Magazine Cover Redesign: Student Feedback

Magazine Cover Redesign: Student Feedback


well hey good morning everybody how you
doing and it’s a beautiful really sunny Brighton one day no Sun didn’t know it so good
so this coffee mug actually I’ve been drinking out of almost every morning for
the last 12 years or so this was a gift actually from an exchange student from
the Czech Republic and I love this thing I was kind of short night to head to
wake up bright and early to run my rig to the mechanic to get some work done on
the brakes and early making some tutorials
it’s a beautiful crazy sunny day here in Montana and for today’s tutorial what I
want to do is actually more of a Q&A so I’ve got a bunch of students in a
membership group you can check it out at Doug Mitchell calm and she sent me a
message on slack with magazine cover she’s working on – want some feedback so
what we’re gonna do is take a look at this magazine cover and look at some
ways that it’s working well and look at how I would approach the design myself
as well as some things that we could do to improve this overall so we’re gonna
go ahead and dive in alright so let’s go and take a look at this so here is the
cover that she sent and it’s a great start there’s a lot of things that I
think are working well and there’s also some things that we’re gonna definitely
want to improve on so we’re just gonna start top-down and the first thing that
I notice is there’s three things that are competing for your visual attention
the first is the masthead across the top the fatherly logo or what we call the
masthead and we’ve got that in red letters bold at the top then one thing
you wouldn’t really think about but this architecture this building here is very
unique and because of its size it’s really commanding a lot of attention on
the page and then we have the father and son here down below now as you probably
know anytime you have a purse or you know a face on the cover of
anything as humans our eyes tend to get drawn towards their faces we’re trying
to read into their eyes and trying to decipher as much information as we can
from the photo so we’ve got this big red text this big building and then we’ve
got faces all competing for your first attention so what’s a little bit
confusing with this cover is when we zoom in close and look at this thing you
can tell that it’s obviously been kind of cut out and placed in this image so
what I would do is make it much bigger and so let’s go ahead and look at some
other magazine covers for inspiration or jump up here in the Safari we got some
magazine covers all right so if we look at these there’s really a couple
approaches one is you’ve got some covers where the masthead goes above the image
and is always above the image like Time magazine down here always has the time
logo over the forehead of the people on the cover and you’ve got some magazines
here like Forbes where you have this cutout where the head pops in front of
it actually here’s one more time did that as well so it just kind of depends
on the look you’re going for but by doing something like that you’ll notice
most of these images are substantially larger on the cover and not quite so
small down here in the bottom okay so that’s one thing I would do is I’d bring
up the the main image much larger now to do that this image looks kind of grainy
so you definitely want to start with a good image to begin with now this is the
cover so you should be able to find high quality photos for the cover of whatever
you’re doing if you don’t have one you need to make sure you get one because
it’s the first impression you’re dealing with so what I’m gonna do is go ahead
and let’s just make a new I’m just gonna build over the top of this one so this
is just an image I brought into Photoshop so we’re just gonna build over
the top and let’s just pretend like let’s start with a better image so I’m
gonna come back here and I already did a search for father and son here at pixels
comm this is a good one we’ll explore where I’m just gonna download this one
we’ll do that and let me scroll down a little bit here’s another good one this
one’s awesome that’s got some character he’s smiling they’re having fun that’s
another thing too like what is the facial what is the story telling you on
the face what’s the facial expression so that’s really important as well the nice
thing about this one were their backs are to us
it makes it a little more ambiguous to where it could be anybody it might be
more relational to somebody as far as your your target demographic is able to
relate to that person let’s go ahead and scroll through here just a little bit
more now what I’m looking for here’s a good one although his eyes are kind of
closed it’s a little blurry let’s find another one here what I’m looking for
now is so the one that we have here it’s it’s a little more they’re side-by-side
the one that I downloaded they’re stacked vertical so that actually could
be good for the layout of this magazine let’s just see here we’ve got these two
you know we’ll go ahead and work with these for now all right so first things
first let’s go ahead and drag these images in here just to get them started
it’ll scale it up all right all right so we got that one in here and I’m just
gonna bring the other one in while we’re at it all right so you got some some
really good photos to work with now this one already works really well it’s got
some nice negative space around the edges where I could drop it in some text
and the one below it actually same thing it’s nice and dark and I actually like
this one better because the trees behind it have some darker and the areas that
we can drop some text in over the top this one is nice but there’s some really
hot spots down here where it’s kind of blown out so I would either want to
maybe cut him out or select it and darken the background but if we’re
trying to work with just a photo this one might get us there better so we’ve
got that now the next thing I want to look at is just the amount of fonts we
have on here so we’ve got a sans serif font up here we’ve got the main masthead
which is another font so there’s two fonts this one looks like it’s different
than this one so we’re gonna call it three fonts so we’ve got all these and
then we’ve got this font here four so it’s pretty busy with fonts so we want
to try and narrow that down and make sure that we only have you know two
three fonts max to try and keep it from being too busy the next thing that I see
is we’ve got this lowercase turned out right tracked out and so for me I would
typically try and keep your your lowercase letters with regular kerning
or tracking because we don’t want it to don’t know it just for me it just feels
like everything’s really stretched-out so let’s go ahead and pay
it this a little bit more all right so for the sake of working fast what I’m
gonna do is actually select the fatherly text let’s go ahead and sample this
color I’m actually the magic wand tool and I want to sample I’m gonna turn off
contiguous what that means is it’s any color that it sees in this entire layer
it doesn’t have to be touching all right so I’m gonna click on that and now
pretty much just the fatherly text is selected with a little bit down here in
this Jersey so now I’m going to hit the letter M to get my rectangular marquee
and hold on the option key to click and array you to remove the selection from
here so now I have just the fatherly text I’ve got a new blank layer up here
and I’m gonna hit the letter I to get my eyedropper tool and we’re gonna sample
this color oh I got a Ben right layer here we go I went back to all layers
sample that layer now we’ve got that maroon burgundy color and I’m going to
turn off this layer behind it just to make sure I’ve got other selections
cleaned up here we’ve got some extra pixels here so we’re just gonna remove
that for my selection hit option delete to fill with my foreground color and now
I’ve got this fatherly text right on top I know it’s it’s we’re working fast and
loose here but so now we’ve got this that we can work with and let’s go ahead
and bring in that image that we were gonna play with here I’ll drop this in
scale it up and maybe even crop quite a bit here throw this behind the masthead
now you’re gonna have to decide on as far as the text here it’s difficult to
see so if your publication always has the same color you might have to change
