DxO Webinar: Make the best of your architectural photographs with PhotoJoseph

[Music] good morning good afternoon good evening everybody welcome to another DXi webinar I'm your host photo Joseph and today I'm going to be taking you through a series of architectural photography some more traditional some kind of more playful and just well a variety of things and we're gonna look at a variety of ways of enhancing them and trying to make them better as is the case with these tools so again I'm photo Joseph if you have not yet attended one of my webinars the way I do things is I tend to move pretty quickly but you will be getting a recording of this webinar should be arriving in your inbox 24 hours after this ends so you can go back and re-watch any portion that you missed and eventually at some point don't know exactly when these will end up on the DxO YouTube channel also as far as questions go please drop your questions into the chat at any time in fact let's just get a quick little shout out in the chat room make sure that you guys can see and hear me in there so in the chat there just say hello you can hear me coming in nice and clear video no audio good that's what I want to hear thank you very much somebody from who do why excellent wow that's so cool Wow and Bob Lowe is telling me from what a guy that he got the invitation from somebody named Dixie Nixon who is far more pretty than me Wow well that's off to a good start then isn't it anyway if you do have questions just feel free to drop them into the chat at any time and we'll be jumping back and forth between the presentation and looking at the chat room to see if there's any questions that I can answer so today we're going to be working out of both Lightroom classic and Photoshop because that is a very popular combination or tools to use with the Knik plugins but in the event that you are not an Adobe user that is perfectly fine because with the Nik collection comes photo lab D expose photo lab and so we will be using photo lab a little bit as well and while we're in there I'm gonna actually show you something that's not included in photo lab it is something you can add on to it but I just want to show you one of the extended tools that is available to photo lab users so with all that said let us just get started and then start with the photo you see on my screen right here I'm assuming that you can see my screen shot out if you can't see my screen and I am going to try to make this look more interesting it's first of all we've got a few challenges with this photo there's this fence in front of it but I actually like the fence the building is clearly abandoned well let's hope it's abandoned let's hope nobody's living there this is somewhere near Portland Oregon if anybody lives there and knows what this is I'd love to know I something tells me it's kind of like an old insane asylum at least that's that's just that that's just just that I'm gonna go for here we can see the building portion of a building off to the side here that's no good so we're gonna have to get rid of that and the perspective isn't straight know depending on the photo that you're doing sometimes you may want to have Distortion you may want to have that perspective distortion happening in there but there are times where you may want it to be perfectly perfectly clear and straight and I'm a big fan of that I'm a big fan of for a lot of my photos that had buildings in them making sure that my lines my vertical lines are true and in a case like this it's probably vertical and horizontal lines we want everything to be just perfect again it's personal taste it depends on the photograph that you're doing if you are trying to do architectural photography for a client and probably you're probably gonna want to have the lines nice and straight if it's more creative than of course it's just up to you and you'll see some photos where I will straighten that out and somewhere I will not but we're gonna start by straightening this one so before I even get it into the Nick collection we're gonna do a little bit of work here inside of Lightroom now you can do everything I'm about to do in either Lightroom classic or in Lightroom cc you have the same tool set there the main difference between working with classic and CC is when you send off to to the Nick plugins so first of all from classic you have the option to go directly to the plug-in which I almost never do to be honest I pretty much always go to photoshop first there's when you're working in classic you can choose to send a photoshop either the rendered version of the picture or the original raw file as a smart object and this is something I've talked about in sessions previously as well and that's a really really powerful option unfortunately a lot of CC you don't have the option to send up as a smart object now I've done a blog post at the DXF website dx.com and you click on the blog button and you'll find a button in there you'll find a post in there that talked about how to work around that it's a little bit tedious and I am begging the folks at Adobe to add the open as smart object inside of Lightroom cc because that's what I'm personally using all the time now but suffice to say it's not there today so we are going to work from classic where I can send it off as a smart object or I can send it off as a rendered image so that that's the kind of primary difference in there but anyway other than that these tools are gonna be the same now I'm gonna start here in the transform tool this is under the developed tab and honestly it's so easy I just hit the auto button and it kind of does everything for me it's kind of great actually it straightened it vertically and horizontally there and the auto button I would say maybe nine times out of ten does exactly what you want sometimes you want the verticals but not the horizontals straightened out and you can get some weird example weird results when it tries to do that but then you would just go and say no no I only wanted the vertical line straightened out or I only wanted the horizontal line straightened out but in this case Auto is gonna do everything which is essentially in this case that's pretty much the same as full auto actually looks a little bit better okay so it's straighten that out you can see how it's pulled the perspective in here but that has resulted in these big white lines on the side which obviously we need to get rid of now there is a kind of an auto crop button in here you hit that and suddenly everything's crop to within where there are pixels and that's great and we're off to a good start but I still want to do some more manual cropping because first of all I don't want this building here and second the building the primary ability is no longer centered so I'll just go into the crop tool I am actually going to make sure that my my constrained aspect ratio is unlocked I don't care I'm gonna crop it the way I want to crop it not buy any arbitrary aspect ratio and I will simply go in here and crop this in Y the cursor is not changing away from the rotation symbol anyway I'm going to pull this crop in re constrain itself there we go and you'll notice here this is kind of interesting so I crop this over to the side to the corner that building there to match that one but now I want to pull this down and I can't I run into a wall and that wall is this blank space right here there is a let's go back down to the only collapse some of these it's a little challenging I was working in a small screen like I'm trying to do here for the broadcast let's see here there we go under transform because I have this constrained crop turned on it is constraining it so that it doesn't go outside of the pixel area it doesn't go into the blank space that's been created by toggling that off I can actually do that so then I can crop it however I want to which let's say I actually want to have a little bit of negative space to the left and right of the building in there so I'm gonna go and crop it out like so looking pretty good I think the top will leave a nice big big sky space in there why not so now I've got the layout the way I want it but we do have this problem here we have this problem area I hit done and we've we can see the blank space in here so that's something that you actually can't fix in Lightroom you can easily fix this in Photoshop but if I send this off as a smart object which is what I normally would do I will not be able to paint over this in Photoshop and then take that into another layer another filter it's I mean you kind of could but it's a tedious workaround so we're not going to go there we're just going to send this off to Photoshop edit this in Photoshop and when I choose that it in Photoshop it asks what do I want to edit to want to edit a copy of the photo with the letter adjustments yes I do do I want to edit a copy of thousands adjustments or the original in this case we're gonna stay with the light adjustments that's gonna render everything that I have now into pixels bring this into Photoshop and I will easily be able to retouch this out now I know some of you might already be saying I