is the secret of all
professional photographers. They never publish their photos without post processing. Actually, that’s one of the main reasons why their photos are so stunning and why they’re so popular
on Facebook and Instagram. But if you look at the
photos before editing, they often look very different. Let me show you exactly what I mean. Here’s just one example. On a recent photo trip to Kyoto, I came across these women dressed in such lovely kimono. I quickly grabbed the shot not having enough time to
change any camera settings. While the photo was okay, with careful cropping,
white balance, contrast, vibrance, and tonal adjustments, I was able to make this photo so much more dramatic and mysterious. It too me less than three
minutes to edit this photo, but what a difference it made. So if you want to achieve the same magazine quality
results that pros get with editing their photos, all you have to do is watch this video on nine most powerful editing techniques. Okay? Let’s get started. Okay, the first technique
I wanna share with you is how to crop and straighten your photos to dramatically improve their composition. Before you think, “Well,
this is overly simplistic.” let met tell you two things. First, we will get into more
advanced editing techniques further in the video. And second, cropping and straightening are so crucial to all editing that they absolutely
have to be covered first. Okay, take a look at this
sample photo that I have here that I took in Mexico. It’s okay, but there are some
serious problems with it. First of all, at the top left, we have sort of a splash of light that really doesn’t add to the story. I’d like to crop that out. Also, the people at the bottom. While I really like this
well-dressed gentleman, the two other women really
don’t add to the story because all of the attention should be on this man who is in the ray of light. Not only that. At the far right, I included by mistake sort of a half of a person,
their right shoulder, and I want to crop that
out because that person doesn’t really add to the story at all. The power of cropping
is really, really great. By cropping, you can actually get rid
of extraneous elements, which is a technical term meaning parts of a picture that
doesn’t tell the story. Okay, take a look at my after picture. As you can see, we now
have stripped the image down to its bare essentials. We have the man in the light, and we have the gentleman
that’s well-dressed. Now he is much darker, that’s okay because he isn’t the primary subject. However, I feel I have
a much stronger picture now that I cropped and only retained the most important elements. Now, I did all of this in Lightroom in less than three minutes. And actually, I use Lightroom
for all of my editing because I believe it’s the only software that helps save you time
and give you amazing results all at the same time. Now, you’ll notice that
I reduced the light a little bit in this picture to really help bring out this person, but we’ll get into that
later in this video. Here’s another example for
cropping and straightening. A nice shot of this
sailboat out in the ocean, but there is a big problem. The problem is the
horizon is not straight. This is really critical and
is actually a common problem that even pros face, because it’s really hard to
actually get a straight horizon when you have water photos, architectural photos, or any other photo. However, with this corrected photo, plus a little bit of
enhancement of the setting sun, we get a really strong end result. I really like this photo. Okay, in this technique, I want to explain how altering shadow areas and highlights can radically add drama to your pictures. To demonstrate this technique, I’ve opened this photos
that I took in Kyoto, Japan in Lightroom. While it looks okay,
there’s a big problem. As you can see, the shadow
areas are really pixelated. There’s so much what
we call digital noise. It really doesn’t look good. And with two adjustments of
two sliders in Lightroom, we can really fix those shadow problems by creating a silhouette. Now there’s no more ugly grain, and the picture is drama-filled. Okay, we got a really cool
shot of a bridge here. I really like it, but the problem is along
the top part of the bridge, it’s way too bright. Now the rest of the picture looks fine, but we have to correct the highlights. Now, highlight simply
means really bright areas. And we can easily do this
with this corrected photo. All I did was move one slider, the rest of the picture remained the same, but the highlighted areas,
the overly bright areas are now down to a proper exposure, and the entire picture looks excellent. Now the next technique
I wanna share with you is removing all unwanted
objects in your photo in order to really push all
attention to the main subject. So for example, each year, I do photography
workshops in Japan, and my clients absolutely love
to visit the snow monkeys, and they take amazing photographs of these incredible creatures. The only problem is, often, what’s behind the snow monkeys causes a lot of problems. Take a look at this picture here. While the shot is okay, there are twigs and branches coming out of the monkey’s head. To have a really strong image, we wanna get rid of all of the extra parts of the picture behind the monkey that have no relevance. In fact, twigs coming
