The POWER of COLOUR in LANDSCAPE PHOTOGRAPHY
The POWER of COLOUR in LANDSCAPE PHOTOGRAPHY


I want to talk about something in this
episode that I’m super passionate about and that’s color and how it can
massively improve your landscape photography if you just understand the
color wheel and understand how to use color in your photos so I’m going to go
through some of the photos that I think do this really well of mine and talk
about how you can use Lightroom to just tweak things and it can really step up
the quality of the images that you produce so this episode all got started
by this photo here so this is a photo that you’ll have seen in the last but
one video and I talked about I didn’t do any video footage taken it but it was
one of the favorite shots of I took over the summer and I spoke about editing it
and and whether you wanted to see how I did it edited it and I was just gonna do
an editing video but then I realized that a lot of my photos I was having a
look at them have this sort of painterly look and then what I really looked into
it I realized that a lot of them don’t have a huge color palette so as I was
looking at it I was looking at the color wheel and and tried to understand cuz I
often have the color wheel on my phone and when I’m taking photos think what
works together and you know is it good to have the sky in or is that what
you’re what can I turn together well with the ocean if I’m taking some
seascapes I realized that what works really well is when you have an
analogous colors to cause are close together in the color wheel that
complement each other really well or colors opposite on the color wheel and
what I want to do is talk to you about some of the photos but then really talk
about how I edited this this photo so first of all let’s just have a look a
couple of photos so so this one here is a land that time forgot it’s at one of
my favorite photos I took a year and so ago of Iceland
Wester Hornung and Iceland it’s just a beautiful location
and what you can see here is it’s predominantly sort of an orangey yellow
color maybe a little bit Browns in it and then black and white really so it’s
sort of duotone in its look you know there’s another shot here that I took of
these sheep again there’s not a lot of color in there and the color that there
is complements each other so the colour in the Sheep complements the colour in
the trees again this shot here is a shot that I took of this gorgeous lake and
blue Tom in in the Lake District and you can see that it’s predominantly greens
this shot here there’s got a little bit of yellows and greens but again those
colors are really close together on the color wheel and what I think is that
when you use those colors and you use them correctly then you can create a
very painfully look and it’s sort of my style of photography I like the way that
that looks and then the other types of shots that I have are like this where I
may have used colors that are opposite on the color wheel so you know we’ve got
this beautiful sea and then and then the land which is more of a brownie orange
and these are opposite colors on on the color wheel which also give this
simplistic look because I’ve only got two colors in the image
and when I look at all my photos it tends to be like that I’ll have colors
really close together or if they are different they’ll be opposite on the
color wheel and then I won’t have any other colors in the shot and I think
that helps to create a very pleasing image but then I got thinking and I
thought I wonder if landscape artists do this as well and my favorite artists are
Turner Gainsborough Frederik so I looked at some of their photos and what I found
was that that when they painted their photos you know they were really careful
obviously about the the palettes that they use in their photos and they use a
bit of artistic interpretation obviously when you’re painting something you’re
creating something from scratch but their skies and their light tones and
their images and their shadows and their images tend to be toned in a certain way
and that was really interesting to me because that
what I do when I’m using Lightroom I’ll tend to tone the shadows a little bit or
tone the highlights a little bit or lose a luminosity mask just to change the
color balance of the highlights or all the shadows there’s different ways that
I’ll show you how how to do it but buying actually just toning these things
together looks really good and it does give your images this sort of painterly
look now obviously I don’t want my photos to look like a painting I don’t
want to have brushstrokes on that’s not what I’m talking about I want them to
look like a photograph but I quite like that pleasing simplistic look of the
sort of 18th and 19th century artists so whose notice I’m not wearing a cap yet
I’ve actually got a package here which I just came through the post this morning
I’m going to open it’s not a new cap but it’s sort of some sort of headgear
you’ll see you see anyway let’s have a look at this photo so this one here and
we’ll go back to the beginning and I’ll go through how I edited it so I’m gonna
do some of these things fairly quickly you know I’m not gonna go into a lot of
detail in each of these tools I’m just gonna show you my process of going
through this so if you want to know a little bit more about this and you can
probably look back at some of my other lightroom videos where i might have gone
into these individual tools or if you haven’t got it already
a bit of a plug for my master class which I go into these tools in a lot
more detail and you’ll find a link below ok so so this is the image that I took
now obviously you know I helped a little bit by a bit of fog in this image you
can see that it already goes back into the distance here and there is fade into
the distance so the first thing I probably do is just crop it a little bit
so I’m just going to go and crop that bottom off and I might just crop out
