Landscape Photo Editing Workflow – Part 1 Photo Assessment


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

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