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Landscape Photo Editing Workflow Part 3 – Nik Collection Processing

August 20, 2019

hello I’m Robin Whalley welcome to Lenscraft in this third in my mini series of photo editing workflows in the first
video we look to this image and assessing the changes we’d need to make
to it in the second video we looked at the raw conversion process using capture
one I’ll put the links to the previous videos in the information below in this
video we’re going to be looking at the editing that I would typically undertake
with tools such as Photoshop or the Nik collection for this particular image I
want to use the Nik collection now if you don’t have the Nik collection and
you don’t want to pay for it you can still get an older version of the Nik
collection for free I’ll put the details to a tutorial explaining how to do this
in the video information back to our image and let’s look at the changes we
want to make so at the moment we’ve opened up the contrast in the image and
we’ve also got rather a pinky hue to it from the adjustments we made I’m now
going to correct those in the Nik collection I’ll start by duplicating my
background layer and I’ll call this Nik adjustments I’ll
note this for use with smart objects now the
reason I do this is so that when I applied the Nik collection adjustments
if I decide I want to change them again later
I can reopen them and adjust them further if I applied them to a regular
adjustment layer that wouldn’t happen and I had effectively baked the
adjustments into that layer I’ll start by picking the color effects
Pro filter now that opened just gives me a warning message that I’m working in a
smart object so I understand I’m okay with that
and the first thing I want to do is use this Pro contrast filter I tend to start
with this wherever I’ve got a color cast in the image like this one even when
I’ve introduced the color cast and what I want to do is use this correct color
cast slider we have up here if I move it over to the right you can see how it
takes all the color cast out and even goes as far as to introduce an opposing
color cast now I don’t want to remove all the color casts from the image what
I want to try and do is neutralise the Greens here so that they don’t appear
purple and that seems to have given me a reasonable start on the image if I turn
the filter off and on you can see unfortunately each remove the color
casts from the sky and from the header so what I want to do now is remove the
effect of this filter in some of these areas and I can do that using the
control points so here I’ve got a negative control point if I add that to
the Heather what we see is that the color comes back in on that area
so now I can add in an adjustment over this side so that we keep the color on
that Heather and we’ll add the adjustment point into the sky make it
quite large and then I’ll duplicate it across the other areas so all I have to
do is hold down my Alt key and click and that just duplicates the control
point that I’m using now if I turn this on and off you can see that the effect
is still being retained in some of these areas but not in the others if I want to
just strengthen that effect if I add a normal control point here so plus
control point and I’ll add it to the ground here you can see that it’s
knocking out the color cast in that area and again we’ll do this on the distant
Hills because I want to retain the blue color in those now in this area I’d like
it to still be a little bit orange so what I’ll do is I’ll just reduce the
opacity of that control point to reintroduce a little bit of the color
and again I’ll do the same here so if I turn that off and turn it back
on you can see the effect it’s hard overall on the image next I want to
adjust the contrast in this area and the whale do that is with the pro contrast
filter because these from dynamic contrast slider is really really good
but first I’m going to add a completely new Pro contrast adjustment and the
reason I do that is because I want to apply it to different areas than the
first one so now I can introduce my dynamic
contrast and notice how that picks up the highlights in the Heather and I’ll
also introduce just a little bit more contrast now what I don’t want to do is
introduce all that contrast adjustments in the upper half of the image I want to
retain it down in this bottom part so this time I’m going to add a plus
control point so that I can select the Heather and adjust that again I’ll just
duplicate that onto the of the side here and that’s looking quite good and I’ll
just duplicate it again and add it to the path if we want to see the areas
that are being covered all I have to do is highlight the control points there I
can see that it’s actually selecting some areas of the sky and I’m going to
use a negative control point just to remove those out the reason I don’t want
the adjustment in the sky is it tends to highlight and exaggerate noise that
