Stacking Layers in ON1 Photo RAW 2019

you so for today's webinar we're going to be modifying and stacking different layers and we'll be editing and adjusting those composited images all inside online photo raw 2019 alright let's start over here and if I go and do these photos of this beer and the hops and this glass here if I scroll through these oops you can see that they all have different lighting on them once focused on the can one's more focused on the hops and the beer and then there's others involved as well so let's go back and when dealing with layers or multiple layers inside browse and let's say you have you know these five different beer exposures if we wanted to take all of those inside of the Edit module we could just go over and we could click layers and now this is going to add all of those layers into my layers pain inside the enema jewel now we have these different exposures in here and I was actually playing with this earlier so actually rename these which was going to be the first thing that we're gonna do in the side the Edit module here but let's go through here and let's just take a look at what each of these layers does so I'm gonna go down here and I'm gonna turn off all of these and then we're gonna start at this bottom one right here we're gonna name this one light can cuz it looks like all of the light is shining on the can right here and then we'll see what the second one does so we'll just turn this one on and it looks like it's shining light onto the top and then on these hops right here so we'll just go top of glass hops and then this third one we'll rename that one top of kin glass because it's shining a little bit of light right here and a little bit of light on the top of this can and then the second one so this is all of the light on these hops right here so we could just name that one hops right because it's shining light on the hops on the right side of the frame and then let's turn this one on and we'll rename that one glass light okay so now we have all of these different layers renamed so now we're organized a little bit so we'll start and we'll turn off all of these different layers except for this top of glass hops layer so we just have this layer right here and I really like what this is doing to this glass over here but you can see it's creating a harsh shadow over here on my can so what I can do is I'm actually going to go in and mask out this layer where I don't want it to appear and this will allow me to paint in light from this exposure wherever I want it on this composite so inside of her layers pane here when we're wanting to deal with our masking options we're going to click on this little rectangle with a circle in the middle and when masking white reveals and black conceals so this is telling me that this is revealing this entire layer onto my photo well I want to mask this out in specific areas so I'm gonna grab my masking brush and if you click on your masking options it's automatically going to grab your masking brush for you if you're not select are you if your masking brush isn't selected you can grab it by hitting B on your keyboard so B on your keyboard for masking brush and what I'm gonna do is I'm just going to make my brush size a little bit smaller with the left bracket on my keyboard and I'm gonna make sure I'm set to paint out here and I really like again what is doing to the top of this beer over here and then these hops down here especially in the front I can actually rename this do it front hops glass light so I know that it's applying this nice light to the front of the hops and so I don't want to brush that out but I really want to brush this area out where it's creating that shadow so I'm just gonna brush that out Oh Maya pasty is a 10 so I want to make sure that my opacity is at a hundred so now if I brush this out there we go now remove that harsh shadow and I can paint out that darkness from off that can so now if I turn this off and on again I can just keep seeing where I want to paint in or out that light so it looks like the light on this bottom exposure is coming from this right side so it's lighting this cane right here and then this left area of hops so I probably want to paint this out from this left side to preserve some of this light in these hops so if I paint this out from the left side you can see it's bringing back in some of that light that was there when we lit this side of the can and I'll turn it off and on again just kind of seeing what to do with the exposure and I really like what that's doing right in here and right over here I think that's all I'm gonna paint this out right there cool so I think that looks good as far as our front hops glass light layer goes now we can move on to the top of can and glass so if I turn this off and on I like what that's doing to the top of this can and also the top of this beer so we'll just turn this on and then we're gonna brush out oops you want to make sure so whenever we're dealing with multiple layers inside photo op and I just made that mistake is that we tend to stay on the layer that we're modifying before and then when we go to mask or brush out a different layer we're still on that same layer so always remember to click on the layer that you're wanting to mask out or you'll do like I just did and you'll mask out the wrong layer so now we have top of kin glass selected so I'm gonna mask out quite a bit of this because I do want all of this light to be revealed on the bottom so I'll just brush all that out there we go let's see what that's doing I actually only like it on this cannery here so I'm just gonna brush this out from this part as well but now if I turn this off and on just kind of tones it down the top of that