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Tips for Processing Night Photography with ON1 Photo RAW 2018.5

07 Aug

For many students, as they start learning photography they want to know how to take photos at night. It is a mystery to them and they often think it is so complicated that they will never be able to do it. That is until they try it and discover just how easy it is. The next step is editing those images and ON1 Photo RAW 2018.5 has a lot of tools and adjustments that are perfect for processing night photography.

HDR architecture image - Tips for Processing Night Photography with ON1 Photo RAW 2018

An image created using the HDR option in On1 Photo RAW 2018.

Night photography options

First, we should take a look at the different types of night photography that you can do. There is the easiest option of setting your camera up on a tripod and photographing lights somewhere.

The city at night is very popular if you live in an urban area. Perhaps capturing town lights can also be good. You just need something that is making light. HDR has had a lot of bad press, but it really is good for some images, and night shots of cities are perfect for it. ON1 Photo RAW’s HDR processing is one of the best I’ve seen.

When the sun has gone down and there is a lot of traffic you can photograph light trails. Taking longer exposures with your camera on a tripod will make all those lights look like streaks. If you want to make it look like there were a lot, then you can stack the images together, so all the streaks will show in one final image.

One type of night shot that is hugely popular right now, especially in Australia, is astrophotography. Photographing the Milky Way. It is the season for it here and with the low population, you are spoilt for choice where to do them. If you have ever tried doing any astrophotography then you will also be aware that your images have to be processed or they can look at washed out. ON1 Photo RAW 2018.5 has you covered there as well.

Tips for Processing Night Photography with ON1 Photo RAW 2018 - astrophotography milky way image

An astrophotography image processed with ON1 Photo RAW 2018.5

Photographing the City

Night time in the city can be so magical and to be taking photos of it even more so. Processing your images taken at night is much the same as processing any of your images.

Open your image in ON1 Photo RAW and take it into the Develop module. Make the adjustments as you would for other images. Move the sliders around to see what you can get. Take them too far and then bring them back.

sliders in ON1 Photo RAW - Tips for Processing Night Photography with ON1 Photo RAW 2018

When learning it is good to take the sliders too far, see what happens.

If you want to make adjustments to particular areas, then look at local adjustments which is the best place to do that.

However, what if you want to do something to your image to really make it pop?

HDR photography, or High Dynamic Range, can be perfect for this. It is a process that has copped a lot of criticism over the years. People say it is too much, that the images can be ugly. But that really only happens when you don’t use it for the right images, or overdo it.

There are some scenes and images that are perfect for HDR and night photography is one of those times.

HDR Night Photography

When you are to decide which images would work best for HDR, look for ones that have a lot of dark areas, and a lot of bright parts as well. Usually, your camera will struggle with getting an even image of a high contrast scene. It will either make the image too bright or too dark. Night images have those problems. Once you get the lights exposed right, all the shadows become too dark or black.

The best way to do HDR is to take a series of images or bracketed shots. If your camera will allow you to bracket then it will sort out the exposures you need. The most common number of shots is 3 or 5. For this article, five images were taken.

Next, select all of your bracketed images inside the ON1 Photo RAW browse module. You can do that by clicking the first then pressing the shift key followed by clicking on the last image. If you have put the images into a subfolder you can then just use Ctrl/Cmd+A.

Tips for Processing Night Photography with ON1 Photo RAW 2018 - bracketed set of images

Work out which images you want to use.

Once they are selected you should be able to see the HDR button over on the right-hand side of your screen, underneath all the different modes.

select images and HDR button - Tips for Processing Night Photography with ON1 Photo RAW 2018

Select all your images.

ON1 Photo RAW will then merge all your images together. The first time you do it, a window will pop up asking you what look you would like. The options include Natural, Natural Auto, Surreal and Surreal Auto. You can make the changes once the image has been merged to HDR. There are lots of choices with ON1.

Let’s take a look around the HDR working window

Tips for Processing Night Photography with ON1 Photo RAW 2018 - HDR looks

Selecting your HDR look in ON1 Photo RAW.

There are several places where you can set the amount of de-ghosting (remove spots where something moved between brackets) you want the program to do. You can change the HDR look you wanted if you think you made a mistake. You can select which image you think should be the main one.

Go through and change the image to suit the look you are after. I know I say this a lot, but the best way to learn is to play around with the settings.

HDR options - Tips for Processing Night Photography with ON1 Photo RAW 2018

All the different things you can do to your image.

Like most images, you need to experiment to see what you like. Remember that ON1 is non-destructive so you won’t ruin anything. Try everything, it is the best way to learn. Take it all too far and then bring it back.

Lastly, choose where you want your image to go when you are done. You can have it open in Develop, Effects or go back to Browse. The last choice is Cancel. If you want to save it then click Save.

Tips for Processing Night Photography with ON1 Photo RAW 2018

Taking the image further.

Once the image is opened in the Develop module, you can then make more adjustments to as you would normally.

Develop module - Tips for Processing Night Photography with ON1 Photo RAW 2018

Where to go next.

ON1 Photo RAW is one of the best programs for doing HDR. You can make so many changes to it as it is happening and after it is done. Nothing is final.

final HDR - Tips for Processing Night Photography with ON1 Photo RAW 2018

The final HDR image.

Astrophotography

For anyone who has ever done astrophotography, you know that the images always need to be processed.

Here is an image that was taken a couple of years ago. This is the raw file and you can see that it needs a lot of work.

night image Milky Way and lighthouse - Tips for Processing Night Photography with ON1 Photo RAW 2018

Raw image from astrophotography shoot.

Open the image up in ON1 Photo RAW and go to the Develop module. Everything you need to make the best astrophotography images is all right there.

develop - Tips for Processing Night Photography with ON1 Photo RAW 2018

Open in the Develop module.

Noise reduction

The first thing you want to do is to work on the noise in the image. All astrophotography images have a great deal of noise. You have to increase your ISO quite high in order to get the Milky Way in your image. Usually, it is going to be somewhere between ISO 3200 up to 6400.

The image for this article was taken at f/2.8, for 30 seconds at ISO 6400. It was taken at 14mm using a 14-24mm lens.

In the Develop module go to Details. This is where you can help reduce the noise in your image. Click on the image to zoom in so you can see the noise better.

noise and details section of develop - Tips for Processing Night Photography with ON1 Photo RAW 2018

The first thing to do is to fix the noise in the image.

Under Noise Reduction, you will see a Luminance slider. Move that along until the noise almost disappears. Be careful not to go too far or you might lose all the stars (noise is just white specs so the stars can easily be misinterpreted as noise if you go too far).

This slider smooths out the image and you can lose a lot of detail if you go too far. Bring up the Detail slider to help maintain it. It is about experimenting and seeing what you like as well.

