Tennant captured these waves crashing against rocks and the iconic “Wind Combs” sculpture by Eduardo Chillida in San Sebastian, Spain. Photo: Chris Tennant

Have you ever taken a photo of a vibrant landscape scene only to be disappointed by a lifeless result? And then noticed that adding contrast alone won’t fix the problem?

Simply sticking to the contrast slider can easily impart an unnatural, overdone look. After all, photographs can suffer just as much from having too much contrast as from not having enough of it. As with many image editing tasks, the trick is to strike exactly the right balance.

Often you’ll find it useful—and even necessary—to use several kinds of software in editing a single image to achieve the look you want. No matter the application, there are a variety of ways to control tonal contrast. Adjustments made in Adobe Photoshop Lightroom 4 or 5, Photoshop CS6 or Creative Cloud, and Nik’s Color Efex Pro 4 plug-in can work hand-in-hand by helping you make progressively more targeted corrections. You’ll learn to create a finished photograph that not only pops, but also maintains the realism of the original scene.

**Step 1 **

Start with basic RAW adjustments. Find your image in Lightroom (we’re using version 4, but 5 will work, too). Head down to the Lens Corrections panel and check the Enable Lens Corrections box to remove optics-induced distortion. For more pleasing blues, which dominate this seascape, change the profile to Canon’s Camera Landscape—other camera makers offer similar presets—in the Camera Calibration panel. Finally, use the Crop & Straighten tool’s Angle slider to rotate the image until the horizon is level.

Step 2

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In making global adjustments, the most obvious way to increase contrast is to use the Contrast slider in Lightroom’s Basic panel. While adjusting it, keep an eye on the histogram to avoid clipping highlights or shadows. After increasing the Contrast slider (set to +25 here), make a similar decrease in the Highlights (–25) and boost the Shadows (+25) to preserve detail in each region; for more midtone contrast, increase Clarity (+25). Use each slider with restraint to build a good foundational image.

Step 3

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With the initial adjustments in Lightroom complete, it’s time to import the image into Photoshop CS6 (or CC). Two of the most critical adjustments to any image are global contrast and color cast corrections—this step achieves both. First, create a new Levels Adjustment layer. Then adjust each color channel (red, green, blue) separately by moving the black- and white-point sliders to the edge of the histogram. When done properly, setting the contrast will naturally saturate colors and restore vibrancy.

Step 4

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Contrast adjustments do not always have to be made globally. Using simple masks in Photoshop for local adjustments, you can target changes to draw attention to (with higher contrast) or away from (lower contrast) specific areas. Here the rocks are getting a bit too dark in the shadow regions. Lighten them using a dodging layer: Create a new blank layer and fill it with 50% gray (Edit > Fill). Next change the layer’s blend mode to Soft Light. Then, with a soft, white brush set to low opacity (10%), paint to selectively lighten the shadows. (You can burn an area that is too light simply by changing the brush to black.)

Step 5

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Among the many plug-ins for Photoshop, we like the tonal contrast filter in Nik’s Color Efex Pro 4 for its exceptionally good contrast control. This filter provides another degree of refinement by targeting highlight, midtone, and shadow areas separately. First create an adjustment layer (Filters > Nik Collection > Color Efex Pro 4) and increase the contrast in the Highlights (+30) and Midtones (+30). This brings out detail and texture in the crashing waves. But to avoid affecting the sky, where adding structure to the clouds would have given the whole image an unnatural look, add a mask to the layer (Layer > Layer Mask > Hide All) and with a white brush paint on the mask to reveal only the water.

Final Step

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Notice that with your contrast properly set, the colors are rich and saturated—no further adjustments are necessary. Back in Photoshop, it’s time to put the finishing touches on the image. Add a slight vignette to the bottom half to keep the viewer’s eye focused on the center of the image and prevent it from wandering out of the frame. One simple way to do this is to create another dodging layer (see Step 4). We used a soft, black brush set to low opacity to paint (Burn) in a vignette. After cloning out sensor dust spots using the Spot Healing Brush tool, and then sharpening the full image (Filter > Sharpen > Smart Sharpen), the finished photograph is ready for display. Making use of several complementary methods of contrast control, we’re able to profit from what each app does best and create a more visually dynamic image.

A physicist with a longtime passion for photography, Chris Tennnat lives in Virginia with his wife and three boys. His award-winning landscapes and waterfalls can be seen on his website.

The post Software Workshop: Adding Contrast for More Dramatic Landscape Photos appeared first on Popular Photography.

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“Wait, this wasn’t supposed to happen!” I mutter as I swipe at my phone to bring up the weather app for the hundredth time this afternoon. The sky is completely clear and my chance at an epic sunset shot has disappeared. I’ve snagged a prime location based on intel from fellow photographers and the help of Google Earth. I knew where to be and when. I even checked the radar earlier in the afternoon and it was all so promising. Now there isn’t even a hint of drama in the sky as the sun begins to set.

