Lessons

Lesson Info

Exterior Architectural Retouching in Photoshop

right now, I want to get into the meat and potatoes of what I do. And I'm gonna take you into the back end of two of my favorite pictures. And I'm gonna dissect how a how I shot somehow a Photoshopped in high with them, all that kind of stuff. So without wasting any more time, I want to start explaining what I'm gonna do and get right into it. So first thing which I want to talk about here is one of my favorite pictures that I've ever taken. And this was taken last summer in Iceland, and this is actually for a power plant in Iceland and it z crazy situation like, I don't know if you've been to Iceland in the summer. I bet that many of you have, but I highly recommend it. It's like midnight and the wind is howling and out there, there's no human soul for like an hour in any direction. And you know, this factory's humming and it's kind of spooky and cool, but I'm out there all alone and I'm trying to make a picture. And this is what kind of the weather looked like that night. So I'm just...

gonna take you back and give you the story and walking around how I shot it. Because how we shot it is going to inform how I put it together in photo shop. So obviously this is an architectural exterior, and this is a geothermal power plant. Like I said in Iceland, I'm out there climbing over these like lava rock, trying to get the right angle and like I'm looking at this and like, you know, it's a cool building, but it doesn't really tell me anything about the architecture or doesn't move me in any way. So I'm walking around. I got my tripod over my shoulder and I'm trying to find the right angle. Zoom in a little bit and, like, still not loving the angle like okay at school building. But that's what it is. The photo doesn't move me in any way. It's a picture of a building, not a photograph of architecture. So, you know, I'm still trying to find the angle and work around and figure it out, and I'm just kind of moving around this building again. It's one in the morning because twilight lasts for freaking ever there, and I'm out freezing cold and, you know, trying to like Like I said, get the right angle tripping over these rocks, climbing over this like, death defying thing And like I'm at my wits and I'm like how to make this look good. Maybe I should shoot it in the day and come back and try to work it. Then on the way out, like I finally was down in the ditch of like, molten hot molten but like, you know, old molten lava, rocks, whatever. And I like just looking for my cold. I'm like, Wait a minute, that's it right there. That angle sums up everything about where I am. It's like mysterious, the buildings really cool. You're in Iceland in this great huge lava field. We've got this foreboding sense to it. There's a bit of tension and mystery and what I ended up shooting After all, the post processing and everything is this picture, which you know the story behind it. The subject matter, the location is one of my favorite pictures, So I'm gonna take you into the photo shop, work and show you how I kind of made it come alive. So first things first if you were with us in the last class, You should at this point no, how I do all my light room cataloging and adjustments and everything. So I'm just gonna go right ahead and go right into editing this in light room. And I didn't really do anything to it. It is kind of what it is. I know that it's so flat and so kind of austere that I'm just nothing enlightening Conceive it. It's all gonna be Photoshopped. So let's open this thing right up in photo shop, right click edit in Adobe Photo Shop. So here we are. Okay, So here's our picture. Um, and in looking at it, you know, like like I said, it's flat, It's overcast, it's blue. The sky tells me nothing. I think, you know, I'm just like, what do I where I want to go, what direction we want to take this Like Like I said, it's kind of a mysterious shot in a mysterious location of a mysterious building. I like the reveal that I've worked into it here. I kind of want to keep it ethereal and otherworldly. So the first thing that just annoyed me like looking at this like it's a slick looking building. I don't know what this little number event thing is here, so I'm gonna go ahead and clone that right out. So I'm just going to duplicate the background to unlock it. And I'm going to grab the clone tool making a nice, soft, big brush and I'm going to get right in there, grab some of it and just started taking it right out and again. I'm at, like, 30% opacity, but I'm not loving that little bit. But also, that thing's gone now. It's kind of getting to like Star Trek territory here and start asking like as we move these things. What is this building? What are we looking at? So the second thing, like I said, I want to know Where do I want to take this picture of? The sky is flat. I hate that sky. I knew immediately I was gonna have to replace the sky. So for those of you who aren't architectural photographers and you're like, this is weird what is this guy doing? Like it gets weirder because I have a library of thousands upon thousands. I'm not kidding of skies whenever it's clear out or there's some cool clouds or the sun is setting like I climb on my roof. It's kind of like it's yeah, I climb out on my roof and it is shoot in 360 