how you work with things but what I’m gonna do is it actually changes to be
white so I’m going to lock the pixels on this layer what that does is now I can
fill this with a foreground color of white option delete and it’s gonna fill
just any pixel data so by locking this right here it’s gonna lock transparent
pixels so that way you can’t fill anything that’s transparent I hope that
makes sense it’s a really great shortcut you can use for just about anything all
right so we got that there now I’m gonna throw a mask on this layer and let’s see
how Photoshop does I’m gonna actually try
going to select and we’re gonna go to select subject and just see how
Photoshop does if it can see this photo it does a pretty stinking good job so
we’re gonna go ahead and run with that selection and maybe clean it up a tiny
bit I made the letter Q to get my quick mask tool going hit let her be to get my
brush and let’s make sure we’re painting with a nice soft brush here we are
alright and I’m just gonna clean this up quick we don’t want to get too crazy
with our selection just right now just trying to get through this tutorial
let’s see here and actually I don’t even need to make sure that I only need to
make sure that this selection up here is good so let’s turn the quick mask mode
back off real quick and selecting hair especially on this background can get
real tricky so let’s turn this off and just kind of take a look at this you
know let’s go ahead and I’m just gonna add to the selection with my lasso tool
just to kind of get it a little bit better here get it close at least
alright just cleaning things up and I’m not too worried in this in this case
here’s the deal we’re just trying to make it mask behind the letters here so
realistically all I need to make sure that’s good is right where he would pop
in front of these letters so I don’t need to worry too much about the
selection but what I’m gonna do is come up here with my selection like my lasso
tool selected and click select and mask and now what I can do is paint over with
my refine brush let’s see a selection tool the refine edge brush and we’re
just going to try and let Photoshop work its magic here and we’re just trying to make it look
realistic right where those letters are so I’m not gonna get too picky about the
rest of this but we’re kind of getting it close just trying to make Photoshop
do most of the little heavy lifting here we’ll click okay I’ll call it good for
now and now I’m gonna do is jump cut this selection to a new layer actually
and I can bring this text behind that of the layer I should have worked with a
mask but I’m just I’m just trying to go fast here guys so what we’re gonna do is
just take a look at that and that actually did a pretty stinkin good job
of knocking that behind the text and what I like about this is it just creeps
up just a little bit beyond the letters but you can still read most of the text
it’s cropped well he’s looking into the letters here and it really engages the
viewer all right so now I’m gonna do is let’s just go ahead and look at the
original real quick and you can see that we’ve got a lot of different stories and
we could easily feature all of them but what I’m gonna do is just grab a couple
of them so we are parenting 101 and maybe we’ll just kind of play with some
sizing here and we’re just gonna do a regular sans-serif just I don’t know
we’ll figure something out here now instead of leaving this I’m just
going to make this all caps I’m going to cut this command X to cut
it drag down a copy of this text the reason why I’m doing this is because I
want to be able to have be able to quickly grab and select these so let’s
drop this down here I want a little more space on the
right-hand side here so I’m gonna do is select we’ve got this layer sitting on
top I’m gonna select this one and the original image below it and we’re just
gonna drag it over a little bit which is nice that we’ve got the selection and
the two layers sitting on top because now we can just move it and it’s gonna
knock out those letters wherever we drop it so I’m thinking we’re gonna scoot it
over just a little bit so that way we’ve got the left edge just barely you know
touching over here we’ve got a little bit of margin a little bit of space but
that gave me more space down the right-hand side to kind of work with
this here so let’s go and again I like to break my text into a couple layers
because then I can really refine my edges or find my edges refine my type in
a way that feels a little more natural just to grab whichever one that I want
and scale it into place without having to try and mess the whole line at a time
all right hope that makes sense guys it’s not even 7:00 yet I am I’m needing
more coffee here all right there we go that’s looking good that’s better that’s
cool all right so I like how this works fits in this gap here parenting 101
let’s see what else could we grab let’s go back to the original cover kids
mental health signs to look out for alright let’s drop that in here sorry we’re using the same font but I’m
gonna change so within the font family we’ve got some different weight so I’m
gonna change this to regular just to kind of change this up a bit but still
keep it within the same font family and I’m playing with the guide down the
right-hand side here the alignment just to make this all look like it belongs
together and maybe let’s add one more story to this so bond over sports fun
activities to do through kids so bond over sports is nice in this magazine
cover because we’ve actually got some sports happening here in the background
but in the image that I threw on this cover obviously there’s no sports but it
looks like they’re having a fun activity so what we’re gonna do is grab fun
activities to do with your kids and I’m just going to clone this all right so let’s see how this lines up
here all right I’m going to align this to the right kind of getting that flush
right design layout here and I’m gonna call that good for the sake of this
tutorial so actually it’s cancel that there all right so that is what we ended
up with for the design now what I want to point out here on this compared to
the original let’s go ahead and pull up the original real quick so again with
the original we had a lot of stuff going on we got some you know the colors this
yellow stands out but it doesn’t really borrow any color from the photo we’ve
got this maroon color on the top we’ve got this you know kind of a lot going on
and I think that it’s important to remember that you can really simplify
things and break it down to the base you know the very basics in this case
all of my fonts are white all my text is white and I’m really letting the image
pop through on this now I could if I wanted to maybe sample some color so for
example I see we’ve got this kids shorts you know maybe we try and borrow that
color let’s just see if it works if I sample from the image that’s not bad
so by sampling a color directly from the image it helps it tie in it gives you a
little bit of something to work with but everything still feels like it belongs
together and and makes it feel cohesive and and on purpose with this other cover
I feel like there’s you know I don’t see anywhere else in the image where this
yellow color comes from and it kind of it just kind of feels like there’s a lot
going on so I hope that helps you know overall really great approach just just
tightening up some things like those fonts and keeping everything literally
we have two fonts we’ve got the masthead and then we’ve got this main font here
in open sans we’re just using bold and I think we’re using light here just to to
make it stand out a little bit and that’s everything like that’s all we did
kept it really really simple I hope that helps I know a little bit scattered
today I’ve got some flies flying around my office I’ve got the Sun in my eyes
barely had any coffee yet but it’s really important to me to try
and get back to you to the students who are asking me those questions in that QA
don’t forget to check out the website at Derek Mitchell comm where you can check
out that vault membership if you want to join in and want to be able to get
direct access to me and be able to ask questions like this where I can get back
to you and don’t forget if you liked the video hit the like button down below
subscribe tap the bell all the things and stay
tuned for the next tutorial so tired

