Articles, Blog

On1 Photo RAW Essential Filters for Landscape Photographers

September 29, 2019

hello I’m Robin Whallley
welcome to Lenscraft today we’re taking a closer look it’s on one photo
LA and I want to share with you some of my favorite filters that I use when I
edit an image using on one and I use these filters at least one of them or
maybe all of them on almost every image so they’re really important now if
you’re not familiar with the on one photo interface I’ve got the effects
module open and over on the left side you’ve got sets of presets that you can
apply or you can apply filters from this as well the other alternative is that
you can add filters from over on this side now at the moment this is the base
image it’s the image that I’d edited in the raw converter and are now going to
adjust it using my filters so the first filter I want to add and it’s one that I
use as I say on virtually every image is the tone enhancer then once you’ve added
the tone enhancer you can pick from some of these predefined tone enhancer
presets now I’m not going to do that I’m going to develop a tone enhancer
adjustment just for this image there’s certain things that I know the tone
enhancer does well such as correcting the contrast and really making the
clarity in the image jump out now there’s a few really useful features in
here the first one I’ll show you is this compression now if you’ve got a lot of
shadows are a lot of highlights in your image all you need to do is remove the
compression slider out and it will balance out those areas that are too
dark or too bright now in this image I’m actually ok with this there’s not too
much that needs to happen in terms of compression the next slider that I
really like on this tone enhancer is this detail slider and you can use this
to really make the details pop in the image so as I move that you can see the
detail in the rock and the foreground foliage and the Heather all really
intensify and again you can do even more by adding the clarity now the only
problem with the clarity is it tends to block up the darks
the image if you apply too much of it so I’ll go sparingly on that now once I’ve
adjusted the compression and the details in the image to really emphasize the the
rock I’ll then tend to go up and apply some contrast if I need to – the image
generally and it may also reduce the exposure now as you can see that’s made
the image quite dark so I’m going to go rather than with the exposure I will use
the highlight just to darken the image down a little bit and possibly the
whites as well but I’ll open up the shadows as well whilst I’ve been doing
that you’ve probably seen the adjustments applying to the sky into
this rocks if I turn off that filter so I just click there you can see that
that’s I did a nice bit of detail into this foreground rock and Heather but I
don’t like the effect it’s having on the rest of the image so I’m going to apply
now a mask to help me selectively adjust this image so I apply a mask and I’m
going to invert that and then I’m going to use the paintbrush to actually
painting the effect in the areas where I want it now one of the secrets I think
of applying adjustments to an image especially a landscape image where
nature’s involved is to try to keep the image adjustment real and the way I do
that is I try not to apply too aggressive an image adjustment and I
also try to apply it locally I think that any sort of global adjustments of
what you do during the rock inversion stage in this image I want to emphasize
this rock here in the foreground and this rock as well and also this
foliage here which is a lovely green color as well as the Heather’s now as
I’m doing this you can see the detail is starting to really pop in the image now
I’ve not got my paintbrush here set to paint with full opacity I’ve got it set
at about 30 about 40% and I’ve got a soft edge to it with the feather and
that’s allowing me to blend my adjustments quite naturally into the
image now again I like to keep things natural and that means not going too far
with the adjustment but if I do go too far again I can adjust it by using the
opacity slider on the filter that I’ve created if you look at the adjustment
mask now you can see the white areas where I’ve been painting in and that
reveals the effect more strongly in those areas go back to the image and you
can see the adjustment so if I turn it off and then turn it back on you can see
the adjustments there but it’s quite subtle and that’s what happens when you
tend to paint an adjustment in rather than applying it globally I’ll also just add a little bit more
detail to make that rock pop in the foreground because it’s rather a nice
texture and then I’m just going to apply a very
small amount of detail in the distance and down here into the foliage but I’m
not going into the far distance I just want to keep the this sort of feeling of
texture in the foreground because that’s what’s going to give my image this
feeling of depth and detail I’ll also take a look at this mask again and I’m
just going to feather it a little and that will help blend the details a
little bit more so I’ll go back to the view of the image and just check it and
now I’m happy with that so that’s my first adjustment and I tend
to use the tone adjuster or tone enhancer on almost every image that I
adjust in some way the next filter that I’m going to talk about which is my
essential filter it’s this color enhancer now the thing about this image
is it was shot about 10 minutes after the Sun had set so there’s a lot of
pinks and blues around it is though a little bit light at the moment and I’ll
address that later you’ll see why but in this color enhancer what I want
to do is make sure that I’ve got the color balance quite right so I may try
warming up the image and I don’t like that very much
or it may cool it down just that little bit so cooling it off with the color
temperature looks quite nice if I move to the the tint to the left it makes the
rocks look as though there’s no color in them but if I move it just to the right
slight bit I add a bit more tint and I’m just going to give the temp core
temperature a little bit more warm so I’m okay with how that’s looking at
the moment now down here I can actually pick the individual colors so the color
of the Heather is probably magenta and I can actually push that more towards
being red and I know I can also use the saturation on that as well the orange is another color that’s in
this image that I want to enhance a little bit more and I’m going to move it
more towards the yellowy color and again I’m going to push up the saturation I’m
also going to widen the range at which it applies so the range if you think
about it it’s trying to make something more precise in terms of the adjustment
now if I move it to the left I’m not going to affect a wide range of oranges