out of the monkey’s head just doesn’t look good, so we erase them. Take a look at this final picture. This is far more cleaner. Plus, with the addition of a bit of color balance and brightness, this photo is stunning. Now many people feel really overwhelmed when they open up Lightroom. They have so many photos
that they need to correct, but I wanna give you a quick demo just to show you how powerful and how simple using this program is, when you know what you’re doing. Okay, so I have this cupola, this great ceiling shot. But in the middle is an electrical outlet that I want to get rid off just to make this a bit cleaner. Very simply, I’m going to do a little bit of healing brush work, and we’ll see what happens. Now the center is completely clean exactly the way I wanted it to be, and it only took me a minute to do. It’s nice and clean, very dramatic, and it’s great for
sharing in social media. Now the next technique
I wanna share with you is how to bring out the blue in the sky to significantly liven up your photos. Now take a look at this
sample shot that I have here. While it’s okay as it is, I really feel that adding blue to the sky and making it really punchy is gonna make this shot even better. And by selectively only
adjusting blue in this picture, all of the rest of the
picture remains the same. The clouds still stay white, and of course the flowers in the field stayed the same color. Overall, we now have really
great blues in the sky, and by additional adjustments, this picture becomes super punchy and I’m really proud of it. Have you ever taken a photo of a building, and while the building
was exposed really nicely, the sky is just a bland blah white? Well, it can easily be corrected by adding blue sky to almost any photo. Take a look at this after shot. I was able to add a
realistic-looking blue sky all within two minutes. And now the photos is ready to roll. It’s good enough to be framed, and I’m proud to send
it out to social media. Okay, the next technique
I like to share with you is fixing unnatural looking lights for magazine quality nigh photos. Now take a look at the sample
shot that I took in Mexico. Do you see how the entire picture is covered with an ugly green color. This is very common because a lot of city lights are created with either
mercury or sodium vapor. And that’s just a technical
name for the light, but what that does is it
produces a really strange picture on anything that’s under the light. So, take a look at this after picture. I corrected the color really quickly. In fact, it only took less than a minute, and now I have a more
realistic looking picture. The people look good. The facades of the old classic
buildings look much better, really happy with this shot now. Now, I absolutely love night photography. But the problem is whenever I want to illuminate
objects on the ground, like trees, well, we usually
use our car headlights or other forms of illumination, but these types of lights
usually create a strange color to whatever we’re illuminating. So by changing the white balance slider, I’m able to get a more accurate look to whatever I’m photographing and the stars in the
background still remained excellently exposed and color balanced. Okay, in this next technique, I like to show you how adjusting only one color of your picture can create dramatic
black and white photos. Let me give you an example. I have this really great
European street scene up here. It’s very colorful, has a deep blue sky. And if I change this to black and white, just the normal default black and white, the picture is okay, but
it doesn’t really have the drama I’m looking for. Now, can you see how rich the blue sky is. If I manipulate only the
blue are of the picture, I can adjust the brightness
or darkness of the sky to make this very drama-filled. For example, I’m gonna only
adjust in this black and white the blue areas, so the
sky almost becomes black. Now I really love the drama
of this black and white photo. Now this next example is pretty
similar to the one before, where we have sort of a decent color shot. But in black and white, we can adjust only one area to make it very dramatic. For example, I really want
a nice shiny bright water, but I want the cloudy sky and
the shed to remain untouched. Well, we can do this by
only adjusting the water, and we end up with a high-contrast really dramatic black and white. And often for black and whites, what we’re going for is
a contrasty punchy image where we have high highlights. That means very bright areas, and we have dark shadow areas. This looks absolutely great. This next technique is all about using selective color adjustments for vibrant landscape photos. Take a look at the
sample shot that I have. It’s a really beautiful
European city scape. Now a lot of the times
you’ll be doing landscape similar to this, city scapes with green trees, and blue water, blue sky. However, you don’t always
want to just increase saturation, which is color
brightness all together. That can actually look terrible. However, if we want to
