Learning Lightroom For The First Time

Photograph the Moon

Lightroom is a wonderful program. I’ve been using it for the past few years. In this article I am going to offer you some Lightroom support, tips and tricks and let you know where you can watch a Lightroom video guide I have designed for you.

So what’s so good about this program? The fact is that this is a really trouble-free program to use. It’s designed for photography rather than graphics and effects, as Photoshop is. Photoshop is an awesome software program but if you want to do swift edits on lighting, exposure, white balance and other colour manipulations only then Lightroom just might inspire you.

One of the first thing to know about Lightroom has five major tools and a variety of panels made up of of sliders. The sliders are controls that allow you to turn features of light and colour up or down. These options can boost or decrease the intensity of light and colour within your photograph. The tools are positioned at the top of the panels; crop, spot removal, red eye removal, graduated filter and the adjustment brush. Each one of these tools plays a fundamental part in retouching and manipulating the lighting within your photo.

Let’s take a look at Lightroom’s primary tools:

Crop tool: The crop tool puts a grid over the top of the photo. You then move the outer areas in to crop your photo. You can move the edges in close to your subject. You can tip your scene, rotate it and even make your horizontal a vertical one in its place.

The spot removal tool is like the clone tool in Photoshop. Once you click this tool, your curser turns into a little circle. Whatever is inside this circle is an area that’s copied. You can place this circle over any area of the photo. Whatever is inside this circle means it now gets duplicated over the top of any area want to select. Envisage cutting out a piece of paper and placing it over something else. That’s kind of how it works.

The graduated filter tool is ideal for making skies really blue. You can select this tool and click on the top of your photo. Simply “pull down” the curser towards the center. This is like pulling down a semi transparent blind over the top of the photo. You can darken the selection of the grad filter to give skies that “picture postcard blue”. This tool is ideal for beach and landscape photography. It works any way you click and drag the grad filter. It works from the top down, the bottom up and from the sides inwards.

The red eye removal tool is a handy tool for red eye. In portraiture we can find that the flash creates red spots off the back of the retina. It is brought on by a directional light from the flash. To beat this, it’s a good idea to bounce the flash off the ceiling, or use a diffuser. If you can’t do this, and it does create red eye, then this tool can help.

Next the adjustment brush is a clever little thing indeed. The adjustment brush is perfect for selecting individual areas of the photo and making alterations to them. Let’s say you have a landscape photo. You are quite proud of this photo but feel the trees are too dark in the background. Simply pick the adjustment brush, go over the region of the trees (just as you would painting) and then pull down the exposure.

When you select the adjustment brush, another panel will come up. This panel is asking what you would like to do inside the selection of the brush. In other words, you can darken, lighten, modify hue, sharpen, boost colour, etc. This is such a handy little tool due to the fact it does not have an effect on the rest of the photo, it simply affects the area you run over with the brush.

It’s exactly like creating a painting with oils or water colour. When you want to do something to an region of the photo, just choose the adjustment brush. You will have several alternatives to change an area of the photo in any way you like.

Next we have the history panel. This panel sits at the left hand side of the workspace. (A workspace is simply the screen and layout.) Every time you create an edit within Lightroom, whether it is making use of the adjustment brush or alter the white balance, this panel records it. This is ideal for when you want to go back to a particular point. For example if you transform the photo to blue, then green, then red you may think “I don’t like the way the photo is now, how do I get back to the point when the photo was blue?” You will find that the “undo” function only works up to a certain point. While the history panel can take you back as far as the beginning of the photo editing development. It is a very handy panel indeed.

Lightroom is a wonderful tool for photographers. It can help you do a range of improvements. Photo editing is a big part of photography. Lightroom is straightforward and simple, and will allow you to do that editing with less hassle. Everything is laid out before you. If you have ever used Camera Raw you will discover that these are comparable programs in their functions and options.