You can also bring up the Sharpening amount as well but be careful. Over sharpened images can look terrible. Go easy with this slider.

noise adjustments - Tips for Processing Night Photography with ON1 Photo RAW 2018

You can see how much was changed.

Tone & Color

It is time to go back to Tone & Color and make more adjustments.

tone and color - Tips for Processing Night Photography with ON1 Photo RAW 2018

Take the image back to Tone & Color to make basic changes.

The main things you want to add back into your image are the blacks and lots of contrast. The added contrast will help the stars stand out more from the dark sky. The blacks will allow the darker parts of the sky to appear as you saw them when you shot the image.

The highlights can be brought down to stop the lighthouse from blowing out too much. If you take the shadows down it helps make the darker parts of the sky richer as well. However, be aware that it can also make other parts of the image go black, like the foliage at the bottom of this image.

The whites were brought up a fraction, as this helped to lighten up the Milky Way and make it jump out more.

slider adjustments - Tips for Processing Night Photography with ON1 Photo RAW 2018

Some of the changes that were made in Tone and Color.

Color Adjustments

Most of the changes are made to the image now, but if you look closely there is quite a bit of blue in it. It shouldn’t be there and to remove it you need to go to Show More and then Color Adjustments.

color cast - Tips for Processing Night Photography with ON1 Photo RAW 2018

Taking out the blue cast color in the stars.

A new window for this will open up down below the other adjustment windows.

As it is the blue you want to change, click on that color square. Once it is selected you can move the saturation slider until the blue in the image disappears or is to your liking.

reducing blue saturation - Tips for Processing Night Photography with ON1 Photo RAW 2018

Changing the saturation of the blue.

You can try adding presets to your image as well, though most people with astrophotography just do the basics and leave it there.

You will need to play around with your photos to see what you can do and what is to your tastes. These are just suggestions as to what other photographers do. Experiment, take the sliders too far and then bring them back.

This is the final image.

final image of lighthouse - Tips for Processing Night Photography with ON1 Photo RAW 2018

The final image of the Milky Way over the top of the lighthouse.

Light Trails

In cities, or anywhere there is a lot of traffic, you will see photographers trying to capture the trails of the lights as the cars go past. For most places, the best time to capture this is during peak hour when a lot of vehicles are moving. However, it also needs to be dark.

Unfortunately, there are times of the year where it is impossible to get both at the same time. For instance, in Australia during the summer daylight saving means it doesn’t get dark until after 8 pm. Getting good light trails is reduced because there isn’t enough traffic at that hour.

However, there is a way to make it look like there was more traffic, that is to stack your images. You can also do this for star trails too.

Stacking light trails

Work out which image will be the first one. Take it the Develop module in ON1 Photo RAW and do what you want to process it normally first.

But do not straighten it or do any lens correction on the image. If you do then the other images won’t align up properly, you can do all that after.

original image for light trails - Tips for Processing Night Photography with ON1 Photo RAW 2018

The first image used for the light trails.

Once you have your image ready, go to the Layers module.

layers - Tips for Processing Night Photography with ON1 Photo RAW 2018

Take the image to the Layers mode.

Next, add all the other photos that will make up the final image. The best way to do this is to put all the images into a subfolder. Select the images you want to use, then right-click and go to Add Subfolder.

add subfolder - Tips for Processing Night Photography with ON1 Photo RAW 2018

Putting your images into a subfolder.

A window will pop up once you click Add Subfolder. You can name it as you want, or ON1 will name the folder the same as the filename for the first image. Make sure the box is ticked for Move Selected Items into Subfolder.

add subfolder - Tips for Processing Night Photography with ON1 Photo RAW 2018

Creating the subfolder.

Now you are ready to add all those images as layers to the original photo.

Get your image to the Layers module which is where you will add the images for your light trails. Go up to File in the main menu at the top. Select Add Layer(s) from File.

add images from file - Tips for Processing Night Photography with ON1 Photo RAW 2018

Now it is time to add the layers.

A window will pop up where you can go to the subfolder that you put the images into. Select all the images, Ctrl/Cmd+A, then press Open.

select images - Tips for Processing Night Photography with ON1 Photo RAW 2018

Selecting all the images you want to use.

ON1 Photo RAW will ask you if you want to open them all, say yes. Depending on how many images you are trying to do it can take some time for this to happen. The images used for this demonstration are quite large and took a few minutes.

images added as layers - Tips for Processing Night Photography with ON1 Photo RAW 2018

All the images are added.

Next, you need to blend each layer. You want the lights to shine through from each but not everything else. For each layer, go up to the blending pull-down and select Lighten.

blending options - Tips for Processing Night Photography with ON1 Photo RAW 2018

Blending all the layers with Lighten.

You can now save the image and then you can do more processing if you wish. If the image needs straightening, lens corrections, etc., you can do it in the Develop module.

light trails image - Tips for Processing Night Photography with ON1 Photo RAW 2018

The final image.

Star Trails

If you enjoy doing star trails then you will be able to use this same method for processing and stacking those images using ON1 Photo RAW. Just add them all as layers and use the Blending option Lighten.

Conclusion

There are many things you can do with your night photos in ON1 Photo RAW 2018.5. With things developing constantly you will be able to do more and more with time. The HDR feature is one of the best I’ve seen and I’m sure most of you will enjoy that.

With all software, experimenting is the key. Take what you learn and see what else you can do with it.

Disclaimer: ON1 is a dPS paid partner.

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Editing Gently: 3 Tips for Processing Realistic Landscape Photos

11 Jul

A well-processed photograph should be just like a good haircut. That’s one of my favorite analogies when it comes to explaining my approach to editing my own photographs. Not only does it confuse people and make them think I’m weird but it is also incredibly accurate when it comes to processing realistic landscape photographs.

What I mean is that when an image is well-processed the viewer will know something has been changed while not being overly apparent and in the end, they like what they see. Just like a good haircut.

sand dunes - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Before we get further into this, I want to go on record and say that in my opinion there is no “correct” way to process any photograph. So the tips you’re about to learn here come from my own creative tastes and style for landscapes which lean towards an “enhanced” realism but solidly anchored in reality nonetheless.

Now, let’s talk about some ways you can give your landscapes a good haircut and push your processing right up to the boundaries of realism without tipping over the edge.

#1 – Directional Light

Photography is all about light and in landscape photography, 99% of the time the only light source in your compositions will be the sun, or in some cases the moon, which is just reflected sunlight (science).

Sunlight comes from that big ball of fire in the sky and that makes it very directional by nature. Meaning, your main light source for your photographs comes from one spot. When you process your landscape images it’s very important to pay attention to the direction from which the natural light is falling in the image.