only make the trees greener and only want the blue sky and
the blue clouds to be bluer, we can easily do this. Take a look at the results. The blues are great and the greens are great just by selectively choosing only to adjust one
certain color at a time. Okay, now let’s go to this picture, this winter scene. Now I really like the
center of this picture this old classic building. However, because the rest
of the picture is blue, I would like to make
this building pop out. Now by selecting only the
color of this building, I can actually get results like this. The remainder of the
picture, the bluish area, still remains the same. However, the building comes alive and it becomes far more
vibrant and reddish. It’s exactly what I wanted. I have a really cool
technique for you now. You can take average looking portraits and give them sort of a movie poster look. Take a look at these examples. Don’t you think they look really striking? This effect always stuns people when the image is shared on social media, and they want to know how I did it. Actually, my secret is quite simple, and I’ll share it with you now. Okay, so we have this really
nice normal portrait here. It’s kind of what would
come out of your camera. But what we’re gonna do
is give it sort of that DVD cover movie poster
look that’s quite popular. So, I’m gonna make some adjustments. And with these simple and
very quick slider adjustments, I can actually transform this picture from a standard and good-looking shot to a graphic shot that really looks good. You’ll notice there’s less color and there’s more of contrasty look. It is really great for social media. In this next technique, I want to show you how to get really stunning landscapes by removing what we call haze. Now haze is a result of ultraviolet light. It’s called UV haze, and it can really reduce the impact of your landscape photos. Okay, let’s take a look at this test shot. It’s really cool. It’s got dramatic clouds. It’s on the water, has
an old classic building with a beautiful rainbow, but it still doesn’t have the
drama that I’m looking for. In order to get the drama I want, I’m going to reduce the
ultraviolet haze or UV haze. So, by one quick movement of the slider that actually only takes
about five seconds, the photo gores from
this, all the way to this. Now this is drama. I absolutely love the
results of removing UV haze. Okay, let’s take a look at another one. Now, this is a standard landscape, there’s nothing special about it, but can you see there’s
a slight bluishness? Now UV haze often results
in a slight bluish softness that really doesn’t look good. But when we remove the bluish haze, we can return the colors
back to the normal levels. For example, now with
this corrected image, the greens are greens,
the yellows are yellows, and we were able to remove
the blue altogether. Now an example with my favorite subjects, the Japanese snow monkeys. Because they were in hot
springs where they bathe, there is so much hazy mist in the air, and that’s the result of
cold air up in the mountains, and of course really hot water. Often, it’s really hard to get a shot of the Japanese snow monkeys because of all of the haze. But with a simple movement of a slider, I’m able to absolutely correct this image, bring out the colors of
the snow monkey’s faces, and we have a good crisp,
clear, award-winning shot. Don’t forget that colors really pop out when you remove the UV haze. As you see, the techniques
I shared with you are extremely powerful, and once you start using them, they’ll dramatically improve your photos, like it does for the pros who use them. And while I showed you
all of the techniques, and you know it’s best to
use Lightroom for them, you probably wouldn’t know
how to get the same results of your photos in Lightroom by yourself, and that’s totally okay. It actually took me about six months of research and hard
work to master Lightroom, and I’m a technical guy, and I had help from my
professional photography friends. So if you have a lot of time, and you’re really good with technology, you can probably figure
out Lightroom by yourself. But I wanted to create an easier solution for people who wanted to
improve their photos right now, and that’s why I created Lightroom Editing Mastery, which is the only online course that shows you how to turn average photos into stunning magazine-quality images in three minutes or less. This course covers all
the editing techniques we talked about today. So, when you sign up today, you’ll know how to create all of the edits you saw in this video. Now I have to warn you that
Lightroom Editing Mastery always sells out quickly, and registration will only stay open for a few more days. So if you want to find
out more about the course, you should do it right now while the registration is still open. So click on that big
yellow funny-looking button below this video, and it will take you to the next page where you can learn more about
Lightroom Editing Mastery, and see if the course
is a good fit for you before the registration
closes in just a few days. So click on that yellow button below, and I’ll see you on the next page.

