I made this short video workshop showing my editing process on this shot so we could talk about the anatomy of a good edit. It’s only about 5 minutes long!
I’ll just me suing using some of my favorite tools from Filmist, Lumist and Alchemist in Photoshop and Lightroom and I’ll show you how I get this image balanced and ready for print with just a few minutes.
If you guys like this fast study format, drop a comment, and we will try to make more in the future. You can also find all the add on’s I used in this here on the site.
Next, SHOW ME YOUR EDIT: DOWNLOAD THE RAW FILE and edit this yourself and see how it looks. Then head over to the post on our Facebook page and share your results.
Blue Suede Dunes – Sunset at White Sands New Mexico, 2012
Just after sunset these rolling dunes take on a subtle cast. Like an ocean of sand dancing in with a tides. Subtle shadows and perfectly arcing curves sweeping in waves across the landscape for miles into the distance.
White Sands is a rather remarkable place. Not only for it’s giant dunes that seem by themselves in the desert, but for the way it plays with light, the way you can take the kids and sled down it’s swooping slopes, the way it’s like standing in summer snow in the heat of the day.
It was a memorable visit all around and I’m thankful I was able to make a memorable image. It should be stunning on canvas.
Release details: Prints Available.. Order Open Edition originals above.. Master prints and Signature Limited Editions are listed below and can be ordered by contacting gallery.. Learn about Limited Edition values here.
Released prints….
53 inch Master Original on Canvas – Limited edition of, 1 (contact the gallery)
40 inch Signature Canvas – Limited Edition of, 40 (contact the gallery)
36 inch Signature Metal – Limited Edition of, 60 (contact the gallery)
by Gavin Seim: With the new LR4 beta now out, I’ve of course been poking around inside. One great feature for us that capture video, is the ability to play and do light edits via Quick Develop and build video clips into our LR workflow.
But there’s something more that you may have noticed. Initially just basic settings are shown available for video, as we can see on the left. Exposure, contrast and the like. Others get greyed out. Also when you attempt to go into the Develop module for more advanced edits, it simply says “Video is not supported in Develop.”
And yet, it seems we can use some Develop settings via presets. I decided to just run a few from Seim Effects presets and see what happened. I was pleasantly surprised when I saw the dialog below and that while not all, many of the develop settings are actually available using presets. Settings I was able to apply and export on my clip.
Needless to say I was pretty excited. I didn’t see this shown at the Adobe press conference a few weeks back and as far as I know Adobe has announced no official develop module support for video. But it stands to reason it may be coming.
The Technique for right now is to make Develop presets on a still frame and then apply those settings to video. We can tweak color channels, curves and the like and really gain a great deal of control over video clips in very short order. It’s not perfect: There’s still some settings missing that would be valuable, but we’re off to a good start.
I’m rather excited at the workflow potential. And that I’ll be able to offer presets that can be used for video editing. We’ll see what happens. I plan to experiment further and post some free video presets soon on my blog.. G
LR tells me that not all settings from the preset are being used and lists what's available before applying the effect. Still a pretty effective lineup of tools.Copy Settings showed all available tools currently available on video. Not all, but all these, plus B&W adjustments (not shown in this dialogue) are some of the most important ones. With these we can do some serious effects.
Simplicity is key to a great photograph. It turns even complex scenes into stunning beauty by controlling elements, light, and tone.
It’s not about how much is in a photograph. It’s about how we showcase our subject in relation to that supporting cast of elements. Now I’m not suggesting the images I show are “perfect.” It’s rare that I get everything dead on, and I can always find something I should have done better. But truly understanding and mastering these elements WILL raise the bar on our images and allow us to see in a new way.
1. Visualize.
Everyone says they’re doing it, but few actually are. You should truly “see” the scene in your mind’s eye; not what’s in the viewfinder but the finished image after the exposure, even after editing. You should see the image you want after the process is finished. It’s fairly simple, but in the rush we often fail to slow down and think carefully about the lines, elements, and tones in our scene. That’s one reason why I love working with a tripod. It takes my focus away from holding a camera and puts it on the scene in front of me.