The reason for this is because there’s nothing more telling that a photo has been blatantly over-processed than sunlight appearing to miraculously illuminate the frame from different directions. This is especially true when the sunlight is close to the horizon in the early morning or late afternoon. Have a look at the photo below.

zion canyon - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Notice how the light comes in from the right of the frame and illuminates the tops of mountains? Yet the foreground is in shadow and so are the areas where the sun is blocked by the cliffs.

When processing a photo with such stark lighting as this be mindful that you don’t create overly artificial light where it shouldn’t be. Sure, bring up those dark areas but don’t go too far as I have with this example (below).

zion bad edit - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

See how “off” the lighting is now? Sure, it’s not terrible but there is bright illumination in areas that should be in shadow on the right. There is no longer a natural feeling gradient to the light as it falls on the foreground.

Let’s look at a more harmonious example of the same photo that has been processed to work with the direction of the available light.

zion good edit - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

In this example, the entire photo feels much more comfortable without having bright spots, uneven shadows, or that odd appearance in the first version.

Most of the editing you’ll do to selectively adjust the luminance of landscapes will be done with local adjustment tools like the gradient filters and adjustment brush. We’ll get into using local adjustments in a moment but first, let’s talk about another aspect of landscape processing that can truly ruin any great photo if you’re not careful.

#2 – Match Color Tones in Reflections

Walking hand in hand alongside working with directional light is how you manage reflections in your landscapes. More specifically, matching reflections in water is a little detail that can make or break a convincing landscape photo.

So often I see reflections in water which are either too bright or too dark or perhaps more noticeable, reflections which do not match (or reasonably approximate) the color tone of the light which it is literally reflecting. Have a look at this. I’ve warmed the sky in this image somewhat from its original blue hour cool tone.

yosemite sky - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Notice how the light reflecting from the river also carries a hint of the orange color from the sky? Not too much but just enough to add some realism. This is because I intentionally warmed the color of the water a wee bit in order to be more harmonious with the warmed sky. If I had not, we would have something of a tonal mutant on our hands…

yosemite cool water - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Notice how the color tones in the water don’t match the sky and overall scene here?

When it comes to working with your reflections the name of the game is remembering that the light reflecting in the water comes from the sky…usually. So it should also carry some of the same attributes of that light in terms of luminance and color.

Of course, the type of water plays a role in skewing this a bit but just use good judgment and keep in mind that the reflection should almost always carry a hint of whatever color the ambient light brings to the scene.

#3 – Make Realistic Local Adjustments

I’ve talked about how much I love using local adjustments in other dPS articles. I’m admittedly a radial filter junky and the majority of my photos carry some use of either the gradient or radial filter and adjustment brush edits, often times all three. When it comes to making edits using any of these tools it’s important to know how NOT to use them.

My old friend the gradient filter comes into play quite a bit when processing realistic landscape photos to even out bright skies and for illuminating dark foregrounds. What’s more, used with the radial filter and local adjustment brush, it can work wonders.

good adjustments filters yosemite - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Good adjustments using the filters in Lightroom.

Or it can look absolutely horrifying when used poorly.

Yosemite - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Bad use of a graduated filter in editing.

The same is true for its circular counterpart, the radial filter. This little gem works beautifully for applying custom vignettes and brightening (or darkening) areas or for adding in a host of other great adjustments to your photos. However, much like the gradient filter, it can be easily blundered.

saguaro cactus bad edit - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Bad edit with a radial filter in Lightroom.

The local adjustment brush also carries the same caveats. Few things make a picture look worse than the application of a “finger-paint” local adjustment brush. Actually, it gives finger-painting a bad name.

death valley - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

The key to making effective and realistic local adjustments in any photograph comes down to remembering a few important guidelines:

  • Less is usually more. Local adjustments are just that, local. So when applying them remember that they will become more and more apparent when you use them to make drastic edits.
  • Feathering is your friend. Whether it’s the radial or gradient filters or event the adjustment brush, most times you will want to apply your adjustments gradually with very soft borders which blend well with the surrounding pixels. Set your feathering all the way to 100 and then if you need a harder edge for more defined work back it off from there.
  • Don’t be afraid to stack adjustments. When done judiciously, many local adjustments can be applied one over the other. For example, you might use three graduated filters each with a varying color temperature to give the sky a creamy color tone or multiple radial filters to layer out an exposure adjustment.

Final Thoughts

Landscape photography is a long-loved standby in the photography world. It is also one of the most ethereal and easily mismanaged types of photography when post-processing is done unconvincingly.

There are so many aspects of processing realistic landscape photos and most go beyond simply moving a few adjustment sliders around. In fact, I think of my landscapes as more of an exercise in digital painting than as simply editing a picture.

Whatever your persuasion may be in terms of how much you choose to make edit, having a solid basis in reality is a great jumping off point for making a dynamite landscape.

zion - Editing Gently: 3 Tips for Processing Realistic Landscape Photos

Remember, pay close attention to the direction of the light in your frame and make sure that the rest of your edits stay somewhat true to the natural lighting already present.

The same goes for reflections. Make sure the light reflecting from surfaces like water looks like it came from the ambient light source even if that light source has been changed by you. And lastly, don’t mess up the endgame but applying freakishly obvious local adjustments.

Always remember, there are no rules for processing a landscape photograph but there are ways you can make sure your photos stay true not only to your visualized outcome but also to the natural splendor from whence they were born. Yes, I used “whence” in a sentence.

Happy editing!

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Quick Beginner’s Guide to Processing RAW Files in Photoshop Adobe Camera Raw

07 Jul

Do you shoot RAW but then open it without processing? When you take a photo in RAW format, regardless of the name each brand gives to it, what you’re doing is saving a bunch of data without processing it inside your camera. This way you have more information to work with during your post-production stage.

But having too much of something can sometimes seem daunting when you don’t know how to approach it and as a result be a limiting factor instead of opening up your possibilities.

Adobe Camera Raw – Processing Raw Files in Photoshop

This quick introduction guide explores the basic tools of Adobe Camera Raw (ACR) so that you can step into post-processing this digital “negative” and understand its possibilities but also its limitations, as not all can be fixed.

ACR Raw Post-processing Photoshop Basic Adjustments

Whenever you open a RAW file in Photoshop it won’t open in the interface that would normally go to when opening a JPG or a TIF file. It will open it in a window known as Above Camera Raw (ACR). Here you’ll see a lot of options that can look intimidating and give you the impulse to just click open and work directly on Photoshop.

