Five Exposure Tips Every Landscape Photographer Should Know

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If you’re a landscape photography enthusiast and you’re looking to improve your post-production process, it’s definitely worth experimenting with Alien Skin’s Exposure X3 software. This award-winning, non-destructive RAW editing platform is a wonderful solution to many post-production problems very specific to the landscape photographer’s workflow.

From accommodating unflattering sunlight to emphasizing your capture of natural colors, below we share five Exposure-specific editing tips that every landscape photographer needs to incorporate in a seamless routine:

landscape photo editor

Color Grading

If you’re ever editing a landscape shot rich with orange or blue shades, we highly recommend that you experiment with Exposure’s Technicolor Process Preset. Let’s say for example you’ve taken a really picturesque shot of your local waterfront at golden hour, and you’re hoping to make some adjustments to emphasize those lovely orange sundown hues as well as the impressive, cool blues of the water.

Once you’ve applied the Technicolor Process Preset, from there it should be really easy to make your own custom edits that will especially accentuate those particular shades. Playing with orange and teal color adjustments is an extremely popular compositional edit. Not only does it add impressive depth to your image, it helps add richer color to your shadows as well as highlights to those beautiful, brighter oranges we mentioned above. The granular color grading you’ll apply here is naturally subjective depending on the original photo you’re working with as well as your unique aesthetic as an artist.

When applying these edits, keep in mind a few of the following things: first, as we mentioned before, original images that include natural elements of orange and blue are the most effective shots to use for this effect. Second, RAW photos are ideal templates for your editing here — that higher quality natural color information within your RAW photo will make for a better final effect in the end. And finally, try to keep in mind which channels of your digital camera lend themselves to a higher level of noise.

Unfamiliar with what we mean by channel? Essentially, all digital images with color are made up of tons of pixels, and those pixels are all made up of different primary color combinations. A channel then refers to the grayscale image of the same size as a color image, made up of only one of those primary colors. For example, an image from a standard digital camera will have a red, green and blue channel. When it comes to noise, green and blue channels in digital cameras tend to contain much more noise by nature than red channels, especially when you start applying effects in the post-production phase. So depending on your original image, be aware of that when making your adjustments here and be cautious of that potential for excessive noise.

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