(speaking foreign language)
- In this video I wanna reveal all the secrets
and all the tricks to get an amazing Panorama like this
without a tripod.
This was shut by hand without a tripod
and it's gallery quality.
So, come and join me for this secret right now.
(soft music)
All right.
(speaking foreign language)
So sorry for being away for a few weeks
I was shooting a TV pilot that I wrote
that I'm hoping to get finances,
some crazy science fiction TV pilot
I've had in my mind for a long time.
I've wrote a lot of episodes.
I shot the first two.
There's a lot of post-processing a lot of VFX.
It should be coming out in April.
I hope you're gonna enjoy it.
All right. So, I was a lot in Paris
and while in Paris, I found out about this department
so-called La Samaritaine we just,
that just reopened after 15 years of renovations.
And on top, you got different bars
and they have this crazy view of
(speaking foreign language)
all the way to the Eiffel tower.
And, but tripods are not allowed there.
And I wanted to shoot at the good light.
So what I did is I went up there, got a coffee,
took out my FujI GFX 100S which is a stabilized camera.
And let me show you the settings that I did.
So what I did is I took three photos.
And if you look at the metadata,
you will see was shot at one twentieth of a second
at F4 ISO 1250.
So I'm always shooting for the lowest ISO possible,
but I wanted to get the blue hour.
It was getting really dark.
So, I know in a stabilized body in general
at one twentieth of a second.
If you put on a self-timer, if you,
don't forget the self-timer, you can get a sharp photo.
With a non-in-body stabilization
I usually go to 140 or 150 for safety.
But also you always got to make sure
your photo is super sharp once you take it.
So anyway I went to 120, I went to F4.
Now, F4 seems to be pretty wide.
It's the widest I could go with my lens.
But, when you don't have anything close to your camera
it's pretty good.
And 1250 was the minimum ISO possible to get a sharp photo.
Check it out.
This is a 102 million pixel file
and it's really pretty sharp.
I'm actually trying to set it to my galleries right now.
And so what I did, it's a bit noisy
but it's a lot of pixel is gonna come out nice.
So, I took one photo
then I moved a little bit to the left,
was about 20% took a second photo
and then took a third photo where the Pont Neuf,
the one of the most beautiful bridge of paris is.
Then you select all three photo, you right click
and you go to photo merge panorama.
Now at this point I shot this at 32 millimeters.
So you can try. There's different projections.
It's different way of stitching,
of putting the photos together.
I think perspective doesn't work
because I find perspective only works
at 35 millimeter and above and this was 32 millimeter.
Cylindrical actually works great and spherical
works pretty good.
But I prefer cylindrical
because it gave me a little more roof,
a little more ceiling.
So then what I did is I clicked here
on this new option called fill edge,
and what that's gonna do,
is gonna create all the missing pixel that was there.
And it's gonna do a good job for this guy,
it's gonna do a really bad job here.
It can be very useful especially for the sky.
Okay. Then I never use the auto setting option
because that's gonna retouch the photo without my agreement.
I never use auto settings.
Create stack yes.
It's good to get tidy and to get everything into one place
and boom. So this is the final result,
and it's a DNG file, it's a raw file
but it's a panorama raw file.
And if you look here you may get some messed up things here
because of the auto feel which is fine.
The first thing I'm going to do is I'm going to crop this
and I'm gonna use, so if you use the cropping tool here
you can get and you press the O key,
you can get different composition aid.
So classic is rule third.
You know, this is a different way of composition
where you have to put interesting things
at the intersection.
I this is another one I like to use this one
and I like to use this one.
So on this one I'm first gonna take the angle tool
make sure my horizontal line is pretty straight.
And then I'm going to see if I can position
I know I got some non good data here
so I wanna position this.
I still want to get the Eiffel tower in full.
I don't wanna, so this is a ruling composition.
Don't have something too close to your border.
It's called border police, border breathing.
So you go through your border
and you make sure you don't have anything important
that's too close to your border and in this case I do
which is the Eiffel tower.
So what I'm gonna do is I'm just gonna go here
and make more room.
I, yeah that's good enough.
The Eiffel tower is kind of the star of the photo.
I could go here and like really go on,
you know, rule a third.
But I don't like to have a too much panel
plus I'm missing that.
So I think I'm just gonna go like this.
It's okay if you don't have exactly the rule of third
and if I press O, here I've got this really cool curve
that almost goes here to this beautiful lighted place
which is kind of cool.
So I'm happy with that.
And that's gonna give me my framing
And now comes the time of magic.
Now, before I show you my little secrets
on getting this night photo really cool,
I really advise you to get my free toolbox.
I remade a new free toolbox for 2022
that has new 8K skies in it.
It's got new textures.
It's got new presets and it's really cool.
It's all free. It comes with one half hour of training,
it shows my entire workflow. It's completely free.
If you do get it,
you will have the opportunity to get my complete
signature preset.
You don't have to.
From the moment you put in your email it's gonna come,
it's gonna create an account on my website
and it's gonna be there for you.
Also you're gonna get lots of emails from me
where I'm gonna give you lots of free tutorials,
lots of incredible prices only available on email
on my full courses. So watch for that.
Anyways, so now that we've done that
I'm gonna do my regular workflow, I'm gonna open the shadows
and bring down, so on this one
I'm not gonna be on the highlights too much
cause I like the CD by night.
I'm gonna hold down the option key
cause I wanna do my black point and white point.
So hold on the option key and go black.
You wanna get about this much.
So, remember when you hold down the option key
or the Alt key on windows, what happens is
you see pure blackness.
Meaning there is no more information
in this little yellow dots,
you want a little bit of that.