Professional Retouching – Benefits of using Wacom

Professional Retouching – Benefits of using Wacom


My name is Marie Bärsch, and I am a Fashion & Beauty photographer. My name is Alex Wätzel, and I am a professional Image Editor. Many of our images have already been published in renowned Fashion magazines, such as Vogue, Harpers Bazaar und Glamour. Our trips require us to be flexible. We need our equipment to be just as flexible. That’s why Wacom products are very important. They are therefore included in the process, from photoshoots on location to the finished image. The atmosphere on set can vary enormously. Sometimes it’s very relaxed in our small team, and other times it’s much more hectic with work for magazines or advertisers. We usually begin with one of Marie’s ideas, for example using a certain location. That’s the starting point for us. We like being in a small team, so that we can stay flexible and make our ideas come to life. We already discuss on set in which direction we want to go with the images. We talk about colour composition, crop images, and select the strongest pictures almost immediately. The advantage of the MobileStudio Pro is that you can select your images, and then retouch them on the same computer. I will have already made the first corrections before the shooting day finishes. Beauty retouching is a real skill that involves creating a stylized version of the image. For me, it’s important to take the image as a basis and build on it, not change it into something completely new. For this reason, it’s essential to have both a natural skin appearance and an overall aesthetic impression. This approach leads to a unique aesthetic that is appreciated by our customers. Retouching takes a lot of effort, but the right tools make my life easier.