that little branch at the top there off and I might do another crop later but
for now I’m just gonna crop it there then what I want to do is just start
from the top and go down really so what I’m going to do here
is first of all just play around with the white balance so I probably wanna
make it a little bit warmer maybe just add in some green now I think I made
this too warm now the actual tree trunk but I’m unliking the Greens a little bit
better I want to increase the exposure globally blowings creek crease the
contrast no it’s going to look a bit weird to begin with and because that’s
now when you increase contrast you’re increasing saturation as well so I might
then go back and just cool it down a little bit now this tree trunks not
looking good so I might have to do something separate to this tree trunk I
want to increase the shadows so I’m gonna increase the shadows there and
probably the blacks as well so yeah I want it to look quite light and you know
like it was on that morning so I’m gonna increase the black slightly and then
probably just reduce the clarity to just I don’t want to I don’t want to look
like that it’s gonna look really little poor so I just want to reduce the
clarity a little bit and then I’ll probably just reduce the saturation of
globally a little bit as well which I tend to do and then add in saturation on
a color basis because this is all about color this image it’s you know that that
the tones in the image what makes the final image I feel so I’m not going to
look at the tone curve at the moment sometimes I do sometimes it just depends
on what I think for that that image I don’t think I need to for this
particular image so then I’m going to go to the h SL slider which is changing the
hue of each individual color the saturation and luminance now I probably
have a play with this and then it’s a bit of an iterative process going
backwards and forward so I’m gonna play with all these and see what they do so
that doesn’t do much the orange changes the orange of the
leaves at the bottom so I’m going to I want those to look a little bit more
brown but I don’t want to go too far away from the sort of look of the
the greens as well I’m gonna reduce the yellows probably yeah so so the yellows
is changing the color of the you can see well that’s doing it’s changing the
color of all the wood in in the image really
so probably want to reduce that because I want to pull out some of those orangey
yellow tones in the branch here then on the greens I don’t want it to look like
that I don’t like to look like that in fact it greens probably not far off I
don’t want to change that too much so then in terms of saturations I probably
want to just bring out some of those oranges a little bit more of the leaves
and I don’t think I wanna change the saturation too much of anything else and
that’s just a luminance then just want to pull up the luminance of the leaves
and then maybe just the luminance of that branch there so this branch down
here which I think looks really good now so if I just compare that to before and
after you can see that I’ve just brought it out a little bit and flatten the
image a little bit as well which I think looks really good in these sort of foggy
woodland images so now I’m just I’m still not happy with this bark I just
want to pull out a little bit more of those oranges so think to do that before
I go to the split tone in I might just now you can do this with one or two ways
I could just brush in an adjustment layer on there or I could do something
simpler and just do an adjustment layer like that so this is just affecting that
area so mostly the tree trunk and then I can use a range mask so I can sense a a
color range mask and I can just select the colors that I want to change which
so the colors of this bark here so I’m just going to select that bark and then
if I just hold over that now I can then just reduce that down a little bit so
it’s just changing this bark so then just to see if it’s check what it’s
changing you can just like change the exposure so that’s still changing
are too much in the image I’m just gonna reduce it a little bit more that’s
probably not far off now what I want to do is just change the tones of that I
just want to bring out I’m just gonna bring out some of the Browns of that so
I’m gonna change the tents slightly just make it a little bit more purpley which
will bring out some of the Browns in that it’s super subtle less so I’ve just
brought out just a little bit of those sort of Browns and golden colors really
in this tree trunk which you can see now so I’m quite pleased with that I think
that looks gonna probably come tweaked it a little bit more so then when I’ve
done that and you can do that in multiple ways you could do it with a
brush as well and just paint it on so then what I want to do is look at toning
and probably also gonna bring out some of the some of this area here but if I
go and tone it so split tone in basically is a way of toning so coloring
the highlights or the shadows of your image so if I just do it to its maximum
if I go and split tone I could make all the highlights blue by doing that and
that obviously looks horrible but what I want to do is bring out some of the
warmth of the morning so I’m gonna go round about here so I want the sort of
yellows and the greens and I’m gonna just increase a little bit what you can
see now is that when I’ve done that split toning it’s also changed this tree
trunk so I might have to go back to that tree trunk can change it back a little
bit so quite happy with that and then what I could do is in the shadow area I
could go and just tone it slightly blue now higher up you go the more saturated
it is that don’t want to go that far but I just want to bring out some of that
blue again in the shadow area and I tend to do that so my shadows tend to be
turned a little bit blue and my highlights tend to be
turned a little bit yellowy orange a greeny depending on the image now don’t
