- You can see, without almost any work here.
I now have details in my highlights,
my mid-tones and my shadows.
(upbeat music)
- Hello, everybody, welcome to Adobe Live.
I am here with my good friend, Aaron Nace.
Aaron, what's up?
Say hello to everybody.
- Hello, hello, welcome to Adobe Live guys,
I'm so excited to see you,
we're gonna have some fun today.
So we're gonna take you around through the entire circle
of our Lightroom Photoshop
and then export it to mobile workflow.
So here's just a, kind of a sample of my personal portfolio
and today we're gonna be switching gears.
I do a lot of like kind of,
more studio like conceptual work and things like that.
But for our photo editing session today,
let's go ahead and minimize this.
I wanted to do something that was a little bit more,
a little bit, just more like approachable.
And so we're gonna be doing landscape photography
and I really fallen in love with landscape photography.
My background, as you saw was like Lauren,
like the conceptual stuff, but yeah,
as I moved through my photography career, I find that like,
I'm just personally more drawn to
spending more time outdoors in nature
and just like really soaking it up.
So my first big tip in general,
when shooting landscape photography
and most photography in general is to shoot a bracketed.
And basically that's taking multiple different exposures
at different, let's say you're,
properly exposed overexposed and underexposed.
And basically this helps you overcome
the limited dynamic range of your camera's sensor.
And yeah, it really is incredible
and we're gonna show you a few different ways to do that
in today's stream.
So I'm gonna click on my first image
and then just hold shift and then click to my last image.
We're just gonna right click here, go to photo merge,
and then over down to HDR.
There we go.
And we're gonna see, it's gonna pull it up on screen
and create an HDR preview.
Now, basically what this does is it takes the highlight
and the mid-tone and shadow information
from all of these different photos
and puts it together automatically.
So instead of having the dynamic range of one photo,
now I have the dynamic range of nine different photos
at nine different exposures.
And I'm not saying nine is the magic number here.
You could do five, you could do three,
most cameras will do at least five,
but you can see without almost any work here,
I now have details in my highlights,
my mid-tones and my shadows.
Okay, now we do have one little issue here,
and I don't know if you guys can see this here
in the bottom right.
But the water looks really weird, okay?
It looks like very, like it has a lot of artifacts.
You can kind of see it here,
it looks like blurry here and not there.
And the reason is, is I was shooting this relatively late
and this was a long exposure photo.
So I wanted some movement in the water
and with all this movement,
now, when I'm trying to combine all these exposures,
they combine in a really weird way.
So what you wanna do is turn on what's called
deghosting amounts.
So I'm just gonna turn on where it says Deghost amount,
I'm gonna turn on low.
And basically what it's gonna do
is it's gonna look for areas of your photos that overlap
and don't exactly match up
and then it's gonna choose one or the other photo
to put there instead of a combination of both.
So we're just gonna click on low and it takes a second
cause it kind of has to think everything out
and redo all the masking.
But generally, this Deghosting will really help out.
So I generally start off with Deghosting at none,
and then I'll go through and try low if I need to,
because it does take a lot more time to do the deghosting,
your computer has to think a bit more,
but it will really help out with any of these
like weird artifacts that can, that can crop up.
But let's go ahead and just do a comparison.
So I'm gonna just shift click on two of these images
and compare them by hitting C on my keyboard here.
And I'm gonna go ahead and get rid of my,
get rid of my tabs so we can see what,
where are you going on here?
So here on the left, we can see our HDR and on the right,
we can see an image that is just a single exposure.
So you'll notice how much more detail,
let's just go ahead and zoom in,
how much more detail we're able to get out of
like the cliffs and the foreground and things like that
compared to the background.
I still have all the detail in the highlights of the image
on the right hand side,
but now the shadows have dramatically more detail in them
than I was able to just capture
in a single individual frame.
All right, we're just gonna do a couple of different,
changes here, you can see your shadows and highlights.
Now these sliders will automatically be adjusted for you
when you pull this out of your HDR, the merged HDR,
it actually adjusts your highlights and shadows
to get everything where it needs to be,
but you can continue to adjust these.
Now, in this case, I find that the ocean
is just a little bit too bright in color,
so I'm gonna go ahead and take my,
my graduated filter here,
and I'm gonna make it a little bit darker.
So I'm gonna just click here and drag up in this way.
And you can see basically, this just creates a gradient.
There we go.
And then I can kind of move this gradient around.
You can see wherever I've dragged this around,
this is where it affects,
so I can make it darker or lighter,
and I can kind of move this around
to wherever I want it to be.
So I'm just gonna bring it right down here to the ocean
and then go ahead and move my cursor around.
And then there we go.
I find that that's just a little bit more of what I want
in this image.
Again, the goal here is not always to like,
make everything the right, middle exposure
and, everything like perfectly detailed.
Like sometimes you actually want things to be dark
and you want things to be light,
that brings contrast and interests into your photos.
So just by darkening the ocean a little bit,
it's just bringing a little bit more attention to the sky.
Let's say you capture an image like this
that you're pretty happy with,
but you wanna maybe just make the sky
a little bit more interesting, like in this case,
I just actually didn't really capture that much detail
in the sky.
Let's just bring our exposure down a little bit,
I'm gonna bring my shadows up a little bit here.
Here we go.
So not much detail in the sky at all.
Let's see if we can bring this into Photoshop
to actually add a sky.
So what we're gonna do is right click,
we're gonna go to edit in,
and I'm gonna go to open as smart object in Photoshop.