However, if you do so then you’re missing out on a lot of opportunities, most importantly its non-destructive qualities. Please note, that I’m not going to explain the tools in the order you’ll find them in the ACR panel because some of them are related to each other and therefore it’s clearer to explain them together regardless of their position.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw

EXPOSURE

The first slider you will see is Exposure. This would be the equivalent of changing your shutter speed or f-stop settings up to five steps up or down. What this does influence the brightness of your entire image. Look at the example below to see how far you can push it in either direction.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw - exposure

CONTRAST AND CLARITY

The next slider you’ll find is Contrast, this refers to the relationship between the lighter and darkest areas of your photo. If you slide it to the right you will increase the contrast which is why a plus sign (+) will appear next to the amount. Moving it to the left will decrease contrast, therefore a minus (-) sign appears. This will flatten the image as there will be less tonal range in between dark and light tones in your image.

A few sliders below Contrast you’ll find Clarity. This is a tool I really like because it gives a nice punch to your photos but it’s easy to overdo it and having them look unnatural, so just be careful. I am mentioning it here because it also adds contrast but this is only to the mid-tones (technically it finds and enhances edges in the image), plus it gives a sharp/unsharp effect to the image.

Note: Clarity is not an actual sharpening tool.

Here’s an example pushing both tools to the limit in either direction so you can see that even if they are related, the result is not the same.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw - contrast and clarity

HIGHLIGHTS AND WHITES

Then there is the Highlights slider which I’ll explain together with another one, Whites. I’m doing this because they are closely related. The names are actually quite accurate but somehow their use is still difficult to grasp. Having said that, I’ll try to make it more clear.

The Highlights slider controls the tonal range from the lighter parts of your image, like this:

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw - highlights slider

The Whites slider should have its name in the singular to make it more clear because what it does is set the white point of your image, in other words, the brightest pixels.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw - whites slider

So if you move the white point of the image, it will have an effect on the range of the highlights. Let’s see them work together.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw - highest highlights

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw

SHADOWS AND BLACKS

In between those sliders you’ll find one called Shadows which together with Blacks works the same way as Highlights and Whites, but in the other side of the light scale.

Therefore, the Blacks slider sets the black point of the image and affects a wider tonal range than the one affected by shadows that refers to the darkest parts. Check the example below to have an illustration of how they work.

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw

SATURATION AND VIBRANCE

Saturation is the next slider on the list. It has an impact on all the colors of your image so keep an eye on the entire image while you are applying it and not just on a detail or a zoomed-in portion. If dragged completely to the left you’ll lose all color and leave your image black and white. Dragged all the way to the right, Saturation can reach very intense colors.

However, if you only want to affect the colors that are dull, to begin with instead of the entire image, then you should use the Vibrance slider. This one can also have a big effect, to the point of reaching unnatural colors so be careful. Look at the difference:

Quick Guide to Processing RAW Files in Photoshop Adobe Camera Raw

When you’re happy with your image, you can just save the changes and leave it as is or you can open the image in Photoshop to continue working on it.

However, if you’re choosing the latter I suggest that instead of just clicking Open Image, press the shift key so that the button changes to Open Object. This way you’ll open your image on Photoshop as a Smart Object and you can come back to these ACR options and make some more adjustments later if you need to.

To learn more about it I invite you to check my tutorial How to Create with a Good Workflow Using Smart Objects in Photoshop.

Conclusion

I hope this makes it more clear for you. Remember that ACR offers other menu possibilities and there are various menus and tools that were too much to cover in this quick, beginner’s guide. So use this as a base and then keep exploring!

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7 Tips for Shooting and Processing Star Trails

08 May

Have you ever looked at an image of the night sky where the stars leave long, arching trails? These images, called “star trails”, record the movement of the stars as the earth spins around its axis. This is a compelling way for you to capture a phenomenon not observable to the human eye.

As with many creative photography techniques, there are can be a steep learning curve for shooting star trails. A basic understanding of the night sky, knowing the impact of focal length, and composition can help you maximize a night out with the goal of shooting star trails.

Star Trails, Alaska, Tutorial, Starlapse - 7 Tips for Shooting and Processing Star Trails

This star trails shot adds to the native art of the Hoonah Tlingit.

Some fairly simple post-processing techniques can help you perfect your shot once home. I will walk you through the basic technique of photographing star trails, help you think about how your gear affects the outcome, and highlight two post-processing techniques that I find useful.

1 – Basic Technique for Shooting Star Trails

The concept of the shooting star trails is actually pretty simple. Set up your camera on a tripod and then compose the shot. I recommend disabling autofocus at this time. Once you have your composure right, set the exposure on your camera. In general, you will want to expose the shot for as long as possible without over-exposure. You can check the histogram of your image to decide if it has been overexposed or not.

On dark nights without a moon or light pollution, you can start in Manual Mode, ISO 800, f/2.8 (or lower/wider), and 15-seconds. Modify these settings to best capture your scene. Once you are happy with the exposure, you will need to set your camera to take pictures at a steady interval. You can do this by setting your camera’s internal interval meter or by attaching an external intervalometer.

Each camera model has different intervalometer connections or internal settings (or may not have this feature), so consult your camera’s manual to get this set up correctly. As you set up your camera, think about the number of shots you want to take. The more shots you take the more the stars will move – with many lenses you will start to capture significant movement in about 8 minutes.

Below I will go through a couple scenarios where fewer or more shots may be better. As a rule of thumb, I shoot for a minimum of 45 minutes and as long as several hours. Let your camera shoot and enjoy the night sky!

Processing or Stacking the Star Trails

Once I am done with the shoot, I import the photos to Lightroom and Photoshop (using Adobe Bridge). There are other star-stacking programs that you can experiment with, but I like Photoshop for this task. To import the photos from Adobe Bridge open the program and then navigate to where the photos are stored. Highlight the photos you want to include in the star trail and then go to Tools –> Photoshop –> Load Layers into Photoshop As Layers.

Once the layers have loaded into Photoshop you may want to use the Auto-align feature (disregard this if you are certain your tripod did not shift) by highlighting the layers in the right panel and then going to Edit –> Auto-Align Layers –> Auto. The final step is the use the “lighten” blend mode in the Layers panel and apply it to all the layers.

The lighten function examines all of the overlapping layers and then keeps only the lightest pixel. Keep that in mind as you can use it to your advantage (examples of that below). To complete the image export it to a lossless format (I like TIFF). You may then continue to edit the new TIFF in Lightroom or Photoshop.

2 – Shooting Tips

Know the North Star

Having a basic understanding of astronomy will aid you as you compose your shot. The North Star is often the focus of star trails because it does not move in the sky as the earth spins on its axis. To find it, locate Ursa Major (e.g., The Big Dipper) and then follow the line created by the stars at the end of the dipper to locate the North Star.