do this on every image but I feel that that’s starting to look a little bit
better but I feel that this I’ve lost some of those orangey tones now in this
tree trunk so I might then go back Gretsch back to my graduated filter here
I just want to just then tweak it a little bit more so I’m gonna bring back
some of those sort of nice sort of golden tones in that tree trunk so it
just feels like it’s getting that warm light on on the tree trunk there which I
think looks looks really pleasing so that’s looking a lot better so the the
the next thing that I want to do with this is just look at this area here
because I feel that I can I can make it slightly softer in this particular area
and probably bring out again some more oranges in here so I can just put a
radial filter here and then if I just invert it and hover over it you can see
it’s gonna affect this area I might want to increase the feather a little bit and
then in this area what I might want to do is just increase the exposure maybe
reduce the highlights a little bit and I’m just going to warm that up so I just
want to warm up that area down there and just add that to be slightly greener so
there we go so I’ve added that warmth in in that highlight area there just just
to just to create a the feeling that I had when I was there in the morning
really which was this sort of really calm warm Sun coming through the fog
that was being burnt off I saw I did another radial filter but this time I’m
just going to do it as a vignette really so so what I want to do is put that read
your filter on it you can see it’s just going to affect everything around here
and then I can just maybe just reduce the exposure a little bit and the
shadows are quite like doing vignette with the shadows sometimes because it’s
a softer being yet it doesn’t it doesn’t darken it down too much but it still
brings your eye into the image so that’s good and then I’ll probably go
back to the HSL slider and play around with the saturation of some of the
colors so I’m gonna bring out some of the yellow a little bit maybe just
dampen down the saturation of the green a little bit I want to create I can’t
only create this sort of warm look and then I’m just gonna change the tone of
the green and yellow so I might spend a little bit of time playing around with
that I probably gon make a cup of tea have an apple and then come back to it
and then tweak it a little bit because it’s difficult to actually get it right
first time you’ll you’ll get a much better result if you actually just go
away maybe for a day or two and then come back to it and then tweak it again
they maybe go away and then come back to it and tweak it again so that was what I
just did now this one is the one that I’d spent a lot of days off so let’s see
how different they are so this is the one well not actually that much this
one’s probably got a slightly more orangey yellow trunk to it than the one
that I just did now but the fairly similar now the one thing you will see
that’s different is that I removed this sign here now I’m not gonna go into how
I did that in this video because otherwise it’ll just get stupidly long
but I will do that in a separate photographers toolkit video I think well
just do a small thing about how I remove things I did that in Photoshop using the
content-aware fill fill tool now there’s a lot of debate on the comments and the
last one about whether I should remove it or not remove it I feel personally
that it looks better without it because I think it draws the eye too much now I
realize that I’ve removed something that was there in reality but I’m quite happy
with that I feel fine about that it is art after all and often I remove sticks
or branches that maybe just don’t look quite right
I don’t remove huge things but that’s probably about as big as as big as I go
and never add anything into my images ever
so I never add things into my images but if I remove something that I think it’s
distracting then I think that adds to the whole look of it so there we go
we’ve got that image now which I think looks really really pleasing I was
really pleased with it and the actual print of it looks fantastic so much so
that I’m gonna add this now and I’ve had it any portfolio prints to
my website in a long time I am gonna refresh the whole website shortly that’s
that’s my next project and I’ll be adding a few new ones but I wanted to
add this now because I’m talking about it so I’m going to add this as a limited
edition print in a three size which is this size here and a to size to my
website so if you want one of those they are going to be limited editions and you
can click the link below and order them and I’d really appreciate that you know
I feel that it’s the best way to support my channel because I think you get
something out of it in terms of a bit of my art and I feel great because
somebody’s got got my photos hanging on the wall which I think it’s just one of
the best things so thanks ever so much for that if you do get one okay before I
go let’s open this package said this this is exciting so this is a new hat
from my favorite hat manufacturer in the in the Lake District now same
manufacturer it’s a lady that I don’t think she’s got a huge team and she
produces the most amazing wool hats from from sheep in the Lake District so I’ve
not tried this on it’s got amazing packaging as well it’s called guilin
crag they don’t sponsor me for this video at all i just like supporting
small companies and they’ll open the shop not gonna be a big fail now isn’t
it sometime later okay here we go right sighs this is
looking good this is looking so good and that this bobble here is made from herd
WIC sheep if you’ve never seen herd with sheep in fact herd with sheep are these
type of sheep here and they’re just the cutest type of sheep so there we go
expect to see a lot of this hat in the next videos anyway thanks ever so much
for watching and until it’s Sunday or maybe Thursday thanks for watching bye my heart is sweet