The Beauty of Shooting At 24mm

Canon 24mm lens
Have you ever questioned what is so special about shooting in 24mm? Or, have you ever wondered what focal length is good for landscapes is but in no way been quite sure what it is? The reality is that there are a lot of angles you can quite easily photograph your landscape with. Each time you zoom in or out, you will be altering the complete look and sense of your photo. Let’s look more intimately at the 24mm viewpoint. Why is it so good?

There are many wonderful things about photographing at 24mm. I use a Canon lens at 24mm for landscapes. The best 24mm lens is one that will tend to continuously supply you with an terrific range or width.  Any Canon 24mm lens (or Nikon 24mm lens) has the ability to get rid of the awful “warp” that comes with subjects taken too close with the ultra wide lenses. If you are unfamiliar with what this means, simply head to the Internet and search for a few wide angle photographs of tall structures taken up close with lenses less than 17mm. In some landscape photography situations it can work well, and in others it does not. From time to time, when you shoot at an ultra wide angle, the landscape you are shooting can look like it’s bulging in the center. If this happens, then why not try taking pictures at 24mm?

When shooting landscape photography we want to strive for “wide”, but not “bending” in the heart of the photo, as some ultra wide angle lenses can generate. This is where the magnificent 24mm focal length comes in. It produces a wide scene without looking unnatural. Not only is it a wonderful overall length to photograph at, but you can photograph at 24mm to generate panoramas. What I mean is 24mm makes for a beautiful individual photo AND it can be a great shooting measurement to stitch several single photos together to create a panorama.

You see if you took a handful of shots taken at 17mm or less, and stitched them together, you may indeed see an awkward bulge. This is what happens when ultra wide shots are stitched to make a single panorama. Unless you are trying to produce a fish-eye effect it will not work properly. When shooting with 24mm this terrible outcome does not happen. We are left with a wide angle perfect for for a single photo and just right  to create a series of photos for a panorama.

To get a better idea of the excellence of the normal 24mm wide angle lens, ask yourself does the photo have a real looking perspective? For example, do you sense any unnatural warping or bending in the horizon line or along the foreground? No, we can’t. That is more often than not a sign that the 24mm focal length is just right for the application.

Is this 24mm lens as a rule “wide enough”? Yes it is. And the beauty about this focal length is that we can bring three individual images at 24mm and create a superb panoramic scene. Some lenses that are ultra wide, such as the 17mm or less, can bulge a panorama a lot.

You can take a series of shots taken from the same view and using a tripod to make sure good results. Then use Panorama Maker Pro 6 photo editing software to merge or stitch the shots together into a sole frame. You will discover that 24mm is most ideal because it does not bulge the panorama in the heart as a 17mm series of photos would.

Once you stitch your 24mm photo sequence together then examine if the image is effective because of the extra surroundings at the edges. The answer is going to be relative because it has to do more with personal preference and the intention of the photographer.

Once you have stitched a handful of 24mm photos together to create a sole panorama, sit back, and have a good look at it. You will find that it looks like a realistic scene.

1166391_67813335 hotcrossbuns - steve woods

Food photography tips and tricks

food photography tips and tricks

food photography tips and tricks

In this food photography tutorial I will be explaining some of the very significant food photography techniques. How to photograph food photography relies upon very much on light, where you place things in the photo and focus. Use these tips and tricks to shoot stunning images every time.

We see more food than we realize. Walking through the shopping center will present hundreds or even thousands of expert images of foods and drinks. Flipping through a magazine will also usually present some flavorful and tempting food images as well. Is there really a special trick to photographing food successfully? Yes, in fact there are.

Commercial food photography can apply to promotion, packaging or editorial areas, and the professionals will often be involved with stylists, prop specialists and clients who want the dish to appear delightful and delicious. You will see photos of commercial food photography in brochures of fast food, supermarket catalogues and even billboards in shopping center complexes and road signs. Every time you go by a sign that advertises a pizza, fried chicken or organic produce, there has been a pro photographer behind that photo. This skilled photographer might have been in a studio, under hot lights and next to windows, for hours, while they photographed a series of tasty dishes.

