{"id":129254,"date":"2019-07-08T12:30:27","date_gmt":"2019-07-08T11:30:27","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=129254"},"modified":"2019-07-08T12:30:27","modified_gmt":"2019-07-08T11:30:27","slug":"get-great-looking-landscape-shots-today","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/get-great-looking-landscape-shots-today\/","title":{"rendered":"Get great-looking landscape shots today"},"content":{"rendered":"

It\u2019s no coincidence that the best landscape photographs are often the most hard-won. It\u2019s tough work getting out and about at ungodly hours for sunrise and sunset; then there\u2019s the carting of heavy gear up and down hills, the patience needed to wait for the best light, and the endless creative challenge of crafting that perfect shot. Yet the work doesn\u2019t stop once the shutter button is pressed. We\u2019ll explore some of the best options and techniques for processing your landscape images to perfection. We\u2019ll begin by looking at Adobe raw-processing software, then we\u2019ll explore other excellent options like Luminar 3 and DXO PhotoLab 2. After all, if you\u2019ve gone through all that effort to get the shot, then it\u2019s only right that your landscapes receive the finish they deserve.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Where to begin<\/h2>\n

One of the best places to begin editing your landscapes is in Lightroom\u2019s Develop Module (or Photoshop\u2019s near-identical Adobe Camera Raw plugin). After importing the image into Lightroom, the first port of call will often be the Profile Browser within the Basic Panel. Profiles are starting points for different photos. We can choose the Adobe Landscape Profile here (as long as our image is raw) which enhances the blues in skies and reveals detail in textured surfaces. As such, it offers an immediate yet subtle boost. From here, you can go on to apply further, more tailored edits.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Maximise tonal range<\/h2>\n

All raw editors enable you to set a white and black point. This is a vital step as first it lets you check for clipped pixels. Areas that are overexposed to pure white or pure black look out of place. If you see clipped pixels try to recover them (not always possible). We also want to boost contrast and make maximum use of the tonal range from pure black to pure white. By setting the black and the white points we can ensure we have this. In Lightroom, hold Alt and drag the Whites and Blacks sliders for a greyscale view to check for clipping. You want to push the sliders to a point just before clipping occurs.<\/p>\n

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Six essential raw landscape edits in Lightroom<\/h2>\n\t\t
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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Enhancing tones<\/h2>\n

Raw files can often initially look at, but that\u2019s because you\u2019re expected to make your own enhancements. So to begin, try increasing contrast, tweak shadows and highlights, boost saturation and experiment with Clarity and Dehaze. Here opening up the shadows reveals greater detail in the rocks.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Crop and level<\/h2>\n

If, like the image here, the horizon is slightly wonky then Lightroom can automatically fix it with the Level button within the Transform Panel. You might also want to crop the image slightly. Lightroom offers various helpful crop overlays that adhere to different compositional rules. Hit O to cycle between them.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

White balance<\/h2>\n

With raws, you can set the white balance either by choosing a preset, like sunny, cloudy or tungsten, from the preset dropdown here, or grab the white balance eyedropper tool from the toolbar. With this, you can click on a neutral point in the image, like a grey rock or white wall, to remove any colour casts.<\/p>\n

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\n\t\t\t\"Landscape\t\t\t

Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Graduated Filter<\/h2>\n

The Graduated Filter works wonders over skies by allowing you to darken the tones, enhance contrast and boost colour. Simply grab the tool from the toolbar, drag down from sky to land (hold Shift while dragging for a horizontal line), then adjust the tonal sliders to the right to alter the area covered by the grad.<\/p>\n

\n\"Landscape\n

Remove distractions<\/h2>\n

The narrow apertures we generally use for landscapes and the large expanses of sky included in the frame both mean that we\u2019re more likely to spot annoying sensor marks in the image. If so, you can use Lightroom\u2019s Spot Removal tool to get rid of them, and any other small distractions around the frame.<\/p>\n

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Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Sharpening<\/h2>\n

The Detail Panel in Lightroom is a powerful tool for sharpening your landscapes, which is a crucial step if you want crisp details. The Amount and Radius sliders are the two key settings. With landscapes we typically want a fairly high Amount \u2013 around 100-150 \u2013 and a low Radius \u2013 around 0.8-1.2.<\/p>\n

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DxO PhotoLab 2<\/h2>\n\"Landscape\n\t\t
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DxO PhotoLab is popular with many photographers thanks to the way it handles raw files. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