can a little bit so that's more evenly exposed there so now we can move on to our hops right Wow so that obviously does a lot to kind of light up these hops right here but it removes a lot of that light from our beer so we'll click on that hops right again we're gonna use our masking brush and then we're just gonna brush out the areas where we don't want that'll be applied too oops don't want that much removed you want to keep a little bit of this this light in here then we'll remove this top cuz it's kind of darkening that up up there oops I don't want too much of that removed I'll be good right there off the can and then if we turn this off and on brings a little bit of light in here kind of tones down that hot back there and then brings a little bit of that light into the beer and then this top part here this glass light layer is going to bring the rest of that light into here so now if I turn this on you can see I have a ton of light coming in to this area now so let's go in and we can blend this area right into the beer to give that light or to give that glass of beer a nice kind of soft light inside of it so we'll make sure we have that glass light layer selected and then we're just gonna brush out everywhere except oops it's gonna brush this little area off a little right there there we go and then we'll go down here we obviously want to off our can we want it off all of these hops around here and I'm gonna paint it off some of these hops and then if I want to remove it I have this kind of highlighted areas on these hops right here but I can actually remove it from them if I wanted to so they're not such harsh lights on there actually I'll kind of leave that I could actually kind of like those but we'll tone them down a little bit so I'll go to my passing I'll lower it to about 59 so now I'm not masking out as much from this top glass light layer I'm only using an opacity about 60% so it's only gonna remove about 60% but I'm just trying to remove it so that it's not just you can see there's the shadow here where I was painting in or I was putting the flashlight up to this beer so there's a shadow right there on these hops so I don't want that too intensely strong but I do like how a little bit that light is playing on these hops oops and I kind of painted over the beer so I'll just go back to painting and then I'll just paint that back in and then I'll go up and remove it from this one there we go so now if I turn this top one off and on that there's a lot to add to this kind of the richness and the color of the the beer in the glass so now we've basically finished our composite we have our all of our different exposures kind of blended how we want to so now what we should do is we should merge these together in a way that we can actually modify them non destructively so a great way to do that is to just right-click any of these layers and we're gonna select new stamped layer so new stamp layer is going to take all of these layers right here it's going to duplicate them and then it's going to merge those two plaits together so I'm gonna have a merged composite of all of these different photos but it's going to stay or but all of these different layers are going to stay right there so I can go back and modify them if I want to okay so now we have our just our composited image right here and I'm just going to turn off all of these different exposures of light and then we'll just turn this one off and on so this is our base exposure their first exposure the light can so if I turn this off and on see how much better that looks we've lit up all these nice hops down here we have this light coming through the beer and now we can actually read the can a little bit better so now we should go in and we'll crop this photo so I'm just gonna see on my keyboard to grab my crop tool and yeah let's use a nice sixteen by nine and I'll just pull this up a little bit to just remove a little bit of that front table right there and then I think I can just hit enter or let's make sure it's level on the back so let's grab my level tool drop this on there rise in line it's not really on that rising line perfect so it's a pretty level photo to begin with so I'll just hit enter so for this photo I'm actually gonna go into effects I'm just gonna start out with a tone curve so I'm going to go in to add filter i'm gonna click curves and inside this tone curve i'm gonna head down and i'm gonna create a basic s curve and what basic s curves do is they create contrast and then they boost highlights so they had just like a little bit of a stylistic look to your photo without modifying it too much so watch as i go down so in my shadow tones which is this little area in here between my mid-tones and my blacks I'm gonna grab my shadow tones and I'm gonna pull down on it a hair just a little bit and then I'm gonna head up to my highlight area which is this region in here and I'm gonna pull up on it to bring out the highlights and it's just kind of this subtle movement between each of these and you can clearly balance out the look of this photo and pull out some of the highlights so that it's not so flat and boring maybe add a little bit more contrast and then let's go just a mid-tone boosts okay I think that looks pretty good yeah that looks pretty good so far so the next filter I want to add actually want to modify a little bit of the color in this shot so I'm gonna add a filter and I'm gonna add split toning and the reason I'm using split toning is because I could modify this kind of bright highlighted area and then this can of beer kind of in one shor swoop so for my highlights I know I want kind of this bright orange so I'm just gonna click my color dropper I'll drop it on this