Jenny Cameron

Professional Landscape Photographer known for her unique, creative and evocative style based in the northern Scottish Highlands.

Posts tagged ‘Tutorials’

Haida filter video tutorial

Haida Filter tutorial from my home in the Scottish Highlands during the COVID-19 lock-down. Sharing my thoughts about filters.

Please note; If using any of the 100mm x 100mm (square) ND filters in M10 filter holder and you don’t wish to use any of the round “drop-in” filters, you must use the M10 “drop-in” light barrier which is simple and easy to use the sealing ring to prevent any light leakage (also provided in the kit).

 

Haida M10 filter holder system including light- barrier

logo[5875]

“As a landscape photographer I have learnt how invaluable a great filter system is to my arsenal of tools. It’s something you can buy a bit at a time to build up your collection, but choosing the correct brand is the tricky part. Thankfully for you I’ve made the mistakes and now ready to share my thoughts from the past twelve months of using the Haida M10 filter holder system for the 100mm filter series. Such a genius method and design.”

Included in the Haida M10 filter holder kit

Filter holder, Circular Polariser, light-barrier, one adapter ring which can be purchased to fit most popular lenses in sizes 49, 52, 55, 58, 62, 67, 72, 77 and 82mm. Housed in a smart black eco-leather zipped storage case, with a handy carabiner attached to the top which can be neatly clipped onto your tripod or belt for ease of access, internally lined with a lovely grey velvety fabric with a net pocket for storage, including a handy screwdriver, extra pair of filter holder slots and gaskets to provide a third slot on the front of the Holder ) which I’ve left on permanently).

This slideshow requires JavaScript.

Constructed from aviation grade aluminium and PC materials for super strength and is lighter in weight than its predecessor. Its genius design makes it exceptionally user-friendly, with super fast set up, and effortless to change and remove filters. Simply clip the M10 filter holder onto the M10 adapter ring by using the red push-and-release (spring clip) locking lever (see video & photos below). The innovative design gives a very secure and solid connection, and at the same time the ability to rotate 360 degrees. The non-slip spongued coating on the bottom of the filter holder provides a good grip whilst rotating which I think is a nice touch.

It’s designed to take up to three filters ( 100 x 100mm or 100 x 150mm @ 2mm thickness, compatible with other brands at the same size ) on the front of the holder if you wish to stack, and one filter slot at the rear closest to your camera lens where the new round “drop in” M10 filters are used. Boasting a choice of neutral density filters ( 3, 6, 10 and 15 stops), circular polariser (included in the kit), clear-night (light pollution filter), graduated neutral density filters ( 3 and 4 stops) and ND + CPL ( 3 and 6 stops). But only using one at a time which is the only downside if you like using several ND/s and a CPL together. If you don’t wish to use any of the round “drop- in” filters, you must use the M10 “drop in” light barrier (see photo below) which is a simple and easy to use sealing ring to prevent any light leakage (also provided in the M10 filter holder kit).

This slideshow requires JavaScript.

Optional extra filter storage case

During 2019 Haida also released a very useful filter case for their M10 filter series or other branded filters of the same dimensions; either 100x100mm &/or 100x150mm. Holding up to nine filters including Haida M10 filter holder, adapter ring, cleaning cloth & memory cards. This has been with me on my adventures for every shoot, Id truly be lost without it. If you’d like to see more about this case please take a look at my test review showing photos & video here.

All Haida filters are assembled in their own optical workshop located in the beautiful Port City of Ningbo, China. If you’d like to visit their website &/or Facebook .

I hope this provides you some useful information. Please feel free to ask me any questions.

If you would like to see more of my work;
500pxFacebookViewbugInstagram

“All rights reserved” © Jenny Cameron 2020

From Start to Finish

Here is the Raw file we will be working with. Taken with a Canon 5d Mark iv, Canon 16-35mm USM Lens @34mm, ISO 100, F11, 131 seconds. With a Haida ND 3.6 (12 stop) Filter. On the beautiful banks of Loch Assynt, Sutherland, Scotland.

©Jenny Cameron 2017

 To begin with we are going to make sure we’ve removed any unwanted objects. With this particular image I decided to remove the reeds in the foreground as I felt they looked messy and uninteresting. I will leave the small foreground rock as an anchor point to draw the eye into the scene. We are going to do this with the help of Content Aware technology in Photoshop.

1: Start by duplicating your background layer by holding Ctrl+J, or CMD+J on a Mac.

2: With Layer 1 selected ( highlighted in white) > Go to your Tools panel > Select the  Lasso Tool and roughly draw round any unwanted objects (as seen in the image below).