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer

Pinterest For Photographers | The Hidden Social Media Marketing Tool Trailer


– Pinterest is a place that people go to discover, to be inspired. And if you’re the type of photographer that creates inspiring images, well, then it’s kind of where you need to be. A lot of people think that Pinterest is only for mommy bloggers
and DIY craft experts. However, it’s incredibly misunderstood. 250 million people use the
platform every single month to create mood boards and to curate ideas for their next photoshoot. For a lot of photographers,
what’s blocking them is that they don’t understand
how marketing on this channel could help them grow their business. The secret of Pinterest is
that you’re using images you’ve already created. It’s only gonna take you
a couple of hours a month, once you set up your strategy. And that’s what we’re gonna teach you, how to market your
business with the platform. First, we’ll sit down with
a commercial photographer. We’ll show you how to take
your existing content, and show you how to connect
it to your target market to what they’re looking for
when they go on Pinterest. We will also sit down
with an event photographer and talk to them about the
successes that they’ve had on Pinterest over the last year. We’ll define all the confusing terms. We’ll talk abut how to
use a scheduling tool so that you don’t have to
be pinning every single day. Pinterest was made for photographers. It rewards imagery at its core. For you to gain more
visibility for your brand, more traffic to your website, to continue to grow and
expand your presence. I encourage you to take advantage of the step-by-step process
we put together for you.

How I select my best images

How I select my best images


You might have noticed that I shoot a lot. I mean, I take a lot of pictures. and if you are anything like me, you know that going through hundreds or even thousands of pictures from a trip to select the best ones can be a very daunting task but fear not, because over time I’ve developed a process that is relatively fast and painless to select my best images and I wanted to share it with you in this video I use Lightroom CC for this but you can use any software that allows you to organize your photos in albums or folders or anything like that you can even use regular folders in your hard drive The idea is very, very simple. But before I even start going through the images I like to wait. Some times it’s just a few days, sometimes it’s a much longer time. For example, I only recently went through the images that I made well over a year ago in South Dakota at the Badlands National Park The reason why I wait is because images take some effort and time to make And some of them require a lot of time and a lot of effort Maybe we had to drive really far away, maybe we had to go on a hard hike Things like that that might trick us into thinking that the images are better than they really are The goal here is to look at our own images the way a stranger would look at them as much as we can, of course the reason is because everyone is going to look at them that way if we are lucky enough to have anyone looking at them, but if we do have someone looking at them they are going to look at them that way only you know what it took to make that image, the effort and the time that it took I believe that if we can look at our images that way we are going to be better at selecting the best ones ok, so once we are not attached to them anymore, it’s time to start selecting the photographs the way I do this is, instead of making a selection from the huge, very big set of original images, I like to narrow them down in a series of steps, and after each of those steps I have fewer and fewer images until I end up having just a handful of images hopefully the best ones I have several folders that represent each of those steps. I call them #0, #1, #2, #3… you get the idea I have 4, but you can have as many as you need let me show how this would work with a quick example of some images that I took at the Great Sand Dunes Ntl Park in Colorado as you can see I have these 7 that are very similar to each other the reason why I have so many of the same composition is because the light kept changing if you watched the video you might remember there were some clouds that were moving really quick and that were creating a lot of patterns on the sand so I kept taking more photos because I liked this composition a lot and it was changing really quick all of them are in the folder called #0, that’s the first step I’ve already made the selection here but what I’d do I would look at them, as you can see they already have flags, rejected and picked I’ve already gone through these ones, but that’s what I’d do From these 7, I chose 4 those are the ones that I like the most I select them and move them to the next step that is folder #1 I remove them from folder #0 and the ones that I don’t like, I just delete them, so they are gone those 4 go to the next step in the next step, I’ll narrow those 4 down even further hopefully getting 3, 2, or even just 1 to the next step and this is not always an easy decision to make I don’t dwell on this, I don’t spend a lot of time at least in the first steps of the process I’m very quick and if I have to move 4 or 5 or 6 images that are very similar to each other to the next step, I will because I’ll have more time and many fewer images to select from in the next few steps the goal here is to move quickly and narrow those photographs down from hundreds to just dozens or even fewer than that as you can see the final step of the process is a folder that I call “to publish” every image that makes it that far is going to make it to my website, I consider my website to be the main repository for my work, it’s where I publish all of them I post images on Instagram, Twitter and here on YouTube but most of those haven’t gone through this whole process, it’s just a quick selection that I do just to share more in real time my work I work further on those images, I edit them a little bit more some of them will never make it to my website My website is the final goal here. And the prints, of course. This is basically it, how I go from a lot of photographs… for example this most recent road trip I don’t have the exact number but it was somewhere between 2,000 and 2,500 photos that I took I’m down now to 1,000 photos, that will go down to probably 100 or 200 in the next step and hopefully I’ll end up with 50-60 images from 3 weeks of shooting across the Southwest and that’s how I do it, how I go from a lot of pictures to just a handful of them without going crazy I’d love to hear from you, if you shoot a lot, how do handle that? How do you select the best images? Do you do something similar? You just go insane every time you have to do it? This is it, I hope you found this video helpful Thank you so much for watching, and see you in the next one!

On1 Photo RAW 2020 Weather Filter – Does it Work?