orange right here and then I'll make it all the way bright and then I'm gonna head down to my amount slider and I'm gonna pull that up so that it's really intense there we go perfect and then the cans not so blue either and we're actually gonna deal with the can next so we're going to go down in here and I'm gonna click shadows and I'm gonna use my color dropper and I'm gonna drop it on this blue color in the can and we're gonna pull it up right about there so now we can play with the amount again and don't worry too much about this area surrounding the cans because we're gonna actually gonna go in and use a mask to actually just apply it to this area within the glass and the camera here so if I turn this off and on I like how that adds son of a stylistic look and evens out the tones of this image it removes kind of that some of that really bright blue in that can right there but it's obviously applying it to the entire photo and it's taking a lot of that greening out of our hops so let's go in here and I'm just gonna hit em on our keyboard that's gonna grab me my my masking bug so with my masking bug selected I'm gonna use a shape here I'm gonna use edges so I'm gonna drop this down and so now the split tone filter is only being applied to the area within this mask right here so if I turn this off and on you see it's just applied to that little area right there so I'm going to do is I'm going to kind of flatten this out and align it with this streak of light right here just like that and I'm just going to put it kind of in between these two cans and make this a little bit bigger and then I'm gonna pull this up to feather it and now if I turn this off and on see how that I mean it applies a little bit as these hops right here but we're kind of focused on the can right there anyway so it's not a bad thing if we have these hops toned down a little bit in front of this can and this glass but you can see it does a good job of removing some of that blue color cast from this can and also enriching this color in this glass right there so let's add one last filter here I'm gonna go in and I'm actually gonna add a vignette and let's use use big softy and we'll actually tone this down quite a bit here we're gonna grab this little centering icon and I can drag this around and I can put it wherever on the beer that I want to you so I'll just put it right in the middle there where these two are and then I can pull up down the opacity a little bit sweet and I think one thing we could do here is we could actually bring out a little bit of the exposure just in this can right there so let's actually use a local adjustment I'm gonna use light in and I'm actually gonna I'm gonna cool this down I think this trail right here is getting a little bit orange or yellow right in there so I'm gonna cool this down a little bit and I'm gonna hold down shift and hit ki keyboard that's going to grab me my adjustable gradient and now I'm just gonna drop this down again we're on that edges shape so that this middle of the mask is the only place that the adjustment is applied to and then I'll just flip this around make it quite small and remember you want to control your color in here so obviously that's looking a little bit too yellow that's looking a little bit too cold so let's pull this up maybe that's a little bit too bright here there we go I think that looks pretty good as far as just a little bit of a exposure boost for that can there's a large tonal area in the sky and it's really separated from the background here so the first thing we need to do whenever we're doing a simple sky swap is we need to develop the the base tonality of our base photo first and more often than not we're going to go back and change that tonality but it just helps to see where you're masking if you set the base tonality first so let's start we're going to develop here and I'm actually going to go and let's see about a camera profile change yeah let's use on one portrait and for this area in here we're gonna want to add in a little bit of contrast just a hair and then we'll pull up on our mid-tones which is going to boost this area in here as well and we'll leave our shadows how they are and then what we're gonna do is we're going to pull up on our whites because that's gonna make this area up top just kind of this big blob of white which is actually good if we're trying to replace the sky because then we can use a color range mask in here to just strictly apply it to this tonal area and we probably all need our whites of that much and remember we can always go back and redefine these adjustments but for now I think this is pretty good just base exposure so to add a new layer we're gonna go into our layers pane here we're gonna click this plus icon so whenever you click that plus button it's going to take you to your extras pane and I just went into on one extras backgrounds and skies let's all head down here and I'll use one of my favorite skies which is the skies 50 and so now that I've added that new layer one quick thing that I do is I'll hit V on my keyboard so V is gonna grab my transform tool so with this transform tool I can move my layer around I can rotate the layer I can resize it I can change the scale of the layer so the V grab your transform tool and a really really handy tool if you're wanting to move your layer around or modify it quickly so just going to move this over and I'm gonna make it a little bit bigger so that I can cover all of that sky that I'm trying to replace pull that down here and then I'll actually lower the opacity just a little bit just to see if it's covering all of the areas that needs to cover let's just Road no I think that looks pretty good it's gonna leave it at that