How to Blur Your Background Using Lightroom or Photoshop

How to Blur Your Background Using Lightroom or Photoshop


What is up there everyone? Welcome to
another photography tutorial. Thank you for watching! 🙂 In this one I’m gonna show you how to blur your background either using Lightroom or Photoshop. But,
before we do all that as always let’s roll the intro first. Now the reason why I show you how to do it both in Lightroom and Photoshop is because maybe some of you watching only have Lightroom or only Photoshop. Now, if you have both I would recommend to blur
your background more in Photoshop because it just has more powerful
blurring tools. But, if you only have Lightroom than no problem there are ways
to blur your background in there as well. So, let’s go and start with
Lightroom first. Being here in my computer screen with this beautiful
photo in front of you which was taken in Iceland. Now, there are three ways how to
blur your background in Lightroom so first of all, of course, go to the develop
module, and then go down to here. So, we have the graduated filter, the radial
filter, and the adjustment brush. They all work in very similar ways. But, let me
just quickly go through all three of them to show you how they work. Let’s
start with the graduated filter. Click on that. And this one you just
click and drag down and you get this graduated filter here, right. Now,
position it somewhere where you want and if you go to sharpness and let’s drag
this all the way to just minus hundred right now. And if I move this a little
bit down you can see it being blurry over here, right. If I just move it up
again to 0 it is all in focus again and now it’s blurry. So, let’s just kind
of make it something like that… also let’s put the exposure a little bit down
there. Now, let’s say that you don’t want the blurriness everywhere. A way that you
can have some more control over this is… I would first go down to here to show
select mask overlay, so you can actually see all that is being affected. Obviously
the red is where the blurriness is applied on. If you don’t want it
everywhere, you can go here down brush, click on that, and we have our
adjustment brush now. Now if you click on ALT you get the minus one, and you can
actually go and get rid of the spots where you don’t want the blurriness to
be. So you can you know paint a little bit away.
Let me just check this off so you can actually see. And if you want it back you
just use the plus one. You can bring it back there. But that is a
way to get a little bit more control and to make some adjustments in areas where
you did not want the blurriness to appear. The next one is the radial filter. Now,
this works exactly the same but here you just… you know, you make more of a circle
or an oval. The inside is where it stays how it is right now. And the outside… if we lower that, you can see it all getting blurry. Let’s lower the exposure too. If you want to invert it. You can always
click on here and then you invert it. That part is than blurry. And again also
if you go to brush, if you don’t want it over there, you can totally get rid of
that. The last one is the adjustment brush which again works exactly the same
as the other ones. This one is where you have the most sort of control with. So,
let’s just click on here and let’s lower the sharpness to – 100%. Now, let’s click on
show selected mask overlay so then you can actually see where you are painting.
And the adjustment brush, you know, very powerful you have a lot of control with
it in your image. Let me just click that off so you can see.
And, yeah, we can just paint wherever we want to have some blurriness. A little bit over here…. and there. And if you want to lower the exposure a
little bit in those parts too, we can do that as well.
And if for example you don’t want the blurriness over here on the rainbow
you just click ALT and you can go and get rid of that over there. Now that is
actually it. That is in Lightroom pretty much how you can blur your background.
Now, let’s go and jump into photoshop. So, open up a photo in Photoshop. We want to
first of all just make a copy of our background layer so we just leave that
untouched. And let’s go to filter. Here in filter if you go to blur, this are all
the blurring techniques and here blur gallery, there’s even a bunch more.
Now I’m gonna touch upon two blurring techniques, two that I use the most. And
that is the tilt shift and Gaussian blur Let’s start with till shift first,
alright. So, click on that. And we have here the tilt shift. It’s pretty straight
forward how it works here in the circle you increase or decrease the intensity
of the blur and let’s just go a little bit you know kind of powerful here. And
here it just, you know, sort of the feathering how smoothly or how strongly it kinda is.
So, the closer it is the stronger it becomes and the wider the more
feathering there is. It’s kind of nice to have a little bit of space
between that so it kind of flows more together. And let’s click on OK. Now, one
thing when applying a filter on a layer. On that layer it is very smart to always
make a smart object from it before you apply the filter. Which I did not do here
to actually show you. As we can see here it’s applied on our image the
blurring technique but if we for example didn’t want the blurring technique to be
this strong, there’s no way for us to go and adjust it anymore. So, what we have to
do is delete this and create it all over again. If you create a
smart object from it, if we would have done that. You have the control to go
back into the tilt-shift and actually make the adjustments again. But now that
we did not do that it’s not possible anymore. Let’s delete that again let’s
just copy our background again. And to create a smart object, super easy, just
right-click on the layer and you go to convert to smart object. Click on that.
Doesn’t take too long. And here it is. Now, this is a smart object. Okay so I have
applied the blur technique once again on our layer but that is now a smart object
and as you can see down here we have now this extra things underneath it. Now, if
we ever want to decrease or increase the intensity of the blur, we
can just double click on the filter and we go back in here and we can just
easily make adjustments on it. So again always make a smart object from your
layer that you’re applying a filter on. Now, also we have here a mask, so if for
example, we don’t want the blur over here, click on the mask,
take the brush, which is B or which is located over here. And let’s switch our
color from white to black which you can do by clicking on X. And let’s, you know…
let’s just paint a little bit away here. Of course, choose the opacity.
100% you get rid of everything so I have it now on 40. And yeah we can just paint
away on spots that we don’t want it on. So that is how you can make some
adjustments of the blur just make things a little bit more
natural-looking or more dramatic looking. Now, that is the first blur technique
which is the tilt shift, very powerful I use it for a lot of my photos and yeah
it just creates a more dramatic photo, right. Now let’s go to the next filter,
the next blur filter. So let’s just delete this. Let’s make another copy of our
background and let’s make a smart object from this one. So, right click on
it, convert to smart object. Let’s go to filter –>go to blur and click on
Gaussian blur. Now this is gonna blur the whole photo. The radius is
the intensity. Let’s just leave it on 15. And click on OK. Now because again this
is a smart object if you ever want to increase or decrease the blur you just
double click on the filter and you can do that. Now obviously we don’t want
everything to be blurred. We just want the background to be blurred here.
Click on the mask, take your brush, click on B. And have the color on black,
right. And let’s just you know color that here back again. Let’s maybe go to 80
of opacity and let’s just color a little bit of that back here. Which again, I’m
not gonna spend time on too much but you get or you see what I’m doing, right. The
rainbow let’s do that too because it’s nice to have rainbows visible. Like you
can see before and after… Blur no blur. This is just two
of the many other blurring techniques but all of them you know blur your image.
This one’s, those two, I use the most and I find the most useful. Now, that my
friends is all that there’s to it on how to easily blur your background using or
Lightroom or Photoshop. As always I hope you found this video helpful if you do
well then… you know put a thumbs up as it’s a nice
thing to do. And click on the subscribe button for more tutorials and other
awesome stuff. I hope to have you on another video until then have an awesome
day.

The Crete, Greece Photo & Video Workshop welcomes you! With Greg & Mark Hemmings

The Crete, Greece Photo & Video Workshop welcomes you! With Greg & Mark Hemmings


Hey friends, we’re coming to you from
Tolo in Greece! It’s a beautiful little seaside beach resort town where we’ve
just completed our 2019 Greece Hemings Brothers, Kefi Travel, Photo and Video
workshop tour. We had such an awesome time . . . so many people got a lot of value
out of learning photography and video – we tried so hard to provide a really good
experience that we thought well, let’s do it again for the third time! So this time
we’re going to go to Crete, and John from Kefi Travel, tell us about Crete in 2020 for
our next photo and video workshop! Well I think as you said it was great to have
the group doing both photography and video, and Crete has a different culture
from the rest of Greece because it’s a large island south of here, we’re going to get
to experience the wonderful food and wine and and history of Greece at the
same time as something slightly different,
to allow them to try some different things, you to show them some different
techniques and that at the same time have an incredible time on a beautiful
island in the Mediterranean Sea. And what’s making me excited is this is my
first time joining my brother Mark on one of these workshops but it is not the
first time that we have put on Filmpreneur courses, so this was a
combined course where Mark taught everybody about photo and video and the
technology behind it, and I took my group and we really worked on storytelling and
making films. And on this trip we made two films and it was absolutely one of
the funnest things that you could do to come here and make a film, and we’re
going to do the same thing in Crete when you come, we’re going to talk as a group and
we’re going to figure out what is the story that we’re going to tell while we’re at
Crete, and within a day we’re going to shoot a film and take two or three days to get
it edited, and all at the same time learn more about photo and video and continue
to eat and swim and do everything else that we do on these trips. So one of the
largest ironies of photo workshops is a lot of people say “well I’m not at the
level to even join a workshop” and that is a complete falsity! I love helping
people along with their photography at any level. Please – if you have not even
taken a picture before this is for you. It’s designed for any level, even professionals.
So do you agree with that Greg? It’s like this is for everybody, this is for
everybody! It’s valuable for every person who wants to just get better at taking
pictures, better at creating videos, and especially eating wonderful food and
enjoying the beautiful sun! So for more information click on the website below
and I hope to see you sign up, and we’ll see you in Crete!