On1 Photo RAW 2020 Weather Filter – Does it Work?


hello I’m Robin Whalley welcome to Lenscraft today we’re taking a closer look at the new weather filter in On1
photo RAW if you haven’t seen the weather filter it’s a new release in On1 photo RAW 2020 now I’m going to start this review with a disclaimer
whilst I’m a big fan of On1 photo RAW and upgraded immediately to the 2020
version I absolutely hate simulated weather effects but before I explain why
I hate these effects so much I’ll start by explaining how to use the filter to
help I’ve created this image which is totally black this is to help you see
the effect of the controls more clearly I’ll start by adding a new weather
filter at the top of the filter we have three
styles that allow you to quickly apply creative weather effects there’s also a
drop-down list with a couple of additional effects as well as the
ability to save a new style when I click the foghorn effect you can
see the effect of the fog against the black background notice that this gives
a fog effect at the top and below this is a stronger slightly lighter band
after that it transitions to being clear and you can see the black again in the
filter the controls are arranged into three sections which you can use to
apply the adjustments in the top section we’ve got the precipitation controls and
these relate to the rain and snow effects next there’s transform and this
controls the scale and orientation of the effect on the image and at the
bottom we have the fog section to control the fog effects if I move the
amount slider left and right you can see the strength of the effect is adjusted
moving the distance slider moves the effect up and down this allows you to better position and
align the effect with your image the rotation slider allows you to then
rotate the angle of the fog as well you can also use this position drop down
and this contains different presets to allow you to control the effects without
using the other two sliders the distance and the rotation the final slider here
is transition and this controls the transition zone between the clear area
here where is black and the fog effect here and if I move this over to the
right you can see the transition gets much larger move it to the left and the
effect becomes much harder if I move it to zero you can see we’ve got just a
hard line no let’s change the weather style from foghorn to Blizzard
in this style we’ve got a combination of fog controlled by the fog section at the
bottom and also the precipitation which is controlled in the top section we can
use the controls in the precipitation section to refine the effect here we can
use the opacity slider to either reduce the effect and make it more transparent
or we can increase it and make the snowflakes more obvious we can also
change the type of precipitation using this drop-down list here we’ve got
alpine or maybe we want one of the rain effects instead now that you know how the filter works
let’s see how it performs using an actual image this first image is a
simple sunset as shot recently in the late district let’s apply a weather
filter and we’ll apply the foghorn adjustment
as you can see the result isn’t exactly believable the same happens if I select
the blizzard filter or the Seattle rain filter this illustrates one of the reasons why
I don’t like weather simulation filters most of the images that people create
with these don’t appear believable this is partly because the weather we’re
trying to simulate doesn’t match the lighting conditions in the image now if
we change the style to something a little different so let’s try sticking what we find is something that is
actually a little bit more believable it could really be snowing at sunset but
there is another problem with this effect
I clearly shot the image using a wide-angle lens but look at the
snowflakes here they are shot with a different focal length now there is a
scale option here but it only makes the problem worse let’s then try the filter on a different
image that may suit it a little bit more in this image we already have weather
conditions that are foggy and frost day know when I apply the fog horn style we
create a more believable effect we can also refine this effect to make
it more believable using a luminosity mask combining the filter with a mask is a
good idea it prevents the effect from being uniform across the entire image
and that makes it much more believable no let’s add a second weather filter to
the image to simulate snow rather than trying to apply both snow and fog
together and as before we can refine this by
applying a mask to remove the snow from the sky if you compare this to the starting
image you can see that the new adjustment
actually appears quite realistic although it has lightened the entire
image quite a lot I would say that the filter is a useful addition providing
you use it with care don’t expect it to convert any image and create a realistic
and believable in fact it doesn’t work like that it’s much better when you are
enhancing an image that already has that type of weather effect but you also need
to apply it in a way that keeps the effect realistic don’t have a uniform
adjustment across the entire image that is unless you’re trying to create a
highly stylized image but I’ll save that for another video I’m Robin Whalley you’ve been watching Lenscraft I’ll see you next time for another video

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019

Blue Friday Starts November 12th at PRO EDU | Black Friday Photography Sale 2019


(upbeat music) – Baba Kabokeh! Genie here, I’ve been getting all
these requests for AMA and I thought it would be kind of fun. (upbeat music) First question, from Jess. Why aren’t you in a lamp? Well Jess, there’s bottle genies, there’s lamp genies, there’s a box genie and they’re Diaper Genies. Clearly, I’m a box genie, which I think is a pretty cool thing. (upbeat music) Why are you blue? It’s a quality control issue. I would never trust a genie, who isn’t classic genie blue. Are you blue everywhere? – [Lady] What? Okay, next question! (upbeat music) Daenerys, when can I win
my 15 K shopping spree? Well Daenerys, we are
so close on this one. I can feel my powers growing. (whooshing) (upbeat music)