100 thoughts on “The POWER of COLOUR in LANDSCAPE PHOTOGRAPHY”

  1. Carl Reid says:

    Great insight into your workflow Nigel particularly around the colour wheel it’s starting to make more sense to me.

  2. harvey arber says:

    just an i dear… can you teach how to build or update a web site

  3. Des Gardner says:

    Thank you Nigel that really was a interesting video especially as I have problems with the greens in my pictures, the other day someone was on here and the greens in this person's pictures were horrific this person said the camera that was being used was noted for the perfect greens, ahhhhh, I do hope that person watches your video! Your hat looked good and it was good to hear someone say I support local industries, so good of you!…..

  4. Beate A says:

    Love the hat!

  5. Martin Westberg says:

    Great video Nigel. Nice to get some insights in how you process your images. I agree with you that it is ok to remove some items if it brings together the image better.

  6. Wendy Newing says:

    Thank you so much for this informative video. It is so helpful. Please continue to do such lessons from time to time, along with your other videos from the great outdoors. You were right to remove the sign. It would have spoilt an otherwise perfect image. Your images are works of art, not photo journalism. I love the hat –  and Herdwick sheep. As the hats are pure wool are they itchy to wear? I have been looking for one like that for ages, so thanks for adding the link.

  7. peter woodham says:

    The sign is a man-made object that spoiled the view so removing it is fine.

  8. Hugh Wolfe says:

    Exactly, that sign was a distraction. Love your hat, however it’s still just a bit on the warm side here in Southern Arizona. 2:40 AM and it’s still 75° (24°C)

  9. Denning76 says:

    The lack of a cap really threw me off.

  10. Hamsterneck - Lakes, Life, and Photography says:

    Nice job. I never thought about the radial filter for vignette. Nor having a color wheel on hand. Great stuff.

  11. Paolo La Rocca says:

    very interesting, but obviously one needs also a good computer with a color accurate display, not easy to get one in the mid range laptops category…..

  12. Jim Day Photography says:

    Hey Nigel. Fantastic colour tutorial. It's really comforting to know that my lightroom method is very similar to yours when it comes to colour. Totally agree that you need to step away from it for a while. There is something wired that goes on with colour interpretation when you have been looking at an image for a while. Can I just ask? When you are capturing an image do you use a method for colour? I tend to use my photographers instinct/eye when capturing and then make the best of the colours when back in lightroom. Would love to know if I am missing a trick. Love the new hat by the way. Nice colour 😀👍

  13. Chris Loomis says:

    Nigel: thank you for your help. I am buying filters now, to do work on the " front side ".. Night Mate.

  14. David Mayberry says:

    Just wanted to say I’m glad you read the comments from your last video about making this vid and took the time to do so 😊 great to see your thought process on post processing 👍 and with regards to removing stuff, this sign was put their by man, so why can’t a man remove it, if there was some rubbish on the floor, you would have picked that up for sure, no difference imho 😉

  15. Paul Cooke says:

    Superb. Fully agree on removing distracting objects. My rule is, if it could have been done in the old days of a real print..dodging, burning, maybe even spray painting, then it is a valid technique in modern workflow.