How To Use The Healing Tool in Snapseed From Google

How To Use The Healing Tool in Snapseed From Google


The world is a messy imperfect place. Often, there are flaws and blemishes
in our mobile photos that distract the eye. Sometimes these flaws are fatal and there
is nothing that we can do to save our image. But often spending a few minutes on image cleanup
with a powerful tool like the Healing feature in Snapseed from Google is all that
it takes to remove a distracting blemish. Let me show you what I mean with this photo
of my niece. I’ll tap on the Tools and Filters icon down
here in the lower right to get started Since I already have this image open here in
Snapseed’s main window. When the Tools and Filters menu appears I
am going to jump right into the Healing Tool which is this one here with the little
band-aid symbols Now when you look at this photo I hope that
your eyes go first to my niece’s eyes and her smile. She is a super cute little toddler but eventually,
I think that your eyes will pick up on three distracting elements in this portrait. There’s a warning label from her car seat
over there on the far left. All that text over there is super distracting. On the right side of the screen, there
is a green dot on her shirt. Not a big deal, but as you will see in a minute,
it’s something in this scene that we don’t need and that pulls your attention away from
her smile. But the big problem here, for me at least,
are those scratches on her cheeks. Like all babies, no like all humans, we all
have minor skin blemishes. Scratches, pimples, freckles, everybody has
something that they don’t want on their face and in this case that detracts
from the story of this happy little girl. So let’s get rid of these things right now! Since I have Snapseed’s healing tool active
all that I need to do is swipe my finger over the elements that I want to remove. I’ll attack that label on the left first. It might take a few swipes but by running
my finger over that area the label disappears! What’s happened here is that the program
has created a pattern of new pixels and stuck them over the top of the label. When that plug of invented pixels blends well
with the surrounding area the results are fantastic. That was pretty great but there is a secret here. The secret is that the Healing Brush size
in Snapseed is tied to your zoom level. For something big like that label I want Snapseed
to replace a big area so working on this image without
zooming in is fine. But if I try the same thing now, by swiping
my finger across the screen over there on the green dot on the right, the results
will not be as convincing. The problem is that Snapseed is creating
too big a plug of invented pixels and covering over too big an area. Since it did not work well, I am going to
tap on the Undo button down there on the toolbar to take that
mistake away. This time I am going to press my thumb and
forefinger against the screen and push them away from each other to zoom in over the green
stain. As soon as I start to zoom in, the navigator window automatically
appears down there in the bottom left. That box pops up so that I can tell where
I am inside of the photo and so that I can move around
to another part of the image without having to zoom all the way back out
if I need to. If I drag the little rectangle in the
navigator window, I can reposition the image. Now that I have zoomed in, when I swipe my
finger over the green dot, you will see that I am attacking this problem
with a much smaller brush and a lot more precision. Now, her shirt is nice and clean! If I double tap on the navigator window,
I can instantly zoom back out. Now I am going to put my two fingers on
the screen again and push them out to zoom in over those scratches on her cheeks. Do you notice how as I zoom in Snapseed shows
you a little circle? That circle is the size of the healing brush
in relation to the image and the more you zoom in the smaller
and smaller the brush gets. This is great when you need to do work
with more and more precise. Now, with two swipes over her skin, those
scratches should disappear. If I double tap in the navigator now
or I use the pinch out move with my thumb and forefinger at the same
time, I can zoom all the way back out. Let me tap the before and after button again
so you can see what a cleaner stronger image we have now that those extraneous distracting
elements have been removed. I am happy now, so I’ll tap on the checkmark
in the bottom right corner of the toolbar to commit my work. At this point I could tap save to create a
nice clean copy of my original image or I could bring out the tools and filters menu
and pick another tool if the image needed more work. Now most tutorials on this tool would end here
but I need to be honest with you. Snapseed’s healing tool is incredible when
it works but its not always going to work well for you. I am going to bring up this image here from the
Burnt Island lighthouse on the coast of Maine. Let me show you with this image where the
Healing tool is likely to be successful and where it is likely to fail every time. In this image, there are three things that
I don’t want. It’s pretty minor but there is a stump over
there hiding in the bottom right shadows. It doesn’t really bother me but I am going to use it to show you
where the Healing Tool works well. Let me zoom in here first so that you can
see what I am talking about. If I paint over this stump right now Snapseed
will have an easy time creating a patch of dark pixels to cover that area. The patch that Snapseed creates matches the
pattern of the area that surrounded that stump really well. Since our eyes can’t detect a break in the
pattern or some anomaly in that zone, the stump disappears without a trace. Let me scroll over to the other side of this
image using the navigator window. See that person there. This is a photo from a workshop that I teach
each fall on the coast of Maine and that’s one of my guests
shooting their own photos. That’s great but I didn’t really want
my friend in this photo. Well, I can swipe my finger over the top part of
that person a few times and the healing brush will work pretty well. It works pretty well because the sky in this part
of the image is basically flat white. So Snapseed has a pretty easy time inventing a flat
white plug that blends in well with what surrounds it. As I work my way down though towards the ground
things get less convincing. The patches that Snapseed invents have a harder
time blending in with the sky, the horizon and the green grass and a pattern that looks unnatural
begins to appear. If I keep attacking this area eventually I
will get something that works but it might take a bunch of brush strokes. Let me zoom back out and I’ll show you
the before and after. Not perfect but good enough I think for a
cell phone image. So now I am going to tap on the checkmark
to commit these improvements. I am going to return to the main screen so
that you can see that the healing that we just did is being recorded as a layer
in Snapseed’s stack. See that little one over there at the top right? If I press and hold my finger against the
screen now, you can see this image with that layer on and off, the before and after. Notice that when I show the before image
how the stacks counter says zero. Ok, but the big flaw here obviously is that
lens flare right on top of the lighthouse. And that’s a big problem because that flare
happens to be on top of a really complex pattern. Let me bring the tools and filters back up
again and return to the healing tool one more time. I am going to zoom in on the building
to be a little more precise. Now I’ll paint over the flare with my finger
but my expectations are pretty low. Snapseed does a pretty good job on the lower
part of the wall but the closer that we get to that window frame the more things begin
to fall apart. The problem is that Snapseed needs to invent
pixels that blend with the surrounding color and a very well-defined pattern. I can keep swiping away but eventually, I
am going to call this one a failure. Let me zoom back out so you can see what
a mess I have kind of made. That doesn’t look convincing enough to me. and it failed because the pattern that the program
needs to match is just too complex. Now I hate to end with failure but I don’t
want to give you false expectations either. The best way to deal with something major
like this lens flare is to shoot an image in the field with my camera without the flaw! But before I sign off,
I do want to point something else out here. Remember that stump
and the extra person in this shot? Removing those items worked pretty well and
since I did them on a separate layer, I can either hit cancel on the toolbar now or
I can hit the checkmark to commit, without fear of losing those improvements. Let me hit commit just to show you what I
mean. Back here in the home screen, notice how the
stacks counter now reads two? That’s because we have two separate
healing layers. And that’s my big tip for you. When you are faced with an image like this
one where it’s probable that the healing brush is going to fail, my advice is to attack your
problems using separate layers. See now, I can step back down the layer of events
all the way to the original if I want. That would be like undoing everything. Or I could go back to the layer that failed,
the one where I tried to remove the flaw. And then I could tap on that tiny little triangle
on the right side to bring out the options. Now I can tap the trashcan icon on this layer
to get rid of the mess that I made while I was working on the lens flare,
but without losing the improvements, that I made on the other healing layer. That’s really my big lesson. Take things in little chunks
with the Healing tool. Use separate layers whenever you think that
the tool might fail and then if it does you can reject the bad stuff, delete the failed layers, without fear of losing
your actual improvements. I’ll tap the back arrow in the top left
to return to the main screen now. Finally, I’ll hit the save button
to save my work. It may not be perfect, but this picture is
still a whole lot better than it was before.

How to colorize in Adobe Photoshop 2019

How to colorize in Adobe Photoshop 2019


Hi There, my name is Mamta and I’m an Adobe
Photoshop expert and now for whom is the video for it’s
for you designer and together we are going to learn how to add or change
colors in photos by using the non-destructive way. Adobe Photoshop has
a great feature it’s called colorized and it’s nested
within hue/saturation adjustment layer and basically what it’s do is they
will turn any color in your photo you have into a single color so you can
learn how to use select color range command for selection of any
specific color in your photo and I will explain to you about three attributes of
color that is hue, saturation and lightness which is very important and
then we are going to be using layer mask and the what is the purpose of layer to
give nice gradient effect to make it actually look like it failed from one
color to another and we will learn about how to deal with skin colors. the benefit
of this course is you can use these techniques to colorize any object in
Photoshop and I’m going to cover it all with tons of examples and real-world
scenarios even if you are new to Adobe Photoshop you will find this very simple
and very effective technique easy to use and you can apply to your work and I
have linked to a beginners course for Photoshop in the project resources and
you can find it if you want to brush up your
fundamentals and you got a great class guys and I’m super super excited and I
hope you are too thank you so much for listening and if you want to join this
course you can sign up and follow me on Skillshare please do it
now I’m not looking okay guys thank you

How to Edit In a Light & Airy Style in Lightroom | Facebook Live Replay July 23, 2019

How to Edit In a Light & Airy Style in Lightroom | Facebook Live Replay July 23, 2019