Undoubtedly there are some serious challenges in food photography. Such things as meats or even vegetables must be taken in a way that makes them absolutely tempting. For many the key issues are lighting, background and texture. To photograph foods in the most satisfying ways achievable demands some vital resourcefulness and also demands that the food photographer pays close concentration the food looking as newly picked as humanly possible.

Think that a tomato is picked fresh from the ground, cleaned off and then instantly photographed? Think again! In order to photograph food that looks like you want to bite into it at first look  calls for a number of things to be in pace. The first key is lighting. Lighting foods in order to photograph them well often involves such methods as glazes or moisturizers to be applied to their surfaces to give them an interesting gloss that they might not normally have.

This also means that the item have to be lit appropriately. The majority of good food photographs are those with a lone, small source of lighting targeting the food in question and then a brilliantly lit or coordinating setting that adds to the complete look of the food. For example, many baked goods such as cakes and cookies are likely to be shot with complementary colors in the environment rather than just a simple or continuous color.

In addition to the single, small light source, the majority of food photographers also rest the light at a lower angle to the item than is standard for conventional studio lighting. This is to create a great deal of texture right through the surface of the food and to help any glazes or moisturizers develop many highlights or accents. While lots of studio photographers also are likely to use a great deal of flash fill lighting, food photographers make use of reflectors to light up small amounts of lighting on the subject instead. The final rule around light as used by commercial food photographers is to stay away from lighting any foods from straight in front. This frequently causes shadowed areas to appear, and a quick look at food images would reveal there are never any strong shadows at all.

There are literally dozens of other techniques used to successfully take photos of food, but the majority of professionals will say that the special trick is in the lighting. Once you have mastered the lighting, then you can work on your clear, sharp focus and composition. This development will permit you to capture the most beautiful and mouthwatering photos.

How Do You Watermark Your Photos?

As a photographer, in what way do you protect your pictures? One of the most ideal ways is to watermark your image. In this tutorial I will be explaining how to put a watermark over your pictures. By learning how to watermark your your pictures it will give you enhanced protection from intellectual copyright theft.  Let’s look how to put a text watermark on your photograph.

Partaking in photography is a wonderful artistic pursuit. It provides us an artistic way to articulate our creativeness. It can provide years and years of pleasure and learning. I experienced a lot of enjoyment and made the decision to start sharing my photos online. It was good until someone had ripped my image off a webpage and downloaded it to their web page.

This act of downloading, copying and reproducing others photos is an illegal act and one that is punishable in a court of law. Yes, that’s right, punishable by law. This is terrific news for people who post their photos online ; professional or not.

Howcan we guard our photos from being downloaded? The fact is you can’t totally, unless you use certain techniques of protection. You can protect yourself. There are three choices you have accessible to you. The first is to in no way place any photos on the internet. If you use social media and do photography on a recurrent basis, this might be an unrealistic option.

The second alternative you have available to you is to place your pictures on a website and right-click-disable the photo. What this will mean that is that anytime someone right clicks on your image with the intention of downloading it, they can’t. The right click function does not  work on the page and they can’t go ahead with their evil plan. That is the best choice I find.

The third option you have is to place a watermark on your pictures. This is a general option. This means that regardless of where you put your photo it will have a digital watermark on top of it and restrict the probability of your image being downloaded.

So let’s look at how to place a watermark over your images in Photoshop.  Let’s examine the text option first.

1.    First, open your photo in Photoshop.
2.    Click on the “T” tool to the left hand side panel.
3.    Place the curser inside the area of the photo where you want to display your name.
4.    To increase font, change font colour and style, change these things on the top menu bar
5.    To move the text box around, click anywhere in the photo and wait for the curser to change to an arrow. You will be able to pick up the box and move it.
6.    Once you have changed the size, positioned the box where you want it, then simply click on the curser tool to the top left hand side of the panel.

Watermarking photographs is very important because they are your intellectual property. They represent your competencies and your work.  Happy shooting!