Sound familiar? Sure, landscape photographers occasionally reap the rewards of everything coming together. But more often than not we must contend with situations that fail to meet our hopes. When faced with poor weather or an obstructed view, creativity can mean the difference between a keeper and a memory card full of duds. Here’s my best advice for making great pictures in poor—and all-too-common—conditions.

Work With the Weather You Have

Given the physical toll of being in the field all day combined with subsisting on trail mix and warm water, you may be tempted to abandon a shoot at the slightest hint of bad weather. But having the discipline to wait it out can be extraordinarily rewarding. In fact, some of my favorite photographs were a result of conditions that would’ve caused a younger, less patient me to abandon ship.

Overcast skies and light rain at sunrise? Wait and see if the clouds part. My neatly framed view of Mt. Rundle in Banff National Park, required such patience.

Once, while in the Adirondack Mountains under an underwhelming sky, a rain shower suddenly swept in and I began my retreat from the summit. As I happened to glance sideways, however, I saw a brilliant double rainbow nearly close enough to touch. This led me to scamper like a lunatic back up the mountain, firing off as many shots as I could. I’ve never been so happy while cold and wet.

A completely socked in, overcast, or foggy day may make you want to head for home, too. Your morale can take a hit when hiking with the expectation of expansive views, but stay on the course and work with the bad weather: Create compositions that minimize the sky while placing the primary focus on the foreground.

Perfectly clear skies can be just as challenging as fog, rain, or cloudiness. So what do you do when you can kiss any chance of a magnificent sunset goodbye? Shoot after sunset. Twilight produces beautiful coloration in the sky in shades from blue to purple. Your pictures will be subtler than with the dramatic sunset you imagined, but you may still get a keeper. Since you will lose light quickly, set a longer exposure to enhance the cool colors. If water plays a significant part in your composition, take advantage of its ability to transmit those tones throughout the rest of the scene.

Compose Creatively

Some locations rely so completely on an interesting sky that if one never materializes it can be difficult to find a compelling landscape shot. Miles of unbroken beaches, for example, make many coastlines ideal for a relaxing vacation, but unless you find some drama above, they offer little in the way of compositional interest.

During one particular pre-dawn stroll on the Outer Banks in North Carolina, I hoped to capture the experience of a sunrise at the ocean. But with so little to work with, how? A lovely palette of colors dawned, but a static shot of the ocean and a cloudless sky would be dull and uninspired. Instead I took an abstract approach, stopped down my aperture to f/22, and began to pan the camera horizontally during the exposure. What resulted were swaths of alternating colors of both cool and warm tones, which captured the essence of that morning on the beach.

You might think that arriving well before dawn in sub-zero temperatures at Bryce Canyon National Park would be sufficient to snag prime real estate. Yet when I got there, all the “best” spots were marked by rows of tripods. Even after many years of photography I can still be a victim of the herd mentality, congregating with all the other photographers. In this case I was forced to stake out a spot on my own.

I didn’t do anything wild—I simply moved away from the pack by several yards. Whereas they were all shooting over a fence, I was able to get low and include a nice foreground in my frame.

Changing plans often means altering your composition. This can be as simple as moving the camera or swapping out the ultrawide-angle lens for a telephoto to capture just a fraction of the vista you intended to shoot. The important thing is to not be so constrained by your preconceived plans that you fail to take advantage of the abundant opportunities that are available. Sometimes doing as little as moving the camera around salvages an otherwise unproductive day.

Be Open to the Happy Accidents

Another category of the unexpected involves failing hardware. If you’re in a remote location and your only battery runs out of juice, it’s game over. However, there are less severe situations where being flexible and thinking on the fly can rescue your expedition.

Perhaps in your haste to get to that waterfall you accidentally brought your tele instead of an ultrawide lens. Look for interesting patterns, textures, or reflections for a more abstract approach. Maybe on your hike to the summit you got a nasty scratch on your lens: Rather than shooting into the sun and exacerbating the resultant lens flare, wait until the sun has set.

The fact is, if you photograph long enough, you’ll inevitably create a handful of great images that can only be chalked up to happy accidents.

On one trip to the Catskills to capture star trails, I settled on a composition well before dusk and began shooting. Since photographing star trails is slow going and about as exciting as, well, watching the earth rotate on its axis, my friend and I left our gear momentarily to grab a hot beverage. My heart sank when I returned to our spot and found the front element of my lens completely covered in condensation. Hours of preparation and shooting down the drain! Or was it?

After forging ahead and processing the images, I realized that as the condensation increased, the successive star trail images became more blurred. When I stacked them together in post, it created a mesmerizing meteor-like effect. Not only was the image salvaged, it turned out better than I ever expected. It also shows you should never delete images from your camera’s memory card in the field, no matter how poor you think the frames look at the time.

For photographers who shoot outdoors, dealing with less-than-ideal conditions is a fact of life. But armed with these strategies and plenty of patience, I hope you’ll find the motivation to stick it out and create exceptional images in spite of the weather.

The post How embracing the unexpected will make you a better photographer appeared first on Popular Photography.

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