thought this was a Nick demo not a Lightroom demo and that is true I am doing this part in Lightroom and Photoshop because that's how a lot of you work so a lot of people work is starting here and so I want to show you part of the workflow before we get into the Nick tools keep in mind that when you're working with the Nick tools you very rarely will send a photo there without doing anything to it first you are going to want to do some of your basic maybe exposure correction which I just realized I forgot to do so I'm going to go back again exposure correction straightening things like this maybe retouching that you're gonna want to do before you get to the Nick tools so that's why I'm doing this and as I said I just realized I did forget to do something so I'm gonna close this out close that do not save so go back into Lightroom again and I wanted to lift up the shadows under the roofline here so back into basic adjustments and I'll take those shadows and lift that up now I'm not doing this because I think that looks better I actually prefer this look the reason that I'm doing this goes back to preparing the file for the NIC plugins I want to send as much data as possible as much detail as possible to the plug-in so that whatever it is that I do there whatever decision I make there I have data to work with if I decide to crush my shadows in the NIC plugin that's fine at least I had detailed to start with and I could make that decision but if I send over the file like it was with my shadows totally crushed almost completely obliterated there I'm not gonna be able to recover him I'm gonna Ken to a degree but not as well as if I had lifted them up in the first place so whenever I'm sending a photo off to the plugins unless I know unequivocally I'm not gonna care about the shadows maybe I'm gonna crush them even more I'm probably gonna do something like this I'm probably gonna lift the shadows up that's just the way I like to work okay right-click again edit in Photoshop let's repeat this edit a copy that's gonna open over let's see if there's anything in the Q&A right now nothing yet alrighty Oh James saying the Photoshop also has an auto transform PS CC Photoshop CC yes yes it does okay so we're back in the into Photoshop again I've got that I've got that perspective correction done and I have this big blank area that I need to fix so I'm gonna do this very very quickly but I will walk you through my way of doing it there's a lot of ways to do this I'm gonna go for the the Healing Brush tool I always forget which one this one here let's make this brush a little bit smaller oh right I need to I've made the mouse artificially larger so that you guys can see it whenever I'm doing anything with brushes I have to turn that off or else my brush becomes abnormally large and I can't actually see what I'm doing so I am going to something a little bit bigger I'm going to start from a point cc you'd like like when your cloning option click start from a point on this fence and I'm going to choose right kind of that mark I should make this a little bit bigger still choose kind of right in that center point there and before I even click you can see inside of the clone the healing tool it's it's a healing tool but it's sampling data from somewhere else so I'm gonna line this up right about so there we go and then just start to paint that area in and it looks like I've got a little extra pole in there of it but actually I think it's okay let's make this a little bit smaller let's do it again from this bit of barbed wire line that up and away we go and let's just see if that's good enough for everything in here clone that again or sample that again I should say there we go and fix that okay it's not perfect let's get rid of that it's not perfect but we're getting there now okay let's be fair I would probably be a little bit more careful about this but I know because I already planned what I'm going to do I know exactly what I'm gonna do and it's not gonna matter but oops let's just let's just finish fixing that shall we do that one more time see now I've now I'm like looking at one I've gotta get it right I've got to get it right and I really don't but I'm gonna do it anyway okay we're gonna call that good enough I know again that part of this is gonna get obscured but at least now I have that in there oops looks like I missed part of the sky up here let's fix that too okay so now I've got that into place great that is fixed now I want to send this off to the NIC plugin but before I do that I want to convert this back into a smart object if at this point I send it to the plug-in anything that I do in there once I hit OK is permanent there's no going back I mean there's undo but I can't go back into the plug-in and continue to edit it make some changes to the plug-in that I had done before however if I convert this to a smart object first by right clicking on the layer when choosing convert to smart object then the filter that I apply will be applied as a smart filter which means I can go back at any time and edit it and this to me is really important this is a big part of my workflow this is why I will almost always go to Photoshop to do this okay so that's a smart object now I'm gonna take this photo into we're gonna go for analog effects Pro because this is just a photo that to me begs old grungy scary creepy weird looking kind of a thing because that's what the building looks like so that's what I'm gonna do and I'm just gonna do this with a preset I'm gonna scatter flipping through these different presets in here and your right away it's like oh that's so cool and okay personal opinion obviously I think that's really cool and just you know there's so many presets in here now we have explored this tool the analog FX Pro in pretty good depth in some previous webinars so if you want to know more about this one by all means go digging in some of the other webinars here I am going to choose let's see I think that yeah here we go number nine this is the one that I really liked let me grab this one here which it's faded it's dark it's got this big vignette you've got these weird water drops stains on the picture it's just this overall really kind of cool look for it so I'm gonna leave it with that I do want to make one change to this up there is I know under the basic adjustments a really cool detail extraction adjustment tool and if I take this and I crank this way up we get all kinds of awesome detail here in the building but you see it's also happening in the sky to a point where it's kind of pushing it out a bit it's that doesn't really do it for me so I'm going to undo that get it back to where it was because I really like the sky this way but I do want to pull more detail into the building in here well this is where we can use the control points and if you are not yet familiar with control points let me give you a very quick introduction to these control points are essentially masks but unlike a traditional mask that you either paint in with a brush or that you apply with a radial gradient meaning it starts at 100% in the center and then radiates out eventually to zero or a linear gradient where again you have a line from 100% applied to zero applied those are your traditional types of masks that you have a control point creates the mask based off of the chrominance and the luminance of the pixels that you clicked on meaning the color and the levels the brightness of the pixels that you click on so what this means is a mask gets generated in real time that can be extremely precise for the area that you want to control and here's how this works I go into click on this add a control point and I'm going to add it just right into the building here now first nothing's happening you'll see that I haven't actually changed anything that says de if I hover over these detail extraction brightness contrast saturation the same for controls I have up here now by the way that the control points will vary depending on on what filter or adjustment you have applied it to those sliders will always change in this case it is replicating the sliders we have here so I want to crank up the detail extraction just in the building and you notice I just dragged it up there and it has done that it has not touched the sky it's a little bit too bright when you pull that brightness down a little bit and here we go and so there's the effect just on the building and if I toggle this control point on or off here we can see what it has done and we can see that it's only effect on the building but how do we know what it really is affecting well that's where you go into the masks in here so just a touch there we go so there's a control point there's this mask button next to it when I click on that it shows me exactly what is being affected on a mask white is being affected 100% black is 0% in the new shade of gray is somewhere in between and so I can see exactly what's being affected in here and I can look at that and go oh that's great but a missed part of the roof so I will option drag this onto the roof to select some of that as well in fact let's do this onto this side of the