3: Go to Edit > Fill. This will provide you with a pop up box. At the top of the box you’ll find a drop down menu > select Content – Aware. Check the Color Adaptation checkbox, sometimes this can give a smoother color transition. Copy my settings from the image below.

1

number 1

4: Just like magic! Photoshop did a great job in removing the reeds, see the results below. You now need to deactivate your selection by holding Ctrl+D, or CMD+D on a Mac. Flatten your image by going to Layer> Flatten Layer, which will collapse your Layer stack into one. You can do this sequence several times to improve results if needed.

©Jenny Cameron 2017

2

5: The image is looking too blue for my taste.  I’m going to lower the blues in Adobe Camera Raw ( ACR).

6: Open up ACR > You do this by going to > Filter > Camera Raw Filter > which brings up a new screen. >Go to the eighth tab along in the Basic Panel (right hand side) named Camera Calibration > Go to the bottom set of sliders named Blue Primary. Set the Hue slider to minus 14 or thereabouts, and the Saturation slider to minus 100. See my settings in the image below.

4 acr blues

3

7: Flatten your Layer stack by going to Layer> Flatten Layer, which will collapse your Layer stack into one.

8: Again, duplicate your background layer by holding Ctrl+J, or CMD+J on a Mac.

9: Go back into ACR, this is where we are going to control the light. The light is coming from the left side of the image. Start by grabbing your Gradient filter which is the second tool from the right on the top left row. I use a bright Pink colour ( see my image below) as my Mask colour seen in the lower half of the screen, as its a colour not commonly used in nature, making it stand out to enable me to see where the actual Gradient will be rather than the Overlay option checkbox which gives you a lined area. Simply drag down the Gradient Filter with your mouse to where you think is best and click OK, which takes you back into Photoshop. Flatten your Layer stack by going to Layer> Flatten Layer, which will collapse your Layer stack into one.

5 gradients acr

4

10: You can see in the image below the effect its given from the settings I used.

6 grads

5

11: Duplicate your background layer by holding Ctrl+J, or CMD+J on a Mac

12: Back into ACR, using the Gradient filter again I lowered the exposure of the water. All the time my aim is to draw the eye to the trees.The lighting is now looking more directional. See my image below of the work so far. Click OK & back into Photoshop. Flatten your Layer stack by going to Layer> Flatten Layer, which will collapse your Layer stack into one.

7 grads

6

13: Duplicate your background layer by holding Ctrl+J, or CMD+J on a Mac.

14: Back into ACR > Take the fifth tool from the top left set of Tools named Target Adjustment Tool ( I call it the Tat Tool ). It will provide you with a movable cross shape icon > zip across to the Basic Panel (right hand side) to the fourth icon named HSL/ Grayscale. You’ll see three  titles named Hue, Saturation & Luminance.> Click on Luminance, place your cursor over the area you want to work on. In my case I’m starting on the trees. > Now drag your cursor/mouse upwards, this will lift the Luminance values. You can see how my settings in the image below has lifted the shadows on the trees and made them stand out more. Also have a play around with the Saturation & Hue sliders with the same technique. Be careful as it’s a very powerful tool and has a tendency to show weird colour transitions if pushed too far.  Once you’ve finished click OK. This will take you back into Photoshop and you’ll need to flatten your Layer stack.

8 hsl

7

15:Duplicate your background layer by holding Ctrl+J, or CMD+J on a Mac.

16: We need to take this a further step as the trees aren’t popping off the screen as much as I’d hoped. So…head back to ACR and follow my settings similar to the image below. Again, once you’ve finished in ACR click OK which will take you back to Photoshop. Do not flatten your Layer stack this time.

9 acr brighter

8

17: The image is still looking flat and boring with no depth. So lets mask off the brighter areas which are not needed. You can also see in the histogram that some highlights are blown out which isn’t great. We need to control this, hopefully once masked off it should bring them back. If you have never used masks please don’t worry, we will work through it together in baby steps. Once you get the hang of them it will open up a whole new world for you.

18: With Layer 1 selected, go to Layer > Layer Mask > Hide all. This provides you with a black mask hiding your top layer (layer 1).  Make sure your foreground and background colours are set to the default of white and black. You can do this by pressing “D” on your keyboard. Set your Brush Opacity to around 20- 30 %, its best to build up slowly to give a more natural feathered effect. Now take a large soft brush (1100px approx)  using your white foreground colour (this will reveal your hidden layer) and carefully paint in the light you want to show. You can alter the size of your brush by using your bracket keys. Adjust your Opacity in the Layers panel if needed. Flatten your image by going to Layer> Flatten Layer, which will collapse your Layer stack into one.

10 mask

9

19:  Duplicate your background layer by holding Ctrl+J, or CMD+J on a Mac.