There\u2019s a reason why lots of landscape photographers love DxO software: it\u2019s because of the way it handles raw files. The latest software from DxO, called PhotoLab 2, performs several enhancements automatically before you even begin editing. DxO uses its extensive database of lens corrections and camera sensors to apply automatic fixes for common problems like chromatic aberration, distortion and vignetting, as well as reducing noise and image softness. You notice this immediately upon opening the raw file, as the program will often ask you to download specific lens and camera modules related to the image being opened. The result is a raw file optimised for further editing and enhancements, which you can go on to make with PhotoLab\u2019s powerful array of tools.<\/p>\n

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Top PhotoLab 2 features<\/h2>\n\"Landscape\n\t\t
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BEFORE (above) and AFTER (below) Reveal hazy detail in the scene using DxO PhotoLab 2. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

One of the most impressive features in DxO PhotoLab 2 is ClearView Plus. This helpfully analyses the image for haziness and reduces it, resulting in sharper details and greater contrast over parts of an image affected by atmospheric haze or mist. Lots of raw editors have a dehaze feature, but this is definitely one of the best. Another top feature in PhotoLab 2 that will be appreciated by landscape photographers is the Prime Noise Reduction command. This applies an extra level of noise reduction on exporting the photo. It typically takes a few minutes to complete, but it\u2019s worth it for the fine degree of noise reduction you\u2019ll see in your photos. DxO says that in terms of ISO and noise, it will typically give you the equivalent of an extra stop of light, meaning for example, you can shoot at ISO 400 and get the same results as you\u2019d expect at ISO 200.<\/p>\n

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Luminar 3 Landscape Looks<\/h2>\n\"Landscape\n\t\t
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One-click effects in Luminar 3 gives you quick results. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Luminar 3 is a feature-rich editor with several excellent tools geared specifically towards landscape photographers. After opening a raw file in the editor, we can choose from a range of different preset \u2018Luminar Looks\u2019. These are one-click effects for boosting an image, and they include a dedicated landscape set with options like \u2018Dramatic Landscape\u2019, \u2018Morning Fog\u2019 and \u2018Warm Sunset\u2019 (used here). Once you settle upon a preset, you can control its overall effect on the image with a simple slider. For more control, you can delve into the panels on the right to fine-tune all of the different settings that go into making the preset, or start afresh. Here you\u2019ll find lots of typical raw controls like Colour Temperature, Exposure and Dehaze, as well as more unique tools like a Foliage Enhancer, Polarizing Filter and Microstructure effect. It\u2019s worth pointing out too that these effects \u2013 and any other combination of filters \u2013 can be applied to separate layers, which makes it possible to use them selectively over different areas of your photo.<\/p>\n

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AI Landscape Enhancer<\/h2>\n\"Landscape\n\t\t
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Corfe Castle, Dorset, in mist, edited using AI Landscape Enhancer. Credit: James Paterson<\/p>\n\t\t<\/div>\n\t\t\n

Within the range of Luminar Looks is an intriguing option called the AI Landscape Enhancer. This employs a combination of two forms of artificial intelligence (AI). First, the \u2018Accent AI Filter\u2019 analyses your image, detecting the content and boosting detail where appropriate. Second, the \u2018AI Sky Enhancer\u2019 automatically detects and enhances the sky. Both these effects have sliders that can be fine-tuned to control their overall strength (and both can be applied individually within the filter menu if you prefer to combine them with other effects). These landscape- specific features are among some of the best in Luminar 3, and they\u2019re especially appealing if you prefer not to spend too much time editing your photos.<\/p>\n

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The benefits of raw<\/h2>\n

All the editing software we\u2019ve looked at here is designed to be used with raw files. You can use JPEGs if you like, but with raw the benefits are greater. First and foremost, raws have a wider dynamic range than JPEGs, which means they hold more detail in the highlights and shadows. For landscapes, this extra detail can make all the difference. We can pull detail out of blown-out skies and recover lost detail in deep shadows. What\u2019s more, raws are 12-bit or 14-bit as opposed to JPEGs, which are 8-bit. This translates to an awful lot more colour information, which means that not only are we able to change the colour space of the image, but we can also alter the white balance after the shot has been taken, with exactly the same results as if we\u2019d done so beforehand.<\/p>\n

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James Paterson<\/a> is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop<\/em> magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool.<\/h3>\n
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