roof - and now it's kind of getting into a lot and it has started to affect the sky which might be okay let's just see you turn these all off and I would say it's actually okay but let's just say that it isn't for the sake of the demo let's just pretend that that's not acceptable for it to get into the sky so I'm going to add another control point drop it into the sky here and use that as a protection point where I don't actually apply any effect in here let's make this a little bit bigger and I'll do option drag didn't hold on option I will option drag that over to here so now I have two control points where there's nothing being applied it is effectively a negative control point and then I have three control points here where the effect is being applied and the effect is the same everywhere because I option dragged that control point to do it so now we have an effect an idea of what is going to be applied everywhere let's turn these all off and once again here there well now we're seeing it we're seeing this is being protected and we see the effect being applied throughout there if I turn all of those off we can see exactly how that's being applied everywhere and I like it I dig it and you can see down here that corners been pretty well protected so looks like I missed a tiny little fraction of a pixel down there oh well hit okay this is gonna render back into Photoshop and at this point I'm done however because it is a smart filter on a smart object I can at any time double click on that filter effect it'll are on that filter it brings me back into the filter interface where I can continue to edit this and it'll take me right back to where I started and I can do anything else that I want to in here so there we go we see all my control points and that's it so a very very powerful cool way to work in there ok so let's let's do another photo here shall we I'm gonna do another one based out of Lightroom let's go ahead and close this guy here save that when you hit save of course here it will bring it back into Lightroom where I will have there we go both my original let's do it still a little side-by-side here eventually when I load it there we go there's the original and there's the affected actually let's do this let's do a full on reset so there's the actual original versus the altered one there that's pretty cool right if I do a C I'm gonna use the Lightroom classic much anymore yeah there we go we can decide by side comparison so kind of cool right all right excellent let's move on to the next photo here take a quick look at the questions see if there's anything you're racing you can set the panel's to automatically close and you select a different panel you're right you can do that thank you for reminding me I probably should do that in here but he's starting my in Lightroom you can have it do it's called solo mode or something like that isn't it solo no anyway you can have it on I collapse my know you just told me how and I totally didn't read the rest your message sorry ok this one this photo this is the this is in New York this is a classic shot we've seen this shot far better than this one don't worry we've seen this shot many times before it this is the view of the Manhattan Bridge from Washington Street in a part of town called Dumbo and it's it's funny because when I went to this street you'll see you can't see here because I've I shot without them in there but there are probably about a hundred people on the street they're trying to get the same photo it's kind of ridiculous as you can see it is clearly a really really crappy day unfortunately it's the only time that I had there it was overcast foggy gross just blah so I got nothin I really got nothing in here but I'm gonna try and make something out of it so it's not gonna be awesome that'll be a lot better than this so let's see what you can do I will start once again let's go to the develop mode here I'm gonna start once again with my transformation I'm just going to start with Auto and see what happens and works for me right it is straightened everything out I think it looks pretty great in there we can we can definitely crop out some of the sky in here so let's get rid of some of that because that's just boring let's see no no forced aspect ratio there we go and let's just crop that down to the top of the buildings like so in fact I'm gonna have the corners go right into the corner of the frame on both so let me just move that over that's a way on a photo like this that's something that I like to do in cropping have my leading lines match up and I kind of like the way those to go straight into the corner let's just make super sure there we go love it also got the one way sign down here I like that nice element to it I think we're pretty good now this probably could be a little bit straighter but I'm just gonna go with it I'm gonna leave it as it is okay so we've got this picture fantastic let's send this thing off to actually don't want to do an exposure correction and I kind of don't it's pretty flat as it is the sky is just blown out in fact let's just make sure we take the exposure wait yeah there's just nothing in the sky there's nothing up there no clouds to speak of so I'm gonna leave it as it is right click on this edit in Photoshop as a smart object which means now within Photoshop I will be able to if I decided to make some more changes to the raw image I can by simply double-clicking on the smart object it'll now open me into Camera Raw where I can continue to make corrections even do some perspective distortion in here if I want or two so far but I wanted to do some more vertical correction in there I can do that but I'm not going to do that I'm just gonna leave it as it is I think this is fine okay so do with this right when I wish was that the Sun had been kind of shining down the alleyway that would have been really cool kind of sun shining through the bridge and flooding the alley with nice warm light totally cool right didn't happen but let's fake it as much as we can look I'll be honest this is not my area of expertise in Photoshop I'm not I'm not someone doing here and I completely change this into a totally different scene I just that's not really me that's not what I do but I'm gonna give it the old college try and and I know we're gonna get something kind of interesting out of this I'm actually gonna start by adding a lens flare in Photoshop it's let's see here at lens blue render lens flare there it is under the filter menu render lens flare and it's kind of a fun little tool in here you can choose different types of lenses you can change the brightness of that flare position it wherever you want in there some pretty neat effects in here that you can work with I'm gonna go for this 35 millimeter prime one and actually note I want that one one of these had a nice maybe there's the 105 had a nice actual lens blur there it is nice little lens effect happening in there - there we go that's the one let's make that a little bit bigger and actually know is to get down a little bit there we go now you can see can you see that you're getting that's a tiny preview but you get that little bit of a lens ring in there the amount just right I like it I think it's kind of cool why not hit okay so this is once again a smart object which means this filter has been applied as a smart filter so i can actually toggle that on and off at any time in here now here's something really interesting I'm gonna take this into a color effects Pro and when I first did this because this is a smart filter I expected to not see the lens flare show up in there but in fact it does which is kind of neat so we're actually gonna get to see that lens flare applied in color effects Pro while I'm doing the the work in here which is very very handy you see there it is okay so we're in color effects Pro another new tool in here let me take you on a brief tour through this just in case it's new to you color effects Pro works based off of a huge stack of filters huge selection of filters I should say that you can stack however you'd like so as I go through here and click on individual filters you can see that individual individual filter being applied and is bling being applied over here on the right so it's just a bunch of different ones in here all these filters are broken down into categories you have your favorites that you have manually marked you have ones that are called a landscape or nature wedding portrait architecture and travel those are arbitrary they're decided by someone at dick so who we're at knit collection even when this was first created who decided that these are likely filters to use when you're working on travel photography your wedding rafi and so on totally arbitrary you don't have to use those it's just a way to kind of narrow the list down and perhaps find what you're looking for more quickly I usually just stay in the all view and and go through there so again any filter you want to apply you just click on it and applies that filter but you'll see that it's only applying one filter at a time to add multiple filters you add a second filter by clicking add