I recently was completing some long over due editing from shots I took in 2013 and came upon this image. I had not touched it since importing it into my Lightroom catalog nearly two years ago. I decided to see what I could do with it. Below is the original file as imported into Lightroom and the version after processing in Lightroom. The feature image is the finished product out of Photoshop.
I was originally attracted to the image because of the pattern of the yellow grass and the scattering of the red leaves. The scene was in shade on the afternoon of a late fall day in November – there was not much available light. I can’t remember if I was without my tripod, or just too lazy to use it, but I took the shot handheld. To have a fast enough shutter speed to not have camera shake, I upped the ISO to 1600, which resulted in a shutter speed of 1/60th of a second. It wasn’t enough. Viewing at 100% in Lightroom showed the image was not sharp.
I thought it might be saved with the shake-reduction filter in Photoshop, so I opened up PS. Indeed, the shake-reduction filter seemed to work wonders. My workflow is normally not to bring an image into Photoshop until I’m done with it in Lightroom, but rather than go back to Lightroom, I opened up the camera-raw filter and attempted to do my “Lightroom” processing there. (Adobe Camera Raw and Lightroom reportedly have the same capabilities.) I was quickly reminded why I like Lightroom better than Adobe Camera Raw and scrapped the image and started fresh again in Lightroom.
In Lightroom, I started, as I normally do, by doing a default lens correction and adding noise reduction to counteract the high ISO noise. Following my normal workflow, I went to the Basic menu and worked on the tone and presence. I started by reducing the exposure by about 1/2 a stop, warmed up the temperature to rid the image of blue tones from the blue sky reflection and adjusted the tint to add a bit of green. I then adjusted the clarity (to the mid 20s) and vibrance (to the mid 30s) sliders to punch up the colors a bit. That’s a bit more vibrance than I normally use, but it seemed like it needed it. The vibrance wasn’t helping the reds enough, so I also added a small amount of saturation.
I then set the white point with the white slider and adjusted the highlights slider down. I normally set the white point, usually increasing it, as a way to improve contrast. It often results in the highlights being lighter than I want; such was the case here – thus the reduction of the highlights slider. It took several iterations to get it where I liked. I then set the black point with the black slider (and thus finish the contrast improvement without using the contrast slider, which I normally leave set at zero – as I did here).
At this point, there was one leaf in the upper half of the photo that was too bright and distracting. So I used the brush tool to dim it down a bit. With that bright leaf now dimmer, I made one final adjustment to the white and highlights sliders. Made a final adjustment to the temperature slider, and punched up the image a bit more by using the dehazing slider and added just a touch of vignette to help focus the eye into the image. The result is the second image below.
At that point, I exported to Photoshop and re-accomplished the sharpness fix with the shake-reduction filter. After working that shake-reduction magic, I followed my normal Photoshop workflow for nature/landscape shots by working Tony Kuper’s triple play actions on the lights and darks (these actions use luminosity masks to affect the contrast, brightness and detail definition – in this case I was most interested in the detail definition).
From there I worked on targeted adjustment to bring my final vision out for the image. I wanted to yellow grass to really stand out, so I made mask for the yellows and used it on a levels adjustment layer to make them brighter. I only wanted this effect on the yellow grass in the center of the image, so I placed the levels adjustment layer in a group and masked the group, allowing only the center portion to be affected.
Next, I thought the greens were too bright, so I again made a mask from the greens and used it on another levels adjustment layer to darken them up a bit.
In looking at the image, I still wasn’t happy with the reds, so I added a hue/saturation layer and bumped up the saturation just a bit on the reds only.
I finished it off by adding a dodging/burning layer, and painting black to darken, I darkened approximately the upper 1/4 of the image as well as a bit on the sides and bottom. This improved upon the vignette I had placed in Lightroom. The result – the image you see above.
It took much longer to write this than to do the actual work in Lightroom and Photoshop. I think, in total, it took about 20 minutes. In looking at it now, I think I may have overdone darkening of the shadows. But that is the beauty of Lightroom, I can easily open the PSD file made by Photoshop and lighten up the shadows a little. Maybe I’ll do that if I ever decide to print it, but otherwise, it is ready to print now.
As always, your thoughts and comments are most welcome.
One of the challenges of shooting in RAW format is deciding what and how much processing to do. (Tangent – why is RAW capitalized? It is not an acronym such as JPEG or TIFF. It simply means unprocessed. In Wikipedia, it isn’t capitalized. But somehow, it doesn’t look right to me. I’m usually a stickler for correct writing – just ask anyone at my day job where I edit everyone’s reports; they may even call me a grammar nazi – but leaving it uncapitalized when every other file format is capitalized seem wrong. So grammar nazi or not, I’m capitalizing it.) When shooting in JPEG mode, the camera does the processing for you. You can always tweak it later, but the majority of the work is done. With RAW, you should do the heavy lifting and process the image yourself, at least if the default processing by your RAW converter program (Lightroom in my case) doesn’t do a good job. And it is rare when I find I can’t do a better job processing than the default.