Star apps on your phone are also a great way to locate the dipper or the North Star. Once you know where it is, you can use it in your shot. I often like to bury the North Star behind a piece of a foreground element giving the final image a pinwheel effect.

Polaris, North Star - 7 Tips for Shooting and Processing Star Trails

Knowing the north star will help you with your star trails! In this image of Ursa Major, I have circled the stars of the constellation in red and the north star in green.

Star Trails, Alaska, Tutorial, Starlapse - 7 Tips for Shooting and Processing Star Trails

I buried the north star behind this black spruce and shot for nearly three hours to make this shot. The resulting image has a pin-wheel effect.

Star Trails, Alaska, Tutorial, Starlapse - 7 Tips for Shooting and Processing Star Trails

I put the north star behind a Sitka Spruce and shot this image at 14mm providing many stars in the shots and a pinwheel effect.

3 – Find Some Foreground Elements

Foreground elements are always important for landscape photography. When shooting star trails, think about foreground elements that capture the essence of the scene or that you can place prominently and by themselves.

By this, I mean objects that stand away from the background of the image. You may also want to choose elements that can be lit by the light of the moon or by using light painting. I like to think of star trails as telling the story of the night and the objects that you include in that frame will aid you in that storytelling.

Star Trails old barn, Minnesota, Tutorial, Starlapse - 7 Tips for Shooting and Processing Star Trails

I chose this old barn because the moonlight helped light up its character and I felt it captured the essence the Minnesota field in which it stands.

4 – Use Light Painting

Using Adobe Photoshop’s Lighten blend mode provides a lot of options for creativity when shooting star trails! Remember, that Lighten only keeps the lightest pixels in the whole stack of images. So by using light painting, you can selectively lighten objects in the frame.

Illuminate the foreground with your phone, headlamp, or another light source. You can light up the whole thing or selectively light elements of it. Experiment with lighting angles, intensities, and colors. If you don’t like the lighting of a certain exposure simply remove it from the layers that you import into Photoshop. I usually spend the first 10-20 frames lighting the foreground to make sure that I capture the lighting that I want and then let the camera take the rest of the shots.

Star Trails, Alaska, with american flag - 7 Tips for Shooting and Processing Star Trails

Here I used light painting to illuminate this flag that I placed in the foreground. I lit the flag in several different ways and then chose the best frame to include in the final shot.

Star Trails, Alaska, evergreen trees - 7 Tips for Shooting and Processing Star Trails

In this image, I used light painting the softly illuminate the snow-covered trees in the foreground of this shot.

5 – Pick Your Lens Focal Length Wisely

Focal length will strongly impact the amount of time it takes for the stars to move in your shot. Shorter focal lengths (e.g, 14mm) will take longer for the stars to have trails than longer focal lengths (e.g., 50mm). Knowing this will help you plan your shot. The three images below emphasize this effect.

MThe wide-angle of my 14mm wide-angle lens allowed me to capture the North Star and a distant mountain landscape, but I stood there for three hours to get the amount of movement in the stars that I wanted. The second shot was taken at 50mm and only 45-minutes elapsed before significant movement in the stars occurred. The third shot is an extreme example, shot at 300mm. The green streak is Comet Lovejoy and shows only a couple minutes of movement.

Star Trails North Star - 7 Tips for Shooting and Processing Star Trails

This image was shot at 14 mm, full frame and captures about three hours of star movement.

Star Trails landscape night - 7 Tips for Shooting and Processing Star Trails

Shot at 50mm, this image took 45 minutes to capture the star movement.

Star Trails 300mm lens - 7 Tips for Shooting and Processing Star Trails

This image was captured at 300mm on a crop sensor (effective 600 mm) and shows only a couple minutes of movement. The green streak is Comet Lovejoy.

6 – Play with Exposure Times

The length of your exposure will strongly influence the final image that you create. There are no guidelines to what is the right length, instead, you should be guided by what looks good to your eye. As a tip – you can always choose to use fewer shots than you captured so by default I would take as many images as you think you’ll need and then modify the amount once you import them into Photoshop.

Which of the images below do you like better? The longer exposure or the shorter one?

Star Trails, Alaska, - 7 Tips for Shooting and Processing Star Trails

This image captures about 45 minutes of star trails at 50mm and I like how the falling arc of the stars lead my eye to the subtle mountains in the background.

Star Trails, Alaska dock - 7 Tips for Shooting and Processing Star Trails

This image captures 30 minutes of star trails at 24mm. I felt that including any more stars would take away from the dock in the foreground.

7 – Compositing Tips

Photoshop gives you a lot of flexibility to mask and preserve or remove elements of the shot. Since star trail shots are composite images and thus art, I do not worry about these alterations from an ethical standpoint. The two techniques below may help you improve the final shot. They assume you are familiar with masking and healing in Adobe Photoshop. If not you will find the linked articles helpful!

Masking a Foreground

Once you compile the images you may find elements that draw your eye away from the phenomenon you are trying to capture. Since the horizon and foreground are the same for all of the images you can choose which foreground looks best to you. Use that foreground to create a selection and convert the selection to a mask.

You can use that mask and exported TIFF file to maintain the foreground you like. In the images below, I wanted to remove the hikers that walked up to the lava flows in Volcanoes National Park and the bright highlights of the lava which became overexposed as the lava moved. I used a mask to preserve the foreground elements I liked.

Star Trails, Hawaii, Tutorial, Starlapse

Editing out Planes and Satellites

Almost all dark nights will have a plane or a satellite come through your frame. Fortunately, these are very easy to remove! Use the Healing Brush tool and set the tool to replace and content aware. You can draw a linear line with the tool over the track of the satellite or plane. Voila! The offending track will disappear.

Star Trails, Alaska, Tutorial, Starlapse

Star Trails, Alaska, Tutorial, Starlapse

I used the healing brush to remove the satellites and planes from the final image above. Can you tell the difference?

Summary

So there you go! I hope this article can help you get out there on your first night of shooting star trails. Remember, knowing your stars, picking a foreground and playing with exposure length will help bring the shot you imagine to reality.

Once you process the stacked images you have lots of flexibility in Photoshop to fix parts you do not like. As I always say, pixels are cheap. So make lots of them as you learn to shoot and process star trails.

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ON1 Photo RAW 2018 takes on Lightroom with more features and improved Raw processing

10 Nov

After releasing it in beta last month, ON1 has officially announced the latest version of its image editing and organization software: ON1 Photo RAW 2018. With this newest version, ON1 wants to establish its application as a viable alternative to Adobe’s Lightroom, and says most of the improvements to the new version are a direct result of community input.

The new app comes with an updated raw processing engine and a new HDR function that merges a bracket of photos for increased dynamic range. Pano Stitching combines multiple photos into a single panoramic image and a host of new masking tools allow for precise selection of image areas and background masking.