– Hey everybody, it’s me
Kirk Mastin at Mastin Labs, and we’ve got a very special
episode for you today. We are gonna be walking through how to get a perfect light
and airy look for your photo. So this is the look that everybody wants, and it can be frustrating if you don’t quite exactly
know what’s going on that’s making it so you’re
not getting that look. So the way I have things
structured for today is that I’m gonna be
using community images submitted by our amazing
Mastin Labs community, and I’m gonna go through images that just hit everything out of the park with you know, being shot exactly the right way to prepare you
for a light and airy look, and then I’m gonna show you some images where there’s a few
elements that are missing that will make it impossible
to get a light and airy look and then at the end, I’m
gonna show you a few images that are almost all the way there that could be improved just a little bit. So again, these are all community images, and I’m really grateful for
our huge Facebook community at Mastin labs, and thank you for sending
in so many good things. All right, let’s get started. So the light and airy look. What is the light and airy look? So some people think of
it as like the definition of fine art photography although fine art photography
covers a lot of things, but in general the light and airy look is very light, pastel look, very light tones, it’s there a light, I mean light and airy says it all, that’s the look that light and airy is, that’s what people want, and I’ve been shooting for 20 years. I did wedding photography
for most of that time. I shot a lot of film, I
still shoot mostly film, and the light and airy look
was something I went to a lot. There are dark and moody photographers, and you know who you are, and that’s a really great look too. It’s just a different
mood for your photos. But today, we’re gonna be
focusing on light and airy only. And for all of the images, I’m gonna be editing with
the Fuji original pack. So this is the second pack
that Mastin Labs ever created and it’s been updated a few times. As I learn more, I make
it better and better, but this is the pack, and it comes from the film
that defines light and airy. So this is where the
light and airy movement and everything started, right here. And I’m gonna walk you through
it from beginning to end. So are you ready? Yes, all right, let’s get started. So I made this light and airy checklist. And, let’s see, who shot this? This is Mikaela Hewins shot
this picture on the right, so thank you for sending it in, but I’ve edited this already
with Fuji-400H from Mastin Labs and I’ve boiled down the
conditions you need to have in order to make a foundation
for a light and airy photo. So here’s the checklist if you want to get a light and airy photo. The lighting needs to be
either backlit or open shade. So backlit means that the light source, the main light source like the sun, is behind the subject somewhere. Open shade means that the light isn’t really coming
from any one direction, it’s just very like diffuse and evenly lighting your subject, so it’s all very, very even. The second part that makes
a photo feel light and airy or the way that we expect a photo to feel light and airy is the location that you’re shooting in. You’re not gonna get a light and airy look shooting outside of a mall. You’re not gonna get a light and airy look shooting inside of a cafeteria or in a busy office
building or in the street, I mean you could get
in the street, I guess, if you had everything just right, but for the most part, you need a location that’s very simple, not cluttered, that is either white, mostly
white, or very neutral meaning like no big, strong colors, no big billboards with big
words or anything on them or some kind of vegetation, so like a forest, maybe an open field, just a setting that is
I guess sophisticated and simple and light. So the setting itself has to be light. The third thing is the wardrobe. So if your subject is wearing
like a really busy shirt like stripes or like huge contrasts between different parts of their clothing or any kind of graphics, that kind of automatically
kills your photo from being truly like a fine
art light and airy photo. So wardrobe is super important. And then the last thing
that’s really important which trips a lot of people up is that we associate a light and airy look with a very shallow depth of field. So when you have a shallow depth of field, meaning your lens is, the
aperture is all the way open or nearly all the way open, you have a lot of fall off from your subject being sharp
to the background being blurry and we associate this
subconsciously, for some reason, with film and in particular
a light and airy look. So if you’re shooting your your lens at, you know, f/4 or 5.6 or f/8, you will not be able to get this part of the light and airy look. You need to be shooting it
at like f/1.2, 1.6, f/2, I shot a lot at like f/2.2, that would be the maximum depth of field that I have for my lens. Anything above that, and you start to kind
of lose that film look. And part of that lens thing too is it’s in general, a lot
of light and airy photos are shot with a normal lens meaning like a 50 millimeter
lens to a telephoto lens. So anything, any lens length that’s longer than 50, like saying 85, that’s a
very classic portrait lens or 135, you get that
really nice separation from sharp to blurry in the background, and also the compression, so the lens compression meaning
that things aren’t distorted when you have those elements
you’ve set the stage for a photo, right out of the gate, that’s gonna look light and
airy without any preset. So you’ve noticed that I have
not talked about two things. I’ve not talked about
how you expose the image, so I haven’t said anything about like underexpose or overexpose. That will not make your
image light and airy. In fact, I recommend just
shooting normal exposure, and the second thing that I have not talked about are presets. You should be able to get,
and this is just sacrilege, you should be able to get
a light and airy edit, a perfect light and airy edit
without any presets at all. If your photo cannot look light
and airy without any preset, it is just was not shot
correctly to get that look. That being said, Mastin Labs
will give you a true film look on top of that nice edit, and
that’s what we’re here for. We’re not a magic bullet that will transform any
photo into any photo. No, there’s no good preset
in the world that can do that that’s worth your time or money. But if you get the image right as a skilled photographer, and you remember this checklist, you’re setting yourself up for success and you will get a light and airy image. So I’m gonna go through
a bunch of images now and go to the checklist and show you where things
hit and where they miss and diagnose things and then I’ll also do a bunch of edits with community images. So if that sounds good, let’s get started. Okay so this first image, it’s an open shade and
it’s slightly backlit. So if you look behind the couple, the light is probably
coming through diffused like overhead clouds but it’s not harsh like
straight down on top of them, it’s coming from a little
bit off to the side. So you don’t have like
any kind of harsh light. They’re wearing, or they’re in a very neutral location. If you look at the location they’re in, it’s not busy, there’s
no busyness in the photo, it’s very neutral, like
the colors behind them, you know, these are very neutral colors like gray, green, tan,
white, very important. Their wardrobe is very neutral. I mean she is wearing a very
bright kind of pink dress, but it all works, there’s
nothing garish about this, and all the colors really flow together. This is like a fine art
photography color palette in a photo. You’ve got like peach,
sage green, light yellow, her dress is a little bit, you know, the most different
thing in the photo, but everything works. And the lens is, this
is an 85 millimeter lens shot at 1.6 so aperture is 1.6 so it’s very shallow depth of field. So this hits everything on the checklist. All right, here’s another photo. This is by Daniel Usenko. I picked this photo because it’s not shot in front of a forest or anything, this is just in a city, but it works. This is shot in France, maybe
’cause it’s France it works? I know, France is so
light and airy in itself. But they are in open shade,
so the lighting is open shade, the location is very neutral, there’s nothing in this location, there’s no big red
blotches or colorful things or like a taxi passing
behind them or anything, it’s all very neutral, their
wardrobe is very neutral, she’s wearing kind of a
champagne-colored dress, he’s wearing like a gray-brown suit, and the lens used was a 58
millimeter lens shot at 1.4. Now if this image were shot
at f/8, it would be too busy, and would really lose that effect, but as you can see, it’s a very nice, perfect
example of a light and airy look. Okay, so here is another photo, this is by yes, Valerio Costilla. I love all of Valerio’s
work, it’s really nice, so thank you for sending this in. I picked this image
because it’s shot inside. This is not even outside, this is inside with I’m
assuming window light, but it’s nice, clean window light. This isn’t backlit or open shade, but it still works because
it’s fairly evenly lit, there’s detail throughout the whole thing, and what makes this work despite the lighting not being softer is that it has essentially
a white background, she’s wearing neutral colors, and it’s shot completely wide open, an 85 millimeter lens at 1.6, so this image has all the ingredients of a light and airy photo. Now if she was against like
some dark red bricks inside with like a yellow dress on, and like a shelf behind her
with some pictures on it, it would not feel light and airy anymore because it no longer
satisfies this checklist. And then here’s a photo of
mine from a long time ago. So this is in front of vegetation, but you can see that
they’re backlit from behind, and they’re in open shade, so it’s kind of the one-two combo like you know, this is the
light I was always looking for when I was shooting outside for a wedding like in the forest. I’d always try to get opposite the light so that I could shoot back at my subjects with the light behind them, and then I knew that in post or on film, I could get all the detail
back and overexpose it, and get that light and airy look. But this is backlit with open shade, the location is vegetation, and it’s fairly neutral
except for these flowers, but I want the flowers to stand out. Their wardrobe is fairly neutral,
it’s all blues and white, and it shot pretty much wide open, so this is shot with a 50 millimeter lens, that was my favorite lens
throughout my whole career, and was shot at 2.2 and that
was kind of my go-to aperture because it gave me a
little bit of wiggle room if I didn’t get my focus completely right, but it was also wide open enough that I could get that
really nice separation between my subject and the background. So there you go, there’s my photo. All right, so here are a few photos sent in by the community, and I’m gonna do an edit, and show you how they cannot, even though they’re nice photos, they cannot get to a light and airy look for different reasons. So this is shot, this is a Nikon file, so
I’m gonna go to Nikon, where is it? Here it is. 400H, I applied it, I’m gonna do cloudy for the white, ugh, yeah cloudy for the white balance, I’m gonna take away a little
bit of the magenta cast here by sliding the green or the
tint slider towards green, and I’m gonna increase
exposure and do All Soft. Okay, and I’m gonna crop
it a little bit differently so that you can see it, or actually, I’m gonna
go to to a full screen. Okay, so this is as close as I can get to a light and airy, a light and airy edit for this image, but it doesn’t look like this. Now there are few reasons why this image, I mean it’s a really nice
image, it’s really great edit, I would be happy to send
my client this image, but it’s not quite the light
and airy look that people want, and let’s go to the
checklist to find out why. First of all, the lighting. This is lit from the side, so you can see the side light coming in, on the left side of the
woman here and the baby, and then it gets much darker
on his face on this side. So already we’ve got side light. It’s not super harsh, but
it’s enough to kind of start taking away the softness
of the whole image. I would say the biggest
issue with this image is the location and the wardrobe. So the location is very, very busy. You can see there’s these guardrails, there are marks on the street,
there are these leaves, and then if you look at their wardrobe, she’s got polka dots, he’s got green, you know, I would actually
say it’s mostly her dress, these polka dots and this
blue kind of throw me off. And then, I don’t know, like, in general, like light and airy photos, people really like to stylize them with like, I don’t know,
flowy dresses and linen and peach colors and things like that. So their wardrobe isn’t cohesive in a light and airy fine art style, even though it’s a wonderful family photo. And then if you look at the
lens, it’s a 50 millimeter lens, but it was shot at 4.5,
so the aperture is 4.5. One thing that could, two things that would improve this image to make it more light and airy would be to find a part of the road that doesn’t have these marks on it, and then to shoot more wide open, so shoot it at like f/2.2 and then to wait for a time of day when the light isn’t coming from the side, but it’s still a really nice photo. So this photo is from Siarhei Sarachuk, and it’s a really cool action shot, but I picked this image because this is a kind of image
I would see in the community where people are frustrated
they’re not getting, again, like this look or this look or this look, and they assume that it’s possible to get that look for any photo,
and this is a great photo, but they try to edit it
and it’s just not possible. And I’ll show you why. And this is unedited, I’ll
do my best to edit it. So here’s Fuji-eutral,
I’ll do full screen. Okay, so here’s Fuji-eutral, I gonna increase the exposure. I’m gonna use All Soft to kind
of balance out that contrast and, oh man, I’m gonna do cloudy white balance and that’s
about as close as I can get, and it’s not quite satisfying, it doesn’t feel like a
light and airy image. And the reason for this is that, first of all, the
lighting is very harsh. We’re in a split lighting
condition where we’ve got like I would say near sunset light coming in straight from the left, really harsh compared to the shadows on the right side of the image. So that immediately takes
away any possibility of this image being light and airy. The location is super, super busy. There’s a lot of lines coming through it. The wardrobe is not
neutral, peach or white, it’s very bold and vibrant, and the way that it’s shot, it’s shot with a wide-angle lens at f/4. So basically, it’s a great photo, and I don’t want this person
take it the wrong way, but it doesn’t pass any
part of the checklist to be a light and airy photo. It just will not work. What’s interesting is that
if you let go of the idea of this being a light and airy photo, what it really is is a
vibrant, fun, active photo, and I would use, and personally, I would do
something like Ektar on it, and just lean in to the
fact that it’s contrasty and that it’s shot towards
the end of the day. So with Ektar, you get
that beautiful sunlight, you’re actually embracing and playing with the
contrast in the image, and you can see her expression and their movement even better. So like this image was never meant to be light and airy ever. In fact, it works really well as like a colorful,
vibrant, summertime image. So I just applied Ektar, I would maybe increase exposure tiny bit, and then call it a day. And in this last photo, this
last photo is beautiful. Abul Shah sent it in, and when I saw it my
immediate reaction was man, this is gonna make a really
nice light and airy image, and then I started editing it. So this is a Nikon file,
let’s do 400H again. So I applied 400H, going to increase the exposure. I think it needs to be maybe
a little bit more magenta. Yeah, like there, and I’ll
try to do all All Soft, I’m gonna do my best to
make this light and airy. So there’s All Soft, and
increase the exposure again. Now this image is very close to being
a light and airy image but it’s not, it is what it is. It’s a beautiful image, but
it’s not really that fine art really light feeling. And that’s mostly because of the, not even the aperture it was shot at, but just the busyness of the frame and that there’s no separation between her and her background. So this is mostly open
shade, she’s in the doorway, so it passes that, the location
is vegetation, that’s fine. The wardrobe is not exactly neutral, if she was in like a peach or white or champagne-colored dress, then it would drift more
towards the light and airy look that people expect. And here’s the crazy little technicality. So on the lens part, it’s a
50 millimeter lens shot at 1.8 so it shot like all the way open, and yet, it doesn’t work on the lens part because she’s in the same plane of focus as the vegetation around her. So if you moved her way out in front, it would blur out that, you know, it would blur out
the vegetation around her a little bit and separator her. Even if you found a doorway
that was a little bit wider so she wasn’t touching the
vegetation, that might help, but the fact that so much
is in focus in that plane, kind of negates the fact
that it was shot at 1.8. You can shoot this at the f/8, and it will look identical
to this, or f/11. So in those cases, it doesn’t work, but it’s still a beautiful photo. Okay, I’ve got two questions. – [Man] The first one
is from Raymond Limbers who asks when is the best
time to do a backlit image? – Okay, so Raymond is
asking when is the best time to do back with image? So I think the best time
to do a backlit image is, when, I would say anytime
that the sun is low enough that it’s at least, in general, 45 degrees behind your subject. So any higher in the sky than 45 degrees, then you get a really hot sky, like a completely blown out sky, and the lighting starts
to get kind of hazy and harsh on the subject. – [Man] And Ginger Briller asks how do you shoot a family of four at f/2.2 and have everybody in focus? – Okay, so ginger asks how
would you shoot a family of four at a wide-open aperture like 2.2 and keep everyone in focus? Great question. Let me see, I don’t have
an example in this group, but what I would do is I would
shoot with a longer lens. So if you shoot with a 50
millimeter lens at 2.2, you create a certain amount of separation between your subject and the background. Another way to get that separation
is to use a longer lens. So when you’re shooting at say 135, if you had a lens that was
you know, 135 millimeters, you could shoot it at like
f/4 and get everybody in focus as long as they’re in
the same plane of focus and still have a very blurry background, and that’s what I would do. One little trick that I
learned when I was shooting a lot of families and things like that is that I made sure to get everybody as lined up on the plane
of focus as I could before I started. So I’m gonna turn my hand this way, so imagine you’re looking
straight down on people. If this is a person and this is a person and I’m standing up here, this person’s gonna be in focus and this person is gonna be out of focus. If you can move them into
the same plane of focus, you could shoot at f/2 and
everyone would be in focus. If you’re careful enough about
getting everybody aligned on that plane of focus. If you have a very large group of people and there are people standing
in front and some in back, say like rows of people,
like a giant family, then my suggestion is to
get a longer lens like an 85 and shoot at a higher
aperture like f/4 or 5.6 and then you’re getting everybody in focus from front to back but everything before the group of people and everything after the group
of people are gonna be blurry and that’s what people
associate with fine art. I hope the helps. All right, one more question. – [Man] Kyana asks what
is your recommendation for shooting in harsh light? – What is my, so Kyana asks– – [Man] What is your recommendation for shooting in harsh light? – Kyana asks what is my recommendation for shooting in harsh light. Don’t. Don’t, I mean you can’t make
harsh light into soft light. My recommendation is if
you have harsh light, move your subject into a doorway or under some kind of open shade facing, facing towards the light. So what does that mean? It means like an awning or roof or foliage that doesn’t let dappled light through, put your subject under that so that it diffuses the light
and it’s even on your subject and then have them face
out towards the light not like back towards the house
or the tree trunk, but out. And then if you stand in front of them, you’re gonna be shooting
them under diffused light and that’ll soften it and
give you that light you want. All right, so I hope
that helps set the stage for the ingredients for
a light and airy photo. And let’s move on now to the edit. Now that you have, now that you’ve followed
the rules or the checklist, and you’ve got this photo
that can be light and airy without any preset at all, how do you make a perfect with presets? All right. So this photo is by Howard Treeby, and I’ve condensed the tips
for a light and airy edit down to six things, a
few of them are optional. And this is the best workflow. Again, I want you to remember
that the starting exposure that you’re working at,
doesn’t even factor into this. Get that out of your head
that it even matters, it doesn’t matter. I mean it matters if you’re trying to capture a super wide range of contrast, then yes, if you have a
Nikon D810 or something, yeah sure, shoot it like way underexposed so you save the sky, but it is not the magic bullet. So don’t worry about that part. And I’m gonna show you images that are like way underexposed, and overexposed, and perfectly exposed, and they’re all gonna get there just fine. So Howard sent this in, and the workflow that I recommend is that you apply the preset first, so we’re gonna do Fuji-400H Neutral, and then we’re going to
apply lens correction. If you are shooting your images according to the first
checklist aka wide open, you’re gonna need to almost
always apply lens correction because when you shoot a lens wide open, you get vignetting and
distortion around the corners, and that can really
throw off your exposure later when you edit, so you don’t want to do that at the end you want to do it up front. So I applied the preset, I’m
gonna do lens correction on, and you can see the image
changed a little bit. I’ll go back and forth to show you. So this is before, and this is after. Now we’ve got the preset
applied, lens correction, and then you need to adjust exposure, and for most people,
especially in this day and age when everyone is super
underexposing for who knows why, it’s just kind of a trend these days, you’re gonna have to
increase the exposure. So in general, most of the time you’re gonna have to
increase the exposure. So I’m gonna increase it. And you can see that this
image that you started with that seemed really dark
and like, you know, it didn’t look like a
light and airy image, it has all the ingredients already and I’ve barely done anything. So I’ve increased the exposure, now I’m gonna adjust the
white balance and tint. So let’s see here. I think daylight looks really good, and then we can select a
tone profile if we want. A tone profile is a special tool that we’ve added to
all of our preset packs which lets you get more detail
out of highlights or shadows or increase the contrast
in highlights and shadows for different effects. So originally, it came
from our film scanner, the Fuji Frontier, and
it was a way to solve for blown-out skies, you
could bring that detail back without affecting everything else. But you can use it in different photos to slightly adjust them without
changing them completely. So in this case I would use Highlight Soft which is gonna bring back
a little bit of detail in their dress and in the sky. So there’s Highlight Soft. I’ll show you before and after. So this is before, and that’s after. And with it applied, I
can even go up in exposure just a little bit more because
it’s retained all that detail just like film would. So there’s an example of
an edit for this photo. Here is another photo that we received, actually yeah, from Siarhei Sarachuk. I actually put this in the
impossible to edit category when I first saw it, and
then later I played with it, and found that even
though it doesn’t satisfy hardly any of the requirements
for a light and airy photo, it still can get there. I’m actually quite amazed. So, let me straighten it real quick. Now I’m gonna apply Fuji-400H and I’m gonna do Fuji-400H
for every photo just, for every photo in this edit
just to keep it consistent. So there’s 400H, I’m gonna apply lens correction on, going to adjust the exposure up, and then I’m gonna adjust
the temperature and tint till everything looks as
good as I can make it. So they’re a little bit magenta,
I’m gonna go towards green, and a little bit warmer. And now looking at it, I’m gonna increase
exposure a little bit again to about here. Now this is just totally shocking to me that this photo can get to a
somewhat light and airy look considering that it was shot
indoors, in mixed lighting. I think the reason that it can get there is because it satisfies two
things out of this list. The location is like totally neutral. Everything is either white or
champagne-colored or green. And then their wardrobe
is completely neutral. She’s wearing a champagne-colored dress, he’s wearing kind of brownish yellow vest and he’s bald like me, so there’s no hair to kind of
make things more complicated and all things considered, yeah, it’s a wide-angle
lens but it’s shot at f/2, so there’s a little bit of separation between them and the background, and even though it doesn’t satisfy that much of the checklist, it’s not that bad for being shot indoors and getting to a light and airy look. Okay, actually, I’ll
show you before and after ’cause it’s really wild. Here’s some before and after this photo, so thank you for sending it in. All right, so back to a photo that’s a little more
traditionally light and airy. So this is by Amber Renea Dalholt, and this is a Canon file, so here is Fuji-400H, lens correction on, increasing exposure. I’m going to adjust the, the temperature looks about right to me, I’m gonna just adjust tint towards green, just a tiny bit, why? Because I see a little bit
of magenta in her face. I’m also looking at her shirt and a little bit of this tree trunk, and there’s a little bit
of a global magenta to it, so I’m going to go towards
green, just a tiny bit, and then I’m gonna do All Soft. All Soft brings back
detail in the highlights, and brings out of the
shadows just a little bit, and that is like just the
simple light and airy look. It satisfies all the requirements, it’s shot with a 50
millimeter lens at 1.8. Really nice background blur, she’s wearing very neutral colors, and the background is very
neutral and beautiful, so that’s an easy light and airy edit. This photo was also by Amber,
this was in my category of this is gonna be really hard to edit, and it surprisingly wasn’t. So I’m gonna do Fuji-400H Neutral, apply the lens correction
although it doesn’t really need it ’cause it was shot at f/5, but I’m gonna increase the exposure, and then do white balance
a little bit warmer, and a little bit towards magenta. Why magenta? ‘Cause if I look at this guy’s butt, it looks a little bit green to me. And that is a nice light and airy look. It could be better if it was shot a little bit later in the day where we don’t have such a bright sky, and if it was shot a
little shallower aperture, so like it at f/2.2, it would be more of a
light and airy photo, but it’s really not bad
considering you started with this. Super underexposed. So that’s really cool and
my tips for making it better would be later in the day
and a shallower aperture. All right, so this is,
yes we have a question. – [Man] Just, it lines
up, Claudia wants to know, she says how to I know the
limit of increasing exposure? – Oh, that’s a good question– – [Man] With that photo
that you were just using, how do you know how far you go? – Okay, with the photo I just did? So Claudia asks how far
can you increase exposure or what’s the limit? So let’s focus on that for a second. There’s a few ways you
can figure this out, two ways in particular, and it depends on what you want. Now if you’re a purist who can’t stand the thought of there being anything pure white in your
photo, then you should, I don’t know, the light and airy look might not even be for you in particular, it might not be something you like. If you’re okay with the sky
being just totally white which I am, and if you look
at a lot of fashion magazines, it happens all the time and it
doesn’t make it a bad photo. You don’t have to have detail
all the way through the photo. But if you can accept those
things, here is what I look for. I look for the bulk, I look for the bulk of the
image like the midtones to be exposed correctly. So I’m looking at his back
and her back and her back and when those look correct to me, if my subjects look correct, that’s perfect, that’s
where I want it to be. I don’t really care if there’s sky detail nor do a lot of fine art
photographers, they do not care. Now, if you get really hung up on that, and everything has to have detail in it, you could add like a sky
overlay or something like that or you could try to do some
really fancy lighting setup with a soft box and try to balance it out, but in general, I just let the
sky go where it needs to go and to me, that is the perfect exposure. The second choice you have
is you can get the J key, and you can actually see where things are becoming pure white, and you can adjust to that. So if you don’t want anything
to be absolutely pure white, then that’s where your limit is. So in this photo, I’ve
already applied All Soft which maximizes the highlight
retention in the photo. If that’s still not enough, then I would just bump the exposure down to where we’re just
avoiding that red stuff, and that would be my new
exposure right there. I personally don’t care if
the sky goes completely white. I’d rather have my subject look like that if I’m going for a light and airy look. So I hope that helps. All right, I’ve got just
a few more images to edit, and then we’ll wrap it up. If you have any more
questions, please ask them. I’ll take two more
questions before we end. Okay, this is by Niki Crews. Let’s see how this one goes, so, Fuji-400H, lens correction on, it was shot of that 1.8 with an 85, so I recommend lens correction. We’re gonna increase the exposure, and now I’m gonna do, I don’t
know, cloudy white balance or maybe open shade. Open shade’s perfect, okay. These white balance settings on the side, they’re just a shortcut, sometimes you have to
just adjust it manually, which is totally fine too. So I’m gonna actually gonna go a little bit warmer than open shade, it’s right about there. This photo is interesting
because it’s not your traditional light and airy photo, it’s
not like a flowy dress in Tuscany in Italy, it’s just
like a girl at a skate park with a jean jacket, but
it’s still kind of works because it’s really out of focus, or the separation of the subject from the background is perfect, it’s fairly neutral, the background. It’s a little bit busy, I
would’ve tried to have moved away from these banners or whatever they are in the background, but she’s wearing very
simple outfit, so it works. And that’s not bad, so thanks
for sending it in, Niki. This is by Christopher Thomas. I’m going to apply, let’s
see, this is a Fuji file. So I’m gonna do Fuji-400H, lens correction on, exposure up, this needs to be warmer, and maybe a little bit more magenta. This is a tough image,
because I can actually see her skin that well through the
veil, but it still works. And then I’m gonna do,
no, All Soft is too much. I’m gonna just do Highlight Soft. Yeah, Highlight Soft brings
back the detail in her veil. So here’s the before
and after of this photo. This is a photo where you would see it, and my bias in my mind would be of course this is a light and airy photo, it’s a woman with a veil over face in front of a green forest. It’s a beautiful photo and it would be, I don’t know, more light and airy if she was separated
from the background more. So if she took just, I don’t
know, four or five steps to her left away from those bushes, those bushes would be out of focus, and more focus will be on her, and it would feel more light and airy. I would also try to
avoid having these things in the top of the frame
that are super in focus ’cause they’re kind of competing with her, but it’s still a great photo. Here is another photo,
this is by Abul Shah. I like this one because we get, you know, a really nice
wide range of skin tones. This is something people
are always interested in, so I added this one in here. If I do my edit, I’ll show you how close I can get to a light and airy look. So this is a Nikon file. Where are you Nikon? Right here, okay Fuji-400H, lens correction on. Hmm, didn’t need it, strange. This might be a third-party lens that doesn’t have a correction on it yet. Let me see here. Okay, there is no profile for this lens so that means we need to
fix the vignetting by hand which is kind of annoying, but whatever. Okay, so I took a little
of the vignetting away, and I’m going to increase the exposure. Now looking at them, I think
that this would benefit from being a little bit more green, and the reason I say
that is I look at his face, and he’s got a little redness
in the shadows of his face. Just a small thing, but it
needs to be little more green, there we go, and a little
warmer, just a tiny bit. Fuji is a cool look so it
shouldn’t go super warm. That looks about perfect. And I think I overdid it on
the vignetting correction, let me pull that back. There we go, all right perfect. So, this almost nails
everything perfectly. What I would do to get a little bit better light and airy look would be moving them a little bit closer to the camera and away from the background so you can blur that out
just a little bit more, and the wardrobe is great,
the background is great. If the sun was behind the couple, like see where the tip of
this castle is or whatever, if the sun was like right up here, kind of going through the
trees, and backlighting them, then it would be just like a knockout perfect light and airy photo. Those are my little quibbles with it, but it fits most of the checklist. Awesome photo. We got two more and then
I’ll take two questions, and then we’re done. This is by Kristen Hansen. I picked this one because
it’s in the desert, we don’t have any desert photos yet. This is a Nikon file, so we’ll
do, oh it’s like, all right. Let’s do Nikon 400H, lens correction on. This image is really super cool so I think we’re gonna go with open shade. Ah, perfect. And this is kind of crazy
but I’m gonna do All Hard. I think it needs a little more punch So All Hard, and then I
increase the exposure a bit. And it needs just a little bit of magenta. All right, there we go. I’m gonna do one more thing, I’m gonna crop it in a little
bit, it’s just so much sky, I want you to be able to see the couple. Let me get rid of that
little column, there we go. Ah. All right. All right, so let’s break
this photo down real quick. It has a really nice
separation from the background, so it got that right, the background is like a nice
neutral color, it’s not busy ’cause it’s blurry and it looks
like a watercolor painting. Their wardrobe, so the
ways this could be better is their wardrobe could be more, I don’t know, classic. Like it’s a very contemporary
wardrobe right now. He’s wearing jeans and like hiking boots. If he was in like a white suit or like a light gray suit
or something like that or maybe a white shirt and like chinos, or something like that, it would make it feel more of that sophisticated light
and airy fine art look. However, I think these
clients look amazing and this photo looks great, I
would love to give it to them. That’s just my little quibble, and the other thing is that
it’s shot at a time of the day where there’s no detail at all in the sky, and if you would just
wait until like blue hour which is right around sunset or it’s the hour after sunset, you would probably get some
nice sky detail in there, and still get that light and airy look, but it’s a great photo. And then here is our last photo. Let me bring up our
checklist one more time. I’m gonna do both checklists. So, just to kind of wrap things up. The foundation is perfect for this photo. It’s backlit a little bit, you can see on edge of her hair, and it’s an open shade. Her location is vegetation and neutral, there’s no like big red
blotches or anything or signs or anything. Her wardrobe is neutral, it’s literally white and peach, perfect. And it’s shot wide open with
a 135 millimeter lens at 1.8. Everything is here. This is your classic fine art photo that you’re trying to get to. I’m gonna edit it with
no preset real quick to show you that it’s just ready to rock, like there we go, simple edit, two clicks, it’s a super nice photo. So keep that in mind
while you’re shooting, the ingredients have to be right. Now let’s do the light
and airy edit checklist. Oh, this is by Siarhei Sarachuk again, thank you for sending it in. You are a busy bee, you
send us a lot of stuff. So let’s do Fuji-400H. Let’s see, we’ll do cloudy for the white balance, oh, I forgot to do lens
correction, lens correction on, I’m going to increase the exposure and then do All Soft. Boom, and a little bit of
magenta, just a tiny bit. Look at that. That is awesome, perfect. It passed all of my checklist. This is how you get to
a light and airy photo with no struggle. So I hope that this has been
really, really helpful for you. I’m excited to kind of break things down into very specific topics and this is something
that comes up all the time so I hope this is helpful. If you have any questions, please leave them in the comments here, and we will be broadcasting this. I’ll take two more questions
and then we’ll wrap it up. Do we have any more questions? – [Man] Jozuel, I’m
trying to say his name, asks if you use sharpening
and noise reduction. – So Jozuel asks if I use
sharpening or noise reduction when getting photos like this. So noise reduction, no. I don’t hardly ever use it anymore. That was like way back in the
day, I’ll use noise reduction. My favorite solution to noise is just try not to
shoot at super high ISO, and not really works with
a light and airy look. You shouldn’t be shooting
a super high ISO anyway. So you’ll never have to worry about that. And then as far as sharpening goes, everyone’s got their recipe, I don’t touch sharpening in Lightroom. I think if you over sharpen a photo, it looks super digital so I just leave it. When I do go to export, I
export for screen at low. No, I do screen, the medium setting, and then print, the low setting. That’s what I do so your mileage may vary. But anyway, okay, well
thank you for joining us. I hope that helps you in
your light and airy pursuits. If you’re new to Mastin Labs,
join our Facebook group. Just go to Facebook and type
in Mastin Labs Community. We’d love to have you even if
you don’t own anything yet, and you can go there, and just put in a link
to a Dropbox raw file, like put it in Dropbox,
a raw file of yours that you want to see
edited with Mastin Labs, and you’ll have like 25
people edit it for you so you can see. We love answering questions, there’s a lot of good info in there on all kinds of photography topics, and we’re a very friendly community. So it’s the least you can do
for yourself is join the group and see if we can’t convince you to become a full tribe
member of Mastin Labs. But for those of you who are familiar with me and Mastin Labs, please keep sending any more photos. We’re gonna be doing a
live edit every two weeks on different subjects. Just stay tuned in the group, when you see the link go up, put your photo in with your
name and the preset you want and you might be in the next live edit. So thank you very much and
can’t wait to see you next time.

