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Easily Fix Framing Mistakes With Adobe Photoshop and Adobe Lightroom CC

September 3, 2019


(pleasant music) – Hey everyone, in this video I want to talk to you about a photo that I took, actually a series of photos on a recent trip to New York. I want to give you a little bit of a background as to
kinda how I got the shot, and then we’re gonna over to the computer and I’m gonna show you how I edited it, because there was just a little bit of a problem that you’ll see just kind of bugged me. Probably could have gotten away with it, but I want to show you how I edited it in Adobe Lightroom and Photoshop. So I was just in New York City recently visiting my family and also I wanted to attend the Photo Plus
Expo at the Javits Center. And there’s only so many
hours you could spend roaming around the expo
floor and having meetings, so one afternoon I got together with my wife Nicole and
our friend Karen Hutton who is an amazing photographer and a Fuji X photographer. And we just wanted to stroll around. And so we ended up at
Washington Square Park, which if you’ve never
been I high recommend it, because it is an ideal
place to photograph people. Not just photograph
them, just to watch them. There’s just so many
different types of people. So when we got there
one of the first things I noticed was there were
these two bicyclists. One was riding and he had a GoPro, and the other one was on
his back wheel just riding almost like a unicycle, just nonstop. He kept going around this little fountain. And so I had my camera with me, and this was the setup that I had here. So this is the Sony a9 camera with the ZEISS Loxia 35
millimeter f/2 prime lens. It’s a manual focus lens. Now, for street photography, 35 millimeters to me is amazing. There’s just some quality
about that focal length and the compositions you
get that I really love. Now, one of the things that I like to do when I kind of hit a creative block with street photography is panning. I do panning a lot with cars. I do it whenever I travel. It’s just one of those things where I find that depicting motion in a still photo adds
a really nice quality. So what I typically do in this case with this bicyclist is I had my camera set usually when I’m panning between 1/20, 1/30, even 1/10 of a second. And then I adjust my aperture for the appropriate exposure, and then I just rifle off brackets. And I’m moving along with the motion, so if it’s a taxi cab, or in this case it was the bicyclist going across the frame, I’m trying to move at the same rate, at the same speed as the bicyclist, so that the bicyclist is sharp, everything else kind of goes blurry in this kind of directional blur. Now here’s the thing
with panning photography, at least in my experience, is that you’re gonna
get a lot of misfires. You’re just not gonna be
moving at the same rate, or the position of your subject
is gonna be slightly off, and so there’s a lot of experimentation, a lot of practice that goes into it. And sometimes it’s just luck, you just happen to get that right shot. Which is why I was using the Sony a9 camera specifically here. The Sony a9 can blast through like 20 frames per second, so I can keep photographing
with the subject without ever worrying about
the camera buffer filling up. So that’s specifically, this camera is an intent-based camera if you’re photographing anything where you need to photograph a lot of frames, or there’s something
that’s moving very quickly, or very fast, this camera’s really nice. And again, the Loxia 35 millimeter, for me, as far as street photography goes is an ideal choice. Now after about two or three laps around that little fountain in the foreground the bicyclist went off and I started to chimp my shots. I wanted to see or review whether I got any keepers and fortunately I did. I got a bunch where they
were just slightly off, or the exposure was off,
or maybe my focus was off, or the bicyclist just wasn’t sharp. But there was this one photo in particular that I really like and the only problem is when we jump over to the computer, if you look at the bottom of the frame you’ll see what I mean. I just kind of messed up the composition just a little bit, but fortunately it’s not too hard to
fix that in Photoshop. So what I want to do right now is jump over to the computer, we’re starting in Adobe
Lightroom Classic CC, and we’re also gonna be
using Adobe Photoshop 2018. And so we’re gonna use that software to start correcting the photos, stylizing it, and just kind of get it at a really good place,
so let’s check it out. Here we are in Lightroom Classic CC and you can see this is the
grid view of the photos. This is kind of the series of photos that I took of that bicyclist, and you can see as I pan across. You can kind of get the
idea of how I was panning, or I was trying to pan,
with the bicyclist. So ultimately I settled
between two different photos. I’m gonna put ’em in the compare view, so these two right here. And I’m going with the one on the left because you can see more of his face, it’s a little bit sharper. The image itself is overall
just a little bit sharper. And the composition I just like better. So with this photo here
the problem that I have, and I mentioned this
just a few minutes ago, is that I just couldn’t frame him properly because everything was moving so quickly, and you can see the
bottom of his rear tire is cut off at the bottom of the frame. And that to me, that’s just something that always bothers me with compositions at least when I take them is, I want to make sure
that something like this isn’t just being cut off. It’s like cutting off at a wrist or an ankle when you do a portrait. So I’m gonna use Photoshop, I’m gonna start first
by correcting the photo, just some basic corrections. Then we’re gonna go into Photoshop and I’m gonna show you how I manipulated the photo to kind of bring back that bottom part of the tire. So let’s start out, I’m gonna go by going into the develop module, and I’m gonna do a few quick things. First, I’m gonna get my
correct white balance, so I’m gonna take the color dropper here from the basic panel. This is gonna allow me to sample a white or gray to get a custom, or correct, white balance. So I’m just gonna go right
here off of his shirt, and you can see that it warmed the image up a bit which is fine. Now, I’m gonna go down all
the way to the bottom here, to lens correction, I’m gonna turn on enable profile correction
and that’s gonna apply a lens correction for the
Loxia 35 millimeter f/2 that I used to take this photo. And the last thing I want to do is just crop in a little bit, mostly so that I can get rid of this dark spot right here. I don’t know about you, but those kinds of things
always distract me, my eye just goes to it. So I’m gonna go to the crop tool here, you can also do that by
pressing R on your keyboard. And I always make sure that my proportions are locked so you can see here, normally I think by default
the lock is unlocked. So here I’m gonna go to lock, and then I’m gonna drag
from the top left in, just until we get rid of that, cool. So, you might have noticed I’m not doing any stylization just yet. I’m doing correction. So I got my custom white balance, we applied a lens correction profile, and I adjusted the composition to remove that little
distraction on the left. Now it’s time to go in Photoshop and I want to show you how I used it to kind of fake the bottom tire over here. It works kind of well. So to do that let’s go to Photo, then let’s go to Edit In, and we’ll select Adobe Photoshop CC 2018. All right, so one of the first things I like to do in Photoshop is double-click on the background layer,
you can see it’s locked. If you double-click it
and then click Okay, it creates just it’s own
layer, it’s unlocked, so you can edit it and do anything as you would with a normal layer. And so remember the point of this is I want to somehow bring the bottom part of this tire into frame, which means that I need to
add some space below it. Now the easiest way to do that is to adjust the canvas size. So if you go to Image,
and then Canvas Size, here is the actual resolution, the dimensions of the photo. Now I can go ahead and
add say like 200 pixels, so let’s just go with 4,100 pixels. Now watch what happens here, if I zoom out you can see that it adds some pixels at the top and the bottom. But I don’t want that, I only want to add space below the bottom of the frame. I don’t want to add anything on top, so let me undo that. We’ll go back to Image, Canvas Size, now there’s this Anchor
section right here. And this is really important, because what this does is you can tell Photoshop where to add the extra space. So I want it at the bottom here, so to do that I’m just gonna click on this up arrow and you can see that this tells Photoshop to only add the extra space at the
bottom of the frame. And so now I’m gonna do the same thing, I’m gonna change the height to 4,100 and then click Okay. And you can see now that all the space is just at the bottom here, there’s nothing at the top. So the first thing I want to do is take care of filling in pretty much all of this transparent area. To do that I’m gonna start by creating a new layer and the important thing here is we’re gonna use a clone stamp because this whole entire
area in the foreground, fortunately is evenly toned, and it’s kind of out of focus. So it’s not gonna be a problem in terms of blending it. So the clone stamp tool is ideal, so I’m gonna select that. And here’s what’s important, you want to make sure that you have the All Layers selected
here for the sample, otherwise if you have it on Current Layer, for example, it’s only
gonna sample transparency. So here, let’s go ahead to All Layers, and I’m gonna press the Option or Alt key to select a source, so
something over here, and let’s make a nice big brush size. And you can see the preview of the brush, and now we can start
closing in that extra space. All right, now you can see we’ve done kind of a rough job of filling in the bottom of that extra space. I know it looks pretty convincing just at face value if we just look at it really quickly,
looks pretty convincing. So now it’s time to
fill in the bottom part of this tire, which
still kind of looks flat from the the bottom of the frame, of the original frame. So here’s what we’re gonna do, first thing is I want to create what’s called a stamp layer. And to do that we’re gonna use a really fun shortcut, it’s called Command, Shift, Option, E. And what that does is it takes all visible layers and it creates a new layer without actually merging them And so in our layers
panel you can see here we now have this new layer that has pretty much
everything that we just did. Now it’s time to actually fill in the bottom of the tire. To do that let’s create a duplicate layer of this new merged layer, we’ll do that by pressing
Command, or Control, J. There we go, that’s our layer copy, and now I’m gonna go to Edit, and then Free Transform, because what I wanna do
is rotate this image. So check this out, let’s take the opacity of this layer let’s bring
it down to about 50%, and then let’s start rotating. And you can see now both layers, and what I’m doing is kind of getting what I’m trying to do right now is I’m finding some of this tire here, that will fit and it will look like the bottom of the tire. Now another way to visualize this is let’s bring that opacity to 100%, and change the blending mode
from normal to difference. What this does is it shows you, exactly what it sounds like, the difference between
two different layers, so the difference between the active layer and the layer below it. Anything that’s similar will be dark. And you can see that for the most part the background looks kind of
the same so it looks dark. But anywhere there are major differences, you’ll see it in white,
and yellow, and blue, it looks very psychedelic kind of like an x-ray or a negative film. But the only area I care about right now is right over here at the bottom of this tire and you can see that we’re getting kind of that flat, round, bottom here which is exactly what we’re going for. And because we duplicated the layer I can always readjust the position and re-transform it if I want to. So let’s stick with this for now, I’m gonna click on the check mark to commit the transform. Let’s change the blending
mode back to normal, and now you can see we have
this really funky image. That’s because obviously one layer is on top of the other. So what we wanna do is add a layer mask, which is by default set to white, which is displaying everything. So let’s press Shift, Delete,
and fill it in with black. Now, we can start masking back in the bottom of the tire. So to do that let’s select our brush, make sure that we’re set
to white as our foreground, and let’s just see what
we start to get here. That’s not too bad. I mean all I’m doing is
I’m single-clicking here, and for the most part it’s
looking really good, right? I mean we kind of filled it in. Now let’s go, we’ll go with the move tool, and we’ll just arrow over a little bit, until all I’m doing is
I’m aligning this tire. You might notice that
it’s a little darker here, and brighter here, I’m
not worried about that. I’m not gonna take care of that right now, because we can fix that in post. There are some areas here that I want to fix up right now, so all I’m gonna do, again, is go back to transform. I go into the Edit menu, and then selecting Free Transform, and I’m just going to use my arrow cursor right there to fine-tune that inner wheel, that inner white rim. With that let’s click on
the check mark to commit it, and now we’re gonna go back into Lightroom to start stylizing. All right, so here we are in Lightroom, let’s go ahead and add a
local adjustment brush, I’m gonna bring that
exposure down just a bit. And what I want to do
is even out the tire. All right, now let’s go back to the photo and I’m gonna start with the tone curve. Now you might have your tone curve with these four sliders here and that’s pretty much the default value. I prefer to interact directly with it, so to do that just click on
this little button right here, now I can interact
directly with tone curve. So what I’m gonna do is apply what we consider a typical S curve. I’m gonna bring up this area of the lights, bring down
this part of the darks, and you can kind of see it looks a little bit like an S curve. And what I want to do