ON1 has also updated the UI for a cleaner and more modern look, and has added support for the Nikon D850, Olympus EM-10 III, Panasonic DMC-G85, preliminary support for Sony a7R III, and a range of new lenses.

Other features include: re-editable adjustments for exposure, contrast, color, shadows, highlights, lens correction, and transform tools, as well as hundreds of customizable photo effects.

ON1 Photo RAW 2018 for Mac and Windows is available now for download as a free 30-day trial from the ON1 website. Previous owners of any ON1 app (or ON1 plug-in) can upgrade to the new version for $ 100, while new users will have to pay $ 120. However, a single license can be activated on up to five computers.

For more information and a full list of updates, check out the video below and read the full press release below that.

Press Release

Portland, OR – November 9, 2017 ­– Today, ON1, Inc. announced ON1 Photo RAW 2018 is officially available. Along with the essential tools and features needed in a photography workflow, ON1 Photo RAW 2018 includes key updates to the fast, non-destructive raw processing engine. Photographers now have an integrated tool with accelerated photo management, precise photo development, hundreds of customizable photo effects, fast and beautiful HDR, pano stitching, masking and blending adjustments, layers, and much more – in one app.

From the beginning the ON1 community has driven the development of ON1 Photo RAW based on what’s most important to them. Almost every feature and improvement made to the app in version 2018 is a direct result of community input through the ON1 Photo RAW Project.

This type of transparency is what customers can continue to expect from the ON1 team. This process has solidified ON1 Photo RAW as the app designed by photographers for photographers and a great alternative to Adobe® Lightroom®.

ON1 Photo RAW 2018 includes major updates and enhancements in many areas. Key new features include the following.

  • ON1 HDR – Create stunning HDR photos that merge all tonality from a bracket of photos in a fraction of the time (test results have shown up to seven times faster than other HDR apps). Automatically aligns photos and removes ghosting from motion between exposures. Includes full non-destructive editing with natural results and can be turned up to 11 for a surreal look.
  • Pano Stitching – Combine multiple photos into a single panoramic or matrix photo. Automatically aligns photos, even if they are not shot on a tripod, and blends them together seamlessly. An option to embed panoramic metadata for Facebook panning is also available.
  • Global Mask Editing Tools – These include new mask Density and Feather sliders to allow for changing the density or opacity of masks as well as blur masks for softening.
  • Luminosity Mask Updates – Adjust the levels of a mask to increase the contrast or brightness as well as set a tonal window to only affect a certain zone. These updates allow users to target just the area they want, based on the photo.
  • Color Range Masks – Create a mask from a color range selection.
  • Blur and Chisel Mask Tools – In ON1 Effects, the Blur and Chisel mask tools are now included. The blur tool is perfect for softening or feathering a mask selectively. The Chisel tool lets the user push or pull the edge selectively, to remove halos. All of these new masking options are re-editable and non-destructive.
  • Versions — Versions are virtual copies of the same photo. Each version created can include non-destructive settings, including crop, retouching and adjustments. Versions work just like any other photo without taking up more space on your computer.
  • Updated UI — Clean and modern UI where your photo is the center of attention. Custom name filters and layers to easier keep track of work. Also select your own UI accent color.
  • Paint with Color Brush — Painting with color can be a solid color, perfect for skin smoothing and making annotation layers, or paint with just the color and leave the underlying luminosity in place to change the color of objects like eyes.
  • Selectively Add or Remove Noise — Brush away noise in areas like skies or add noise for an artistic effect.
  • Improved Highlight Recovery –– The algorithms for highlight recovery have been improved.
  • ON1 Photo for Mobile — Take the best shots with you on the go with the free ON1 Photo for Mobile app. It’s a great way to share portfolios. It can also sync new photos taken on phones back to the desktop so those photos are ready for editing.
  • Additional Camera & Lens Support — Added support for the Nikon D850, Olympus EM-10 III, Panasonic DMC-G85, preliminary support for Sony a7R III, plus a ton of new lenses.

ON1 Photo RAW 2018 differentiates itself from other apps by allowing photographers to both browse and catalog their photos from the very beginning of their workflow. This hybrid system provides one of the fastest digital asset management tools available today. The ultra fast photo browser is perfect for quickly viewing and culling through photos without having to wait on an import process. Once the culling process is complete, the ability to create and catalog those photos is the next step in common workflows.

There is plenty more available within the app’s non-destructive photo development. These features include re-editable adjustments such as exposure, contrast, color, shadows, highlights, lens correction, and transform tools. The hundreds of unique photo effects are also perfect for finishing off your photos to add that extra punch. Photographers have complete control of how each effect is applied using masking brushes, gradients masks, and local adjustments. Each effect is also completely customizable to save any look as a custom preset.

Photo editing technologies such as live blending options, apply to, smart layers, smart photos, and mask refinement tools also make ON1 Photo RAW 2018 a more advanced pixel editor without having to launch a separate app. The ability to combine photos together with layers, masks, and selectively apply filters and effects to raw photos gives users a big advantage.

ON1 Photo RAW 2018 isn’t just for raw files. Supported file formats include JPEG, TIF, PSD, PSB, PNG, and DNG are supported and benefit from the speed, performance, and abundance of editing tools in the app. Photo RAW 2018 also continues to work seamlessly within current photography workflows. The app integrates as a plug-in for Adobe® Lightroom® Classic CC and Photoshop® and further builds its case as a complete standalone photo editor or alternative to the Adobe Photography Plan. Version 2018 also integrates with the major cloud services to allow for uploading, managing and editing photos across multiple computers. This also allows users to sync photos and their edits across multiple computers or in a studio setting.

Price and Availability

ON1 Photo RAW 2018 is available for download as a free 30-day trial from the ON1 website. Previous owners of any ON1 app (or ON1 plug-in) can upgrade for $ 99.99. Those who don’t own an ON1 app can order for $ 119.99. ON1 Photo RAW 2018 is also bundled with some excellent bonus materials which include: Three ON1 Photo RAW 2018 Courses by Product Director Dan Harlacher, and all of their 2017 and 2018 Loyalty Rewards. ON1 Photo RAW 2018 works with both Mac and Windows and includes activation on up to five computers.

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Affinity Photo 1.6 released: faster processing, new features, and free stuff

04 Nov

Serif has updated its image editing software Affinity Photo with ‘a huge performance boost’ to make it faster to use and more capable with large files. The step to v1.6 also brings a new ‘light’ user interface option for those new to the program or those who don’t need the full range of features.