Landscape Photo Editing Workflow – Part 1 Photo Assessment

Landscape Photo Editing Workflow – Part 1 Photo Assessment


hello I’m Robin Whalley
welcome to Lenscraft today we’re starting something completely different
I’m going to be publishing a miniseries about how I edit some of my photos and
this miniseries is going to be slightly shorter videos published a little bit
more frequently the reason I’m doing this is I’ve been getting a lot of
questions about my workflow on the lens craft Channel I tend to demonstrate lots
of different tools and techniques for editing photos and the frequent question
I get asked is do I use all these tools and the answer to that is yes I do
I only demonstrate the tools that I actually use but what I don’t do is use
every tool for every image instead I pick the best tool that suits the job at
hand so the idea of this workflow series is to demonstrate typical editing I
might go through with an image so the image you can see on screen is the one
that we’re going to build up over the next few videos but this is the finished
image and it didn’t start life looking like this let’s have a look at what the
starting raw image looked like as you can see it’s quite different I shot this
on the 12th of August 2019 depending on when you’ve watching this video that
sign for two days ago or a lot longer it was taken about 10 minutes after sunset
the reason I waited that long was because the Sun was quite intensive as
you can see it’s over this side of the frame and I was shooting towards it even
with several neutral density graduated filters on there I couldn’t actually
expose properly for the ground and the hills when the Sun was above the horizon
so I needed to wait the other thing is when you’re shooting after sunset when
the Sun has didn’t below had the horizon it actually reduces the contrast level
in the foreground so you can actually open up and show a nicer image now
before we get on to looking at the camera details and a few facts about the
image I want to make a point good image editing starts before you take
the shot you need to visualize how you want the finished image to look before
you start to take the shot if you don’t do that you can’t select things like the
camera settings the accessories to use and you don’t capture the right image
that you can then refine and build through the photo editing so it’s
critical when you’re lining up to take your shot stop and think for five
minutes about how you want that shot to look at the end once you’ve done that
you’ll find you can set the camera much more easily so let’s look at the camera
details if I go into the file info in Photoshop you’ll be able to see
information about the camera and you can see here that it’s a fuji film camera
it was the xt3 model which is a fairly recent release and I had a Fuji lens on
there which was the 16 255 F 2.8 lens this lens suffers from being too sharp
it can actually make the images look a little bit unreal and if you look at the
heather here it just seems that little bit too sharp so I’m going to want to
soften that later in the post-processing in terms of the shutter speed aperture
and so forth I had f-14 to make sure that I got a good depth of field and
possibly f-14s a little bit more than I needed but I was just making sure that I
did have the full depth of field on this image now I also have the ISO set to 160
which is the lowest ISO that this camera produces unless you go to one of the
extended ISOs now I don’t tend to do that I usually shoot at the lowest ISO
which is the base ISO and I do that trying to minimize noise and maximize
dynamic range in the image capture as you can see that produced an exposure of
not 0.9 seconds so I had to use a tripod and I had that mounted fairly low so
that I would say it was around waist height to get this shot
because I was using the tripod I also used the cable release to release the
shutter now if I’d use my finger to release the shutter I would definitely
have produced some sort of camera shake and the image wouldn’t have been quite
as sharp as it is and I also risk ruining the image just by shaking it so
a cable release is an absolute essential if you’re going to be shooting
landscapes on a tripod the other thing I did was use a neutral density graduated
filter so I placed the top half of the filter over here on the sky and I lined
it up as best I could on the horizon now the filter I was using was a case glass
filter and it was the soft nd gratz now those tend to be quite soft so the sky
here is just a little bit blown out but we’ll fix that because there’s no detail
in there and we’ll reduce that down later you can see here that the sky
hasn’t exposed quite as much because we’re using a wide-angle lens and it’s
around 90 degrees away from where the Sun actually is so we need to somehow
even out the exposure in the sky here we’ve also got a dark patch here whether
it’s the soft grad was cutting over the horizon so it probably came down to
around here on the image so I need to lighten these hills here in terms of
