SHOW: Before and After Shots

stagor

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Painting with light, using local adjustments and various blending modes to burn and dodge light and contrast into an otherwise dull photo, the sky was also painted in using a texture blending mode in effects, and not a layer as such.
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Gerard

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Vleuten, Utrecht
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Just a simple streetview, PP in DxO.
 

Nick779

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Jun 14, 2018
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Pittsburgh, PA
Im finding quite a bit of editing inspiration in this thread, I dont have much experience in post but im getting better as time goes on. One thing that really bothers me from a photography standpoint though is sky replacements. Everyone has their own style and thats great, however completely replacing a natural sky just seems like cheating and leaning towards more of a digital artist than that of a photographer.

Its a personal opinion, but it grinds my gears.
 

Acraftman

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Even though I have been paying for P.S. for a few years now I have never actually opened it up but I am beginning to realize the fun ( after the learning curve:coffee-30:)might be worth the effort. This was just L.R.

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Hazza

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Julia

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Dresden, Germany
Hey guys! I have new photo to show. I already new how I’d edit it when I took it — the ligth in the park wasn’t the best, but I just loved the way the moose was gently and slowly strolling towards us (they are in an enclosure) through the high ferns (no idea how the green stuff is called correctly, sorry). I wanted to add a little bit of more magic to the image by accentuating the majestic animal and darkening the surroundings to remove distractions.

Here’s what it looked like straight OOC 1/500s f5.6 ISO800 @143mm with EM1.1 + Lumix Vario 45-150
P7070266.jpg
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My main goal when I shot the photo was to get the moose sharp despite it’s (albeit slow) movement. That’s why I had to crank up the ISO so I would still get a usable pic at 1/500s.
  • Adjusting highlights/shadows
  • Tweaking the colors via camera calibration

Screen Shot 2019-07-22 at 12.16.44.jpg
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You can see that the highlights on the leaves pop a bit more and the fur is getting a nice, warm glow.
  • Adjusting the Tone Curves (main and for each RGB channel)
  • Adjusting the HSL values

Screen Shot 2019-07-22 at 12.18.54.jpg
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Again, the goal was to make the image warmer to get more of the “warm sunshine” glow on the animal and making the overall feel more “summer like” (before, the greenery still had a slight blue-ish tint which was making the image too cold).

I exported this as TIF and imported it into Affinity Photo on my iPad (screenshots taken on the Mac because that’s more convenient).

In Affinity, I actually started by making a selection and getting the moose itself onto it’s own layer. I knew that I wanted to strongly darken the surroundings, but I didn’t want the animal to be affected by that. On the other hand, I wanted to accentuate the highlights on the moose without adding too much light to the greenery.
The reason the layer is set to 64% opacity is that I wanted to blend the “lightness” of the animal naturally into the darkened image.

In addition, I also used the inpainting brush (pure magic) to get rid of all the smidges that were sitting on the poor guy's nose.

Screen Shot 2019-07-22 at 12.24.01.jpg
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Next, I adjusted the HSL values a bit more, as well as did some selective color tweaking. The goal was to increase the “sunshine glow effect” and make the image warmer in the highlights and increase contrast.
Screen Shot 2019-07-22 at 12.22.35.jpg
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The curves adjustment looks pretty horrible, but look at the layer selection — this is withoutthe extra moose layer selected, so the curves affect the entire image. Because that adjustment is beneaththe extra moose layer, though, it will not affect that layer when I enable it next. Therefore, I am able to bring back the brightness on the animal without loosing the dark contrast in the surroundings.

Screen Shot 2019-07-22 at 12.26.18.jpg
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The exposure adjustment helped to get the overall brightness “right” on the image — that adjustment sits atop the main image and the moose layer, so it affects everything and brings it a bit more “into tune”.

Screen Shot 2019-07-22 at 12.28.27.jpg
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And finally I added two layers of 50% grey, set them to Overlay and used the Dodging and Burning brushes to
  • darken the surroundings to draw your eye to the moose and
  • highlight certain areas on the moose to accentuate the horns and three dimensional character.

Moose-final.jpg
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Thanks for reading, hope you enjoyed the mini tutorial!
 

Lupin 3rd

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Aug 13, 2018
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532
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MoCo, MD
Hey guys! I have new photo to show. I already new how I’d edit it when I took it — the ligth in the park wasn’t the best, but I just loved the way the moose was gently and slowly strolling towards us (they are in an enclosure) through the high ferns (no idea how the green stuff is called correctly, sorry). I wanted to add a little bit of more magic to the image by accentuating the majestic animal and darkening the surroundings to remove distractions.

Here’s what it looked like straight OOC 1/500s f5.6 ISO800 @143mm with EM1.1 + Lumix Vario 45-150
View attachment 762693

My main goal when I shot the photo was to get the moose sharp despite it’s (albeit slow) movement. That’s why I had to crank up the ISO so I would still get a usable pic at 1/500s.
  • Adjusting highlights/shadows
  • Tweaking the colors via camera calibration

View attachment 762694

You can see that the highlights on the leaves pop a bit more and the fur is getting a nice, warm glow.
  • Adjusting the Tone Curves (main and for each RGB channel)
  • Adjusting the HSL values

View attachment 762695

Again, the goal was to make the image warmer to get more of the “warm sunshine” glow on the animal and making the overall feel more “summer like” (before, the greenery still had a slight blue-ish tint which was making the image too cold).