Ansel Adams said, “The whole key lies very specifically in seeing it in the mind’s eye which we call visualization.”
Sunsets Hidden Falls, Yosemite 2010, Gavin Seim - I used a layer based HDR process on this, processing my light and dark frames as silver and layer blending in Photoshop. I spent a good deal of time on the composition and tonal control to try and keep the scene simple while still showing all the elements. You can see the stone faces on Zones 6-7, with the foreground elements falling drastically all the way down to Zone 1, keeping them as supporting cast from becoming too distracting.
2. The Light & The Zones.
Expose for what you want in your image, not what the camera sees. This goes right along with visualization, and the Zone scale is the best way I know of, both to visualize and to control values. It allows us to see in our mind’s eye the Zones in a scene and place them where we want, using exposure, and finally tonal edits. For more on detailed tonal value control, see the counter article to this one, 3 Critical Elements of Controlling Tonal Values.
The Zone scale from 1-10. Middle grey is Zone V (5). This shows the darkest dark to the lightest light and is invaluable for simple visualizing and exposing a scene. Each step represents a stop, making it easy to move your exposure up or down and place an element in a given zone.
by Gavin Seim (updated 7/21/12): I give workflow a lot of thought. In fact I started writing this nearly two years ago and it’s based on methods I’ve refined in my own business. If you read this and follow through with it, you WILL edit faster. Truth is, I’ve actually refined my skills by just by writing this down. I’m going to be a little blunt today so don’t take it personally and don’t think me arrogant. My goal is to make us all better at editing so we have more time for life. Good processing is very valuable, but it does not have to be slow.
I devote a lot of energy to planning workflow for my own studio and for the tools that I make for LR, Photoshop and Aperture (check those out here). I’ve experimented a lot and I’ve built a system that works. As photographers we often end up with hundreds, even thousands of images to edit. But editing should not be a tedious overbearing monster. What we need is a plan. I say that in a good batch workflow, you should be spending no more than 20 minutes sorting & editing per 100 images. If you spend much more than that, you likely have ENAS, or Editing Non-Awesomeness Syndrome. It’s a common ailment among photographers, but there is a cure, which we’ll address here.
This topic can get tedious if we don’t have some fun so lets keep it light. Really though. These concepts work for 25 images or 25,000. It’s about being organized, creative and efficient with editing. It’s the opposite of having countless pieces of software you switch back forth to, or endless erratic steps to reaching your goal. I can edit a wedding with 1500+ images in 3-5hrs of computer time. I’m not a light editor either, so some will do it even faster. Sure, it’s OK to spend extra time editing because you’re enjoying your work or doing fine art, but a solid foundation will make every project flow better.
Because I’ve also built a business out of making workflow tools, I’ll be using my own effects today. But these tips apply to any tools that fit into a smooth editing plan. I’m also using Lightroom. It’s the fastest I’ve found to date and can do about 90% of what Photoshop can, but about 5x faster. That’s huge! If you use Aperture or something similar that’s cool too. I’ve worked with both and the approach is essentially the same. If however you’re still doing main corrections in Photoshop, you’re probably wasting time. Doing all your editing in Photoshop does not mean you’re more creative. It just means you’re slow! That’s not to say you should not use PS. But with a good A-Z workflow you’ll use it less, edit faster and make your work better.
by Gavin Seim (updated 7/21/12): I give workflow a lot of thought. In fact I started writing this nearly two years ago and it’s based on methods I’ve refined in my own business. If you read this and follow through with it, you WILL edit faster. Truth is, I’ve actually refined my skills by just by writing this down. I’m going to be a little blunt today so don’t take it personally and don’t think me arrogant. My goal is to make us all better at editing so we have more time for life. Good processing is very valuable, but it does not have to be slow.