point of focus I was focusing just here in the foreground and that together with
the f-14 gave me enough depth of field to get this foreground Heather in sharp
focus and the distant hills if I just zoom this to 100% magnification you can
i josu me to 200 you can see what I mean I’ve got just enough depth of field
there and I’ve also got a nice sharp foreground as well with everything in
focus now the camera was set to shoot in RAW
format and I do that because it gives me the greatest flexibility when they come
to editing the image the other thing is I had become Recep to use auto white
balance so what it’s done is he’s made the image rather blue though I’m not
worried about that because I can correct it in post-processing the other thing I
want to do though is make sure that I have a lot of magenta in the image in
terms of assessing the other problems in the image although the contrast is
reduced because I’m shooting after sunset it’s still quite a high contrast
image in the foreground areas here so I want to address that and we’ll need to
open up the shadows just a little bit I also want to darken the Heather very
slightly just to bring out that perkily tone in there and as I said earlier it’s
suffering just a little bit from being ever so slightly too sharp so I want to
create a glowing effect using something called the Orton effect now I’m not
going to use the artifact and globally you’ll see how we do that when I get to
that stage of the editing so that’s it for this video in the next video which
are published shortly we’re going to be looking at the raw conversion using
capture 1 the only question I want to leave you with do you like the idea of a
miniseries if you do let me know in the comments below I’m really interested to
find out what you think and whether or not this is the sort of thing you’d like
to see in the future thanks for watching Lenscraft and Robin Whalley I’ll see
you in the next video

Best online website to edit photo like photoshop ||  Edit photos like a pro.

Best online website to edit photo like photoshop || Edit photos like a pro.


yeah whats up guys welcome to another episode of techno Nepal. I am your regular host Ranjit and i am back with new video so if you are new to this channel make sure you subscribe it hit the notification bottom so that
you will never miss any updates on my youtube channel
furthermore the link of my social media Facebook Twitter Instagram will be in
the description of this video check it out and stay connected so let’s
get to the topic get to the point so in this episode I’ll be showing you
guys one of the websites which I use in in case I have less time to edit my photos 7 6 5 4 3 2 1 so let’s get to the websites the
websites is called lunapic.com so simply if you are not familiar with
the Photoshop or if you don’t have any software to edit your photos just you can
simply use this website so it has got a lot of features which you can actually
use like in Photoshop so first of all go to the websites okay go to the website
at the right top corner of your screen you’ll find upload button over here just
click on it and after going through that you can simply browse the files that you
wants to edit . For me I am just picking one of the image of Ronaldo . So here is the
pictures which I wants to edit. After this you have got a lot of features over
here you can simply go to every single features , which you can use
in your pho to so let’s go for the texts you can simply add texts
whichever you wants to. Let’s type in something and after you typed something over here
just click on apply’ Texts so you can see the text is applied on your image
and if you want to change the color of the text you can simply go on the color
button over here at the right corner of your screen and then select the
favorable color for you. Let’s go for the green right now and once again let’s
apply this so simply you can see the color of the text is changed . Now you can
simply adjust the position of the text which you want to. So now click on apply texts. So as you
can see you can bring the next texts over the one. so i’m just undoing
this effects because I don’t want that and simply by going through the features
that are on the top part of your screen let’s go for the borderand let’s try some
picture frames. So by default they have a lot of frames over here but if you have
your custom frames you can simply upload that as well. So let’s choose one of the frames let’s go for some effects like let’s choose another filter Let’s go for fire filters
so if you applied the fire effects you can simply see in the image looks pocket
so and I cannot explain all the features in
this short video so if you guys want to learn extra things you can simply go
visit the website and try your best to make your pictures looks perfect. So
that’s pretty much it thanks for watching the video. I hope this video is
useful for you guys and I hope you have learnt something so that’s it I will see you
in the next episode till then take care and good bye !