filter it adds an empty filter holder and now when I add something I have multiple filters in there and I can just keep on adding more and more filters under this to stack the effects in here you can also rearrange the order of the effects very very important thing to understand how you rearrange the order could have a major impact on the look of the image the example would always give for this to really understand it is imagine if you added a color tint filter like a color overlay let's say you make the whole image blue put a color blue overlay on it and then added black and white after that well if color overlay happens and then black and white happens black and white is later in the change so it is converting the prior image the blue image into black and white so it's no longer blue if you reverse that order and you start with black and white you have just taken your color photo and made it black and white and then added a blue filter on top of that so now it's a black and white with a blue filter on top so very very different results depending on how you stack the filters some filters there's no visible difference when you stack them but something there's a dramatic difference that's just something to keep in mind I mean then of course you have presets if we look down here at the bottom left corner you'll see us as recipes I click on that let me make my mouse bigger there we go if I click on that it opens up and I see a bunch of different presets in here and as you can see you get a very nice large preview of what this presets are gonna look like so you can kind of go in here and find something that looks kind of cool now in this case I'm not really seeing anything that totally works so I'm going to just start them from scratch and start from scratch since I've just loaded all these I'll simply empty out each one of these presets each one of these filters so you can see here it says empty filter and nothing has been applied to it alright let's let's see here the first thing I want to do is warm this up remember I said I wanted it to have a look the sun's coming down and I've added the Sun but it's way way too cold for this so my first inclination is going to be to go towards the brilliance and warmth tool which is right here brilliance and warmth allows me to change the saturation you see saturation over all affected and the warmth over all and this kind of works on the building but it really is making the sky in a weird brown and it's not really adding the quite the level of warmth nasaw that I that I really want on here so we're not going to use this one but it's really I use this a lot this is probably one of the most common ones that I would use because changing the color saturation and the color temperature is a pretty common thing to do but in this case it's just not quite gonna work for me so I keep looking through here and I look for another one and I know that there's one called skylight filter now skylight filter you've probably heard of skylight filters before that you put on your camera they do a very very slight amount of warming it's very very slight honestly most people use skylight filter is just to protect their lens but in this case if I take this take the strength way up on there it actually adds a really nice warmth to the buildings that I quite like so that is more in line with what I'm looking for so that's good except that I don't want this applied to the building and a rather to the bridge and to the sky up there it's not a huge effect on it but I'd rather just not have it there if I toggle it on and off you see the effect is actually pretty strong on the building and keep seeing buildings the effect is pretty strong on the bridge and a little bit on the sky neither which I wanted here so we're gonna use control points now here we have negative control points and positive ones so what this will do is instead of being a replicating the sliders that are in this tool this is a way to limit the effect of this entire filter on any part of the image or you know limit it to an area or block it from an area I want to block it from the sky and the bridge so I'm gonna grab the negative control point click on the sky there and you might have noticed that it did affect it a little bit if I talked about on and off you can see that's being affected up there and I'll add another negative control point to the building on here let's make that a little bit bigger and I'll often drag it down here to make sure I got the bottom part of the building as well now as we saw before right now I'm just kind of arbitrary dragging him around and hoping that I'm getting the area that I want it's better if we actually look at the mask so let's turn all these masks on and let's see what I've just done so I have blocked it from this I pretty successfully there I have blocked it from the part of the bridge successfully but a lot of it not so I'm going to actually add some more of these in here let's make that a little bit smaller kind of option drag that down to block more of that I've blocked this part of it but not the sky behind this let's option drag that over there as well and then I will option drag down here too so we can see that I've pretty successfully blocked out the majority of the bridge in there and it doesn't have to be flawlessly perfect we're not looking for a hard edge mask in fact if you do too many of these and you end up with kind of let's call it a perfect mass because if you've gone in there with a pen tool and drawn around the building that will work against you because that will not look like a smooth real transition it will look like it was drawn in so you know you got to be a little cautious in fact I'm gonna delete this one up there and leave a little bit hitting the top of that building now it because I've added so many control points here it has started to block part of the building here so I'm gonna go ahead and add positive control points now and make sure that it is affecting the parts of the building more that I want it to so let's just do that option drag right over there and so now we have a pretty decent mask if I turn all those off we see what we've got in here toggle the entire effect on and off and now you can see we're getting a very nice warming effect on the front of the buildings there that is I think it's quite believable okay so that's looking good so now let's do let's do something else to this the the shadows on the sides of the buildings here and I said buildings correctly not bridge and the shadows on the sides of the buildings don't match where the Sun is coming from we can see that zoom in a little bit closer in here we can see that this part of the brick is facing away from the Sun this is facing me and so I would expect the Sun to be hitting this more than this and it is thankfully it is having it more than that this is darker but it's not darker enough so I'm gonna try and fix this with levels and curves let me add another filter in here and let's go to levels and curves in there and I'm I know that what I'm gonna do is is limit this just to the buildings but I'm gonna start by just applying it to the whole image but I'm watching the building I don't care what happens to the bridge at this point I'm only watching the building so I'm gonna draw a pretty strong s-curve to really darken the shadows and pump up the highlights I'm effectively increasing the contrast pretty dramatically in there and we can see that the shadow side of these has gotten quite a bit darker it's also gotten super saturated so I'm gonna have to fix that but we'll come to that later I have reasonably successfully they're darkened the the side of the building facing me the side away from the Sun and I think that looks pretty good so our we're gonna we're gonna go with that again I know I have to fix the saturation to welcome to that so let's go ahead and add control points to to limit this area so I'm going to this time do a positive control point click on the building there let's kind of position that right about so and let's view the control point there we go view that I'm going to do right about there let's option drag this over to this side get that side of the building affected too and I'm gonna be more focused on probably the shadow side of that you can see the difference as I move the control point around very very very subtle change in the mouse position changes where the buildings gonna be affected right but let's see I'd see it right about there is probably right and I can always go in and add another control point if I need to I'm also gonna add a negative control point down here because I really don't want it to affect the bridge down there and I think that's probably pretty good I might want to expand that out do a little bit more let's see let's hide the mask view and actually it's kind of good let me toggle that on and off it's pretty good in there maybe I'll maybe I'll add another control button they said another one up to here and over to here to get more of that building but I like it I am I'm darkening in a way that I like now as I said I need to fix the saturation problem so I'll add another