20: Go back into ACR and grab your TAT tool (Target Adjustment Tool). Im now aiming for the brighter areas of the sky around the trees. With your Cursor drag down the highlights in the area, this will help the trees stand out and blend better.

21: Whilst in ACR go to the Basic Panel> Selecting the seventh icon along named Effects> Select the Dehaze Slider and increase by around 17. This gives more definition and contrast. Press OK which takes you back to Photoshop. Flatten your image by going to Layer> Flatten Layer, which will collapse your Layer stack into one.

22: Duplicate your Background layer by holding Ctrl+J, or CMD+J on a Mac.

23: Still working on giving extra light to the trees. Select Layer one > Blend mode Linear Dodge ( Add) > Set your Opacity to around 75% and Fill to 25%. This really gives great highlights. Again you’ll need to mask off certain areas that aren’t required, (same as in step 18 above to reveal some eye popping light effects). See the results in the image below.

©Jenny Cameron 2017

10

24:  Back into ACR (Adobe Camera Raw) to the White Balance tool. This can help with not only colours but also Luminosity too. Top left you’ll see an eye dropper Tool, third icon from the left. Place your cursor over it and drag to a neutral part in your image and click. Try different areas for different effects. Click OK which takes you back to Photoshop.  See the results in the image below. Not a massive difference but each little step really does help.> Flatten your Layer stack.

©Jenny Cameron 2017

11

25: Duplicate your Background layer by holding Ctrl+J, or CMD+J on a Mac.

26: Back into ACR > Go to the Basic panel> Seventh icon named Effects> Post crop Vignetting> Add some Dehaze.  Click OK and back into Photoshop. Adjust your opacity slider to what you think looks best in the Layers panel. Flatten your image. Follow my settings from the image below.

15

12

27: Back again to ACR > HSL panel> Saturation section> Take your TAT tool and drag down those brashy blues to help the trees stand out better. Click OK which takes you back to Photoshop and flatten your Layers in the Layer stack.

28: Duplicate your Background layer by holding Ctrl+J, or CMD+J on a Mac.

29: To me the Vignette is looking a wee bit too heavy, so go back into ACR and the HSL Panel. > Luminance section and lift those dark shadows. For me it actually lifted more around the trees which was great as it gave more contrast. Click OK and back to Photoshop. Flatten your layers.

30: Duplicate your Background layer by holding Ctrl+J, or CMD+J on a Mac.

 

31: Go to  > Filter > Sharpen > Unsharp Mask>. Copy my settings from the image below. Click OK.

17 sharp

13

32: Go to >Edit > Fade unsharp mask> this brings up a pop up box > Click OK >. In your Layers panel go to > Blend Mode Luminosity. That’s your sharpening all done but do we really want sharp clouds? I think not, so…..lets mask off the parts we don’t want sharp.

33: With Layer 1 selected, go to > Layer > Layer Mask > Hide all. This provides you with a black mask hiding your top layer.  Make sure your foreground and background colours are set to the default of white and black. You can do this by pressing “D” on your keyboard. Set your Brush Opacity to around 30- 40 %, its best to build up slowly. Now take a large soft brush using your white foreground colour to paint in the sharp areas you want to show. You can alter the size of your brush by using your bracket keys. Adjust your Opacity in the Layers panel if needed. Flatten your image.

34: To save for the web, go to > Image> Image size>. Follow my settings below and click OK..

18 save as

14

35: Go to > File > Save as >. This will bring up your personal PC Library >. Now save and name to whatever folder you wish. Remember to select in the drop down menu that you want it saved as a Jpeg.

Final image below.

©Jenny Cameron 2017

15

 

Tips: You can also save as you go along which is something I’ve learned the hard way with my crazy connections here in the wilds of Scotland. My internet can oftentimes drop or slow down, and for some reason it closes Photoshop losing all my work. So if you save as you go it saves any heartache that may happen. Some people like to work in large Layer stacks which is fine, we’re all different and have different circumstances.

I do all my sharpening at the end of the process as Contrast, Clarity and Dehaze to name a few can add to the effect, so if you do it at the end you know the correct amount to add. It also depends on where the image will be shown, in this case it will be posted on social media platforms.

 Try not to focus on the sliders. Place your cursor on the control and move it without looking at it. Look only at your image and how the slider is affecting it. This way it’s easier to see when something will look right.

I truly hope you enjoyed this tutorial & found it easy to understand. If you have any questions you may like to ask please feel free to give me a shout on Facebook Messenger and I’ll be happy to help. Most of all have fun and enjoy your Photography, it’s all about you, not what others may think.

Jenny~

%d bloggers like this: