How to edit Long Exposure Photography in Lightroom

yep it is time for a new Lightroom video
in this video though I’m not going to edit my own photos I’m going to edit
your photos welcome to my channel here I talk about photography and I make videos
just like this one where I share how I edit in Lightroom so if you’re here for
the first time it might be a good idea to subscribe if you saw this Lightroom
tutorial video you will know that last month I launched a new Lightroom
challenge what I was asking you guys to post your RAW files on Instagram so that
I could pick a few photographs and make a video while editing them well this is
that video and before going into Lightroom I would like to say thank you
for posting your images and a special thanks goes to those of you that I
contacted and sent me their raw files so I can actually make this video ok enough
thanking let’s get started and here we are in Lightroom this is the image I
picked to edit this image is by Chris Colyer I hope I’m pronouncing his name
correctly and I decided to use this image because I wanted to use the
opportunity of this video to show you how I edit
long exposure photography images and this is perfect as a matter of fact
Chris used a 544 seconds shutter speed an aperture of f11 and an ISO of 200 so
544 seconds shutter speed give us the potential of encounter all the problems
of a very long exposure let’s stop talking and let’s start editing I’m of
course in the develop module and I will start by opening the crop and straighten
panel and the very first thing of course I want to do is to make sure that my
horizon is perfectly straighten and the next thing I want to do in this
panel is deciding what is the best aspect ratio for this image and in my
opinion the aspect ratio of sixteen by nine is perfect for this image and I
think it looks pretty good let’s open out the basic panel and
looking at the histogram I can see that I possibly can open up this image a
little bit and if I hold the shift key and double click on whites I can extend
the histogram all the way to the right in order to have the entire dynamic
range available in this image I will do the same thing hold Shift key double
click on blacks in order to move the image as much as possible to the left as
well and what I’m going to do as well is that I am going to lower the highlights
a little bit maybe I went a little too far and I will open up the shadows a
tiny bit as well I think that the exposure and the contrast are fine I
will increase the clarity just a tiny bit I will not touch the Dehaze in this
case and of course I will give a little bit of vibrance and a little bit of
saturation let me stop right here one second just to tell you that if you
don’t remember how every single Lightroom slider is going to affect the
image I will encourage you to go and check out my Lightroom mini series
beginner course that I did some weeks ago everything is in there and let’s
open the tone curve here I might push down the shadows a little
bit push up the highlights a little bit and I want to give a a little different
look by opening the blacks a tiny bit and let’s see how it looks with and
without this adjustment very subtle difference I think I like it
now I will skip the HSL panel and go into the split toning in the split
toning what I want to try to achieve is to emphasize this sunset look and I
will do so by adding a little bit of color into the highlights and in the shadows instead I will add a
little bit of blue tone before and after yeah
subtle changes that will make the difference in the end let’s open the
details and in the details I can see where we start to have problems caused
by the very long exposure you can see these dots colored dots everywhere these
are called the hot pixels and the hot pixels are usually caused by the sensor
in a very long exposure like this when basically the sensor gets really warm
the camera gets very warm because is working for a very extended amount of
time and this is the result it’s nasty so we’ll do something here in the detail
panel but I don’t think it’s gonna be enough we might need to do something
else in Photoshop for now I will decrease the sharpening to a minimum of
ten eleven twelve and I will decrease the radius of this sharpening I will
increase the the details and I’m always keeping an eye into this very zoomed
image to see how my adjustments are affecting the hot pixels I’m going back
to the full image by clicking on Z I will hold the option key move the
masking slider to the right in order to decide what I want to be affected by the
sharpening I can see that those hot pixels are going to be affected unless I
go to 100 that i’ma need to do something like this like
masking most of the image so everything that stays white is going to be affected
all the black it’s not gonna be touched by the sharpening I will zoom in again
and I might add a little bit of noise reduction increasing the luminance a
tiny bit I can also move the slider the color slider to the right as much as I
can and I can see that somehow the hot pixels are reduced compared to before
you can see how big and crazy they are if I’m not touching the slider so I will
go all the way to the right let me see unfortunately they are still there so
definitely I will need to finish this edit in photoshop and I will show you
a very quick tool that will take care of these hot pixels when I imported this image
I made sure that the remove chromatic aberration and enable profile
Corrections were already taken care of so nothing to do here what I will do
here instead is that in the effects panel I want to add a little bit of
vignetting and I usually like to add a – 7 – 8 vignetting the midpoint all the
way to zero the roundness may be here and I like to work with the feather
quite a bit you can see that without the feather you will have this funky round
which we don’t want to see of course this is basically done as far as as it
concerns the general adjustments what I want to do right now instead is going
into some local adjustment the very first one is the graduated filter I will
drag down from the top holding the shift key in order to keep it parallel to the
horizon and here I just want to decrease the highlights and I want to increase a
little bit the contrast may be a little bit of saturation and also I might want
to add a little bit of color and let’s see how it’s going to look yeah this can
work maybe this is even better I want to I
have a little darker just to create a more moody image I will add a new
graduated filter this time is going to come from the bottom I might actually
need to have a little bit of a tilt in this case and here instead I want to
increase the shadows a little bit not too much maybe also the whites I will
increase the clarity and I will increase the saturation I also want to see how
it’s going to look if I add a little bit of orange maybe it is too much so I will
move it 19% maybe a little less and of course
even in this case I can see how it looks with or without these adjustments and we
can see that these local adjustments are making a very big difference to the mood
of the entire image something else that I like to take care of
that the sea is a little dark for my taste I want to give this a ethereal
look to the water and I want to make it a little brighter so I will need to use
the brush tool and I will use the mask overlay to see exactly if I’m able to
affect the right area of this image and I will just paint until the entire area
that I want to be affected will be actually red and now that I am somehow happy of my
selection I will toggle off the mask overlay and start increasing the shadows
and also increasing the exposure and I can see that my selection wasn’t that
precise so I will need to work at it a little better in order to have a more
consistent result so it will take me some time so I’m a little happier now I only think
that the sky is too bright still too bright and I will increase the contrast
I might add a little bit of dehaze and maybe this is done so let’s see
the before and after clearly a big difference I’m not sure this is the mood
that Chris was searching for but this is what I saw
now the last thing we need to do is to bring this image in Photoshop because as
you can see the pixels are still there even if we bright and the water quite a
bit so right click Edit in Photoshop and and here in Photoshop the first thing I
will do is that with command J I will create a new layer I will zoom in a 100%
in order to be able to see very well the hot pixels and clearly you see them I
will open filter noise dust and scratches and here is where the
magic will happen as a matter of fact with a radius of 2 or 3 pixels and the
threshold of 25 in this case the pixels are gone if I move the threshold at 255 nothing basically is touched and the trick here is to move the threshold to
the left until all your hot pixels are gone the radius you don’t want to go too
crazy with the number here the lower the number the better it is because if you
go with the higher number you will lose a lot of details from your image
and now I can just save my image and the image will be saved automatically with
this adjustment in Lightroom again once the image is saved back to Lightroom
from Photoshop I will see that it will be saved with the extension
of a Tif file and again I’m pretty happy with with the result and this is
the after what do you think and this is all for today I hope you enjoyed this
video I hope you learnt something new and I hope you will let me know so hit
that like button leave me a comment and if you didn’t yet maybe this is the
right time to subscribe thanks for watching and I will see you in the next

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