filter now I will use that brilliance and warmth I am going to copy the control points that I created on levels and curves so let's go back to those control points I already created five of these control points so I'm going to shift click to select all of those and go up here to the drop down and choose copy control points and then go down to the brilliance and warmth one and paste the control points in and now it is only going to affect the exact same area that the previous filter had affected which is what I want right it was the levels and curves that drove that saturation through the roof I want to pull that back down so I'm going to use the same curves on there same control points now I'll take my saturation down and there we go now we're getting somewhere so that's a better result let's do it compare from the original to the new one in there pretty dramatic difference in there let's do it here I can do a side-by-side I'll leave those up on there while I take a quick look at the questions see if anything else has come up Tina Smith when you take it back into Lightroom can you then go back into Photoshop and change the smart filter yes you can very very cool Kevin holiday your computer is lightning fast I need that laptop I'm actually on this computer is not that fast this is a 2014 iMac it's a retina 5k iMac 27-inch late 2014 4 gigahertz i7 32 gigs of ram the amount of ram helps because I'm jumping around a bunch but yeah this is not a fast computer it's a 2014 edition so I'm glad you brought that up it's just goes to show you the software's pretty fast ok um anything else I want to do I think that's pretty good we're gonna call it a day and I said it's not perfect no one's gonna believe that it was totally shocked that way but you know we got something at this point looking at the image I think I want to crop it a little bit more so I'm going to go back into the crop tool in Photoshop crop the image down a little bit and here's the cool thing when I hit OK on this it is because this is a smart object underneath that all of the rendered filters are being reapplied you can see that happening in the lower left corner there and is being applied to the image with the crop but the full image is still there which is really neat so if I decide to uncropped it I've still got that effect ok let's finish up there we go you know let's sell it it's fine let's save that and let's move on to another photo ok close that and this time let's here I'm done with Photoshop instead of working in Lightroom now I'm going to switch over to photo lab so as I said we're gonna be using both Photoshop and Lightroom and photo app photo lab comes with Nik collection too so if you are not a Photoshop user and you don't want to have to buy flourish just use the plugins good news photo lab but a lot comes with the Nik collection too incidentally the photo lab that comes with Nik collection is what's called the essentials edition there is an upgrade to the suite my name is delete edition the full anyway the there's a bigger version of it there's not that many differences the main difference in there is Prime noise reduction which is super crazy awesome noise reduction that does not exist in the essential edition but you do get the majority of the rest of the tools in here okay um and you don't have to buy Photoshop alright let's see here we are going to use which photo music for this is this one here okay a little bit of history about this photo oops I forgot to reset that close your eyes shield your eyes there we go little history about this photo so this is the Brenda Berg tour in Berlin I shot this picture long time ago look at the exif data on this this photo was shot in 2006 it was shot on a Canon EOS 5d the original 5d not a 5d mark ii or 5d mark 3 the original 5d 14 millimeter super super wide a spherical lens and yeah that's it I mean this is no it's not real high resolution but 43 was the math on this 43 68 by 29 12 is only a 13 mega 12.7 megapixel file right now that said I have a large print of this in my house that I just love and you can do amazing things even with 12 megapixels go figure anyway alright so let's get this thing working first of all the photo is ever so slightly tilted so we can have to fix that remember why it was like it's a while ago that I shot this what did I say 2006 so 13 years ago I don't remember I must have had a tripod but maybe I was leaning on something else often if I have a low-light photo long exposure photo that is not straight what that tells me is that I didn't have a tripod and I was using something else to stabilize the picture so a little photo tip in there if you're trying to do a long exposure it's too long to handhold you don't have a tripod find something else to stabilize it on even if it's not perfectly level that's okay you can always straighten it and post right if you straighten something in post let's say that the best thing you had was the hood of a car so slightly angled the the picture is gonna be slightly crooked but you can fix that yes you'll lose a little bit of resolute but you can fix that versus handhold blur you can't really fix so just one of those little things so I don't know why this one's crooked it is so we're gonna fix it so that's we got to fix that we're gonna fix the white balance and I don't see what else we want to do it so again inside a photo lab a lot has already been done to this picture now I hit the reset button you saw me hit it so this is the original photo as photolab sees it however if you're new to photo lab something I want to point out is that photo lab actually applies a lot of effects automatically when you first open a photo in it what's being applied right now is this preset called DXF standard this happens on import in fact you can change this if you go to the preferences in photo lab you can say let's say your presets default preset for new raw and we just by default it's DxO standard but if you don't want to do anything you could set that to no correction and then every photo that you import will have no DxO Corrections applied to it it will just have the base level RAW processing but the DxO standard preset is usually pretty good and let's just see what it would look like without it let's go to no correction in here and we'll see it's a bit darker there was a little pincushion distortion that has been fixed we saw that toggle and there's probably few other things that we're not seeing yet but all of those kind of Corrections were happening automatically and if I hit the reset it's gonna take me back to that DxO standard preset applied to it okay so the first thing again I want to fix in here is the horizon line if I scroll down in here we'll find a horizon line tool in here I will let's just reset that there's a horizon line tool there is a tool to draw your horizon line across here which I really like so a lot of times in a lot of apps when you have a horizon line to fix what you get is a tool that you click on the image drag across to the other side of the horizon and let go and it straightens the image which is nice and quick however if it's not exactly right you just kind of do it over and over again until you get it right and you have to start over each time the way this tool works is I have this line this horizon line that I can move around in position wherever I want to make it line up to the horizon and then when I preview that let's just say that was the horizon I preview that it shows me that straightened out so let's let's reset that and let's use this horizon line and I'm gonna use it based off of the top of the building there I don't have a whole lot else to go off of so let's zoom in a little bit closer in here and I can go in here and I can very carefully really make sure that I've got that lined up sake if I was doing this just dragging it over oh did I drop the mouse there did I drop it there where did I drop it here I can make sure and I can go okay I'm at the very top let's zoom in even more zooming it 200% oops and then I went and redrew the whole thing Bravo excellent work let's try that again shall we position that back up - which line was I using we're gonna use that one there - there probably could have hit undo there couldn't I and I can go in here and I can make sure that it is positioned exactly where I want it - all right there and there all right good now let's zoom back out hit the preview button and it has straighten it out like so hit apply and that is now applied that on there so that's great so that is now straighten it out now inside of the inside of photolab - you don't have the same full perspective correction that you find inside of Lightroom unless you additionally add on the tool called viewpoint DxO viewpoint DxO viewpoint connects into photo labs so even though dear sebou Point is standalone software if you have it and photo lab installed then you get this new DxO viewpoint module inside a photo lab and this allows me to do the same type of correction that we saw over in Lightroom I'm gonna do this all manually so let me turn off the horizon one let's get rid of that and I'll turn this on and let's make sure it's