degrees and, you know, climbed back down like Gollum incline office and upload them. So I've got, like, Giggs upon gigs of skies that I draw from And not only is the skies just like as a little tangent here, it's like I got soccer fields, I have pavement, I have water. I have sand All these things that we can replace in our pictures because, as you know, architecture, the conditions are never really ideal. So I'm gonna go and I'm gonna pick a sky for this. And I've saved you the agony of looking through all my thousands of pictures with me. And I picked this shot. This is actually from the beach in Santa Monica, California. This is like a 70 degree summer day, and I'm going to take this sky, and I'm going to put it in my Icelandic architecture photo. So I get a lot of questions about how do you replace the sky like I don't know it. Just mind blowing to me. Um, so I'm gonna try to demystify that right now. So edited in Adobe Photo Shop CC. And this is like I said, basically in my backyard in California and all of my portfolio has a sky from some other part of the world. It just, you know, it's kind of funny thing, a little hidden story about my portfolio there. So I'm gonna go ahead and drag this over onto my working file and let's see So the first thing you want to dio when you're replacing a sky is you want to line up the horizons and you kind of want the focal length to match, so you know, you can't see the horizon, but I can kind of imagine where it is. And I know that obviously we can see the horizon here from this photo, So I'm gonna I'm thinking it's like, right down in there about so, you know, you kind of eyeball it. But I see a lot of people who do sky replacements and they don't really match. The horizons of the perspective is off. The focal length is off, like sometimes the skies like they took a picture like of some cool clouds straight up. And then they put that behind a house, and it's like what you're looking straight up. It doesn't make any sense. So make sure that your horizon is matched up from you know, your sky plate to your actual subject. So all right, now that we've got our sky in there, I'm gonna show you two methods that I used to replace the sky. And I'm gonna show you one method and show you why it doesn't work for this particular picture. And I'm gonna show you the method that I'm going to you. So what I would usually dio is what is called a Blue Channel replacement. And I'm going to go into the blue. The channels palette here, and this is all of your channels. You've got your red channel, your green jelling, a blue channel and usually I used the Blue Channel because the sky is blue, we can extract the blue very easily and just kind of cutting the sky. You know, we disregard Blue, create a selection match up the sky and done. But in this case, since we have this dull overcast in this kind of like tone ality that's a very flat through the whole picture. It didn't work for me, so I'll try it and I'll do it and I'll show you why it doesn't work. I'm gonna duplicate this layer just so we're working non destructively and I'm going to add a curves adjustment to it. So image adjustments curves and they'll pull down. Let's see you and what I'm doing is trying to separate the blue from the foreground so that I can easily usually have a lot of contrast between green grass blue foreground. It's very easy to kind of pull those colors out, so I'm just dragging my curves down, making the foreground black, making the background white. But the problem here is that that building is metal, and it's reflecting the sky and picking up the exact same tonality. So what I could do now is like, this would be great if there was a house there and not at the silver Crazy building. Click OK, and if you're number two last lesson, we can make a mask out of basically anything by command clicking on it from the command. Click on this and you can see are marching ants. And what happens is we get, like, black hides, White reveals. Obviously, I'm kind of jumping around here, but what you get is, you know, you have this white and black mask, and we couldn't do such a good job of separating that building out. So our mask is kind of it's gray in here in the math isn't just black and white. It's also all those seeds of grain between, Like how the math made and I'm gonna go back and I'm gonna turn on a group here and I'm gonna let's see a label, the sky on the label, this actual actual sky. And I'm going to try to apply that mask, that selection that we learned about in the last segment to this sky and we'll see what happens. And what happens is you get this weird like blurred grossness in between. Umphrey isn't working because our usual method of just pulling out the blue doesn't work because everything is blue. So I'm just gonna back up and we'll get rid of this and we'll get rid of this mask and we're going to use our friend the pen tool from the last class. And this is why I like you have all these different tools, but you have to be able to use them appropriately. And this is one of those times where there's no plug in that's gonna be able to extract this because the colors are so similar in the plug ins basically used the same method, just they do it in the background in pay, 30 bucks for it, and you think it's something crazy. But it's not just going to have to use the pen