1/17/2024 0 Comments Editing landscape photos![]() In the basic I’m going to bring my exposure up. I’m going to do just some basic kinds of things. I’m going to just first work on the main image on its own. So let’s start with that and let’s open that up in Camera Raw.Īll right, so here’s our image. But the clouds are in pretty good shape in the top. I think that’s about where I’m going to have to be.” So there’s our first image. Darken that a little more, can I deal with that? Can I live with that?” I’m saying, “I’m just barely seeing a little bit of detail in that highlight above. And I’m just looking at my camera going, “You know what, I’m going to darken that a little more. I can see a little bit of detail up there. So in this case I’m exposing for the sky as best I can. But if those highlights in the clouds up there are overexposed I’m going to lose everything. And I can bring all that information back. ![]() But when I do tests on these cameras, most cameras, digital cameras, good high-end digital cameras you can get away with something being two or three stops underexposed. I mean, we’re looking at least two stops maybe three stops underexposed. And if you look at this image it looks really deep. So that means that all of your shadows are going to look really, really deep. So now in order to get a correct, or an exposure I can work with later in Photoshop here, I have got to really expose for the highlights. And I thought, “You know what, it doesn’t look that bad.” It goes from the kind of streaks of highlights coming across the ridge line there to a little darker peak. It’s making the light look a little different on that mountain. So I looked at that and I’m going, “Do I like that and what’s my feeling about that?” And I kind of, my sense of it was, is that you know what, it’s emphasizing the light. In doing that it starts to darken the top of the mountain just a little bit. And I push that down to where I really darkened the sky as much as possible. Then I put a medium grad, it’s a three-stop grad on. Because I’m going to go in, if I stitch it together that blurring water starts to sometimes be a problem. But in this case I just wanted something wide enough to be able to capture the entire scene and not have to stitch it together. I put the Nisi polarizer on the Tamron 17-28mm lens. So first off, I’m going to use a polarizer. So I went to my normal landscape setup when it came to filters and what I’m going to do to drag the shutter so I can get a nice image here. ![]() (There’s another lesson you take a look at if you’re interested in.) But that Atlas pack made it easy to organize everything and carry everything all the way through Iceland. ![]() So, I got my filters, I got my lenses and got my travel trinity. I had my landscape kind of kit laid out in my AtlasPacks. Special shout out to AtlasPacks who sent us backpacks so we can carry all of our gear through Iceland. So finally I decided, “Okay, I’m going to have to shoot something that I can really manipulate when I get back to the studio.” We hauled our stuff up to be able to get this photograph and the light was not amazing. So I’ve now butchered it equally in both Icelandic and English. And the way you say this falls in Icelandic is Kirkjufellsfoss or in English Kirkjufellsfoss. So in Iceland I really wanted to photograph this falls. So let’s get started and see what we can do. Today on The Slanted Lens I’m going to show you how to take this image and turn into this image, using camera raw. ![]()
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