Additional feature enhancements include a stroke stabilization mode for brushes and pencils, as well as better support for its Photoshop plug-in. Here’s a full list of the new features you’ll find in Affinity Photo 1.6:

  • New light user interface option
  • New stroke stabiliser for all pencil and brush tools
  • New “Edit In” integration with Apple Photos
  • Metal 2 accelerated view optimised for macOS High Sierra
  • Improved view pan/zoom performance and
  • Improved performance with large documents
  • New font chooser dropdown with recents, used fonts and favourites
  • New Glyph browser
  • Align to key items
  • Text frame vertical alignment options
  • Fit frame to text
  • Custom brush wet edges
  • Outlier stacking mode
  • Improved Photoshop Plugin support
  • Improved Live Filters performance
  • Many PDF export improvements including vector export of multi-stop gradients
  • Numerous bug fixes and other improvements

Additionally, the update gives new and existing users what the company describes as ‘bonus content’ worth around £120, including:

  • Dirk Wüstenhagen Fine Art Texture Collection: 99 beautifully crafted, high-resolution textures
  • Uplift Epic Skies Overlay: A versatile collection of 50 striking cloud overlays
  • Macro Pack: A stunning set of image styles, light leaks and distortions

Affinity Photo costs £49 / $ 50 / €55 and can be downloaded directly from the Affinity website.

Press Release

{PressRelease}

Affinity 1.6 updates and free bonus content available now

We are thrilled to announce that both Affinity Photo and Affinity Designer have just received a fantastic new update. And to celebrate for the next two weeks we are giving away a huge bundle of creative content free with every purchase!

Our apps continue to push the boundaries of professional creative software and this latest update raises the bar once again with a huge performance boost making them faster, smoother and more powerful than ever.

We’ve added valuable new features including a light UI mode, brush stabilisation and tons of useful performance improvements and enhancements. For more details check out our brand-new product pages and the 1.6 feature video below, all created using artwork submitted by our very talented users.

Affinity apps are all about enabling you to work faster – whether it’s a quick design draft or photo edit, or a painstaking, complex document involving hundreds of layers or stacked images.

Our apps are already a trusted part of the workflow for creative professionals around the world. The latest versions build on those proven capabilities to deliver lightning speed, pinpoint accuracy and incredible processing power like never before.
Along-side the v1.6 update you will also receive:

Affinity Photo bonus content worth around £105

  • Dirk Wüstenhagen Fine Art Texture Collection – 99 beautifully crafted, high-resolution textures
  • Uplift Epic Skies Overlay – A versatile collection of 50 striking cloud overlays
  • Macro Pack – A stunning set of image styles, light leaks and distortions

Affinity Designer bonus content worth around £60

  • Frankentoon Texturizer Pro Brush Pack – Over 70 brushes created exclusively for Affinity Designer
  • Tom Chalky Handcrafted Fonts & Textures – A huge bundle of stylish fonts and over 80 textures
  • Grade UI Kit – More than 1000 fully-customisable elements, icons, panels and buttons

If you already own Affinity Photo or Affinity Designer this update is completely free, and to thank you for your support we’ve also made the free content available to existing users until 16 November when the special offer ends.

Mac customers can download the update right now from the Mac App Store and Windows customers will be prompted to update the next time they open their app. Once installed a link to the free content will appear on the app welcome screen (go to Help and select Welcome if it does not appear at start up).

If you don’t own them yet now is the perfect time to buy. The apps are available priced at £48.99 / $ 49.99 / 54,99€ each, which we think is great value for money ? the free content alone would cost more than the app, if bought separately. And remember there’s no subscription and future updates like this one are also included in the price!

It’s also worth noting our free trials have now been reset, so if you downloaded a trial in the early days and would like to see how far our apps have come, you can now download the trial from our website for a second time.

{/PressRelease}

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On1 Photo RAW 2018 announced: Adds HDR processing, advanced masking and more

06 Oct

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On1 just released the newest version of its stand-alone RAW photo manager and non-destructive editor: On1 Photo RAW 2018. Put another way, there’s now yet another alternative to Lightroom out there, and with this new update the program is more capable than ever, adding features like HDR merge and panorama stitching, advanced masking capabilities, and more.

You can get a decent overview of the new features in the 2018 version in the video below:

The main additions to this version of On1 Photo RAW are On1 HDR, panorama stitching, new advanced masking options like Feather and Density that allow you to alter a mask globally, Color range masking, versioning, selective noise reduction, and an updated UI that On1 characterizes as “clean and modern.” There’s also a new “Paint with Color Brush” that allows you to either paint with a solid color or leave the luminosity of the underlying layer intact to change things like eye or hair color.

You can get a full breakdown of these and other new features on the On1 blog.

The app is being released as a free Beta on Friday, with an official release slated for the end of October. The full app—which promises ‘much more’ when it arrives after the beta period—will cost $ 120 for new users, while current On1 users will have the option to upgrade for a discounted price of just $ 80 (usually $ 100). Both the full version and upgrade package are already available for pre-order.

To learn more about the app or pre-order your copy, head over to the On1 blog by clicking here.

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On1 Photo RAW 2018 announced: Adds HRD processing, advanced masking and more

04 Oct

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1486583421″,”galleryId”:”1486583421″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

On1 just released the newest version of its stand-alone RAW photo manager and non-destructive editor: On1 Photo RAW 2018. Put another way, there’s now yet another alternative to Lightroom out there, and with this new update the program is more capable than ever, adding features like HDR merge and panorama stitching, advanced masking capabilities, and more.

You can get a decent overview of the new features in the 2018 version in the video below:

The main additions to this version of On1 Photo RAW are On1 HDR, panorama stitching, new advanced masking options like Feather and Density that allow you to alter a mask globally, Color range masking, versioning, selective noise reduction, and an updated UI that On1 characterizes as “clean and modern.” There’s also a new “Paint with Color Brush” that allows you to either paint with a solid color or leave the luminosity of the underlying layer intact to change things like eye or hair color.

You can get a full breakdown of these and other new features on the On1 blog.

The app is being released as a free Beta on Friday, with an official release slated for the end of October. The full app—which promises ‘much more’ when it arrives after the beta period—will cost $ 120 for new users, while current On1 users will have the option to upgrade for a discounted price of just $ 80 (usually $ 100). Both the full version and upgrade package are already available for pre-order.

To learn more about the app or pre-order your copy, head over to the On1 blog by clicking here.

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Speed up Your Workflow with the Accent AI Filter in Luminar and Batch Processing

03 Oct

It’s not uncommon for me to sit down at my computer with a memory card full of images and stare blankly at my ever-growing Lightroom catalog while my mind reels at the thought of editing each and every one of them. Many photographers have experienced this phenomenon and there are certainly some good methods of dealing with it such as using Presets in Lightroom, syncing edits across multiple photos, or even just copying and pasting a series of edits from one image to the next and then tweaking as you go.