Dodging & Burning and Soft Focus Effects in Affinity Photo

Dodging & Burning and Soft Focus Effects in Affinity Photo


hello I’m Robin Whalley
welcome to this final video in my latest mini-series
where we looked at the editing of this image in the previous video we made the
conversion from color to black and white using NYX / effects Pro in this video
I’m going to add some finishing touches to the image to soften it and to
emphasize and de-emphasize areas of the image and I’m going to do all this in
affinity photo the first thing I want to do is look at dodging and burning and
we’ll use this to highlight areas of the Millstone and also de-emphasize
surrounding areas of foliage to do the dodging and burning I’m going to start
by duplicating the silver effects layer that I created in the previous video
and I’m going to rename that dodging ban now there’s lots of ways you can do
dodging and burning using tools in a fen attack in this video I’m going to look
at dodging and burning with the Dodge and burn tools that you find over on the
left side of the interface and I’m going to start with the dodging brush now when
you’re dodging and burning what you’re doing is you’re lightening or darkening
areas of the image and the thing to keep in mind is that when you highlight an
area you make it more obvious to the viewer whereas if you darn it you tend
to de-emphasize the attention from that area now when we dodge and burn dodging
willed lightening area whereas burning will darken it
if you struggle to remember the – just think of the term burning in detail and
that means darkening light areas to make them more obvious so burning in detail
tells you to darken it so burning darkens the image whereas dodging will
lighten it now I’m going to start with dodging and up in the context-sensitive
toolbar I’ve got the tonal range set to mid-tones so I’m going to be targeting
the mid-tone areas in this image with the lightening effect from dodging and
I’m going to start by lightening the area of these millstones the other thing I suppose I should say
is that I’ve got the opacity set only at about 14 I’ll I’ll push that up to 20 I
wouldn’t normally work at such a high opacity but it will help you see what
I’m doing and I’ve got the hardness set at zero and the reason I’m setting the
hardness at zero is I’m actually dodging quite a large area at once and when
you’re dodging large areas it tends to help with the blending of those areas the foliage that surrounds the rocks here you can see the difference that
we’ve created now I’m going to switch to the other tool the burn tool and again
I’m going to still work on the mid-tones and I’m just going to harden up the
detail or the edges of the brush slightly wait something to around 30%
and I’m also going to use a much smaller brush and what I’m doing this time is
I’m just going to highlight around the edge of the millstone in a way that’s not so obvious but it
will help to emphasize the the difference between the millstone and its
surrounding areas by creating this contrast the edge to it
and I’ll do the same around this one and just creating this edge between the
two and I’ll I’m going to actually work a little bit smaller in terms of the
brush here by sizing the edges it just makes the
shapes stand out a little bit more so you’re just drawing round it and it is a
little bit of a repetitive task but it’s worth the effort and I also want to just
darken down the mosses that are on the stone here so I’m working with detail
Dolf don’t be afraid to go to smaller brushes tour a concert just areas of
detail to make them stand out that little bit more now I also want to
darken down the millstones in the distance here and also dark
that rock there just a little bit more I’m now going to enlarge the brush quite
a bit and I’m going to go back to a zero hardness just like and darken down that
area just very slightly around the edge of the frame and then again down into
this area I’ll darken it a little bit more and into the corners here and that creates the look we want so if
you look at the original and now look at the justed area you can see that the the
millstones are more obvious and the foliage is a little bit lighter in these
areas now I’m just going to go back to the
Dodge brush and this time I’m just gonna high go for the highlights and I’m just
going to target the highlights in these areas and you can see them immediately
getting that much brighter now I’ve probably overdone that so one of the
things that I want to show you is this tool here this little cogged tool so
I’ve got the Dodge and burn layer selected I click the blender Ange is as
it’s known and now I can actually control where the blending takes place
so over here I’ve got the adjustment which I can actually take down here and
as I do that you’ll see the the highlights that I’ve just created
stop blending so I can actually choose whether or not to include a lot of that
dodging there that I’ve created and you can add other adjustments to this so the
left side of it relates to the darkest areas whereas the light areas are over
on the right and just by using those I can actually control the adjustments
that I’ve just created in the highlights so I’m happy with that
and you can see the difference there and of course if I find that too strong I
can reduce the opacity of the layers very slightly and that no looks about
right for the conversion I want it to take place
what I’m going to do now is create a new stump layer so this is a layer that
combines all the other layers together into one new layer and the way I’m doing
that is by holding down the shift option command + E keys on my keyboard so if
you’re using a Windows PC that shift alt can
rolled a knee and now we’ve got our new layer so if I just turn all the other
layers off you can see that new layer there if I turn on the two layers the
silver effects and background layer and I turn that off you can see again it
shows the effects of the dodging and burning the next thing I want to do is
to create my softening effect that I want to create for this image because
the image at the moment is just a little bit too harsh so I’ll select the layer
that I’ve just created and I’m going to do this as I often do using frequency
separation and in the frequency separation dialog I’m just going to
create a soft effect where I can hardly see the the detail in the image but it’s
very very blurred so something around in this case the 24 pixels I’ll just apply
that now that’s created two layers from the one layer that I heart one of them
is called the low frequency if I turn off the high frequency you’ll see that’s
the blurring effect the high frequency layer if I turn off the low frequency
that’s a contrast adjustment that sharpens up the image if I put the two
into a single folder I can turn it off and on and you’ll see there’s no
difference at the moment though the way I create the blurring effect is I’ll go
to the high frequency layer and then I’ll reduce the opacity of that layer
and it just softens up the image and gives it that nice dreamy effect now the
other thing I try to do is I’ll duplicate the low frequency layer so
I’ll just command + J on my keyboard and then I’ll reduce the opacity of that
down to something like 25% and then change its blending mode to soft light
and that creates quite a nice effect on that layer so there’s the original which
is quite harsh and there’s the softened one that’s got this nice glowing effect
to it now again if you wanted to hide the effect from certain parts of the
image you could apply a layer mask to this or you could use this blending so by doing the adjustment down to zero
here for the input value I’m affecting the blacks in the image and that allows
me to control where the blending actually takes place so what I’ve done
here is I’ve created something where the black the blurring doesn’t take place in
dark areas or it only takes place to a small degree and then I increase it
quite dramatically through the shadows mid-tones and then on to the highlights
where it’s at the maximum level that’s created the finished image I’m Robin
Whalley you’ve been watching lenscraft I’ll see
you next time for another video

INTUOS PHOTO: Erika Thornes Shows How to Remove Digital Noise in Noiseless Pro

INTUOS PHOTO: Erika Thornes Shows How to Remove Digital Noise in Noiseless Pro


I absolutely love to take pictures of my kids’
birthday parties and sometimes when we are taking those photos, the candle light is the
only light we have and the images come out a little bit dark and grainy and so I’m going
to bring down the noise in the photo and bring up the clarity so that way I have a great
presentable image to put in my daughter’s [xx]. I absolutely love taking pictures at the birthday
party with the natural light. However, the photos can get a little noisy. This one was
at extremely high ISO and so a program like noiseless here can really help bring back
the quality without any of the grain. So, I can have images that really stand up for
what I like my images to look like so I’m going right through here and looking at the
presets and I’ve selected medium for what I like for this image, but let’s go in and
make some adjustments. I was using one of the default presets and
I’m going to go in and I’m going to adjust from there, here we go. So, I can change the
amount of noise reduction on the color, I’m going to bring back a little bit of the color
noise, not too much and you see we can just go through and I can also bring up a little
bit of the structure and re-emphasize some of the details in this image just so that
it has the crispness that I like without losing a lot of the details that some noise reduction
can do. This is just a fantastic way for me to have
images that I treasure that just shine. I’m Erika Thornes, thank you for watching.