to get the vintage look, is I want to open up the shadows. I want to kind of make
them a little bit muddier. To do that just click on this left point which is the shadows, or the black point, and let’s bring that up. And you can see here,
especially in this area where it’s darker, it gets kind of fuzzy. Now let’s go back here to the basic panel, let’s drop that exposure just a bit, bring the highlights down,
open up the contrast, and now I’m gonna add a
little bit of clarity, and a little bit of vibrance. So you can see what I’m talking about with that kind of vintagey
slash contrasty look. But for the most part it’s a bit too warm. So here’s what I’m gonna do now. I’m gonna go to the split toning which is probably my
favorite part of Lightroom. And I’m gonna go to the shadows and bring that hue over
to around the blue area. Now you might be wondering, well how do you know what the effect is? Well, if you press and hold the Option key on a Mac, or
the Alt key on Windows, as you drag around it’s gonna show you a preview of what each color hue looks like at 100% saturation. So I’m gonna get to
like right around here, and then I’m gonna start
bringing that saturation out. You can do the same with the highlights, so if you want to add a specific hue to the highlights, let’s say I want to add a little bit of an orange
hue, I can do that. So let’s just add a little bit of that. So this is what we call split toning. You’re applying a specific hue, or color value, to the highlights and to the shadows independently. Now the more that I look at his shorts, I’m not too happy with that, shadows are a bit too kind of soft, so I’m gonna take the
tone curve back down. And you can see here now
we kind of equalize that. Now let’s wrap up the image. So what I mean by that is let’s start getting some sharpening dialed in. Now this is how I work with sharpening. First I’m gonna take the target tool here, and I’m gonna put it over somewhere that I think is relatively sharp. So like his cap over
here, or even his eye. Then I’m gonna go to the amount slider, and again, I’m gonna press and hold the Option key, or Alt key on Windows, and I’m gonna start dragging. And you’ll notice that it
turns the image gray scale. And that’s important because it’s easy to see the effects of
sharpening on a gray scale or black and white
image, over a color one. And so I’m bringing it out until I start to see the, kind
of those details, snap. And somewhere right around there, it’s looking really good. But I don’t want sharpening applied to areas that are kind of lacking details, so specifically the background. There’s not much detail there. So that’s why there’s a masking slider. And just like before
I’m gonna press and hold the Option key, or Alt key, and I’m gonna start dragging out. And what this is showing you is a mask of where sharpening is gonna be applied, which is the white areas, and where it’s going to be masked out which is the black areas. And then the last thing I’m gonna do, is go back to the white balance, and actually I’m gonna
cool it off just a bit. And so now if we look at the image before, this is what we came
back into Photoshop with, then after, again, you
can see that kind of, like I said, vintage contrasty look. All right, I hope you enjoyed this video. Hope you got some new ideas out of it, and it gives you kind of an idea of how you can salvage, or fix, a photo even if you can’t get it right in camera the first time. Hit the thumbs up if you like this video, and the subscribe button if you loved it. And if you wanna download this photo to kind of go along with
the video on your own time, just click on the blog post link in the description below. Thanks a lot guys and I
will see you next time.

6 Comments

  • Reply James Brandon November 1, 2017 at 9:06 am

    Excellent video dude. Top notch production value and awesome solution for that shot.

  • Reply Chris Hunt November 1, 2017 at 9:54 am

    Thanks. That was really interesting and has taught me loads. Excellent.

  • Reply Leroy Javois November 1, 2017 at 4:11 pm

    Killer edit, Brian! Love watching you work. Your teaching style is so easy to follow along with. I'm going to give this a try. Stay well my friend 👊🏾

  • Reply kamenrida1 November 5, 2017 at 10:52 pm

    Great video, Brian! Regarding the panning technique, how many more keepers do you now have with the Sony A9 high fps & non-blackout features versus the a7Rii, for example? I use panning a lot too and am hopeful that these features will increase the number of usable photos substantially.

  • Reply Alfredo Alegrett November 19, 2017 at 7:19 pm

    Excellent video Brain, I am so glad to see you back in action.

  • Reply MegaWhitePony December 3, 2017 at 5:56 pm

    The rear tire should be flat where he meets the ground I think, unless he hover 🙂

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