And then you wanna do the opposite with the white.
But when it comes for night,
I don't really care to have
a little bit of burned light like this,
so that's kind of cool.
And that's my starting point but I still find it's too dark.
So I'm gonna make it a little bit brighter.
But what I'm going to do and that's the secret,
is I'm gonna dodge and burn
and I do that on every of my city scapes,
I dodge and burn a lot of them.
I'm gonna add a bit of contrast.
Now, for the white balance I can play around
I think it's a little blue maybe warm it up a bit
or just a bit and maybe add a tad of magenta just a bit.
I kind of like that.
I wish I could be on a tripod so I could
don't have to get this water.
I don't like when the water looks like sandpaper
but in this case it came out pretty neat.
Okay. Now, two things I'm gonna do on the dodge and burn.
I'm gonna go here, and I'm gonna create a brush
and on this brush, remember you can hold the middle mouse
to make your brush higher or bigger.
I'm gonna make a big brush and I'm gonna add some exposure
and I'm gonna add some minus clarity.
Minus clarity is gonna help
basically make the lights glow.
And then I'm gonna paint here actually even more.
I really wanna make this whole line here glow
all the way from the pawn of bridge
and all the way there, okay?
That's kind of cool.
Okay. The next thing I'm gonna do on this one is,
I wanna enhance a little bit that sort of sunset.
You know, I was shutting toward the west
so I'm gonna go here create a new mask
but this time I'm gonna use a radial gradient.
I'm not really enjoying this new interface to be honest.
I prefer the old version of,
I mean I love the select subject and subject sky thing.
But anyways, I'm gonna do that
and on this one I'm just gonna add a bit of brightness
just to make the bottom of the sky a bit better.
And then I'm gonna create a new mask
and this time I'm gonna use
this new feature called select sky
and it's gonna detect the sky.
Boom. And then I can play around,
what can I do with the sky?
I can maybe make it a bit more white or blue.
In this case maybe a little bit more blue,
a bit more magenta.
I like to you can add clarity or minus clarity.
I like to add a bit of minus clarity in my sky.
And that's about it.
Okay. Last but not least one more mask
and this time it's gonna be a linear gradient
and it's for this part.
You see the eyes goes to the brightest part of the photo
and I want the eye I want the eyes to go like this.
Okay. I don't want the eyes to go here.
So I'm gonna make a gradient here
and I'm gonna make this spot darker.
Much darker. Okay?
And then on this one
I'm actually gonna add a one more brush,
sorry. One more brush here.
And then on this one I'm gonna go minus exposure
and this is too bright for me.
So I'm gonna make this a bit darker,
just attracts maybe lower the highlights on this one
just attracts too much the eye.
I want the eye to go like this. Okay?
Okay. One more brush and I love brushing
over and over and over and over.
I really mix this thing.
(speaking foreign language)
cause I got some really cool trick on sharpening
I wanna show you.
Remember it's a 1250 ISO photo.
I always do my sharpening and my nose reduction at the end.
So I'm gonna go here, one more brush.
And then on this one
I just wanna add a little bit of exposure
just here on the water.
Make that water shine a little more just here and here.
Just a little more just to make it more interesting.
And the reason I'm doing a separate brush
is I like to, you know,
every brush must have their, its owned value. Okay?
And, all right now once that's done.
then I'm gonna zoom in 100%.
And remember it was a 1250 ISO
so it's a bit noisy.
So what I'm gonna do is,
I'm gonna go to nose reduction here,
detail. And I'm gonna go
probably around 20 of noise reduction.
And then I'm gonna so, I have a rule is
whatever noise reduction I've done,
I'm gonna deduct that from 100
and that's gonna give you my sharpening.
So, 100 minus 20 gives 80 and so the sharpening
I'm gonna go to 80. Okay?
But that's not all you see.
The no, the sky is still very noisy.
And that's because
the sharpening is being applied everywhere.
So you don't want that.
So what you wanna do is you want to create a mask
where the sharpening is happening.
So for this you hold on the option key,
you take the masking and you go to the right
until you see, so what is black
is not gonna get sharpened.
I don't want to sharpen the sky just a little bit the edge
and boom.
And now it's much cleaner,
much cleaner.
But that's not all.
What I'm gonna do now, is I'm gonna take one more brush
for sharpening.
And this time I'm gonna add just a little bit of texture
and a little bit of clarity. Okay?
And then, oh sorry.
Where's my tool here?
Brush, I don't know what I did.
Clarity yes. Okay, here's my brush,
and I don't wanna add sharpening everywhere.
What I did was a basic basic sharpening
but I do want this here.
Just that. Not the water.
Just these buildings a little more sharpen.
And you won't see it on the video
but when you make a big print it will make a difference.
I wanna make this a little more sharpen
and a little more,
I mean it's not the sharpest photo in the world
because it's 1250 ISO,
but I'm telling you it's gonna print really well.
I'm actually gonna print it for my home,
I really enjoy this photo.
So, voilà and
it's still gonna do well.
Because when you print,
it just works out pretty well.
There's so much detail on this photo.
It's gonna come out really well.
So, one more thing very important.
If you can smash like it up
and just take a second and like the video,
it really helps.
Because whenever you like the video,
YouTube is like oh people like this video
I'm gonna show this to other people.
It's the one thing you can do to help me,
is just give me a little like.
Really makes a difference and get my free toolbox
it's gonna change your life.
I've had people going pro just downloading the free toolbox
doing the entire training, working out this workflow.
This is how I got my work in over 100 galleries,
how I made my books.
Most of it is revealed in that free toolbox.
So, the link is right under the video, get it.
I promise you will love it and I'll see you in another video
(speaking foreign language)