Hdo you watermark photos

How do you watermark photos?

how to photograph waterfalls

Waterfall Photography Secrets and Techniques

Waterfall photography is one of the most stunning variations of photos we can create. Learning how to take pictures o waterfalls not only inspires us to become great panoramic professional photographers but in addition helps us to strive to become better photographers in a general sense. There is one trouble with taking photos of waterfalls that many photo enthusiasts battle with. That is the daylight. Sometimes waterfalls can be too dark or overexposed. It seems to be a challenge to get the true exposure.
In this waterfall photography tutorial I will be discussing the foremost problems with exposure. Exposure is a term to explain how much total lighting there is. This means that the brightness of your waterfall must be just right; not too bright and not too dark. This can be tough when you are photographing your waterfall on a bright day.

You can see one of my past photos of a waterfall. This was photographed on the automatic mode ten years ago when I knew very little about photography. Thankfully times have changed and I know what to do now!

waterfall photography tutorial

Mastering waterfall photography depends on light and composition. Photo copyright by Amy Renfrey.

The trouble with this image is that the digital camera exposed for light off the shadow areas of the photo and missed the top section. As a result the crest of the waterfall is not detected because it’s overexposed.

Years later when I invested in Lightroom I made the decision that I’d become familiar with it by attempting to fix some of my previous pictures, such as this waterfall photo here.

Here is the result.

how to photograph waterfalls,

 
I was not able to improve it, as much as I tried. Why? Because the photo was not taken properly to begin with. I tried to fix the highlights and reduce the brightness at the top to even out the light but it still does not work. I had to forget about this one unfortunately.

When waterfalls are taken on a bright day in the automatic setting we get one of two things. The waterfall is flawlessly exposed and all the surrounding elements, like your mountain range and cliff face is underexposed. (Too dark.) We might also be challenged by the surrounding things being just right and our waterfall being overexposed (too bright.) How do we get the waterfall and the surrounds both looking perfectly exposed?

I  suggest using gentle light. A soft grey light will not only put emphasis on your green leaves and trees surrounding the waterfall, but it will not overexpose anything too much. You will still need to meter off the white water however.

You will observe that when capturing your waterfall in subdued light, it’s quicker to get improved exposure. The brighter areas are reduced and the shadows are not as strong. Light is refracted due to the cloud sand hence we get a subdued look in our photos.

Let’s take a look at some examples of what waterfalls look like in filtered light.

waterfall photography tutorial

This waterfall photography tutorial can help you get stunning waterfall photography- not only good lighting but with vibrant colour and sharp focus as well. Photo copyright by Amy Renfrey.

This photo was a 3 shot panorama. Water is tough when you capture panoramas. You have to have your shutter on extremely fast. I’ll talk about that in a different photography tutorial.

Let’s observe this photo a little more attentively. The light is coming from the upper part of the photo and we see shadowed areas in the rock face below. To be able to shoot this waterfall photo I made certain that I had the correct exposure. I metered off the waterfall. You see your waterfall will be the most luminescent thing in the shot so it is important to tell the camera to meter off that. This works especially well if you are spot metering.

how to photograph waterfalls

How to photograph waterfalls to create stunning shots means getting the right vantage point. Photo copyright by Amy Renfrey.

This photo was taken from a fair distance, at the end of a very high platform, looking across a river. I wished to be able to have a more interesting vantage point but it was not physically achievable, so I made use of what I had.

How to take photos of waterfalls depends on your brightness, where you stand and getting the precise exposure. Once you have all three then you can enjoy going to the next level; editing. Sometimes bringing up the whites and shadowed areas by a fraction will help even out the light even more. You might want to increase the colour vitality, or boost one colour only. Take your time and find the right method that works for you. Soon your waterfalls will be appearing like masterpieces you will want to hang upon your wall.

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Enhancing Texture and Better lighting in Your Photography


There is very much to discover in taking photographs. Not only do we require to master our camera but we should recognize how lighting manifests as a photo. We need to comprehend how light works for the reason that we can utilize this wisdom to create spectacular photos. Beautiful images refers to clarity, power, colour and tone.