all reset there we go turn this on and now I can go in here and I can reposition these wherever I like so I've got three different tools I got vertical only I've got this kind of squared off one where you can see the vertical and the horizontal lines are connected or you have one where you have complete independence of that one this is the one that I'm going to use so just like the horizon line tool you would draw it across one of the horizontal lines but this one I can actually do across multiple horizontal lines and then multiple vertical lines so that's exactly we're gonna do so I'm gonna get it roughed into place to start and we'll use it off the top and the bottom there and then we're gonna do it off of these pillars over here and I'm gonna go down the center of the pillar central over the column because these columns are not perfectly straight there are what would you call that cone-shaped I'm sure there's a name for these columns I was never an architecture student and let's just get those roughly into place and then let's zoom in close to correct them completely so just like before I'm gonna get super super precise on there good just get this bottom one I'm gonna go to the bottom of that pillar there and bottom of that pillar there looking pretty good let's go over here look off the center of the column to the center of the column and I'm looking at those lines going down the column and I think that's pretty good and again if if it's wrong I can go back in and I can fix it without having to start over which is great and right about about there I think we're gonna call it okay that's good enough back out hit the preview button and now everything is straightened out you can see over here look at the empty space just like we saw in Lightroom that empty space that's been created a little bit less of it over here so my perspective was a little bit like super wonky it has totally cleaned that out hit apply and it automatically crops around that area now I for this particular image I think I want to crop it a little bit more so I'm gonna go into the manual cropping tool and let's not have any wrong button in there let's not have any set aspect ratio let's go for unconstrained and I'm just going to kind of crop like so and this is basically how I have the print cropped that I have hanging in my living room now also I'm noticing that I don't have an even balance on left and right the building is not son of the the center of the tour is not centered so let's kind of Center that I'm watching these two Center third guidelines in there and yeah I'm gonna call that good close that and there we are okay super I'm off to a good start here we take a quick look over the comments if there's anything I need to address right now how do you change size of control point on the picture you always on the control point inside in the plugins there's that little handle next to it I think we're gonna get into it again you just drag that to make it bigger or smaller donphan emerge says from what I'm seeing in the building on the left was all built at one time now on the right side there's actually two different buildings most likely bricks came from a different supplier Oh getting very precise about the correction there photolab yes oh good I'm glad for that the technical term for a curving column is intent assets and tastes and taxes why thank you very much Colin can you add rulers there's no ruler tool in photolab I think you're talking about like guidelines maybe no you don't have that in here melody at the end would you cover saving your work as a smart object PSD I'll be using Photoshop and I want to make sure I don't want to lose my work in topaz I don't see you defining here where the picture is going or giving it a new name okay so when you are in Lightroom you don't have to define a location for it because it creates it next to the original photo the original raw file or whatever you started with in the finder it just creates it next to it and then it shows up inside of Lightroom automatically so you don't have to rename it it just I think it depends a - one - it but as long as it is a smart object and you're saving it as a PSD I'm it automatically generated generates it as a tiff file a layered TIFF file but if you were doing it manually as long as you save it as a PSD or TIFF you're gonna have that smart object retained in there a melody if that doesn't answer your question feel free to ask me more details okay so we've got this in here this is looking great let's get it off to a Nick plugin oh it's white balance you know obviously the white balance tools in here this white balance is perhaps too warm although I remember the lighting was very warm in there so I could try different presets in here or of course I could do a manual I mean that looks kind of green and weird I could go for a little manual let's cool it down maybe a little bit it's probably late probably pretty good if I use the eyedropper here it's probably not gonna work because this is not neutral gray yeah that's definitely that's not right so you know you can do it by hand or as I said I think from as shot cooling down just a touch works but it doesn't matter because what I'm going to do send this off to Nick Silver Efex Pro because this is a photo that I love in black and white in fact that's how I had it printed at home I think it makes some great black and white image so we're gonna use Silver Efex Pro for this so I've done the full perspective correction that I needed to do the crop thing that I need to do I did all of that in photo lab with the assistance of the deco perspective tool what was it called doing so you know that one so now we're going to play in Silver Efex Pro and once again presets are my friend if you haven't heard me say this before because I haven't said it today I love presets for two primary reasons the biggest one for me at this point is inspiration I go through presets just to look for inspiration because often I am going into an image thinking I know I want to make it black and white but I don't know exactly what I wanted to do by going through these presets and just clicking on a bunch of different ones you know that's kind of like that's clearly awful you know that's pretty cool too super high contrast in here high structure that's cool that's given me the idea that adding some structure to this is probably gonna work out really well Heike there's all these different cool presets in here and these all give me ideas of what I can do the second reason that I think presets are great is there a great learning tool as you are exploring presets if you break them down kind of reverse engineer and if you will then you will very quickly learn what a tool it's capable of okay I am going to choose I'm gonna choose where is it low key here we go not Loki the god but low key um let's see here alright let's see yeah low key one that's what I'm gonna use so this is pretty cool right and this is really dramatic we do a compare before and after it's really high contrast looking pretty neat in there I want to bring in some more details so let's zoom in close this thing and I'm gonna go to my structure and I'm gonna crank that structure up cuz that looks awesome in there let's really crank that up looks pretty good baby's a little bit too much in here let's actually take the highlight structure down a little bit so that we don't have too much happening in the in the highlight areas as you can see I'm starting kind of blow out some of those highlights so I'll pull the that down actually pull the brightness down the highlights just a little bit as well there we go that's better it's no longer blown out in there pull the highlights structure down looking pretty good I dig it I dig it he was a little bit too dark overall let's try let's go for the brightness and there's general brightness which I've already well which has already pulled down a bit because of the preset but then there's dynamic brightness which looks into the mid-tones and highlights areas and kind of separates them from the shadows and I think that actually works pretty well in there okay looking good looking good now I know that for printing this I'm going to want the background to be pure black one of the reasons for this is there's a little bit of noise in there and I want to make sure that's hidden so I want that to be pure black so it's a good idea to look down at your histogram and make sure that you do actually have pure black in there and you can see in here that I've got a little bit of a gap in there so if I open up my curves in here I might want to play with my curves a little bit just to clip the blacks down and just time it just takes the tiniest bit of movement in there to bring that down and now my blacks are pure black in there now because of that I think I'm gonna bring my dynamic brightness up just a little bit more again there we go looking pretty good there's a final touch on this I'm gonna add some film grain to it I started off with a preset and if we look closely here you'll see there's a little bit of noise artifacting happening in here because it was a pretty high ISO image on