Long Exposure

18 minutes
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In this video I'm going to go over this really long exposure. Now this is more than 30 seconds, let me go over the settings with you. So this is 81 seconds, f 22, ISO 100. I didn't use any filters for this, the sun has simply set and I wanted to create a feel of movement a feel of I don't know just this feeling of being in the moment in the photo. So what I did is I dropped my f stop, I hired my f stop and drop my ISO to 100 and that way I was able to shoot on both mode for 81 seconds. Now, in this photo, when you look at my photos, they are all very very dark and there's a reason For that I like to expose for my lightest part of the photo.

So let me show you an example. So if I was exposing for the trees, I'll bring up the exposure. So there the trees are exposed semi correctly. But as you can see, I would have lost all this detail. So it is very, very bad to expose for your dark spots. In my opinion, it is always good to expose for the lightest part or the sky as a landscape photographer.

So every time I'm shooting a landscape outside, I'm always looking at the cloud movement. I'm always looking at my lightest spots, and I'm always looking at my foreground, see what I can accomplish with those components. So let's get started on the editing part of this photo. So when I was taking this photo, I knew What I wanted to create, I wanted to invite people in by using the cloud movement and by using the foreground. So, first things first, as always, let's straighten out this horizon. So we'll click here on our crop tool and we'll straighten it out.

Again, I'm looking at this line. So you always want to match this line with your horizon. Now with the crooked now with the crooked trees with your actual horizon where the water meets the land. We'll close out of that. Very good. Now here, right off the bat, I can see sensor spots.

So I'm going to go to my spot correction tool. I'm going to go down here and click visualize spots. And here are a lot of sensor spots. Now when you shoot an F 22, you're going to know to notice and you're going to know that you're always going to have sensor spots at that kind of aperture. So with this, we'll clean them up. I always like to press heal up here, you can always go to clone and it'll clone the spot to the closest thing there is if you heal it makes it gives it a little better, better touch better look at this for landscape photography does.

So I thought I did that. But I can still see one more spot right here. So we'll click that again, make sure it's on he'll click on that. And if you if you want to clone it, you can clone it right there, but to see the difference that's clone. And then let's press back on that heel. And there you have it.

So what clothes Those just close the spot that's that it thinks it's closest to it. What he'll does he he'll sit it it patches it. So I always like to use he'll very seldom occasions I'll use clone. So now that we got all those small details out of the way, there are small details but they are very big in the grand scheme of things because you always want to a beautiful photo, you always want to clean image. You want people to look at your image and instead of picking it apart, you want them to enjoy it. Oftentimes I find myself looking at a beautiful image from a student.

And then all those little details start grabbing me and I can't help but to start picking it apart. So always clean your image up, always stranger horizon. Very, very important. So once we got that out of the way, we will open up the shadows. Let's do it all the way I want to see what I'm working with here. So My whole reason and my purpose behind this photo was to create movement with this clouds.

And I also wanted it to look like a painting. I didn't want to paint anything in Photoshop, I like to actually take the photograph and do it all in the field as much as I can. So I was able to do this by going to 81 seconds on both mode. And as you can see, I grabbed the corner of this cloud in this corner, and that creates a V. What that does, it's inviting the viewer into the photograph, sit, same width down here, it's also creating a V. So it's inviting the viewer into this composition into this photograph. Now here you're going to notice that your eye immediately goes to the clouds and then comes down here and goes into the horizon and reads it as a beauty beautiful landscape a beautiful sunset somewhere. This was shot in the Everglades.

So that's your composition. That's what you want to create. You want to create a pattern to invite somebody in. If I was just took a picture like let's say, for the sake of this tutorial. Let me show you here real quick. So let's say I took a picture that you know there's nothing there is just is completely just blob.

There's really nothing there. Let me go back to the history here. Here's you have your history, you can always go back. So I go back before we cropped it. Get out of that. So see the difference.

When you create a beautiful composition, you're able to tell a story. And that's the difference between a beautifully colored Post photograph and just kind of a whatever photograph. And that's what makes photography very challenging, but very, very intriguing to me. Because you're always looking on how to tell a story a good story. Okay, so once we got once we got that I opened up the shadows. Now I immediately want to give it some contrast.

And by creating this by repeating myself in the steps, I was able to create and develop my own style of editing. And that's how you're able to tell when a photo is mine. A lot of people write me that I saw one of your photos, and I immediately recognized it was yours. So by creating this repetition, I'm able to I was able to create my own style. Okay, so now we'll go to the vibrance and we're gonna bring that up quite a bit because I want this to be dramatic. I want it to be colorful.

I saw this color That looks pretty good. Now here I can do one or two things, I can bring my exposure up. But when I do that, I'm going to lose my horizon. Look at this, this is completely gone. So this is where my adjustment, local adjustments come into play. Let me get out of the basic pattern.

Click the effect or twice. Now I'm going to drag this down to right about there. And then I'm going to open this up just a tad. That looks really good. Now press you're okay. And that's the red is what you are actually adjusting.

So get out of that. And that looks really nice. Now see this little button right here. Click it on and off to see the difference before, after. Before After. I think it's quite stunning, right?

All right. So now we're going to Click New. And now we're gonna drag one from down, up. And it's the same premise except I don't want as much I just want a little tiny bit. They still want to create that curiosity and somebody had of what's there, I want him to kind of look for what's here, identify that it's grass and immediately move into this tree line. So I don't want this to be my main point.

I want this to be my focal point. So I think that looks really nice. Maybe even lower it down at that. Maybe right about there. That's pretty good. close out of that.