The Best Orton Effect – Luminar Vs On1 Photo RAW

The Best Orton Effect – Luminar Vs On1 Photo RAW


hello I’m Robin Whalley
welcome to lenscraft today I’m doing a head-to-head between two popular photo
editing packages and I’m doing this not across all their tools but I’m focusing
on one of my favorite effects which is the Orton effect and I’m going to be
using this image to demonstrate though the image has already been processed in
capture one and I then made further adjustments using the Nik collection I’m
at a stage now where I think that the artifact could add something to this
image because I’m finding the rocks in the foreground just a little bit sharp
and I want to emphasize that lovely hazy feeling in the distant Hills that two
packages I’m going to be comparing for this hour on one photo raw 2020 and
luminar 3 I’m starting the comparison in luminar 3 and the first thing I’m going
to do is add a new empty layer to the adjustment and in this layer I’m going to add the
filter now in theory luminar 3 should have this
competition sewn up it has an art and effect filter though the filter gives you quite all
just mend and it has two different types of Alton effect
we’ll look at the difference in a moment so to start with I’m just going to push
the amount up to quite a high level and straight away I can see a very realistic
Orton effect created now one of the things I don’t like too much about this
Orton effect is that it’s actually filling in the shadows and making them
quite dark so I could actually reduce the contrast and that seems to clear up
the blocking up of the shadows and it still gives me a realistic nice effect
and I can also up the softness they the way to think of the softness says watch
these highlights here that you see on the rock
they’re quite well defined without the softness at zero if I push the softness
up they come more diffused and they tend to blend with the surroundings a little
bit more so that’s a nice control that we’ve got we can also push the
brightness up on this but to be honest I don’t really want to do that contrast as
I say will reduce the contrast or increase there depending on what you
want to do so setting of around eighteen looks quite good and you can increase or
decrease the saturation as well on this layer
let’s try switching to the other type of Orton effect that we have
now that will straight away doesn’t have as much contrast it doesn’t seem to
block up the shadows to the same degree so I may actually increase the contrast
very slightly on this again the smoothness seems to smooth out
the highlights and blend them with the surrounding area so it’s almost like a
halo control now for me that isn’t quite a Norton effect it doesn’t seem to have
that traditional aunt and look about it but it gives a nice softening effect
it’s more of a soft focus so I’m going to switch back to type one that seemed
to give the best results I’m going to reduce the contrast back down because I
don’t want my shadows blocking up I’m going to just increase the softness
slightly and I’ll push the amount up just to increase the softening though
that’s given me a very nice traditional looking Orton effect that I like let’s
now go and take a look at on one and see what that can do here we have the image
opening on one twenty twenty to create the on effect I’m going to first switch
to the effects panel now in the effects panel you can add different filters now
on one doesn’t have a specific Orton effect instead it’s got a glow feature
now the glow filter that is applied is quite similar to the Orton effect in
what it produces so what you can do is just create the effect with the amount
slider and also you can use the halo slider now the halo slider is what
really produces the glowing effect by softening the highlights if you watch
the highlights on the rocks again as I push that higher you’ll see that they go
from being quite well-defined to quite blurred and the amount just controls the
strength of the effect now I push this up you’ll notice that the adjustment
does block up all the shadows which is one of the problems I had over in
luminar the third part of the control we’ve got here is this blending mode and
at the moment it’s set to soft light now you can change that to have different
effects so for example you can lighten the image
and if I turn that on and off you can see this yeah has a glowing effect
whilst lightning at the same time very slightly we can also darken we can
multiply which makes everything much darker you screen to really lighten
areas and then you’ve got the more traditional overlay and soft light now I
like soft light and also soft light strong and it really just creates a
slightly different effect the problem I’ve got with this image is where I now
push the sliders higher to create a stronger glowing effect I also block up
the shadows so this adjustment on its own whilst it’s really really good and
effective it’s quite difficult to control it and create the sort of look
that you got very easily with luminar three if I adjust the opacity of the
layer down you can get a little bit more control over it but it tends to reduce
the softening effect at the same time the better alternative weave on one as
with a lot of these packages is to start to use some form of masking let’s add a
mask to this and see what we can control the must surrounded by clicking this
icon here and you can see we’ve got a white mask so what that’s doing is its
allowing the effect to be seen across the entire image the way that I’m
thinking about this image is that I want a luminosity mask and the reason for
that is I want to block the effect from the shadows whilst allowing it to be
seen in the highlights so if I just click the luminosity button that’s
created a luminosity mask for me the effect still there but it’s now been
substantially reduced if I turn it off you can just about see it and that may