so we're gonna take this sky layer we're gonna drop it below our base layer so now I just have this base image above the sky layer so next thing we need to do if we're doing a sky swap is just click on that base layer and I can just rename this base layer then we'll go in and in this masking options we're gonna head down to color range mask so we click on color range it's going to create a mask for us based off of this color right here we need to do is grab this color dropper we can pick this color in the sky and since it's doing the opposite of what we wanted to do it's it's literally removing this building we need to invert the mask and now we have this simple sky replacement right here and this is where adjusting the developed tones and colors come into play because we need to go in and modify the sky layer but we also need to go in and modify this base layer to those tones in the sky well one quick fix if you're seeing a lot of these halos around your sky is you probably have a much darker sky than your base layer so if I go up to my sky layer here and I click on it the cool thing about photo raw is we can actually modify layers individually so if I click on the sky layer I can find the tonality of it without affecting that base layer and see how even just pulling up on the exposure allowed it to blend in a lot better with these trees and such so this is kind of that balancing act of you know pulling the exposure up on this and the mid-tones down on that so we'll just go to this base layer real quick I'm actually gonna pull back on the exposure a little bit and the reason pulling back on the exposure is I'm gonna see if I can darken this sky layer a little bit more so I'm gonna pull up on the mid-tones so I don't affect the overall exposure I just want kind of these middle gray tones in this building to be pulled up and then let's go back to our sky layer and let's pull back on that exposure I hear more maybe that's not ticket yeah let's go back to our base layer and we'll just go back to that exposure we had that was looking pretty good so now if we zoom in here I mean hit Z on my keyboard that's gonna grab me my zoom or my move tool so I'll just zoom into this area in here and I'm not gonna really talk about the refine tools today instead this is just more of a simple sky swap which you can you could easily do if you have a large kind of tonal area like this but in the sky in my base layer if I view my mask here if I head down to that color range if I pull up on this color inch see how it's removing some of the edges around there so now I don't really have much of that white and honestly if you pull up on this it looks a little kind of janky right now maybe we could pull back in a little bit more but if you actually merge these two layers together and then stylize this photo people probably couldn't tell that this was a sky so up in here because you're not gonna really notice that area unless you're the one masking it out and this area looks a little bit blown out anyway so I think that looks okay as far as just like the base exposure goes for the sky swap and the next thing that you should do or I would recommend doing for a simple sky so up if you've already kind of brushed in the sky or removed this large tonal area is hit B on your keyboard make your brush size quite big and lower the opacity to like 10 and then hold down shift hit X that'll switch your brush mode to paint in so now I'm painting in my base layer but I'm painting it in with a really low opacity so now I can just rush this over these areas where it looks a little bit unrefined and I can make it look a little bit better just gently and gently with this brush so now let's go up and we'll do the same thing we did earlier I'm going to right click and I'm going to click new stamped layer so again it's going to duplicate these two layers together and then it's going to merge them so I have a third layer that composited image with these two and then I also I'm going to have these layers there see so that I can go back and modify them if I want so let's rename this composite and now we can actually modify this entire composite we can modify the toning color what I'm actually gonna do is just go into effects here and I know this I do this a lot but I love the lots filter and it's such an easy way to stylize photos so if we head in here I could add a let's filter and watch as I just go through all of these I mean any of these will probably do but even that when I think that one looks pretty good like that but just hitting the backslash key on your keyboard it's really helped it just stylize this entire photo so that it's not so composite looking and let's see if there's a few more I know there's a few more in here that would look good on here even the black and white looks pretty good I really like that so now we'll head up to our composite here I'm gonna turn off this bottom sky layer and I'm gonna reset this base layer so now watch as I turn this composite layer off and on I mean it's not crazy crazy sky swap but most of the time you don't need a crazy crazy sky swap because if it's just this large tonal area and everything's kind of well exposed anyway it's gonna look fake if you put just a really dramatic sky right in there but even that's just a little color in there it definitely helps and I think I could probably go and we don't need that much vintage Matt on here there we go that looks pretty good just like that

Channel: ON1

Views: 9,643

Keywords: Photo Editing, Image Editing, Photo Editor, Image Editor, Lightroom Alternative, Photoshop Plug-ins, Lightroom Plug-ins, Lightroom, Photoshop, ON1, Photo 10

Id: MOt8O0G69cE

Length: 27min 19sec (1639 seconds)

Published: Wed Sep 18 2019