in the image if I move it to the right I affect more I’m going to do that and
that looks to be not too bad so there’s the original there’s the adjustment now
I’m going to move over to the yellows and we’ll move those talk more towards a
green color with the hue slider if we just push the saturation very slightly
and also just darken them very slightly and what’s that’s doing is it’s
targeting these greens here and also these greens in the foreground to make
them more vibrant so it gave for turn that off you can see the standard look
if you like audio and we just did a look if I addict turn it back on you can see
they’ve just become that touch more vibrant and more attractive in the image
now I’m still not completely sure about the adjustment here to the tint and the
color temperature okay so a little bit of a tweak needed I think but I’m okay
with the way that’s looking now I can also use the vibrancy slider here to
make an adjustment at the moment I’m more interested in targeting the ground
than I am the sky so if we look at that that’s the unadjusted that’s the
adjusted I’m happy with that so now again I’m
going to go back to my inverted mask and I’m going to paint the effect in on
these areas that I really wanted to enhance as I say I prefer
to working globally because I think it creates a more natural look and one
that’s more believable in the image I’m just applying
and more touches to the Heather that’s in more of a distant and I think I’ll
add in touch of color into the sky as well so I’m just picking up the color
now in the clouds to enhance that and again the color here on the right side
of the image where the Sun was setting just over a little bit further to the
right just want to intensify that a little bit more okay now the other color that we haven’t
touched too much here is the blue so if I can go back to the blue I’m going to
adjust that just to add a nicer tone into the sky if I was working a little
bit more slowly I had a bit more time I’d probably use multiple color enhancer
layers to target different areas of the image selectively using different masks
but as I’m working quite quickly here I just want to show you some of the
effects that you can get so I can push the the hue of the blue more over
towards a purpley color and that will help enhance the image a little bit
further so again there’s the adjustment the next filter that I use quite a lot
is the glow filter there the nice thing about the glow filter is that you can
use it to not just add a glow effect and softening effect because sometimes all
this detail can come a little bit harsh on the eyes you can use it to actually
darken the image slightly and intensify the color at the same time so at the
moment the image is quite light and I’m not really worried about that what I’m
going to do is increase the amount at the glow now the halo basically says how
much of a halo you add around the image whereas the amount is the strength of
the adjustment you’ve also got these different blending modes where you can
apply different effects some light and some dark and some increase contrast
soft light is an excellent one for adding that nice soft glow to an image
where you’ve shot it after sunset and the soft lights drunk gives even more of
an effect but it tends to give a more softening halo effect as well so it can
be a little bit strong where you want to retain details so that gives a very sort
of classic soft focus effect that was very popular back in the 1780s I’m sure
some of you watching this aren’t old enough to remember that
if we go back to soft light though that’s the one I like I think it gives
quite a natural effect don’t want to make it too strong again nice halo there
that now looks good as a basis for the image so if I turn it off there was the
original you can see that’s a significant effect but what I’m going to
do now is create a luminosity mask this is a great tooling on one where you can
just click the luminosity mask and what you’ve got very quickly is this image so
in the mask anything that’s white is showing the effect anything that’s dark
isn’t and we can use this now to control where we want the effect to be seen so
if I don’t want it to be seen in the shadows I can just darkened down that
mask and I can carry on remove it from the mid-tones or I can open it up and
show it more in the mid-tones and I can also intensify it in the the light areas
of the image so let’s go back to the view and now you can see that the effect
that’s been added is much more subtle than it was before so if I turn it off
and turn it back on you get the effect it’s actually created a lovely glowing
intensity of light on the image now it may be too strong when we add another
filter but let’s take a look and we’ll add to my fourth filter that I tend to
use all the time on landscape images and that’s a vignette and it’s such a simple
idea but it’s so effective and the vignette I tend to use more often than
not is this big soft tape and that adds a dot vignette around the outside
that’s very large and we can adjust it further now just to show you what’s
going on I’m going to move the feather slider down to zero so you can see the
vignette now so you can see when I can adjust the size and I can also change
where the vignette is centered so at the moment I think it’s a bit too high and I
really want it more around the centre of the image so maybe just a little bit
further down and that will tend to hold the viewers
attention into the foreground and away from the edges of the image now let’s
just feather that up again and now let’s reduce the effects of the darkness on
the edges there you can see that we’ve now got a subtle vignette created using
the big soft dead that we’ve just made quite unique to fit this image so you
can see there with it off and you can see with it back on and now it looks
much more like we have a finished image that’s been shot at sunset with some
nice color and intensity in it so this isn’t no more or less a finished image
just using four of the filters that I use all the time you there’s I mean
there’s lots of filters in here but you don’t need to use all of them let’s
compare it to the original so there’s the original with the preview off if I
turn it back on you can see that all the adjustments are subtle they are applied
in a way that kept them quite natural but we’ve created an overall intensity
of the image of the adjustments now supposing you think that that overall
adjustment is too harsh there’s too much going on what you can do is use this
overall opacity filter here just to reduce that overall effect of everything
and pulling it back to around 85 seems to create a really natural look that
still quite colorful vibrant and attractive so a good landscape image I
hope you found that useful I’m Robin Whalley I’ll see you soon for another video