A most ideal way to turn out to be expert in photography is to start photographing various surfaces of different things. Different textures will include wood, metal, trees and terracotta. These types of materials can really highlight intensity and an interesting light very rapidly and effortlessly. We can discover a lot through shooting these surfaces of different things. Once we get the right light to draw attention to these textures our photos suddenly have intensity and come to life. You can prove these textures a number of ways. I recommend photographing these attractive textures with well-balanced light spread evenly right through your image. If you are unable to get evenly spread lighting then shadows may work to an advantage.

A very good photo that has fascinating textures are dried plants drapped over a timber exterior. You can wait until the sunlight has gone down in the sky to get some shadow areas underneath the plants. You may discover that your shadow areas becomes part your placement of subjects within the photo. What this will mean is that shadows can work to your advantage.

A pastoral look and feel is a wonderful place to start. Photographing aged wooden fence posts with nails and wires can certainly bring wood as a texture to life. You see what we want is make the wood and the nails look so they look authentic. In other words make it stand out by increasing the depth of the photo. We would like the viewer to think like they can reach out and touch the texture.

In order to create this realism in your picture making you need to construct a little list of things to shoot. The fence line and nails are a terrific starting point. You may also like to photograph contrast in textures such as metal and wood. A metallic band wrapped over a wooden fence post can make for a good picture. A distinction in different textures such as this can be shot in an antique tone and monochrome for extra effect. They can also be shot in a variety of other tones that you can make up yourself in Photoshop or Lightroom.

What is a tone? A tone relates to light and colour. Saturdated colour, deep tones mean that your image may have a lot of black and grey, deep yellow and deep orange to it. Light tones may mean that your shot has lots of shades of pale shades. In rural photography, where we want to shoot breathtaking textures, we often find that saturated tones are a factor.

Deep tones can accentuate the shadow. In order for your shots to look like they have real live texture then we should draw attention to the intensity and light range within your image. You may choose a deep or shady tone to give that nail more rust or that metallic band around the wood more brightness.

When we use more contrast in our pastoral photography we get a better looking surface. This is since the a distinction in the light brings up the detail of the surface of the textured subject. The lighting works to bring out the finer details in the light parts and deepen the shadow in the dark areas.

A key to creating thriving textured surfaces is to keep your composition simple. Genuine textures, such as trees and wood, work best when there is nothing to clutter the shot. Simply shoot the main subject and make sure there are no distracting elements in the backdrop or the forefront. Once you’ve taken this you can work to boost the contrast, perfect the light and intensify the tones. There is nothing more distracting than a messy shot.

 

Old abandoned cars are an example of how you can create wonderful textures in your photography. When my husband and I were traveling to a country town we stumbled across an old abandoned utility. This vehicle was from either the 1940s or the 1950s. It looked like it had been forgotten about for for years and years. As soon as I saw this car I became very enthusiastic. The second I saw it I knew I wanted a monochrome.

I knew that the steel, oxidation and discolored paint would look absolutely fantastic in antique. Once I took a string of photos of the old vehicle I then opened the photo in Lightroom. I boosted the white and highlights, amplified the blacks, and played around with the tone curve. What does this signify? It simply means that I manipulated the tone of the photograph to highlight the fascinating points of the car. I wanted to increase the illuiminent steel against a gentle, natural backdrop. Once you amend the light all of a sudden your different textures come to life.

Depending on how you want your textures to appear, you can use brilliant or filtered light. Soft luminosity is always best because it supplies us more choices in the long run. Bright light can produce highlights and shadows that put emphasis on contrast. This can actually work to your advantage.

Filtered light can work very well for surfaces of different things because it accentuates the detail. it can give your texture a more three dimensional look. If you are photographing an old fence post then the lack of bright will bring out the detail of the wood. You will get to see the designs, outline and shapes of your texture a lot more in gentle light. In harsh bright sunlight you may miss these fine points completely.

 

If you want to capture gorgeous different textures and not be troubled about the tiny features, then a country scene with excellent differences between light and dark may work beautifully. A fence line sitting in overgrown grass can be a wonderful textured image to begin with. Once you angle the camera so that the fence line is running into the distance you not only have superb textures but you have great composition.