tool and get in here and, you know, go around all these little rocks and drag it out and kind of curve around in there and get down in. But thankfully, this is a rather simple replacement, and sometimes you have, like, bushes and you've got, you know, trees and other buildings in the background. Thankfully, our horizon or are rocks. Here, meet this guy immediately, and there's not a lot of blending to be done, so I can use the pen tool. I could be a little messy about it, so we don't spend an hour. Watch me do this. Um, and you know, as you can see like, this is really cool like lava mosque. Growing everywhere is just this great, really cool kind of fantasy. Feel to it when you're in a 100% I'm going around and you'll see, um, like here, you know, look at how the pen cool just perfectly outlines that building. And, you know, I'd imagine with, like, the political last. So you have a nightmare of a time trying to line it up. I'm gonna go ahead and do all these little events, so whatever they are and I'll just go down the way here. Any questions while in le while I'm doing this one right here? I appreciate that you are a pen master. Uh, but is there a reason why you wouldn't use a magnetic glass? Oh, yes. And I would demonstrate that if I hadn't already got half within my pen path. You could, but drying on experience and my experience while it has a lot of time invested in that experience bank. So I could be wrong. But I'm going to guess and say that the magnetic lasso wouldn't work for the same reason that the mask, the Blue Channel mask didn't work. And that is because atonality is so similar, and it's so flat between the sky and the building that it's just gonna try to. It's gonna week. You know how the Magic one like it leaks out sometimes, and it's like a nightmare to get it back, and it is clicking all over the place. So I mean, like, yes, you could. But I know that every time I make a pencil math like this, whether it's around Windows or a building or a door frame or whatever it is that I'll probably end up using it more than once. And I like to save that path can really do the best job I can of it because the more I use it, the more the flaws kind of come out. And the more you use like a flawed a mask, you mean you're immediately going to see that the flaws get amplified with. It's like when you save a J pick over and over and over and over and over when you have six or seven layers, depending on a flawed mask, the little error start to show up, so I just say, Get it right the first time, spend the extra of five minutes and this pen tal it. I mean, just suffer through the, You know, Um, I'm sorry I'm subjecting you all to this 10 tooling, but it's just one of those things. Like if you're gonna do it, do it right and just get, like, exact. And there may be another method that works, but the pen tool as slow as it is, it's a very study, and it never messes up because it's not trying to have thank you. So that's my advice on that topic there. If that makes sense like you could. But why not just spend the extra minute now it get it perfect on the same? I mean on the same kind of topic here. Is there any sort of snap the pencils doing for you really that accurate? With every single like click that you're making, it actually goes to the very edge. Well, you can like. I'll see if I can now find appropriate location where it can actually predict the path. And I'm also using a mouse like if you use a pen tablet, you can you can really just fly through the thing. But when I use a tablet, my teaching capacity completely goes out the window because I have it all set up like weird shortcuts and everything. And I'll try to keep, like, you know, I just don't remember what buttons. The tablet is hot, hot, keen to. So it gets a little bit crazy. Um, if that someone answered, your question can generally and I think one more coming from John Becker online, why use the pen tool here instead of the magic wand? Now? Earlier, you did say that you call it the tragic one. So maybe while you're working, you can tell us what it does that you don't like. It's the same thing. It's just, you know, I feel like, Yes, you could use the magic wand and you could get it right Or I could use the pen tool. And no, I'm going to get it right. You know, it's just for me. At this point. It's like, you know, I'm just a fan of, you know, if if I if I see this picture in my head and I'm really excited about it, and I flew all the way to Iceland to get it, what's an extra five minutes using the pencil T to do it. And I mean, I think if everyone adopted that mentality, be a lot better photography out there because it's just like you. No, Take your time, slow down, get it right and actually know here's a good a point where I'll use the predictive element of the pen tool. So can we have on this rock here? The next guy. So I come down. I'm like, What I can do is I can dry out that and then I can draw that. And then what? You can, uh, you can actually change the path just by dragging this little handle here and that, Like you can see, that was very simple for me to follow that complex somewhat curve in there. And if I just, like, go out and I'll just get crazy here if I draw this curve like the pencil thinks I'm going to keep this s curve continuing. So if I follow it over here and you have something like that, you can very easily creates smooth, seamless curves that you really couldn't get, and then you can pair it up with straight lines. So you have a lot of flexibility and, you know, like if you're If you're a car photographer and you're extracting a car from the background, you can get those smooth curves and only one or two clicks. Unfortunately, I'm working with twisted in tortured rocks, which makes my job a little bit more difficult. But anyway, we're at the end of my pen tooling extravaganza here, and what I want to do now is make my background my my new sky. So I'm gonna hit command, enter, make a selection with my pen tool actually, in order Forgot to dio I forgot to get these little bits chime in in the questions toe. Say not a question, but this is a great lesson. PS you missed one chimney while we wait. Okay, so there's our selection. I'm going to feather the edge because, like those rocks, you're never gonna get them perfect to get them very close, but with feather it. And when it kind of below the transition from rocking the sky. So that shift at six feather one pixel. Okay, so now we have this mask. We have our outline of the building in the rocks in the foreground, and we have the sky. So what? I'm gonna do is I'm going to just apply this mask to this guy. I'm actually going to invert it so that I hit command shift. I convert, and I'm gonna apply that selection using a mask to the group name Sky. And here we are. We're left with, um, are sky above and there's our horizon and tried to matching up somewhat decently. But what's weird here, like anybody want to take a stab of Why that's what's ridiculous is because the foreground color does not match that of the sky. So in order to kind of make this more believable, we're gonna take out some of the blues. And the way I'm going to do that is again using a curves adjustment layer. And I'm going to go to the Blue Channel and I'm just gonna look, I actually I accidentally put it in the sky folder, but I'm going to put it outside of the sky so I only affect the foreground, and I'm gonna go underneath the sky layer and I'm just gonna go to the Blue Channel. Here is RGB red, green and blue. Like I showed you earlier with curves you can adjust the luminosity of your red You're green you're blue your overall tonality So I'll select the blues And I'm gonna pull down on the blues a little bit And there we have it I've kind of evened out the colors so there's not so much blue It's a little bit greenish I can pull it back like right about there looking a bit more a bit better and still like I see that the colors aren't perfect, but we're getting there. So I'm gonna try to tie the Scott, replace sky together with this foreground, and the way to do that is to marry the colors. So what I'm gonna do is like like, astoundingly simple, But someone had to teach it to me. So I'm gonna pay it forward, and that is Ah, a solid color fill layer. And I'm going to drag that on top of everything. And I'm going to set the blend mode to overlay, and I'm gonna put the opacity it like, just eight or 9%. 7% something like that. And what I'm going to do is I want to find a color in here that kind of represents like the mood of the space like If this was like a fiery sunset, I'd go for a red and try to get a read. Cast everything like you know how there's a pink sunset in the sun reflecting off. It just makes this red cows and everything. I grab, you know, a red color and I bring this over. And, as you can see like we get that kind of red tone alabi through everything which blends together the sky in the flow ground pretty seamlessly. But we could do that with red. Get with green. We could do it with blue, and you can see how the mood of the picture changes and the sky in the floor ground tied together almost seamlessly. And that's again. Color fill. That's all it is. I'm just picking a solid color that works with the overall image, and in the end, I pink doesn't work. I don't think it's kind. It's kind of like candy cane. I really like purple. The actual color that I settled on was type it in here. It's, uh right there, which is this kind of purple like twilight type of you know, it's got like a cold, twilight Arctic Circle kind of feel to it. And I said, I have that over all of the aspects of the image, and it takes it from this kind of gray, green muddled mess into this like somewhat moody, believable, ethereal picture. And it really adds so much to the whole moon. So that's my simple trick for the blending your sky replacements perfectly. But I'm going to zoom in here and you can see like my pen tooling wasn't as precise as it could have been. So and this is another reason that masks are so important. So I can command click to bring this mask back the little marching ants and I want to tighten that up. So what I'm gonna do is I'm going to go to, um, select and refine edge and what? That what that is going to do is we find the edge of the mask and tonight we find age. What I meant to do is select modify contract, and you can contract that edge so that kind of tightens up around everything. So we have a selection. Here is a selection contracted by one pixel, or you can expand it by one pixel, and that will just move all that the edge of that mass into the building into the rocks and again cover our tracks almost perfectly said There's someone of a seamless, a seamless blend between the two. So again, that was, um, select modify experiment contract could go either way. I do expand same thing. It tightens it up. And now I can go back into the mask and we had control h and really brush out control. It's just hides those marching ants that I can better see what I'm doing, and I'm going to reveal more of that mask and at what you can see, all zoom and they can see what's happening. There's are kind of sloppy pen edge and I'm gonna grab the brush, and it's just tightening that up. And there's our selection contracted selection and you just brush over all of the excess kind of tighten it up, make it more believable again over the building. Got a huge brush here. It makes that transition completely seamless. So again, it's a combination of pen tool and selections and masks and kind of tightening up and making it look like there was no photo shop involved. So I mean if you zoom into 100%. There's really no way to tell that any Photoshopped happened here. Um, you know that because I'm talking to you now, but someone who is looking at this as soon as they can tell it it's photo shopped there, you know, suspension of disbelief is out the window. So the better you can cover your tracks, the more likely it is that people will believe your photo. And I want people have any reason to question the authenticity of my sky. I take that as you will like. I'm not that kind of person. But when photography is involved, you know, I want there to be, you know, I want the pictures toe look like their pictures. Not like they're Photoshopped products. I want them to be believable, you know, like an unlikely occurrence like he really did capture at the perfect time. He was there the one day a year that looked like that. It's unlikely, but it's possible he could have done it. And by covering our crack the very well, whether it's an interior and exterior, Scott replacement really helps us do that. So question and actually goes with this and it goes along with believability. Have you ever needed to create a new sky background for something that has a depth where it's different, Let's say on one part of the horizon, or even if it were a house where the depth of field was, um, a shorter. And so it's softer in the back. How do you? But the pen tool had do change the softness in certain areas? I wish I could lie to you and say like some answer, but I've never had to do a sky replacement where you know, it was out of focus or blurry or in the back. I mean, like, I'm generally at, like F eight F 11 and I've got a pretty wide angle lens. So the depth of field is always, you know, not a problem. But I could imagine, you know, like in some cases, like if you're doing a portrait and for engagement over the couples like, I really hate that that background, um, I think I know rather I'm gonna brag like I could use the math control and a big, soft brush. And again just the same thing. Kind of separate the colors, brush it in making a school radiant in there, making nice, unbelievable use a solid color film layer over anything to tie it together like it's I think it's a stain principle. You just have to use the right tools to pull it off. So okay, so we're making progress here. Let's see what we came from. That's what we started with. Here's where we are. I'm looking at this and I still think it's a little bit too blue in the foreground. So I'm going to ah, grab another adjustment layer. He went saturation, and that's not what I wanted to do. Um, I want to Human saturation. I still have lesson lesson to learn here. I still had my selection hidden. I had control age to hide it, and I was trying to work over it. And I got excited to like So you knew trick, and, uh, I forgot to be selected. Someone command d d select, And I'm gonna go to Hue and saturation adjustment layer. And what I'm gonna do is I'm going to pull more of the blues out. So let's see, I'm just going to select this little hand tool here, which is an eyedropper which samples that color and the saturates it. And I kind of wanted to be like a silvery color, and I don't really want it to affect the sky. So I'm gonna grab my sky mask and I'm gonna paint that hue and saturation layer right out. So my subtraction of the blue only affects the foreground. And there you can see there is the result of that math and I'm just hitting the backlash blame to show the mask on red. So I think we're getting we're getting pretty close. Like I personally, I want this building to pop a bit more like I hate that word, but I don't know how to say it. I want that building toe like jump out at you and I want to show some of the cool contours of it. So what I'm gonna do now is like, if interview our portrait photographers, you might be familiar with with the concept of contouring the face which is were used dodge and burn to kind of accentuate when you're doing your retouching. So what I'm gonna do is I'm going to create a curves layer and I'm going to brighten everything right to about there, and I'm gonna create another car of layer, and I'm going to darken everything. So these are gonna be my dodge and burn, so this will be burn, and this will be Dodge and over the building. I'm just basically going to contour it so that it has a bit more depth and texture and definition. And this is I couldn't use lighting on this. It's metal. What good is lighting up a metal building with flash? Gonna do is just gonna create crazy reflections. So I want to keep a kind of natural. I'm going to select the foreground, um, from my other mask, because I know that I don't want my dodging and burning to spill out of the building. And I'm just going to use a being soft brush and where it looks like I need, um What it? Sorry what it looks like. I need it to be later. I'm going to brush it in. And what? I want it darker. I'm going to brush it out. So let's see here. This is all revealed its weight. So I'm going to dump it with black felt with black hide everything. First thing I wanna do is Dodge, and I'll switch to white and just start kind of brushing very faint, just kind of bringing out some of those textures, just kind of adding to the natural contours here, making it a little more bright. And I want some more this interior glow. So I'm gonna add a whole bunch over there, and then I would do the same thing with the burn. I'm going to fill it with black so that I can start with a fresh math care. And I'm just going to kind of add some of that contrast of the building. So it's a bit moodier, and it has some real It kind of jumps out at us, and I'm gonna put those in a group. I'm gonna call it Dodge and burn, all right. And again, I'll put everything in a new group so we can kind of check out progress and see what we're up to, like. This is what we started with. This is where we're at now. And I noticed that when I turn all these off, I see these smokestacks have this really cool kind of, you know, steam coming out of them. I think that's a great part of the image. It kind of speaks to the temperature, Um, and the cold kind of foreboding mood that's going on. So what I'm gonna do is I want to actually change the location of the sky toe. Allow us to see that student coming out. So go back into the sky, just click on it. And because it's a mask, I can kind of drag it around as I please, so that we have those smokestacks kind of in an empty area of sky and then this is again using blend modes. I know that the original layer still has that smoky kind of steam coming out. I wanted to make that a, uh I'm gonna make that its own layer set the blend mode to luminosity. And then what I'm going to do is black out with the Adelaida Masco. Everything's black, and I'm gonna start revealing just that little bit of smoke on top of everything else. I think I'm gonna have to put it into here so the colors match up. Yeah, there we go. All right. That's just a little trick to bring some of that color back again. That's the luminosity blend mode. It only affects the brightness, but not the color. And obviously the colors are way different. And if I just started, I just tried to blend it in like this. What would happen is, um I'd start bringing in that blue, which is messes with all the work we've done. So set the blend mode to luminosity and only affect the brightness of that part of the image. Okay, Accidentally just deleted my cloned out event thing there. There we go. We're back in business. All right? People who are asking Larry and a couple others Is there a way to save the smoke coming out of the smoke stacks with the new sky? So e got you covered. Um, OK, that's funny. So now I mean again, let's see how far we've come and see what else we can dio. I don't think this images moody enough. Like when I was standing there, it was like, foreboding. And it was kind of epic. I wanted a little bit darker. I once more dynamic, I want someone dynamic range. I just want more, um, you know, like, yeah, just like some more mood to it, you know? So I'm gonna go ahead and make it even darker and again. I want to use my curves. I'm going to drag it down, and, um, I'm going to selectively kind of And yet some things here and there. I'm gonna fill it with black so that we have our mask. As you know, black hides. What reveals? I think the foreground could be a bit darker. Um, I think I want the I to go right to the building. So I'm just gonna dark in the whole foreground here. And I'm being very subtle with it. Like a big, soft brush preacher. We're talking to sky above it. Here we go. Getting kind of movie now. All right. I think I'm pretty happy with this. I do wish that my dodging burn was a little more drastic. I don't know how I feel about that, but I know that I want some more brightness out of that building. So I'm gonna drag up the curves on my dodge layer a bit more. They kind of get that again to jump out at us and let's see a little bit of burned back in there. And I'm just going to zoom in and kind of check my work, and it looks pretty flawless. And let's see what happens if I I always like to just back off of everything a little bit at the end on the exteriors and see what it looked like, What my options are. I completely missed something in there, didn't I? Yes, with this case where you could maybe strictly attached the Dodge and burn on Lee to the lower level instead of to the whole picture. Is that maybe give you some more control, like you would like to attach the So Oh, so you'd like to, you know, only drag like the you could do that. So you're just affecting the shadows. Is that what you mean or attach it to? Only the selection, Um, the front part that you want to have more drama and that work was