mean that we have to push up the effect higher and also increase the halo
slightly now that’s created a rather nice look just check it
now whilst I like this I think we can probably do more to refine the mask and
give ourselves a better in fact one of the good ways to do this is with this
levels adjustment that works on the mask if I turn the mask on to view so you can
see it what we can do is now move the levels adjustment for the black point
over to the right now what that does is it restricts the mask in the shadow
areas more at the same time we won’t want to make these areas that are sort
of mid-tones lighter and we can do that first by getting the white point and
dragging that over so that lightens these areas and then we get the mid-tone
slider here and we just move that over to the left and that opens up these
areas that may not have been getting in as much of the effect if I click the
View button again you’ll see what we’ve now got and that’s created quite a nice
effect in terms of where we were previously if I turn it off and turn it
back on you can see that it’s not having the darkening effect on the shadows to
such a great degree it’s also softening the rest of the image in a really nice
way and this is now in my opinion a better look than luminar 3 was giving
and that’s purely because of the masks I can probably refine the muscle a
little bit further the density slider for example would bring the blacks back
into the adjustment and the reason for doing that is if I go back to the mask
you can see that it will lighten the shadow areas I could also use the
feather adjustment to just blur these areas and blend them in a little bit
further if I want to so go back to the adjustment and you can see that really
is quite a good look at this stage so having used a mask in um one it’s
only fair to go back to lumen r3 and see what we’ve got there in terms of masking
tools that could help refine the artifact further I’m now back in lumen
our three and this time I want to look at what masking tools I’ve got available
in lumen are the masks are attached to each of the filters individually so in
the artifact we can access the maps by clicking this paintbrush here this gives
you a little drop-down that that allows you to choose the type of mask that you
want in this case I’m also going to create a luminosity mask just as I did
in on one so that’s the mask created immediately is removed a lot of the
effect from the image if I turn the filter off you can see the effect I turn
it back on now if I want to view the mask this is where the problem comes in
I can’t actually do that in luminar and that really is a bit of a limitation
because I’d like to see how strong the mask was and then adjust it just as I
did in on one but I can’t do that this means I probably have to push the amount
slider up to give this more strength and possibly even the softness slider a
further adjustment that’s achieved a better look but I’m
still not entirely happy it is possible if I was to select for example the
radial mask or the brush mask that gives me an option of additional masking tools
and once I’m in there I’ve got this option to turn on the mask so I can now
see the luminosity mask that was created if I think that wasn’t quite strong
enough things from areas I could try to paint it in again so select the option
to paint in rather than erase I’ll set the opacity of the brush tool to around
40% I’ve got quite a soft brush here I’ll just make sure that that’s still
quite soft and and now I can just paint over the areas that I want the effect to
be seen it now I could continue to view the mask
but I don’t touch you like this read view of the mask I don’t think it’s very
helpful so what I’ll do is I’ll return back to viewing the image
and now I’ll see how I can just paint in the effect to be stronger in some of
these areas you and I might painting a little bit more
just on these rocks here and we’ll just check that and I think that’s possibly a little bit
strong so I’ll just reduce the amount slightly and that looks now about right
okay so that’s the adjustments done in both of the tools let’s create an image
to view them side by side and then we’ll make a decision about which is the best
result I now have both of the images I produced
open in Photoshop and then looking at them side by side the image on the left
is the on one and the image on the right is the lumen our image now the first
thing I notice is that the only effect on both of them is extremely similar and
I really can’t at this stage tell the difference if I think back to how I
produce these luminaire gives me much more control over the effect itself
using the filter whereas on one there’s a fairly standard glow feature that I
didn’t have a lot of control over the difference came in when I then started
to use the masking tools in on one the masking tools were much more precise and
gave me a lot more control in terms of how I could adjust the image in lumina
the masking tools were a little less refined but still did an adequate job
let’s try and overlay the two images to better see the results so the image I’ve got opened at the
moment is luminar 3 if I go to on one actually there is a slight difference
but it really can’t be seen unless you switch between the two what I’m seeing
is that the definition here in the landscape is a little better in the on
one version and that’s probably because of the masking tools and the way I
couldn’t really do much to control the masking in the luminar version so
overall I would suggest that both of these tools produce an excellent Orton
effect on one winds out simply because the masking tools are much better
developed than in luminar I hope you found this comparison useful if you’ve
got suggestions for future comparisons not just with the Orton effect but with
other filter effects let me know and I’ll see what I can do
I’m Robin Whalley you’ve been watching lenscraft I’ll see you soon for another
video