So this is just gonna go ahead and pop it in Photoshop.
I want to show you guys how easy
the sky replacement tool is in Photoshop
because it's so cool
and there are so many times when we just don't have
that much information in the sky to work with.
So we're gonna go to edit,
and I'm gonna go down here to sky replacement.
And basically it's gonna figure out everything
that it needs to,
it's gonna figure out your sky and automatically do it.
Not only will it pop the sky in automatically,
but it's also gonna adjust your foreground
to match the color of your sky.
And I can adjust things like the brightness of my sky
to kind of match,
you can adjust the color temperature of your sky here
to make it a little bit cooler or a little bit warmer
to match your image.
That's looking good, you can see the highlights in the sky
are matching the highlights here.
I recommend choosing a sky
that kind of fits with your overall image.
You can see, we have, this is a sunset image,
so I wouldn't choose a sky with like
bright blue clouds like that.
And again, I'm going by the fact that,
we already have a sun in our image and that's kind of like,
what's gonna inform the light there.
And I'm gonna just put this output to a new layer
and hit okay.
And you can see all of this stuff that it does
right there for me, all good to go.
Can you believe that?
How do we get this to the phone?
And like, what's the preferred workflow?
So I personally, I do all my exporting from Lightroom.
So I will do, Lightroom for my main exposure adjustments,
light adjustments, dodging and burning type of thing.
I'll go into Photoshop for advanced object removal,
things like any type of retouching that I have to do,
any more compositing or advanced effects,
that's a great place for Photoshop,
but I always go back into Lightroom for exporting.
So I'm just gonna go ahead and export this out, okay?
And we're gonna choose our image format,
I'm just gonna choose our JPEG here.
Generally, I'll do quality about 80%
because I find the difference between
80% and 100% is not that big of a visual difference,
but it saves on file size.
So I'm just gonna do an 80% and then a color space,
you want it to be SRGB, this is a big one, SRGB.
Okay, now generally,
I'll put this in the same folder structure
that I use for my Lightroom images.
So I night, I name all my photo shoots by date,
and then the name of the photo shoot itself.
Lightroom always brings it by date
and then I append the name of the shoot.
And in this case,
I'm just gonna put it on my desktop
for making everything very simple.
So let's go ahead and hit export here
and I'm just gonna pop this on my desktop and open.
There we go.
So now I just want to pop onto my desktop,
we're just gonna find a new finder window, here we go.
We're gonna go on the desktop.
And what we're gonna do is I find the easiest way
to get this in, I'm an apple user in general
so PC is gonna be a little bit different,
but the easiest way that I do this
is I just right click on my image,
I go to share, and then I go to airdrop.
Airdrop is the easiest and then I just go on my iPhone here
and then it pops me into my phone.
All right, so we're gonna start off with a subject
in the background.
So I do have a bit of a texture here in the background.
So I want to start off with the clone stamp tool.
So let's go ahead
and I'm gonna start by clone stamping this out.
So we're gonna hit S for the clone stamp tool
and then ALT, or option to sample right up there, okay?
We're gonna go right down here and then boom.
We're just starting off.
- Okay, nothing we haven't done before, pretty easy.
- Yup, there we go, pretty easy so far.
- Everybody following along?
- There we go, we're able to do that.
Now you can see from the left and the right,
that's not perfect so I got a sample here
and then paint this in right over here.
There we go to make sure that lines up how we want it to.
All right, so that's starting to look pretty good there.
We're gonna do that one more time.
So let's go ahead and create a new layer here,
there we go.
And we're gonna continue on with the same plan here.
Now what's this texture here,
I don't really know what this texture is.
And you can see this little gray area here
to the right of the subject,
I don't actually have that much of space
to sample this, right?
Like if I wanted to sample this and start painting it over,
I just don't have that much space,
but I want this to continue over.
So what we're gonna do
is just simply grab our brush tool.
So we're gonna hit B for the brush tool.
I'm gonna make a large soft edge brush,
and I'm gonna hold Alt or Option and select this color.
Now you can select any color,
just hold Alt or Option and select any color in your image,
and then just start painting with it if you want, okay?
So we're gonna use a large, soft edge brush.
I'm gonna sample this color and then I'm gonna hold shift
and just simply paint to the left and the right.
- Nice. - Okay?
Now I'm gonna sample this color
that's a little lighter
and we're gonna start painting in here.
So keep in mind, I want everyone to keep in mind
that this is just the brush tool.
This is not a fancy automatic type of selection tool,
this is literally just the brush tool, okay?
We're gonna make our brush a little bit larger.
I'm gonna go into my window
and then down to our brush settings, okay?
And I'm gonna turn on my shape dynamics
and I'm gonna raise the minimum diameter
just a little bit, okay?
That's gonna help me
make a brush edge a little bit more round,
and it's gonna, it's a little bit more soft rather.
And what that's gonna do is it's gonna allow me
to create something that looks actually
like it's out of focus.
There we go, and I'm gonna kind of paint in
some variation here as well.
There we go.
So you can see I'm still painting over
and I'm not necessarily concerned here about there we go,
about painting over top of the subject on the right.
I'm just kind of painting this in and using,
just kind of using the old fashion eyedropper tool
to sample color, and then paint this in.
- Thank you so much, Aaron, for joining us,
it's been an awesome two days,
I've had a lot of fun hosting you.
- [Aaron] Such a fun audience today.
(upbeat music)