But the question remains, what to do and how much? Some might answer, just enough so that it looks like it did in real life. But what is that? Take, for example, the images presented here. These are shots of water seeping out of sandstone near Moab, Utah. I’ve included both my processed versions and the original RAW versions from Lightroom with zeroed developing (with all the sliders set to zero – realize, however, there still is some processing involved, it is impossible to present true RAW images, some processing must occur to translate the images into something humans can view). I took these images in the shade on a sunny, blue-skied morning. So these were naturally lit by a broad, blue sky, which cast a rather flat, blue light onto the sandstone. Does that flat, blue light truly show what I saw, or do my processed versions show what I saw? The answer is up to me as the maker and you as the viewer. Did I go too far?
Well, what did I do to turn the RAW images into the finished images? They were first processed in Lightroom, correcting for lens distortion and chromatic aberration. Then I set the white point and the black point to add contrast, took a little off the exposure, and adjusted the highlights and shadows to bring detail into the blacks and whites. I added some clarity to add a bit of sharpness and some vibrance to add saturation. I then adjusted the color temperature, increasing it to remove the blue tint. I then added a radial filter to lighten the water patterns and darken the rest. And finally, made minor changes to many of these adjustments to fine tune them. I then took the images to Photoshop, performed Tony Kuyper’s triple play to add punch to the highlights and shadows, lighten up the orangy-browny vegetation on top, and added a “smart glow” to punch up the color a bit. In total, it took about 10 minutes each to do all this work.
I’d think the most controversial of these changes would be the changes to the color, in particular adding vibrance and the smart glow. The rest is pretty standard old-school darkroom photography made digital (except perhaps the Kuyper triple play, that doesn’t really change the images that much). The problem here is deciding what is too much in terms of the color. Because the subjects were in shadow, it is difficult to determine what the colors would look like in the sunshine. And of course, what sunshine are we talking about? Sun at noon? Sun at sunset?
I guess the answer is it depends. Did I take it too far? I don’t think so; you may. But these are close to what I wanted to show when I took the images. So for me, the answer is no; I processed them as I thought proper. For you the answer may be different. If you think so, let me know your thoughts.
Today is Pi Day. I’m not sure how Pi relates to photography, but Phi does. Pi the ratio of a circle’s circumference to its diameter, an irrational number approximately equal to 3.14159. Phi is also an irrational number, approximately equal to 1.61803. Phi is also called the golden ratio. It is the ratio obtained when a line is divided into two unequal parts such that when the longer part is divided by the smaller part the answer is the same as when the whole length is divided by the longer part. (It makes much more sense when you see it as a diagram.) Pi and Phi are somewhat related in that the product of the two numbers (phi times pi) is found in golden geometries.
I am not a mathematician, but I suspect the product of Pi and Phi is related to golden geometries because Phi is an expression of the golden ratio. And the golden ratio is special in photographic composition. Phi, the golden ratio, presents to the human mind a very pleasing relationship. Besides photography, it is found in architecture, painting, and music, as well in nature.
The golden ratio has been used for art since practically forever. The Parthenon is covered with instances of the Phi. It can be found in artworks such as the Mona Lisa and the Last Supper. It is even found in Darth Vader’s mask.
The rule of thirds works, in my opinion, because it is an approximation of Phi. If you take the sweet spot defined by Phi four times in a frame, you get a pattern similar to the rule of thirds, but a little less easy to define on the fly when looking through your viewfinder. Luckily, both Photoshop and Lightroom offer crop overlays that show the golden ratio grid.
The golden ratio can also be expressed in a spiral. A logarithmic spiral with a growth factor of Phi is known a the golden spiral. Again, both Photoshop and Lightroom also have crop overlays based on the golden spiral. The sweet spots of the golden spiral are also close the those of the rule of thirds.
It is easy to access these crop overlays in Lightroom. The various crop overlays in Lightroom are found under the Tools pull-down menu. Or when using the crop tool, use the shortcut of the letter “O” to cycle through the various crop overlays. When using the golden ratio overlay, you can cycle through the various orientations of the spiral (placing it in different quadrants of the image) by using “Shift O”. The same shortcuts are used in Photoshop when using its crop tool.
With a bit of practice, you can imagine the golden ratio proportions in your viewfinder, and you can always perfect the composition with the crop tool in Lightroom and Photoshop. So if you want to move beyond the rule of thirds, remember Phi – the golden ratio – a photographer’s compositional mathematical friend.