There are a lot more things you can do to draw attention to your textures. There is a cell phone application identified as Instagram. It has recently hooked up with Lightroom. This is a marvellous thing! Instagram is an app that generates antique, sepia, black-and-white and the whole other number of tones for your pictures.

Instagram gives you the option of antique tones. In other words if you apply an antique tone over your image it looks like it was captured in 1977. Once Instagram meets Lightroom, you have the alternative of generating a special look and feel over your textured photographs.

Instagram also supplies you the selection of different borders. You can have a stark deep black border to emphasize the deep hues and tones in a photo of dried golden leaves. Or, you can have a soft white border to match the muted tones of a photo of a car park. Or you may have no border whatsoever.

Remember that producing different textures is easy. Once you have photographed it then the fun begins. Make sure that you choose contrasting subjects like dead plants or shiny metal. Take photos of them at the same time. Then try improving the contrast and lighting of the image once you open it up in your prefered editing software program.

I recommend that you let originality and wonder be your guides. Open up your photograph in your favourite editing program and try a variety of different things. Boost the contrast, diminish the yellow, reduce the blue, alter the white balance etc. These are just examples of things that I tried when I was learning how to perfect my different textures in my photos. I got to a point where I understood what I loved and created many different alternatives for myself.

These various options I created gave my pictures a look and feel that I loved. Some were heavily saturated in deep yellows and warm tones. Some were a slight sepia, and some were a very high contrast in the monochrome medium. These lights, colours and looks, applied over rustic things, made my textures look amazing. Rusty fences took on a strong presence. Metallic bands wound securely over wooden fence posts seemed interesting and old. Hanging metal bells looked classic and timeless.

Just think about texture and daylight first. Then your editing comes afterward. Think about the light and how it interacts with your background to highlight physical surfaces. Think about in what way lighting acts and makes things seem different at different times of the day. Photograph various natural and man-made physical surfaces jointly. This will let you to explore contrast within your textures. The examination of light will enable you to photograph out the depth and the detail within the photograph. Then apply some simple editing. This will enable you to alter the tone. Changing the tone gives you the opportunity to generate some extraordinarily imaginative photographs.

This is an experiment in creative  pursuit. This is not about winning awards or being better than anyone else. This is about how this makes you feel. You can impress people later but to begin with learn to examine your light on how it works with the textures in your environment. Once you’ve shot this you can create extraordinary textured photographs. Have fun and happy shooting!

How to do landscape photography

How To Do Landscape Photography

 

Photographing landscapes is one of the most gratifying forms of photography. Not only do you have the chance to photograph spectacular images for your friends or workplace, but you can produce canvases, large prints and even presents for others. How to take excellent landscapes relies upon on a few very key aspects. The light you shoot in and your photographic lens are the two prime features that make gorgeous landscape photos.

How to take landscape photos

First, before I go into finer details about these two techniques, let’s look at how to take photos of landscapes. You will require a camera that is able to be clipped on to a sturdy tripod. Then of course you need a tripod. A tripod is what gives you very sharp and clearer photographs. We use a tripod for landscapes because we would like to be able to hold the camera free from camera shake. Having a camera that is absolutely still enables us to get sharp photos in many different types of daylight.

A shutter release cable is one more handy tool that is often a big part of mastering your photographing landscapes methods. A remote shutter cord is a little cable with a push button at one end. You can join the cable into your camera and activate the shutter, just by pressing down a push button on the end of the cable. It means you do not have to handle your camera in any way. This raises your probability of gaining even sharper photos.

Lenses for landscape photography

Now that you have your camera, tripod and shutter release cable, now what? Immediately we come to our photographic lens. There are many different varieties of lenses for photographing landscapes. It can be hard to select one if you have not mastered photographing landscapes before. One of the best and sharpest lenses is called a prime lens. This means it does not zoom out and in . It can’t. It remains at an unchanging focal length. As a consequence of this immobility, your landscape photographs become sharper and clearer than if you used a zoom lens.

If you want to shoot a huge, expansive look to your landscape images, then I suggest researching at your camera manufacturer’s wide angle and ultra wide angle lenses. A wide angle lens is a focal length of about 24mm to 40mm. An ultra wide angle lens is even wider and can be about 14mm-17mm. There are many lenses to select from.

Landscape camera settings

There is never any ideal camera setting for a landscape shot. However there are some accepted suggestions to take pictures of landscapes. To begin with the aim of photographing landscapes is to create striking, sharp images with superb light. Before we get into light, I would like to explain that a smaller f stop is more often than not what landscape photographers shoot at. A lesser f stop, such as F22, is what is regarded as an ideal aperture for landscapes. This is purely because it facilitates our camera to focus properly into the distance. If you are shooting at a middle distance of ten to twenty meters away F13 or higher works absolutely fine too. You will certainly have to take your light into consideration.

 


The perfect lighting for photographing landscapes

I have to admit it. I am very surprised there is not more written on getting the right light for landscape photography because it is so vital. I’ve left it till last; because I want to focus your attention on the most critical facet of landscape photography.

The reason why a landscape photo looks so colourful and superb is because of the lighting. Without good lighting a landscape photo can look boring  and lacking in interest. And no level of photography gear will answer this problem.

The greatest time of day to photograph your landscape is in the early morning or late afternoon. This filtered light is called sweet light. You will find that the light is subtle and gently vibrant . At morning and late afternoon the light, hues and tones give your scene a completely different appearance to the heart of the day. Photographing in the mid summer sunlight can create unwelcome shadows, washed out colours and a general lack of intensity. Working in a gentle light gives us back those soft colours, muted tones and gentle skies. There are generally no harsh and awful shade ruining our landscape scenes.

Photographing landscapes editing techniques

Once you have your fixed lens, camera set up on your tripod, small aperture and ideal lighting you can fire off a whole series of images to your hearts content! I know I certainly do. Once you have created your lovely landscape imageyou can then bring it home for editing. Finding the right photo editing techniques for landscapes isn’t that tricky. You must first know what you are aiming to attain. Some of us love to turn a landscape photo into a black and white shot. Others love to maintain the soft, muted colours that mornings can offer. Some of us love to create different effects altogether to add more drama and impact to produce an almost apocalyptic appearance to our landscape photos.

The main thing is to keep your shots clear, wide and colourful. Work to have your photo looking clear and colourful. This means you may have to amplify the sharpness a little using the smart sharpen tool in Photoshop. For Lightroom followers, open up the Detail panel and improve the sharpening, radius and detail sliders to the right hand side.

Increasing the colour vibrancy can do wonders for your landscape photo. You will detect that most landscapes contain outstanding colour. That is as a result of increase in certain colours throughout the scene. It is also due to a general increase in colour vibrancy right through the whole photo. Don’t increase the colour too much; you don’t want dark greens to look bright green or soft pinks of wildflowers to look hot pink. It will just look out of place. Keep the colours natural looking as possible, but just enhance the presence of colour.

High Dynamic Range

If you have difficulty producing shadows that are too dark and highlights that are way too bright, then try HDR. This is an tremendous landscape editing technique that can really rescue your photos. You take 3 different photos. The first is two stops under exposed. The second is perfectly exposed and the third is two stops over exposed. This will convey natural highlights to your shadows and tone down your highlights to a more natural looking appearance.

Photographing landscapes ideas

Based on where you live, you may have many possibilities. In case you are stuck for ideas then try these. A beach scene, waterfalls, a freeway from a bird’s eye vision, a city scene at twilight, a long open road, mountain range with hanging fog, a grassland with flowers and even a paddock with creatures grazing in the background. You can see that there are endless opportunities for brilliant landscape photography.
Photographing landscapes relies upon on your lighting, lens and sharpness. You don’t have to have an classy digital camera to take superbly stunning landscape photos. You can depend on the things I have taught you and in no time at all you will be on your way to producing stunning photos.