might be there and I want the sky to be relatively clean gain just duplicate
across holding down my Alt key I’m happy with that
we’ll turn off the masks and there’s the adjustment that’s
it off that’s it back on it’s looking quite
good no I’m going to add another filter and this time I’m going to add the
brilliance and warmth filter and I’m going to use that to try to reintroduce
some brilliance or warmth back into my image in the Heather and I also boost
the saturation or the perceptual saturation in those areas so if I select
a control point again I can now add that back in in the Heather and again I’ll
select this side as well just duplicating control points reasonably
happy with that increase our perceptual saturation see if we increase that no
it’s not too far keep the adjustments quite subtle so that’s it off that’s it
back on can’t see too much of a difference at the moment just let’s make
it a little bit stronger yeah that’s about the look I want I’m now happy with
those adjustments so I’ll click OK and we’ll return to
Photoshop so if I turn I turn it back on you can see the
difference we’ve made it’s subtle but it works well and makes the image appear
much more natural so what we’re doing here is we’re correcting selectively the
adjustments that we made in the raw converter the raw converter processing
was intended to give us a good starting point to do the other adjustments now
we’re going to use for Vader as well again I’ve got the warning message that
I’m working on a smart object this time I’m going to make selective adjustments
to the sky to warm it up and I’m going to enhance further the heather in the
foreground I’ll start with the sky I’m going to no so legs the area in the
clouds that’s quite orange and pink already know the reason you saw the mask
then is I was holding down my command key and if you resize a control point or
you move a control point around while you’ve got the command key held down you
see the mask of what it’s selecting this time then I want to warm that area up
you can see the warmth there being added end and I’m just gonna boost the
saturation very slightly and that looks sufficient to make it a little bit more
appealing so there you can see the difference no I’m going to select the
Heather on again if I hold down my command key and reposition the control
point you can see what’s being selected so that looks quite good I’m just gonna
warm it up very slightly I’m going to add a little bit more contrast in and
I’m going to add some saturation now one thing you can try is adding in a little
bit of structure what it tends to do is pull the highlights out with that little
bit more and make them stronger so that it appears that you’ve got much more
detail in there that looks quite good on that site so I’m just going to no copy
my control point and make sure I’ve got it selecting other areas of Heather that
I want to enhance and that’s know looking quite good the other thing I
might want to do is reduce the brightness because again that can tend
to really saturate some of the colors in this header but I don’t want to intrude
don’t want to reduce the brightness too much or it can make it look a little
blocking now I’ve noticed over here in the distance the hills become a little
bit darker again so I’m going to select that hold down my command key just so I
can see what I’m selecting and now I’ll open the shadows slightly and that tends
to open up the hills in the distance and I’ll also reduce the contrast very
slightly as well so let’s check the overall preview that
was the starting image that we got out of the color effects and no that’s the
adjustment that we’ve got and if you put them side by side you can see that it’s
a big improvement so we are moving now nearer to what we wanted to see from the
finished image with the Nik collection so let’s just check the effect back in
Photoshop now so that was what we got out of capture one
that’s what we’ve got out of the Nik collection and don’t worry if it appears
too saturated at this moment what we’re going to do later is pull the saturation
back once we’ve added special effects and the special effects section is the
next part of the workflow video so that’s video for special effects
I’m Robin Whalley you’ve been watching Lenscraft I’ll see you in the next
video to look at how we finish this image


  • Reply Tony Blackwell August 19, 2019 at 2:03 pm

    Thanks for sharing

  • Reply Clifford Mcfarlane August 19, 2019 at 2:57 pm

    I have been a follower of your videos for some time and I'm particularly enjoying the short, sharp approach. Beside my brain copes better in short bursts. Once again thanks.

  • Reply Patrik Uytterhoeven August 19, 2019 at 8:05 pm

    Thx for these series would love to see one with capture1 and affinity instead of Photoshop. I see now why I never got the images I wanted to have from my postprocessing.

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