My intention this morning was to get a lot of work done. Instead, I sat down at the computer and played with Photoshop. I long have wanted to learn how to create the tilt-shift look in Photoshop. You know the look, that of a miniature toy town or city. So instead of working, I asked Mr. Google how to do it, and he directed to a tutorial by Denise Lu. It is quite easy.
1. Pick a photo. It seems to work best with a wide view, taken from a high angle so you are looking downward on the scene. Two of the images here were taken from the Smith Tower in Seattle and the third from the Eiffel Tower in Paris.
2. Open the photo in Photoshop and create a duplicate layer so you are not working on the background layer.
3. Enter the Quick Mask Mode (the shortcut is the Q key) and select the Gradient tool. With the gradient tool, select the reflected gradient (the 4th mode over on the gradient tool bar).
4. Draw a gradient starting in the area you want to be in focus and extending to the area out of focus. You can hold the Shift key down to make sure your gradient is straight. A mask (default color red) will appear on the screen showing the area to be in focus. You will likely have to play around with it to get a mask exactly where you want it.
5. Exit the Quick Mask Mode (hit the Q key again) and from the filter pull-down menu select the Lens Blur filter.
6. Pick a radius of somewhere between 20 and 40, at least those are the values I used. The Lens Blur filter screen will let you preview the results.
7. Consider adding saturation with a Hue/Saturation adjustment layer and extra contrast with a Levels or Curves adjustment layer to make the result look for toy-like.
And that’s it! The hardest part is getting the gradient in the proper place. If you have a building sticking out of the in-focus area, such as in my image of Paris here, you can use other selection tools to de-select that portion of the building after leaving the Quick Mask Mode but before applying the Lens Blur filter.
I have trouble photographing the moon. Okay, it’s not so hard before for the sun sets (which is why the best full moon pictures are typically taken the day before the full moon and, consequently, before the sun sets), but after dark, I have lots of problems. There is just too much contrast. The moon is bright, basically as bright as anything lit by sunlight on a cloudless sunny mid-day. Everything else is dark. The dynamic range of any scene with the moon is too much for a camera to handle.
Perfect time to try some HDR photography, right? Maybe, but I’ve never gotten it to work well. I’ve always get funny looking light artifacts around the moon; all my attempts at using HDR for scenes with the moon have looked awful. How about shooting one exposure for the moon, one for the rest of the scene, and combining them in Photoshop. Again, maybe you can do that, but every time I’ve tried it, it doesn’t work – there’s too much glare around the moon and I can’t get the sky to look right.
Last month when I wanted to photograph the full moon rising behind the Glass Museum in Tacoma, I was disappointed when there were clouds on the eastern horizon and the moon wasn’t visible. Less than an hour later, the moon rose above the clouds, and though it was no longer aligned with the Glass Museum, it lined up nicely with the cable bridge over the Thea Foss Waterway. Nice shot, I thought, except now it was way too dark to capture both the moon and the with a single exposure. I set up the tripod anyway and took a series of shots, hoping that perhaps the contrast would not be too extreme.
Later, when I downloaded the shots, I was disappointed to find out contrast was too great – moon troubles were visiting me again. I tried HDR (once again) and was disappointed with the results (once again). I was frustrated. At that point, I figured someone else must have an answer to this problem, so I spent some time researching moon photography on Google. Most advice centered around photographing during twilight before it was too dark. Not helpful in my case. After a bit of searching, I found a YouTube video (which I can’t find again to credit here), where the photographer used HDR for only the moon and the area of sky immediately around it, a single image for the rest of the shot, then combined the two images in Photoshop. He then re-imported the resultant image into Photomatix for additional tone mapping, which I thought wasn’t necessary. But the first part sounded interesting.
I had a series of seven images, shot one f-stop apart. I imported all into Photomatix and worked it for the moon only. I re-imported the HDR moon image into Lightroom. Then I took a single image from the original seven and worked it in Lightroom for the foreground only. I also worked the HDR moon image in Lightroom to approximately match the sky to the sky (away from the moon) in the foreground image. I exported both images to Photoshop into a single document, with the foreground image as the background layer and the HDR moon image laying on top. I used a layer mask on the HDR moon layer to mask out everything but the area around the moon, feathering the mask match the sky in the underlying layer. The two skies didnt quite match, so I used a curves layer with a clipping mask on the HDR moon layer to get the tone of the two skies to be more similar. Once I was satisfied with the result, I continued with my normal Photoshop workflow to finish the image.
Perfect? No. But in the end, after a lot of work, the result is the best moon image I’ve ever captured after dark. What do you think, is it any good? And please, if anyone has some better way to handle my moon troubles, be kind and let me know.