Other programs offer similar tools for processing multiple images at once, but the Achilles Heel of this type of workflow is that the edits are often static in nature. You can choose from a predetermined set of values (e.g. Clarity +10, Saturation +5, Highlights -20, etc.) and then apply that to many images at one time. But what if some of your images require subtle changes to those parameters?

Lightroom and just about every image editor I have ever used for batch processing won’t tweak your editing parameters if a picture needs a little extra contrast boost or exposure adjustment. That’s where Luminar is different, and its unique Accent AI filter combined with the program’s built-in batch processing offers a great way for you to significantly speed up your workflow while producing outstanding images for yourself, your clients, or your fans on social media.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

After batch processing with the Accent AI filter in Luminar.

Accent AI Filter in Luminar

The Accent AI filter is new in Luminar Neptune, an update to Luminar that was released this summer. It works by using artificial intelligence to analyze your image and make adjustments depending on where it thinks the picture needs it most. Accent AI isn’t just a predetermined set of adjustments, but a series of tweaks and edits applied dynamically to the image, all controlled by a single slider that lets you control the overall intensity of the filter.

When I edit my images in Lightroom I often start with a custom preset that includes many alterations such as sharpness, highlights, shadows, tone curve, etc., and then adjust those on a per-image basis according to how I want them to be fine-tuned. It’s the latter part of that process which becomes tedious, and it’s precisely where the usefulness of the Accent AI filter really starts to show.

If Luminar thinks that an image might benefit from lowering the highlights, increasing shadow detail, altering the exposure, or any number of other editing parameters then it adjusts all of these at once instead of forcing you to edit individual sliders and change numerical values.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

Original unprocessed image. All I did to edit this into the image you see above was to use the Accent AI filter in Luminar and nothing else.

Applying the Accent AI Filter

Another example of the effectiveness of the Accent AI filter is this image of the Seattle skyline I took from the Sky View Observatory at the top of the Columbia Center Tower. I spent a lot of time using the various sliders in Lightroom to try to get a decent final result. But when opened the same picture in Luminar and used the Accent AI filter, I got a great finished photo in a matter of seconds.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

Original photo. Listen closely and you’ll hear a sad trombone playing in the background.

The first version, processed only using Lightroom. I spent about 10-15 minutes to achieve this in LR.

The Luminar version is so good I like it even better than the results I got from manually tweaking all sorts of sliders in Lightroom, and it literally took less than 10 seconds with the single Accent AI slider.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

Applying the Accent AI filter dramatically improved the image. The only thing I don’t like about this picture are the spots from dust on my lens in the top-left corner. Accent AI is great at many things, but it won’t fix blemishes like that. Luminar does include a powerful Erase tool to fix blemishes if you want to, but of course, it doesn’t work for batch processing.

Accent AI can also be used in combination with other filters in Luminar to enhance your images even more. You can get just the right combination of editing parameters to make your photos shine. I often use the Accent AI Filter as a starting point, usually adjusting the value to between 60 and 80, and then apply other edits as I need them like Vignette, Dehaze, or Soft Focus.

But the real power of Accent AI lies in how it can be used for batch processing wherein it can dramatically speed up and enhance the results of your photo editing workflow.

Creating Presets in Luminar

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

Click the Add Preset button (shown here with a red circle around it) to create a new Preset that you can use when Batch Processing several images.

In order to use Accent AI for batch processing you must first create a preset, since you can’t just apply individual filters when going through a batch of images. Your mileage may vary but I’ve found that a good place to start when working with this type of operation is a value of 75. Set that, then click the icon third from the left (circled in red on the screenshot) and give your Preset a name, but make sure it’s descriptive like “Accent AI 75”.

Presets can contain as many filters as you like. I have create several for different types of images including: landscape, close-up, portraits, etc. All of them include the Accent AI filter and a combination of other filters in order to get the right look. The heavy lifting is done with the Accent AI filter, though. So I have a few different presets created with just that one filter set to different values like 60, 80, and 100 so I can quickly apply a single Accent AI adjustment to multiple images at once.

The Accent AI filter shines

Since the Accent AI filter examines each image individually and edits them based on where it thinks they need to be altered, I can generally trust it to give me good results and often don’t even need to use any other adjustments or filters.

Another way to approach batch processing with Accent AI is to open a single image from a collection of similar photos, apply the filter just as much as you want for that specific image, and then save that value as its own unique Preset. Then enter the Batch Processing mode and apply that Preset to all of your images at once.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

The thought of going through and editing each one of these pictures individually really bugs me. I created a preset called Cicada Accent AI 82 for editing these in a batch, which was nothing more than the Accent AI filter set to 82 Percent.

The major difference between using the Accent AI Filter in Luminar and syncing (or copy/pasting) edits in Lightroom is that Accent AI works dynamically to apply adjustments where they are needed. So each picture is edited individually rather than having all the same edits applied to all of them at once. That makes it ideally suited for batch processing in a way that is a step above what Lightroom and other programs have to offer. I’m not all that comfortable with applying a single preset in Lightroom to many pictures at once without then going through and tweaking all of them. But I’ve learned to trust the Accent AI Filter in Luminar and I’m quite pleased with its results.

Batch Processing

Once your preset is created, click the multi-file icon in the top-left of the Luminar interface to enter Batch Processing mode. Here you can set a variety of options such as export location, image format and quality, resizing, renaming, and more.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

In the example above I have loaded the Accent AI 75 Percent preset and ran a batch process on 50 photos of a cicada bug. Luminar processed all of them in about the amount of time it would have taken me to edit a single image in Lightroom.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

A quick caveat

As good as the Accent AI filter is for batch processing, it does have some important limitations that you should be aware of. I have found that it works best for nature, landscape, and architecture photography and generally prefer its results in those types of situations over portraits.

That’s not to say it isn’t useful for portraits, just that I’m a bit overly picky and tend to obsess over small details that even the advanced artificial intelligence in the filter can’t quite match. Also there can be a tendency to apply it a little too much, especially when you first start using it. My advice would be to hold back a bit to a value of 40 or 50, especially when batch processing. Sliding the filter all the way to the right can sometimes result in photos that look a little too over-edited and fake, so it might be best to start small and then find how you like to use it over time.

How to Speed up Your Workflow Using the Accent AI Filter in Luminar to do Batch Processing

Conclusion

Even if you don’t like the idea of trusting a computer to edit your photos for you, I would encourage you to at least give the Accent AI filter inside Luminar a try. Use it in combination with a couple other filters and see how it could save you a great deal of time, especially with batch processing or generating proofs for clients. You might be surprised at how much you like it.

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Processing 2 creative programming cookbook pdf

07 Sep

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