I exported this as TIF and imported it into Affinity Photo on my iPad (screenshots taken on the Mac because that’s more convenient).

In Affinity, I actually started by making a selection and getting the moose itself onto it’s own layer. I knew that I wanted to strongly darken the surroundings, but I didn’t want the animal to be affected by that. On the other hand, I wanted to accentuate the highlights on the moose without adding too much light to the greenery.
The reason the layer is set to 64% opacity is that I wanted to blend the “lightness” of the animal naturally into the darkened image.

In addition, I also used the inpainting brush (pure magic) to get rid of all the smidges that were sitting on the poor guy's nose.

View attachment 762698

Next, I adjusted the HSL values a bit more, as well as did some selective color tweaking. The goal was to increase the “sunshine glow effect” and make the image warmer in the highlights and increase contrast.View attachment 762697

The curves adjustment looks pretty horrible, but look at the layer selection — this is withoutthe extra moose layer selected, so the curves affect the entire image. Because that adjustment is beneaththe extra moose layer, though, it will not affect that layer when I enable it next. Therefore, I am able to bring back the brightness on the animal without loosing the dark contrast in the surroundings.

View attachment 762699

The exposure adjustment helped to get the overall brightness “right” on the image — that adjustment sits atop the main image and the moose layer, so it affects everything and brings it a bit more “into tune”.

View attachment 762700

And finally I added two layers of 50% grey, set them to Overlay and used the Dodging and Burning brushes to
  • darken the surroundings to draw your eye to the moose and
  • highlight certain areas on the moose to accentuate the horns and three dimensional character.

View attachment 762692

Thanks for reading, hope you enjoyed the mini tutorial!

Thanks for sharing this with us in so much detail!
 

stagor

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Combining two rejects to make one keeper.
I took this sky photo in N.Ireland, only there was nothing of interest to photograph against the sky, plus the sunset was behind buildings and only lasted five minutes. So I just took a shot looking up at the sky.
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While out on a bike ride I came across this tree in the middle of a pond, and took the photo below, the result was hardly worth keeping.

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By combining the two photos I think I have a keeper.

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stagor

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Stan
Take a black and white photo,
P1020533.jpg
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then using On1 local adjustments paint it any colour you want.

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stagor

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Some more experiments with "paint with colour"in On1 2019. this time replacing one colour with another.

Jag colage01.JPG
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none of the above is the original car colour.
 
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Brownie

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Joined
Sep 3, 2018
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SE Michigan
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Tim
I'm pretty basic when it comes to processing. For the most part I have a straight forward workflow and just hit the basics. Sometimes though I want to see something else. For quite a while I've been trying to get a certain look in some woods shots. I didn't know quite what I wanted. Maybe a little dark, maybe a little foreboding. Warmer. I could never figure out how to get it. While I'm sure those of you who are whizzes in the processing world could pull it off in several ways, it escaped me. This week in the 52 week challenge @Mountain prescribed split toning. Never heard of it, but was happy to see that Darktable has a module. After having some fun with the challenge I started to try it on different photos just for giggles. I ran across this one from earlier in the summer and decided to give it a whirl. The top photo is how I would normally have processed the shot. The bottom adds red in the shadows and yellow in the highlights. They are processed exactly the same except for the split toning. Nothing earth shattering here, but I love the effect. To me, it made a mundane photo interesting.

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Normal woods by telecast, on Flickr

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Split Tone woods by telecast, on Flickr
 

Ashton MacIntyre

New to Mu-43
Joined
Jun 3, 2019
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1
Hi, this is my first post.
Here is a shot I took that was exposed for the highlights. I raised the exposure 1.60 in Lightroom and upped the shadows a bit. I think it turned out pretty decent. Let me know what you think!
P1090219.jpg
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P1090219-1.jpg
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Joined
Jun 8, 2019
Messages
60
The following is straight out of camera. I exposed to the right to record as much information as possible, but this killed the colour in the clouds:

P1020459.JPG
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After some exposure and curve changes, and applying a graduated filter:
P1020459-2.jpg
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These are the specific settings I used in Rawtherapee:
  • Exposure compensation +0.54
  • Film-like parametric tone curve, lights +50
  • Graduated filter, strength 1.77
  • Detail contrast with "Contrast+" pressed once
  • White balance set to Cloudy
  • Vibrance 26
 
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stagor

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A before and after BW composite made with On1 2020 beta, released yesterday.

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Fred S

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Feb 20, 2012
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Calgary
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Fred S
Processed with Affinity
Its amazing what processing can do

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stagor

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Stan
I'm still experimenting with On1 2020 beta. this time with sooc jpegs.
Take a dull underexposed shot, with a blown sky,
P1000180.jpg
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and make it rain,
P1000180s.jpg
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or make it shine.
P1000180 copy.jpg
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all three same jpeg photo.
 
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stagor

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Stan
On1 2020 released this week, really liking the improvements in all departments, including smoother brushing and excellent raw developing.
Before jpeg from raw file no processing
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After jpeg from processed raw file
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