Noealz Adobe Lightroom Photo Editing Live Stream

Noealz Adobe Lightroom Photo Editing Live Stream


Who’s here by the way Cross-promoting Twitter and Instagram Facebook We start soon Sit up here you’re working Since they people are waiting we should be screaming Okay But something’s wrong This weird Something wrong Yeah, if you guys got YouTube come to my YouTube channel because that’s where I’m streaming If you guys got you to come to my youtube channel because that’s where I mean The hosts are a few minutes you guys are you two completely Our traffic Very loud just waiting for more people to show up and then we’ll start the stream So we’re gonna edit some stuff Lots pictures to edit Can you see this well, there you go I’m just setting up the iPad so I can actually read the chat while I’m editing How many are in you right now, yeah, we got seven so far Setting up the iPad So right now many people actually show up to the live stream so it’s already See So yeah, you guys will go to my YouTube and join the livestream so I can read the chat Yeah, like I can’t edit pictures and read the chat at the same time unless I have Live room like room open and the iPad so I can you know doom at the same time Welcome Let’s see Okay good Got it working on All right, then yeah, well let’s get started you guys got some questions, uh asking oh no problem Yeah, I still use what’s called we now It’s okay I’m a Wynnum. Kinda guy. I Don’t I don’t know I use a lot I use a laptop, you know, so it’s just my computer screen and My iPad and my phone So I’m right now. I’m on my Iphone streaming on Instagram for people to find me on youtube and reading the chat on on my IPad but yeah, let’s just get started. So it’s been a while so we have a Bunch of pictures you can edit today. You got any career questions. Just let me know My first shot went viral We can check Actually I don’t remember when my first Pictures went viral, but I remember what my first Twitter went viral like actually viral not just a little bit June 30th I got nine hundred comments 779 74 thousand likes and no retweets and 115 thousand likes So, yeah, hey welcome What camera is best in low-light any camera I use my phone it doesn’t matter As long as you got city hands any cameras fine, you know Okay, I patterned off one second so this just look for a picture Well, I Was decently sized before voyage, you know so Even before voyage I had I was on other pages here in there So yesterday I was shooting with friends and Let’s see, which picture we can edit maybe this one I was really surprised by the art of visuals feature. Like I wasn’t expecting that So this is for the people watching on Instagram Go to my youtube channel, we’re doing a live stream. But anyways, here’s this photo of one of the friends I was shooting with yesterday and That’s ready first time I reduce the highlights, you know all the way I’m increase the shadow go away. I’m gonna increase the blacks all the way Anytime I increase the whites To something like that and I do this to increase the dynamic range So it kind of gives it like an HDR effect, you know. Oh Yeah, I remember now like 1k followers, I was really strange can I just blew up And then I removed 10,000 followers because most of them were inactive or never commenting or liking so yeah, I do that often But yeah, this is the original photo as you can see. It’s very dark Reduce the highlights Prince the shadows and blacks and this gives it a wider dynamic range, you know Curve like HDR, but it’s not So you can see pretty much everything in the picture If I was to a shot at normal Then you would have not been able to seen the colors in the neon cuz it’s too bright. So Ya still some people showing up so every now and that I just put out the Instagram stuff, you know Jim livestreams I don’t have anyone to hold it for me, you know, so it’s impossible Increase the contrast not all the way just some So, this is someone I met on Twitter yesterday so we were up shooting I Like giving their opinion so We’re gonna Decrease the saturation the analyst on three people would say inclusive actually decrease it and increase the vibrance That’s just like me though like you have to do that Yeah, I live pretty well And then I’m just gonna go to the shadows and kind of give the shadows a nice little tint anything that works but Going more towards proposed today Yeah, purple looks good This proof is actually kind of bothering me Well, the colors rolled up to you guys, you know, just uh, however you like it Just whatever looks good to you That looks good to me So there you go first picture down For anybody watching on Instagram find me on YouTube, you know Camera close the Instagram because I can’t keep looking at three screens at the same time. So Instagramers. See you later But yeah, you guys got questions just ask I’m always answering Right, there we go. So, let’s see what else you got Yeah, I took a lot of shots yesterday I shot this war with my Fuji Fuji x-pro – I’m actually making a new youtube video about my settings as you know cuz people are always asking and no one ever believes me when I tell them it’s mostly auto That’s where it’s out of focus a lot cos manual ends sometimes you make mistakes I Kind of like this one kind of It’s too bright you Know I do I work I have a regular job. You know, I just do photography like in the evening So I’m using a brush just gonna this front Pro was too bright, you know distracting the picture Yeah, I don’t want to have a job in photography full-time, you know Because then it will make me hate my my job. It will probably hit make me hate photography if I do that So I don’t want to do that Pictures too bright Right Well, this one’s a little bit too bright, but actually it’s just fine It’s just this too dark, but use I’m going to use the radio filter Something like that Make a little wider. There we go. That’s a little bit better Maybe a little bit of help living yet. Yeah. These Fuji files are so nice to work with, you know They give you so much leeway Well, we got 16 people now, that’s cool So I’m constantly checking my messages, you know Got closer stuff So, let’s start playing with color Kind of like that is saturated with a little bit of losing shadow speaking Not too much Brutus just enough, you know Oh, yeah Well, I don’t want to copy Liam long right so I don’t I don’t want to do that I want to do my own thing So, yeah, I Try to keep it to my stupid fresh. I try not to do anything. Somebody else does you know? stuff like that actually, I don’t like cropping but I’m gonna do that for this photo because I Wasn’t liking how there was too much space Hey, I don’t want to do anything anyone else does A feature where I edit other people’s photos, you know, that’s a good idea. I don’t mind doing that Yeah, we can do that sounds good Yeah, I’m liking this photo sis this pictures this sign is low dark is distracting me so Something like that, you know What do you think simple to the point It’s a nice easy to edit photo Yeah, like you know when you read with it before like They say I just lower the temperature and the increase of saturation. It’s different I just I don’t even touch the temperature and I lower the saturations Crazy talk man. Oh Yeah, I forgot to export these pictures because uh, we’re gonna put them on Twitter later If you guys ever wondered about my export settings highest quality JPEG That’s it Yeah, I don’t know people overcomplicate everything I do like they look at my pictures and they think I’m doing some kind of crazy shit, you know, but I’m just I’m not and just Just do it Let’s see what else we got. So these are all shot yesterday on Fuji and I’m actually gonna Do a recom tutorial on my settings Yeah, just gotta edit it I’ll put it out later Yeah, it’s like right here Oh, it’s just a what I want to say random people, you know, it’s like it’s a brand for a new friend yeah, just someone I talked to on Twitter like They messaged me not at all. You’re in Seoul and like yeah, I’m like, alright, I’m gonna go shoot today You want to go shoot, right? Sure I’m kind of like that. Oh, I reached 15 K. That’s nice Anyways Where was I? Yeah, well let’s just look for photos of Things I can edit We can make a nyan cat Yeah, let’s make this a cyberpunk cat, you know like something crazy There you go We got a sort of punk nyan cat dude right there it is probably the best picture I’ve taken I don’t know There you go something for the Twitter’s they love cats they love neon I’m not done. That’s uh There you go, actually I didn’t do anything I Don’t know I guess it’s fine It’s just a joke, you know, some people take it seriously Yeah, but you know these files look so dark, I’m shooting Ross or you can just bring everything back See That’s why I tell people like Shoot raw so you can do this kind of thing. You can’t do this. You’re not you’re not cheating wrong You’re shooting JPEG. There’s no way you’re bringing all this back Yeah, like I have Photoshop but I never really use it I use it in landscape pictures, but not really these kind of photos I Like this one But I hate his clothes. I feel like it ruins the picture, you know How do you fix screen for luminance Increase it. That’s all it’s noise reduction right here But yeah, I like my pictures there are a lot of contrast Just gonna play with shadows and everything But yeah, this shirt is really bothering me But everything else looks good, so maybe oh, maybe we’ll find a different photo I like when people wear ugly clothes on our pictures I’m very thinking about that Yeah sometime but it doesn’t really matter to be honest just I Mostly just used that for landscapes but sometimes I just do it on my street photos, but It doesn’t matter too much Yeah, this one’s better Oh, you finally made it to my light stream welcome, yeah Let’s see, I got a Play around increase the dynamic range fix Correct. Looks cool a bit crooked. Actually, it’s not crooked. He just looks crooked because Because of the way these balloons are Oh, I didn’t even practice or as you know I was gonna reset it now. I’m there we go Yeah, 75 1.5 a thing is just a something I do for my landscape pictures, but it works so Sometimes it is therefore speak, but does it really matter? It’s not really not really important Hmm I’m looking at this not sure How I feel about it something out of yet Yeah, there’s your noise reduction right there so yeah 71.5 10:30 It’s just something I picked up doing landscapes and I just do it for my street sometimes but it’s not really something crazy enough Yeah, it works fine without it just just to have it I have I Do my vignette yeah Something small So we have a lot of yellows and we have a lot of blues Maybe some greens. I’m gonna refer to the coloring is a tool you guys should use it’s got cooler color It’s just sharpener settings so I Like to use this three to look at my colors like which colors I want to use next Like my picture there’s a lot of blues and yellows and maybe a little bit of orange so I just go over here and Just look at which shades work with my picture, you know So I guess there’s a little bit of green yeah that the green is there is fine Just something to know Yeah, don’t worry about these settings they’re not really important, you know, it’s just Just something I do doesn’t really do that much to be honest Yeah Yeah, I kind of like this one so yeah just play around with colors, you know, what do you like What do you like? Don’t worry what I would do just What would you do? What looks best to you, you know And this extract cool to me I like it But I want more left shadow Now I guess that’s fine increased exposure little Maybe just like point one Actually, this is one of those times where I’m not really happy with the way it’s looking Yeah, because there isn’t that much of a difference, you know, it’s it’s a poor landscape pictures it’s not really forestry So stop worrying about sittings worry more about the photo it’s what I always say Like see this is one of those times I’ll play with the curtatone curve because I can’t really get the look, I want out of the sliders and This is where I wanna I wanted a little bit less shadow and more contrast but not so dark Yeah, so actually I don’t like to read so much much change a little bit Nevermind we’ll keep the reds and Blues something like this greens Something like this Yes, so yeah, I kind of like this much more I like his hair though, it’s very mushroom I’m very like I said, I’m very picky. Like if people were something ugly out. I just won’t use the picture or It has a mushroom cut It’s okay the grow house it not the guy though So Let’s see Yeah, if you’re free to a stuff like our last room sometimes a little brutal with my answer is but Trying to get the point across Yeah, this one picture uneven have to worry that much just a Paris preschool I like to know What the new year I’m just playing around Yeah, like I any afterward this picture it’s like it’s done by itself Yeah, I think that’s pretty cool I don’t like the wisent back, but maybe we can change that Or maybe not Yeah, this pictures done Actually Maybe Maybe we can use like this colors change. What is it? It’s complementary Something like this, we got a lot of red we can use some green to make it pop So Let’s see If we can do that, that’s my little bit This one sometime I use the brush, you know Change the temperature in the back any kind of green snake its water Just like that, you know lower the temperature Give it a nice kind of greenish tone The subject Mm. I guess I don’t know I don’t really pay attention to that kind of stuff so much To me teach you the environment. No, I care more about the environment and the people’s but I better look cooler here Let’s see you here, Eugene Always a pleasure Yeah, I guess we can use a little bit of color here – just just a little bit not too much nothing crazy, you know So, yeah Here’s the photo and here’s the settings I Generally touch anything but that’s fine. No Yeah sometimes Oh, yeah, let’s do that thing. Let’s see if you can see a difference Mg wants my pie Yeah, you can’t see much of a difference, it’s just something I do, you know Just a hat I’ll have it for my landscape picture I do it here and there You got a couple here Yeah, I think I like this one Focus is not the greatest why it’s fine We got a lot of lines so we want to make sure they’re kind of straight Yeah, well I hope you guys are learning something, you know like I Hope you get something out of my tutorials. It’s not even much more tutorial. It’s just This what I do and Hope you find a useful There we go, I Would like this to be a little bit more yellow though or blue So, what do you think yellow or blue or white actually this is pretty cool I like this Yes, this is right, I like that Maybe not so much contrast this time sister Actually this picture looks nice with less contrast I think Oh and usually I decrease the clarity but I think this time will increase fairly Yeah, like I say, yeah when you play with it with When you play with this stuff just Just play with it. You know, you don’t have to do the same thing every time just Mess around with the picture you get different results There we go Easy Me too Yeah, this looks good like something like this, you know, it’s got a little bit of blues crazy Kauai No, not really, in fact last year we got almost no snow It’s got a sad actually was fine Yeah, this looks good I like this I really like this lens because It’s an old film lens that I like to use but it gives it kind of a soft kind of glow and stuff you can’t do that with like norm or anything it just This is dong the moon history and culture park Isn’t our pics right too But it was really hard because there’s like so many people The lens so Super tech Kumar 51.4 But it’s any you use any lens, you know, it’s just this just no dance Because it’s cheap Oh, yeah, you guys have a facebook like be sure like my page stuff Yep anyways Back to what we were looking for Yeah, like I like this I like the sign I like these Let’s see what we can do Like I said, it’s all about playing around Today with the picture to get what you want There is no one way of doing things Red and green Maybe change my ribs I just play around with the cutters There’s no one way to do things, right so that’s why I always try to get people to understand like there’s no one way of doing anything just keep going all Right, thanks, man. See you around have a good one Yeah, it’s kinda cool Something like this, you know, maybe make the heroes pop more it’s not that much more Maybe needs a little bit more purple Yeah pictures up to you So you guys have any more questions feel free to ask Here’s picture of the panelists I thought these are pretty cool Yeah This is why you should shoot wrong Yeah, let’s I think we should probably just everyone these think this one’s better Maybe not like this though Just like that Without that Play around There is no one way of doing stuff right and just What looks good to you Really iPad closed up so Is a Hong Kong video coming out eventually Someday just I Need time I need lots of time Yeah, I kind of like that That’s too much a little bit tense, but I don’t like to sign Yeah, something like that Well, to be honest, I never pay attention to things like noise or green so Arius use noise reduction Or you could just not care like me it’s up to you Yeah, like Sometimes I think the only people who care about like corners and noise and beheading is Imported it Or beginner photographers, I Mean it matters if you’re a professional magazine, but When you’re just Posting like on Instagram like it doesn’t really matter Yeah, man, I I don’t sugarcoat things I get right to the point, you know, just I Don’t really matter. I mean, let’s see Okay, I should pretty much everything is Automatic so the camera decides everything Is not a phone. It’s like a Two point angel. Yeah the camera side the settings but in this picture it shows iso 200 so it’s fine Oh, it’s talking about the noise like let me give you an example Let’s look at a dark area right now, it looks fine, but whenever you change the exposure Actually, that’s not a good example it still looks good to me. Okay, let’s uh, How do we do this Yeah, okay this is ring Sometimes When you increase the exposure the picture looks like this And like Like I don’t care but you know reddit cares Anyways, that’s what we’re talking about But this, excuse me, I like I like the way this looks You shouldn’t worry about the reddit’s they’re bunch of noobs Here we go, but I want the yellows to that’d be real puppy Like that yeah, it’s good Yeah But don’t worry. I got a night video coming out. I shot it yesterday with my friend where I talked about the settings Which is nothing new it I always tell people should automatic. So they never believe me. So I made a video about it Yeah, because they Once I found myself on reddit like they were talking about my photos And they’re like, how does he do it? And he’s like, oh, he uses HDR or a tripod or blah I don’t do that. Just I just shoot Why do they have to complicate so much? It just just shoots so I was still people You generally don’t shoot any faster than 1/100 really Oh, yeah, you’re right Well, if you’re talking about street photography at night, you don’t really go faster than 1/100 But date time is different Daytime anything goes Yeah, I think I already know which color I’m gonna use here Hey Eugene, you know this website right cooler color Would I go with the green here I feel like blue would work much better Something like this would work nice but I don’t worry about the reddit’s there bunch of noobs Maybe Greenwood worth Let’s see Yeah, I could work I like the way this one’s going down, you know Yeah, the Fuji files are so necessarily in thinking in noise-reduction doesn’t Yeah, that’s why I love food, you know Could recover something that helps you find pleasing color combinations I like the Turks, but not too dark. But I also don’t like there’s too much shadow. So But it’s still two contrasting from I want a different kind of contrasts A different kind of love, you know Yeah, I like this, you know, I’m just gonna We got some nice blues some greens and some Reds just like this well, it’s more like oranges but Bru’s reason Reds It works this commendation works Are you guys still there? No one’s talking a little bit of help They A man you have a good one Still too much contrast though. I like it though I like the way this looks Although I prefer the orange be more red though Something like that Like I want this Sun is too Saturated but this one’s not saturate. No, so I’m just going to add some saturation in there I like that I like this photo is very cool So, yeah, like go ahead and ask some questions you guys are really quite state I am surprised There we go So it is pretty well done I Think we can do like one more picture and then we’ll call it quits Yeah, it’s not bad it’s I like it Well, there’s another picture actually yesterday I was shooting in the rain Okay We can edit an infrared we entered an infrared photo Although to be honest, there is nothing much to edit kind of looks a sin without learning And we’re done that was easy I want to look at the pictures. I shot yesterday because it was Iranian stuff. Well this one picture I haven’t put up I shot this one for a magazine. You can see the clothes You can see there’s a lot of noise in this room Since we’re talking about noise Increase the reductions see now you see difference I like this one. I wish I could put it up but I can I think I can I ask for something It’s a nice photo Yeah, I want to yeah here they are I shot these the other night the rain I Haven’t got trouble. Oh Yeah, I got work. I shoot for magazines a lot It’s kind of it’s what I do at night, you know But I don’t always show it because since it’s paid work it’s like It’s for them, you know for them to post if they want it was probably good on my portfolio I like this place You saw it on my Instagram Although I didn’t post this one Because I posted here the one but I like this one a lot To be honest, I don’t know I’ve been a photographer since 2011, you know mostly landscapes and time-lapse and I work for all kinds of magazines and stuff. So it’s really hard for me to remember. I Think my first commercial shoot was actually like an event Like there was a Like a big festival or a company or something and they needed someone so they asked me I Think I don’t remember So, let’s see we can find something to add it all This was really cool So you can see the noise here this is noise See the screen But I don’t really worry about it Just edit Do you man have a good one? Enjoy It is really focused sure enough, not bad not bad I just decrease car just a little bit Yeah, I think I’m gonna start putting RAW files in the description so like if I make a tutorial people will have the power to work with I Don’t know. It’s what somebody said I should do and one of the comments last time it seems like a good idea There’s one of those times I think blue looks really nice, right We have read and we have blues guess Green would be better but let’s see Something like that Yeah, I just play around now we’re down to six people then it’s too bad Kind of like this I like the way different What do you think Eugene I like this All right, well Everyone’s leaving. So maybe I’ll call it quits around here Just do the finishing touches to this photo And we call it even Yeah, like Not really. I don’t know if I really like this color, but I Did think I should bring out the signs a little bit more Make a loop top top just a bit. That’s much lower enough Just something’s wrong I like this violent Yeah, I like that Oh Nothing All right, this looks a pretty tight, I like it it’s nice to see y’all here and Yeah this I think I’m gonna do this like two days from now at a different time because I have a no work on Tuesday So I can edit. Maybe there will be more people on So yeah, have a good one now. See you around. Bye

10 Photoshop features & tools for professional photographers

10 Photoshop features & tools for professional photographers


Hello Friends, Today in this video, I tell you about 10 most
important tools for photography. Adobe Photoshop is one of the most well known
and most commonly used image editing software programs in the world. When people see a photo they thought and believe
, the picture is awesome, they often reply “That’s Photoshopped. many people don’t know the images they think
that the perfect shots are touch-up by the photoshop. whether that be adding a little brightness
or totally removing an undesirable person or section. When Photoshop is used correctly and not over
done, it can make amazing imagery even better! One thing you need to remember is that Photoshop
isn’t there to “fix” a photograph, a bad photograph is always going to be a bad
photograph but if you have a good photograph and it just
needs that little touch up, Then I am showing you few important tools
in this video Before watching this video don’t forget to click on subscribe button and click on the bell You can also subscribe by clicking on embedded subscribe logo on video first I am tell you about hue and stauration The Hue and Saturation tool enables you to
control the colors in your images based on, well, their hue and saturation. Hue refers to the color in your image. Changing this will change the colors in your
photograph opening hue and sturation from adjustment
layers, now it is opening and you can see Now it’s opening and you can see the first slider is a hue slider. By adjusting this slider you can change any
color you want, see it is changing purple to red and red to green now green to any color you want Now come to saturation saturation; this is the intensity and richness
of the colors in the image. The second slider is for saturation , as
I move to right intensity is increasing and as I move to left intensity is decreasing When I move to center it come again to original
shade You can see how can we change the colors in full details in my video on how to color change , I added card above . Cropping is a essential tool for photographers as it allows them to finish an image for posting
online or printing: taking an image and changing its size and/or
removing unnecessary empty areas. In this image I cropped left part to make
image more attractive . You can use preset of cropping like 16 : 9
cinematic cropping or cropping for landscape In this image I used 16 : 9 preset to look
cinematic and image look great after cropped image 3rd important tool is Layers Layers are another simple tool that any Photoshop
user knows how to use. this tool is one of the most useful. Layers allow you to work on parts of an image
without changing others. they allow you to layer various edits and
section each, remaining its own separate section and having
no impact on any other. You have seen how I added adjustment layer
to change colors , now I am adding again adjustment layer to change the color of water. I am changing water color green to blue but our
main image in first layer is not affecting. You can change any section of image by selecting
object and creating a masking layer. Now I am selecting a part of the roof and
changing the shade by adjustment layer of hue and saturation first select the object by selection tools
than created a new layer, when you create the new layer with selection. you can change the specific selection in layer
mask , you can see how I am changing a color of roof . So, layer is very important tools for the
photographer Next is Sharpening Sharpening an image is basically touching
up all the lines and increasing their contrast, The sharpen tool also has an “Auto Sharpen”
command which may save you the time. When sharpening an image you should remember
there is a fine line between sharpened and over-sharpened; over-sharpening an image will cause it to
look unrealistic. Creating a new layer and go to filter Menu
and select Unsharp tool then you can find three slider Amount ho much want to sharp — I am sharping
that picture will look realastic. second slider is Radius — It Determines the
number of pixels surrounding the edge pixels affected by the sharpening. The greater the radius value, the wider the
edge effects and the more obvious the sharpening. see before and after , now I am working on layer mask to restore
skin softness that was also sharped by unsharp tool Fifth tool is a blurring In other side , if we have a unwanted background
or busy background we can blur the background Blur tool also very important in touching
of skins opened a new image and first I am cropping
for better composition Then I working with hue and saturation that
we already discussed using selection tool so I can save the subject
sharpness and can work on background to blur it after selection I am creating a new layer
and convert this layer to smart objects so can I change values of blurring anytime I have already selected the subject , so can
work on background now going to filter menu the select Gaussian blur , move the slider and changed desired value after closing filter you can see masking layer
, because of smart filters I can correct my errors while selection I am correcting that area that I don’t want
to blur. In this image I will use blur filter to soften
the skin Creating a new layers, converting to smart
filter and then going to filter menu and select Gaussian blur After using filter , skin has soften but her
eyes and lips has also soften , to avoid this I am working on masking layer
, painting on her eyes and lips with black brush so see before and after Now I am come to the healing brush The healing brush is used to replace scratches
and small specs you might have noticed in your image. It is very important tool in high end skin
touch , by using patch tool and spot healing brush In this image you can see many scratches and
dust , Now I am selecting healing brush to remove
them , as I am painting on dust dust is removing You can also use a patch tool to heal larger
area by selecting dust area and move selection to clean area It’s great! I have already worked on this image to soft
the skin. Now I am working on to remove blemishes scar
or any spots on skin creating a new layer under the blur layer selecting the spot healing brush now I am painting the brush on the spot and
pimple and these are removing you can also removing the patch with patch
tools now I am creating a new layer for softening
skin that I have already shown you Creating a small objects, so I can change
the settings any time open filter menu and select Gaussian blur Changed required value that look realistic using a layer mask to remove the blur effect
from eyes and lips Painting black brush on eyes and other area
that I don’t want to soften , working on eyes now on eybrows after that I am working on lips You can watch my video where I explained how
can we use brush on white and black masking layer I have added link in the description and also
added the card above. Seventh tool is a Content Aware I love this tool it helps in removing unwanted
objects from photos and even fill the empty spaces. now I am selecting the unwanted object first I selecting the tower with selection
tool after selecting , selecting fill option by
clicking right menu select Content aware and press OK and tower
gone then I selecting the left building in silhouette
by selection tool Then>Fill>Content-aware and OK the result
is same small part of building again with same result the image is now more compelling and beautiful
than before see before and after Now I come to levels The levels tool allows you to correct the
tonal range and color balance of an image by adjusting the intensity levels of images
shadows, highlights and mid-tones. When editing the levels of an image you are
shown a histogram, which is essentially just a visual guide for adjusting the image tones. You can find the levels tool by going to Image
>Adjustments>Levels. The histogram represents the dark and light
tones within the image. If your histogram is mainly pushed to the
left hand side it represents darker tones in your image, whereas the right hand side
shows brighter tones. with slow adjustments you’ll notice how
it can influence your images. USE LEVELS WHEN:
You only want to adjust the black or white end points to adjust global contrast
You want to lighten or darken the entire tonal range. This is normal to adjust exposure errors. of the values of the intermediate tones. Now I come to Curves In digital photography editing, both the Levels
and the Curves are used for one of the single most important editing tasks USE CURVES WHEN:
You want to subtly adjust the visual relationship of the tone values. For example lighten the lights and darken
the shadows. This usually requires an ‘S’ shaped curve
adjustment. You want to adjust only the light tones or
only the dark tones. Now I am opening curve adjustment layer and selecting the small section of bottom
part of the image , you can see only it is adjusting the silhouette area when I am selective upper section of image
then only sky is affacting You can also use the auto options Auto Options
from the Properties panel menu and set the options in the Auto Color Correction
Options dialog box. You can apply an Auto Color, Auto Contrast,
or Auto Tone correction to an image. In a last Camera raw filter It is also an important tool to develop your
image Camera Raw was initially built for raw image
processing, but over time, it has evolved to include the ability to process JPEG and
TIFF images as well. you can adjust here exposure ,shadows,highlights
white balance and my most favorite tool is DEHAZE we can also change hue saturation and luminosity Radial filter is another awesome tool to create When the radial is drawn, a new panel appears at the right side of the application. Once the panel appears, you’ll have the
ability to alter the appearance of either inside or outside of the radial via sliders. Like a radial tool the another feature is
graduated filter , When shooting landscapes, You set the proper exposure for the foreground,
and the sky winds up being overexposed. To solve this problem on site, you can reduce
the light on the upper part of the lens with a graduated neutral-density filter. To darken a sky in a photo that is shot without
such a filter, you can use the Graduated Filter tool in Camera Raw. So which should you use for editing your images,
Camera Raw or Photoshop? The simple answer is – both! Think of Camera Raw as an image developer,
while Photoshop is an image editor. So that’s all for now. and don’t forget to comment on description
and also give the ideas so I can create those videos that you like to watch. Thanks for watching

Photo Editing Mini-Series: Peak District Millstones – Black and white conversion

Photo Editing Mini-Series: Peak District Millstones – Black and white conversion


hello I’m Robin Whalley
welcome to this third video in my mini series looking at processing this image
of no stands from the starting shot to the completed image in the previous
video we looked at converting the raw file using the affinity photo develop
persona into the image that you see on screen now in this video I’m going to
actually look at converting the image using Nick silver effects Pro inside
affinity photo into the black and white image the first thing I want to do is
actually duplicate the layer that I created in the develop persona this is
the layer that I’m going to be working on in Nick silver effects Pro the reason
I’m doing this is because it leaves me with the original converted raw file
still in place in the main affinity photo window once I’ve created the
duplicate layer I can now select Nick silver effects Pro from the menu now if you’re unsure about how to
install Nick silver effects plow into a fanatic I do have a video that I’ve
previously published on this subject I’ll put the details of that video in
the video information below here we are then we have the image open in mix /
effects Pro and we’ve got the default conversion and to be honest the default
conversion isn’t that bad for this image if I quite like it now the things that I
like about this is that there’s plenty of detail here in the mid-tones that the
whites in the highlight areas are very bright and we’ve also got detail in the
shadows here in the millstones so it’s not about conversion now the first thing
I do when I’m converting in Nick silver effects pro is I come down to these
color adjustments here this sets up the relationship between the colors in the
image and how they’re being converted to black and white once I’ve done that I
can then go back to the main area which most people start with and I can use
those controls to shape the tones in the image that much better I’ll show you
what I mean now at the moment there isn’t a color filter apply to this image
because it’s the default if I select the yellow filter you’ll see that the
yellows and greens in the image become that much brighter where the Blues
become darker the same will happen if I selected a green filter on the orange or
the red all this happening is we’ve seen slightly different response though the
opposite of those filters on the color wheel is the blue filter now watch what
happens when I pick blue it turns the strong greens in the image black and it
lightens the blues some can actually start with this just to demonstrate how
you can control the color responses in the image but I’m going to reduce the
strength of that filter just a little bit because it’s too strong as it is now
I can come down to the sensitivity now this controls how sensitive the
different colors are being converted to black and white thereby sensitive I mean
if you push one of these sliders up to the right you’ll see the tittle lightens
areas of that color so the Blues in the image and no brighter same would happen
for scions although there isn’t much cyan in the image and the same would
happen to yellow now if you’re not sure how the image is responding to the
different sliders it’s always worthwhile just taking them I’m moving them left
and right to see which areas produce a response so at the moment the Reds are
all gathered in the bottom part of the image here and you can see them being
lightened as I open up the red slider to increase them now I’m actually going to
pull down the yellow slider just a bit and the green slider I’m actually going
to leave that’s a positive value and just reduce down the yellows that bit
further now what that’s doing is its allowing me to see the detail in this
area that I like before we’ve also got detailing the highlights here they’re
not to belong note at the moment and that’s because we’re keeping the yellow
client quite low there maybe we can increase a little bit more the strength
slider and now it’s actually not producing a good result so we’ll we’ll
just keep that quite low and know that I’ve created those adjustments one of
the things I like to apply is a curve to that and I’m going to use the curve to
open up the mid-tones a little bit further but actually I don’t want to
affect the shadow areas too much so I’m just going to pin that here and that’s creating a reasonably good
look although a little bit contacting if you look down here towards my histogram
you can see that at the moment I’ve not really got anything in the zero tone
area of the image so the very dark is blacks there’s only a few the next area
is this does a little bit starting to creep in around here and if I go to the
whites some of the whites are starting to clip just up here but I’m not too
worried about that either so let’s go back up to the top and know we can use
these sliders which control brightness contrast and structure and the one that
I’m going to start with is the soft contrast now if I move this to the right
what it will do is it will lighten these white areas and darken the black areas
but in a very soft way so you can see it there and it tends to create a bit of a
glowing effect or blown-out effect now I don’t want that at this stage and more
interested in creating a good conversion so I’m going to pull the contrast soft
contrast down to the left and what it does is it opens up these shadow areas
further when you do that but it also draws down the highlight areas so you
can see detail there so I quite like that next one I’m going to use is this
dynamic brightness slider and that I can use to darken the image or lighten the
image I’m going to actually leave it more or less around the central area
where it’s not really having in effect I may come back to it in a minute now once
I’ve done those I can look at creating some other effects in the image now one
of the areas I could use is this amplify blacks now when I use this what it does
is it darkens the areas that are a little bit light so it amplifies blacks
in the brightest areas and that allows the detail that’s in there to be seen
more clearly equally if I amplify whites it will open up the darker areas of the
image to make them slightly lighter now that I’ve done that I’m probably going
to darken the image a little bit further with the dynamic brightness well
reasonable at the moment now I’m going to also push up the mid-tone brightness
just to make sure we’ve got detail in these shadow areas at the moment it’s
looking like they’re a little bit too to darken areas and then I can actually
look at adding in any structure now the millstones
are largely in the mid-tone areas and the highlights of here also need a bit
of a structure brew boost the final thing I’m going to do though is just
protect the shadows now and that will help stop these areas becoming too dark
and I can also protect the highlights here to make sure that those don’t blow
out too white and as I’ve done all that you can see the histogram has now been
gathered into the center here I don’t have any clipping really in highlights
sort of at the very brightest area and I don’t have any clipping in the shadow
areas either which are aroma-zone zero there is some aims on what but we can
address any of these later the final thing that I’m going to do now is
actually pick a vignette and use the lens fall-off vignette possibly lens
fall-off to to start with and I’ll just adjust that slightly because I think
it’s a little bit too strong I’m going to reduce the size of that vignette just
to control it a little bit better and I’m going to place the center of the
vignette onto the millstones there and that’s created more or less the look I
want I chair may try the center here and that actually I prefer that look it
stops the millstones becoming too bright on this area dampening too much so I
like the effect that we’ve created that if I can pair it back to the original
that was the unadjusted that’s the adjusted and we’ll go forward with that
in order to create the next stage of our editing process I’ll click OK and that
will apply the changes that I’ve made to the layer that I created at the start of
the video in the next video I’ll look at adding
some special effects to this image in the shape of dodging and burning and
possibly a slight art and the fact I hope you found this interesting I’m
Robin Whalley you’ve been watching Lenscraft I’ll see you in the next
video