And I can still see that there. This is kind of too bright. So what I want to do is I want to bring my highlights down and look how that changes. Wow, look at that. Immediately we closed on this highlights and this color came out just beautifully. So I really We'd like that.

Now let's press our y key to go before and after. There's before, and there's after look at the difference, you could actually be done with this image if you really want it. But we're going to take it a couple steps further. As you can see, this are subtle changes, this isn't we're not doing anything crazy. We're not doing blending nothing, we're just simply adjusting this image accordingly. Now, let's warm this up a little bit.

Now that is changing, you can always change it up. And if I warm it up, this clouds turn a little bit red, which is the reflection from from this beautiful horizon. And I like that I think that looks really really, really nice. So that looks really good. Now let's use another local adjustment. So this is a Radial Filter.

And I really, really like to use this because it gives you the power to control your horizons. So we'll click on That now we click and drag and that gives you the power to create an oval or a circle or whatever you want. Now here I want to lay this right over this tree line. I don't want to go too far over here, this is kind of further down so it's okay if it's black. But I definitely want to open this up just a tad. Nothing too crazy.

Now I have my feather here around 78. And I've I've realized that that that works best for me. So tinker with that what that means is just what it takes to feather it and so you're not able to see that patchy view Well, now I'm going to bring this exposure up just a tad. Right about there. Now, you have an invert mask checkbox here, you can click it off and it's going to adjust what's outside of the of the oval. If you click check in It is going to adjust what's inside of the oval, which is what we want to accomplish in this particular image.

So I think that's really nice. But as you can see, it also blew up kind of the horizon here. So I want to keep that uniform. So I'm going to bring down the highlights. And that just turns it down a little bit and makes it a little bit nicer. Now let's check it off.

And on to see the difference off. On off on, see the difference, very subtle, but it makes a big difference. You can see the reflections better, you can see the trees better. And all in all, it just cleans up the image a little bit better. So I really like that press Done. And there you have it.

I think that looks really really nice. Now, let's go to our lens corrections. We're going to enable profile corrections that gets rid of that warp. Sometimes it works, sometimes it doesn't for this particular image, I really like it. So we'll do that and now we're going to Remove chromatic aberration. And that would be around your trees and around all this stuff, always click Remove chromatic aberration.

And I think that looks really nice. Now what is bothering me is this lighter little sticks here. So I kind of want to darken that up. So I'm going to go to a local adjustment and this is an adjustment brush. I remember local adjustments are up here and they mean it means that they locally adjust things, meaning that whatever you touch, that's the only spot that's been adjusted or edited our global adjustments, such as your basic panel, I just the whole entire area of the image, the whole entire image has been adjusted. So we have global adjustments and we have a local adjustments.

So here I'm going to click on my adjustment brush. Let me click out of this lens corrections so click on adjustment brush. And I want to darken this up. So I'm going to bring the exposure down right there, you can always adjust this when you're done. I'm just going to brush this in a little bit. And I just want to darken that up kind of takes away from from the image to me.

And then just bring it down a little more. And as you can see, it's it's been darkened. Maybe right about there. So let's see before and after, before, after, before, after. And now if you click the OK, I want to get you in the habit of clicking the ok you can see what you have brushed in, in the you see this OUTSIDE RING from the inside circle to the outside circle. That's our fade.

So that's what's being faded. So as you can see the fader on 7879 is really, really nice, at least from my personal Experience is what works best for me. So feel free to edit that as you see fit for your own style of photography and of editing. So let's click out of the Okay, let's click the OK out of this mode. And that looks really nice. That's exactly what I wanted to do except I can still see the sticks that kind of take away from my eye.

So I'm going to close out of this and I'm going to come to my to my Spot Removal Tool here. So click on that and now I am going to simply draw over that and give get rid of it now. It picks the what it thinks is the best part to clone from or to copy from. I'm still using heal you can use this would be a good place to use clone but I'm gonna stick to heal because it's working well here. Okay. So now this one is kind of a little bit taking note takes away from the photo.

Okay. This one this long one. And some of this might be tricky. Some of this probably won't work the first time, but just work with it, just grab it and work around it. It's your job to kind of hide all this little, oldest little details. And now we're going to click on that right there.

That looks really good. So as you can see, we didn't really change the image. We simply took out some of this eyesores if you will. So let me just bring out the exposure I'm going to bring up the exposure just so you can see what this looks like. So you can see within completely damaged the photo. So just some minor adjustments and if you really want to match the branches here you can you can really work on it.

That's a little better job. I think that looks nice though. We'll close out of that. Click this exposure word twice, one, two. And that's where we want it. So as you can see, we got rid of those sticks.

They're no longer an eyesore and this image looks really really, really nice. I'm very happy with it. Let me get out of this basic panel. Let me press the Y key before and after what a difference. You know, a few subtle, subtle clicks and you got yourself a fantastic image. Now I do kind of want to darken this up just a tad more.

So let me let me grab another one of this. Graduated filters and I'm just going to draw it in this corner. Just to dark it I just want the corner a tad a tad bit darker. Let me drag this down. Right about there. I'm gonna reset the exposure.

And now we can do it by tastes. So just bring it up just a tad. Now by doing this, I'm giving it a little bit of vignette. Now I'm also making the image a little bit more mysterious. So I want your eyes Your eyes are grabbed by this beautiful cloud formation. They draw you into the horizon.

And as soon as your eyes dips down here, you have this V down here that draws you back in. So there's a thought to everything we do, not only in the field, but also in post production. I think that's a very, very well done image. I don't think I need to do anything else to it. Let's press the Y key one more time. There's before there's after and that looks completely amazingly beautiful.

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