a very old camera i if you watch my previous session on eliminating or hiding noise one of my favorite ways to do that is to add a little bit of green on top of it I personally like the look of grain anyway but I certainly like it a lot more than noise so this has got a little bit of noise a little bit of noise artifacting so I'm gonna go down to my film types in here there we go and there's no grain being applied yet so let's just pull this down and add a touch of grain to it look at how much nicer that is broken that up it's to a split screen on here and you can see the before and after and you can see that kind of weird noise artifacting noise reduction artifacting that's happening in there but here that's all gone and it just looks beautiful so I'm diggin it hit save in a way we go alright one more photo to work with in ten minutes to do it in let me take a quick look at the questions rain nickel can you remove the two buildings above the roofline oh you're talking about these guys over here you have a very basic retouching tool inside of a photo lab it's not anywhere near advanced is what you get in Photoshop so you probably could do that in photo lab take a little bit of effort in there it's really more designed for getting rid of like spots on faces that sort of thing come but you are talking more a Photoshop job there sorry um and I would never remove those buildings anyway because they're part of the original architecture a David Leonard can you export the image straight to Photoshop from DXL photo live you most certainly can in fact if I wanted to do that so there's this export to disk button here if you click to the right of that there's a little share button click on that and you can choose to export to any application including Lightroom or it just kind of has a list of recent on there but if I go export to application now I can choose what I want there's the plugins in here this used to be how you had to get to the plugins but now they've been added an it collection button has been added here and then most recent version I can go in here and select the application and we'll just let photoshop in here where are we Photoshop Photoshop there it is and now that's there's an option I can say how do I want to export it the file without processing no I probably want to send the TIFF because I want to send this rendered version I can choose how I want to send that let's do it as a 16-bit file and click export and this is now going to render that out as a tiff file and open it in Photoshop and it's just like Lightroom does it's creating it right next to the original file so I will see that here inside of photo lab automatically and there it is so now that I'm here I could go in here and convert that to a smart object and gain back my ability to do Smart Filters which is something you don't have inside of photo lab in this case I'm just well I'll then save it let's just I'll hit save in here ask me again what TIFF options that's fine let's leave it as it is and the TIFF format does maintain your layers by the way so that's there close that and we go back into photo lab and there it is there's the TIFF file that I just created you'll notice that export to application is now what this button says so it kind of that button changes to whatever your most recent thing was so yes you can go into Photoshop from here ok uh last image I was going to do is this one alright this photo make sure were reset on totally this photo has a couple things it needs I need to crop out this chap over here who's getting a little bit too close to the model this is a photo walk that I did in New York a couple years ago and maybe last year and it looks like it needs needs to crop that out there's I know that there's a lot of texture in the clouds in there that I want to pull out and I can see that she's a little bit overexposed so start with the crop let's just get that out of the way so I don't forget since that's pretty obvious something I need let's get rid of the aspect ratio on there I do not care what aspect we sure I end up with I just want to have the whole image there we go okay that's good and I want to fix the overexposure on her face so this is really cool you actually have the Nick control points built into photo lab so the same control point technology is built into photo lab which means if I go into local adjustments here if I right-click on the image I can choose different types of local adjustments I can auto mask which is a brush with edge detection erasing a mask new mask reset mask here we go brush I can do a standard brush or I can do a graduated filter which is a linear gradient or a control point so I'm gonna drop a control point right on her face in there let's do it a little bit closer under this there we go it has looks like I had it turned her into a mine no that's not what it's doing I had the show masks already enabled so I can see exactly what's being affected is affecting her face that's great let me just take the brightness down on that a little bit take the exposure down on her and there we go that's a little bit better in there maybe a little bit more pull down just a little bit more there was we had off-camera flash illuminating her it was just a little bit overexposed so the brightness let's take the highlights down a little as well okay so that's pretty good so that's better on her one thing I'm noticing though now that I'm really close to this I'm getting a little bit of purple fringing can you see that on there zoom in to 200% you see the little purple fringing around her face a lot of chromatic aberration will be corrected by the software by default but if you're seeing purple fringing that is something you need to enable manually so if I go into let's see here where is it noise reduction light color detail chromatic aberration here's the checkbox for purple fringing watch the purple fringing around her face I click that and boom it's gone just like that pretty good right so that's okay maybe stuck on 100% maybe I can make that a little bit better but it has largely eliminated that okay cool so that's good her exposure is good I think that's everything I want to do in here I think it's time to send this off to the Nik collection let's use let's use color effects Pro for this one so as I said before I want to pull some texture out of the sky I also want to cool the image dramatically I want to have this be kind of cold and blue looking but I don't want a cold blue her face right I'm gonna have to make sure I protect her face so basically three things I want to do I want to enhance the detail in the sky dramatically I want to cool the whole scene and I want to warm her face or at least protect it so let's get started in here we're not going to a skylight filter I'm going to start with detail extraction which is right here alright detail extraction criming that thing all the way up to 85% up to its max and take a look at those awesome clouds in the sky and take a look at the hideous thing that it's done to the building into her face clearly a place for control points so let's grab a positive control point drop that out of the sky and there make that nice and big so whoever was that asked by how you change the size there's that you can see exactly what's happening in there which is really really cool just in real time as you do that and of course if you want to preview it with the mask view you can do that as well now this mask is extending into the building but that's fine because look at what it's actually doing it kind of works out really well it is capturing the reflection of the clouds as well which is perfect because the reflection of the cloud should be more more textured than the the building around it just to match what is happening in the clouds themselves that's pretty good now it is hitting her shirt a little bit so let's add a negative control point and make sure that she's protected so that was easy one click on there and we're done so there we go let's get rid of that and now I've got this beautiful super detail extracted sky in there digging it okay so that's first one add a second filter let's go for the brilliance and warmth and that's cool this whole thing down a lot let's take the coolness way way down on there nice cold blue sky was actually freezing out that day so that's beautiful and perfect really sells the cold but look at her she has gone frigid she has turned into a smartphone that is not okay so as you might have guessed grab a negative control point drop that on her face and boom look at the difference in there let me just turn that on and off huge difference protecting her face in there perfect now maybe I want to edit add a little bit of extra warmth into her face so I've cooled the whole thing but I want her face to be actually warmer to do that I'm gonna need to add a second brilliance in warmth because remember the control points here are affecting basically they're turning on or off this entire filter wherever I put it so if I want to add warmth to her I can't do it within this filter I'd have to warmth into our image which is not what I want so I will just add another filter will add another brilliance and warmth you can add multiples of the same thing in there I'm going to add a control point right onto her face and increase the warmth on that a little bit and said there we go looking good so now we've got it's subtle but you can see the difference in her face in there and of course the difference for the whole sky okay and let's do a quick compare to the original up to this one nice looking good last thing I want to do is add a vignette so add another filter in here and I scroll down looking for a vignette and I find that there are three different types there's a filter vignette a blur vignette and a lens vignette well the blurring is pretty obvious it's gonna blur the edges not what I want but what's the difference in filter and lens I don't know let's find out so I go to filter click on that and that's a big strong vignette okay so whatever I got in here I can choose the shape of the vignette in here oh it's kind of a squared off one or some kind of really chunky looking one it's just kind of cool that chunky one let's see here let's make the size a little bit bigger nope smaller up to the edge on there tap the adapt edges let's use that I don't know yeah that's kind of starting to look fake all right let's go back to it I want a pretty much traditional than yet in there so let's pull this down it's really dark around the edges maybe take the opacity down with that a little bit sighs make that a little bigger yeah actually that kind of works making that a little bit bigger transition a little softer I'm really watching this corner up here in the edges of the building it's looking pretty good but look what's happening down here on her it is of course covering her up as well totally don't want that so as you might have guessed negative control point right under her and boom that whole area is now protected so that looks pretty good okay well I like that but I don't know if it's better or worse than the other one so here's what I'm going to do instead of just replacing this than having to redo everything I'll turn that vignetting filter off add another filter and go to lens vignetting and let's try this one and let's see what this does okay so lens vignette that's really stronger on the edges I can make it more rectangular that looks pretty good size definitely smaller it's kind of bit too dark up there but let's say maybe right about so I'm a big size a little bit smaller mount a little bit I guess it's kind of okay there let's protect her again negative control point onto her protect that whole area this building is a bit too much - so a negative control point on there but not completely zero so let's dial the opacity back a little bit kind of same up there - let's negative control point up here and draw the opacity down a little bit so the vignetting has now been applied primarily to this corner a little bit less in these two corners and not all in this one here okay so which one do I like better let's just toggle the differences there so there's the filter one lens one like the filter one the lens one better actually all right we're gonna go with that one and I'm gonna hit OK or hit save and off we go and we're getting back into D X F little F and that is the end of my time like that or in a minute over sorry about that folks um if you got to go I understand you got to go remember you will get a copy of this in your inbox 24 hours from now I will right now go through the rest of the questions for those of you who asked the question I want to stick around and see what people are asking fighting photog asks what about correcting verticals assume you're talking in photo lab so in photo lab without the viewpoint installed all you can do is do the perspective correction there is some distortion that's kind of lens distortion which if it's subtle you could get away with trying to do but if it's more dramatic like what I was doing here and then you are going to need an additional tool I'm Joanie how do you turn the histogram zones on and off to edit a specific zone [Music] Joanie which tool are you talking about please please let me know and I will come back to you Karl Willits would you export to Photoshop at 72 dpi okay super super important thing understand when you choose export to application on any photo let's just grab a new photo here we haven't touched and I hit export application it does not matter what dpi I put in here because I have not resized it if you're not resizing it all that really matters is the number of pixels that gets sent over it's let's just make the math easy let's say it's a thousand pixels by a thousand pixels if I say if I take an image this started off as a thousand by a thousand whether I send it over a ten dpi or 100 dpi or a thousand dpi it is still a thousand by a thousand pixels dpi is irrelevant when you're looking at the image on screen the only time dpi matters is when you go to print and the way you send it out to photoshop now doesn't matter because when you send this file to your printer a meaning like well whether you're hitting print at home or you're going to send it off to a print shop if you're printing hitting print at home at that point the DPI does matter so you'd want to go into Photoshop and change your resolution to match your printer whatever your printers ideal settings are but if you're sending off to a professional printer don't worry about it they will adjust it for their print they know what works best for their printer and if you're concerned about it of course you should talk to the printer and say hey I'm gonna do a 20 by 30 print what resolution blah blah but at this point it is completely and totally irrelevant and it can be changed at any time with no effect on the image because it is simply telling it how telling the software how to render that out once it goes to print hopefully that helps okay let's see here good question Carl thank you Raphael Campello says there's another part of name it's cut off in here is it possible to duplicate control points between different filters in order to keep the selected mask influence area yes you might have missed that in the beginning you can copy and paste control points from one filter to another you you have to select the control points that you want to copy and then copy and then paste it in and if you did miss that or failed then check out the video when it comes to your inbox in 24 hours and you'll get a copy of it you can watch it then right nickel if you had a series of images shot at the same time how can you sync all the settings in the first two all the remaining images for conformity I did a I covered batch processing in the portrait session that I did a probably a week or two ago also there is going to be a blog entry on that up at the DxO website so if you go to DxO blips dxo calm we're here at DxO calm you click on the blog button here you will see a bunch of blog entries I wrote most of these on here and you can go through and it's not up yet because I just wrote it but there will be sometime in the next few weeks and entries showing up on there about doing batch processing or give you a little little hint right now you can also read the of the user guide it is covered in there Jony the window located in the bottom right corner the color effects prone history okay so you had asked before how do you turn the histogram zones off and on to edit a specific zone because you are talking in the plugins so you you're not editing a specific zone but perhaps what you're thinking you said zone so maybe you mean the zone system in the in the black and white filter in Silver Efex Pro so zone system is unique to Silver Efex Pro that is not in color effects Pro I think did you say color for X Pro yeah it is not in color for X Pro you have the histogram you can see the histogram but you don't see individual zones zone system is unique to black and white photography so that is something that is only in Silver Efex Pro and the zone system is something I'll be going in-depth on in a later session at the very end of this month um it's the one about I says the title something like edit like Ansel Adams um I'm not feeling you miss that because you went to get a coffee gotcha alright uh race is good John you'll be looking for excellent okay that is everything hey everybody thanks so much for tuning in today that was awesome that was a great audience great group great questions thank you if you find that you have any questions afterwards you totally forgot to ask feel free to hit me up on Twitter at photo Joseph on Twitter in fact please follow me on Twitter Instagram Facebook and most importantly the youtubes I do have a bunch of videos on YouTube youtube.com slash photo Joseph check out my stuff there and of course I will be doing more of these Knicks webinars over the next couple of months so I'll keep on to the end see you next [Music]

Channel: Nik Collection

Views: 1,625

Keywords: DxO Labs, Nik Collection by DxO, Architecture, PhotoJoseph, Silver Efex Pro, Color Efex Pro, DxO, ViewPoint, Perspectives, Distortion, horizon

Id: iIzb_FpkVWo

Length: 66min 35sec (3995 seconds)

Published: Thu Aug 29 2019