Introduction to Aurora HDR Masterclass

Introduction to Aurora HDR Masterclass


Bonjour Madame de Monsieur, my name is Serge Ramelli I am a French photographer from the beautiful city of Paris France living in Los Angeles And I’m happy to announce that I have a new course coming called the Aurora master class HDR is an amazing photography technique where you take different exposures under, normal and over exposure and you blend all this to get all the details into the highlights and shadows of your photo HDR has been my lucky charm over the years today I am a fine art photographer and my work is in over 85 galleries around the world mainly through the yellow corner gallery network I have four coffee table books published including my latest book on Los Angeles where the cover was done with HDR I’ve been published in over 400 magazines including twice in National Geographics I’ve always observed that when I published for those if there is an HDR photo in there, it always attracts more attention I see it every day on my Instagram feed, where I just get more likes and comments when it’s an HDR Actually HDR is what drew me towards photography. I remember the first time I saw an HDR photo it blew my mind I wanted to learn how to do that. You know when I started photography. I struggled a lot as a photographer I was passionate I was spending a lot of money on gear and Training and I was not making any money with my photography and I was wondering how can I monetize what I do – my art? One day I heard that a hotel manager by the name of Philip Bors Was opening up a new hotel in Paris called the 7 I went there and for free I took a photo of one of his rooms using HDR He liked the photo so much he showed it to everybody – all his friends and then they Paid me to do the entire photo shoot of the hotel. It was the first money I really made with photography and this was a turning point in my life because after this photo shoot So many other hotels just by word of mouth Asked me to shoot their hotels. And this was the first time I started making some money on photography I had spent so much time and years buying gear learning photography I was finally making some money with photography and being able to live up to my passion Thanks to HDR If you want to increase your success as a photographer If you want more people to look at your work, give a shot to HDR and try Aurora It’s a great way to get amazing images that will Completely change the amount of Attraction you can get on your photo In fact, I just finished a workshop where I showed for the first time Aurora to passionate photographers they did a few HDR with it and Send it to their friends and family and the result that they got just by sending the photos that we took together To friends and family was amazing. I see it every day. You really gotta try it – for my HDR I choose to use Aurora because it gives you the ability to Have layers and do different HDR effects to different section of the photo, which is the only one that can do that So well, plus I just love the engine and the result that it gives, I use many softwares over the years But the problem is often there was a look to it that really screamed HDR what I love about our Aurora is you can get a result that is still very powerful You’re still getting all the details of the highlight in shadows But it does not scream HDR and I love that about the software Some of the sunsets and sunrises that we see every day are so strong that is impossible to capture with just one photo You need to do different exposures to really get everything. But then how do you blend them? This is really what Aurora can bring you. In this course you will learn. How to take different exposures with your camera. The most important features of Aurora to get instant results. How to use layers to retouch different parts of the photo. How to add more details your photos. How to make your sky look really cool. How to solve different issues with a HDR Like blurry results or that we call ghosting. How to use presets to go much faster How to do a HDR with a single raw file and how to work with Lightroom and Photoshop And much more Madame de Monsieur, if for some reason you don’t like this master class, I don’t care if it’s in 29 days 23 hours 59 minutes. I will give your money back No questions asked, so check out my Aurora Master Class. I’m sure it’s gonna take your photography to the next level

Common Photo Editing Tools – Layers Explained

Common Photo Editing Tools – Layers Explained


hello I’m Robin Whalley
welcome to lentcraft today we’re going to look at another of the common editing
tools that you find in many photo editors and that’s layers when we edit
an image we should make use of layers this is an important tool and it’s very
powerful it makes photo editing that much easier
unfortunately lots of people avoid using layers because they find them confusing
let’s look at an example in Photoshop to start with when you’re new to photoshop
it’s easy to fall into the habit of applying adjustments directly to the
image for example we can apply a curves contrast adjustment to this image you if you’re not sure how the curves are
just works try watching my previous video I
put the details in the video information below know we’ve applied the adjustment
if we think it’s too strong we can’t correct it our only option is to undo
and reapply the curve this means if we’ve made other
adjustments after the curves adjustment we also need to undo and redo those this
is time-consuming and it’s easy to make mistakes it’s also important to
understand that each adjustment we apply to an image degrades the quality of the
image slightly if you make lots of adjustments it’s very easy for quality
problems to arise the alternative and better approach is to apply adjustments
as a layer now if we add a curves adjustment layer to our image we can
continue to make changes to it even after we’ve applied subsequent
adjustments you this is much less damaging to the
quality of the image so you reduced the risk of introducing problems like
banding here we can see the original image together with the layers we’ve
added this is called the layer stack each layer in the layer stack has an
effect on the layer below it and creates the overall edited image if we hide a
layer by turning it off or on in the layer stack we hide the effect from the
image but layers also have other advantages
too you can attach a mask to a layer this allows you to control where the
layers effect is visible or hidden in the image you you can also adjust the opacity of the
layer to control how strong its effect is you and layers have something called a
blending mode attached to them which I’ll be covering in a later video one very useful way to use layers is to
combine different images into one this is called compositing in this example
I’ve got two versions of the same image one of these was deliberately over Expo
and it has a pink tint to it the other image was under expose when he was
captured and has a normal tent you can then apply a mask to one of the images
allowing you to hide it and allow the image below to show through you as I paint you can see the Heather
becoming lighter because the image below is starting to show through
in this way I can blend multiple exposures together into a single
realistic and more pleasing image once you’re familiar with this technique you
can use it to create all kinds of interesting images layers are important
because they help us to preserve image quality and make photo editing easy now
let’s look at how layers are used similarly in affinity photo just as in
Photoshop we have a layers studio panel showing the layers in the photo we’re
editing you just as before we can turn the layers on
and off to hide or display the effect there’s an opacity slider to control the
strength of the layers effect a layer mask to control where you see
the layers effect on the image you as well as each layer having once you know how to use layers in one
photo editor it becomes easy to translate that knowledge to others I
hope you found this video useful I’m Robin Whalley you’ve been watching
Lenscraft I’ll see you soon for another video