that it would be very simple. It's just a matter of selecting the sky again. And on this dodge layer, you know, painting out what? We don't want it. But it's again just grabbing that other mask and kind of manipulating agency. I made one pen tool selection and I've used it like five or six times. If that answers your question in terms of me, like it must mean, like attached to lo, like a like the shadows. End of the image in the history, Graham that speaking that way or like the highlights so well. And then, well, I guess when you did the, um when you added the barn and the Dodge and the overlay, that kind of darkened the mood. It did the whole picture, but I was wondering if you were cause then I saw you were going to go back in and do some more darkening in the France. I wondered if it was a case where you could just do the Alz attachment to just the the front part of the picture that you selected that you didn't want change. All right? Yeah, like I get I get were coming from and you could very easily convince me to do it that way. But I very like, I don't think that far ahead, you know, like I like I just kind of iron little rat. Let's see where we're at with. You were right, so I could use the burn again to do it. But I think that like each layer should be treated separately because they're each different parts of the image. And I have, you know, unlimited time to mess with, um, the masks and everything. But I think, you know, like, I label this like then yet, So if I want to just take off the vignette, Aiken do so. But if I just want to take off a dog and burn on the building and see how it affects different parts of the image so I'll just try to break it up and keep that help me work better so I can focus on one thing at a time, Man, I can't move it out very well, you know? So I messed up. I missed event him to fix Advil quick, and then we'll be on away. So I'm just gonna add this selection. Pen tool. Go around. Here we go. Okay. All right. So, I mean, I think like, I'm thinking back to the picture that I finished a few months ago, and I think this is about done. So what I'm gonna do is save this apple s control us and just go do some finished. And policy, often leg room. Um and we'll see how it compared to the original Well. And that actually was one. The question that somebody had. Could you do the burning and dodging using the adjustment brush in light room? Or do you tend to do everything in photo shop except for kind of grand overall could do it in light room, But again, you lose control. You can't do the fine masking and recycling of masts in light room that you can in photo shop. Great. Here we go. OK, so, um, what I'm going to do here is very similar to the adjustments that I did in the last section of class. And it's just some really simple stuff, like a little bit of clarity. And I think I'm probably going to de saturate this because it might have been a little Disney and the colors, in my opinion, and I might take out some vibrance like I gotta love the muted kind of pastels like it's Iceland. It's not Disney World. I kind of want to be true to that, but I also want to embellish a little bit. That's my thing, Um, so it's just a little bit of clarity, little bit saturation. Do I want any shadows Know that I just undid all the work I did on the foreground, and I think I want crop it a little bit too kind of a cooler aspect ratio. I really like. The strong horizontal is in this picture. I'm going to go with the 16 by nine ratio, which really emphasizes the horizontal. It's like it's great rule of thirds here. I think 16 by nine is a good job of making that come out of it more. And, uh, again, I'm gonna add a little vignette even more than yet because I'm looking at this and Alan and there you have it. And that's about I would say, extremely close to the original version that I did. The color on the building's a little bit crazy, but that we could easily fix that. But that is how I you know, kind of create mood, replace sky, add, you know, color, color, berating and tie everything together seamlessly with an exterior shot. And here you can see where we started and, like I will apply the same effects to the original and like, To me, this is just like a 10 times better picture, and it communicates the story. It communicates a sense of place that communicates the feeling and the weather in the mood and the mysteriousness of this whole whole area. So that is photo number one there, and I think we should do some questions. So beautiful. Miller D was wondering, How do you handle dust spots on your images? It's not something that we really talked about. Well, I have a like a sensor gel stick. I clean that thing religiously, and I if I do get a despot, I know that light room has a, um I'm blanking on it right now, but like room has a great way to check for dust spots. If anyone in the audience knows someone's got to know, yes, and you can. Well, it, like, creates this extreme contrast on the picture, and you can easily pick out the death spots. I just I just do in light room, unless it's some like in a weird spot, like between a joint in a wall or something. Now do in photo shop, because again lightning will try to think for me, the clone tool in light room gets a little have itself and, uh, you know, it's not as accurate as Photoshopped could be. So perfect