  • Reply Tony Greenwood September 23, 2019 at 4:54 pm

    Many thanks Robin. ON1 seems to produce a real marmite reaction – people either love or hate it. Many of its critics feel the app somehow lacks subtlety and is a bit tacky or gimmicky. Although I must admit some of the filters can be a bit left field (have you seen the Weather filter in the ON1 2020 beta?), as I think you demonstrate very well here, it all depends on what your aim for your image is and hence what you do with the tools within the app!!

  • Reply The PNW Rider September 23, 2019 at 6:38 pm

    Robin it’s sounds much like the Nik collection Viveza. How do they compare ?

  • Reply Jorge September 23, 2019 at 9:40 pm

    Thank for another great tutorial Robin! I will be most interested in hearing your comments on the OnOne Photo 2020 versions coming out next month. I know that you have not downloaded the beta but perhaps you already have a sense of what is coming and have an “early” impression on it. There are a number of features reviews in YouTube as you are probably aware already. Thank you.

  • Reply JF_ PHILIPP September 24, 2019 at 4:22 am

    Nice video, i definitly switched to ON1 since a few month and love the soft when you re not applying effects over the top ! it s a nice swiss knife which could help many people to avoid the adobe souscription 😉 for me, more powerfull than C1 and even if it s lagging somtimes, it s not disturbing me at all ….JF

  • Reply R Garlin September 25, 2019 at 1:38 pm

    Goodness gracious! (as my Irish neighbors' grandma would say) the final affect you created is astonishingly beautiful!
    I've not yet had the time to experiment and 'compose' with all of ON1's filters – there's never enough time… so I hope you don't mind but, I am unabashedly going to mimic you four-filter-combination here from now on! Thanks a gazillion!

  • Reply Dan Buchman September 25, 2019 at 1:46 pm

    Hi Robin, another excellent tutorial! 2 questions: are you considering an On1 book? Second, does On1 and Affinity Photo provide an acceptable alternative to LR & PS? Thanks.

  • Reply Patrik Uytterhoeven September 29, 2019 at 5:39 pm

    I used to love ON1 but then moved over to captureone my issue with the software is the slowness and the amount of bugs in the software. ON1 has many things other software is lacking but many things feel unfinished and beta. For all the stuff that i miss in captureone that i had in on1 i use affinity photo. This was on a Mac so it can be different on Windows. Also the plus where you get access to the forum and tutorials i feel is a bit overrated most -+90% of the tutorials you get are made by the same 3 persons and not the "industry leading photographers" like they pretend

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