  16. Helen Higgs says:

    Thanks for the video, Nigel. It gave me some new ideas. Definitely right to remove the sign. It was a barrier and without it you are invited to look beyond. First thing I noticed was the missing hat. I was disappointed because I was going to challenge you to do a vid without it at Christmas, for charity. Never mind, there's always James Burns …

  17. tjsinva says:

    Always a pleasure. I guess you're easing into using the Wacom tablet Supposedly, there is a bit of a learning curve. Rock on!

  18. Jim Turner says:

    I don't have a problem about removing distracting items from images. I think there's a difference between a record shot and creating an artistic impression of the scene as you experienced it, and if something detracts from that then removing the distraction is perfectly legitimate.

  19. Tony Flynn says:

    IMO the image is better without the sign. It adds nothing to and even detracts from the story that Nigel is telling with this image, which I think forms a good test for whether it stays or goes. As for “artistic integrity”, would that question even be raised if this were a painter looking at the scene and deciding to leave the sign out? Unless it is for some forensic or other documentary purpose, isn’t good photography more about impression than accuracy?

  20. Gareth Kelley says:

    Really enjoyed that Nigel. Very insightful, learned a few bits about Lightroom that I didn't know.

    Keep up the great work buddy, really enjoy following along.

  21. Joseph Stanski says:

    Great video Nigel – Color and Editing all in one video – what a great opportunity to learn. Thank you so much. Also, love the hat and story that goes with it. J

  22. Moises Cugat says:

    Nigel… your work is so awesome and inspiring. THANKS A LOT for sharing. I learn a lot from you!!!

  23. Ronaldo Morales Guimarães says:

    Awesome video… keep doing this great job! 👏👏👏

  24. david edge says:

    You look better without the cap – more professional somehow. Thanks for another genuinely useful video

  25. ANDREW GALLUP says:

    One vote/agreement about removing "things" from an image. I tend to see things historically and a building or steam locomotive or whatever is incompatible with mindless warning signs or telling you what you are looking at.

  26. Valerie ValerieM says:

    Great video as usual but discount code does not work for hat!

  27. Paul Barnard says:

    So how did you post this while you are at Fotofest? I’m sat here watching you being interviewed right now.

  28. yu jin landscape photography. says:

    I do my create style that take , beautiful colors in the landscap photography of the winter, it coming soon one month. Thank your sharing video.👌sir.

  29. Don Huff says:

    Thanks for an interesting and educational video. I very much like this photo and I like you do not see a problem with removing distractions in the photo.

  30. Larry Rudnick says:

    Nice insight into your processing. Nice hat too!!

  31. Anthony Plancherel says:

    Wonderful helpful tips on colour! Great hat too!

  32. Gene Waddle says:

    As to the sign, I was thinking all the way through the video that if it was mine that sign would be gone. 🙂🦆

  33. Mike Mitchell says:

    Nigel,

    RE: removing offending objects…

    I believe we are. creating art to our vision. The license is implied to change these compositions as we see fit.

    Thank-You,
    Mike

  34. James Hainsworth says:

    If you don't see something as part of the image when you take it, I think it's okay to remove it in editing

  35. Elad H. friedmann says:

    Thank you for sharing your technics, it not not a given. Your work is beautiful,; very elegant and pictorial.

  36. Stuart McNair says:

    Much prefer it without the sign.

  37. Terry Olsen says:

    Excellent video, Nigel! Informative and interesting watching you process this beautiful image. Speaking for myself, I have no problem removing unwanted objects in my images. Especially signs, wires and maybe people. But, like you, I don't ever add anything.

  38. Mike B says:

    Very good, much appreciated insight! I only started watching your videos a couple of weeks ago, but i've probably learnt more in 2 weeks than in the last 2 years…

  39. Steve Moore-Vale says:

    Great episode Nigel. Very interesting to see how your work and how colour plays such s huge part in photography and indeed the processing. Out of interest, once you’ve completed a picture do you export the final image for archive purposes (burning in the edits so to speak) or just leave the edited raw in Lightroom?

  40. RICK PETERSON says:

    I’m all for REMOVING and against ADDING elements. It’s usually man-made objects that get removed great hat!! 👍

  41. andrew herbert says:

    Very useful video thanks , I’m ok with removing the sign , unless you knew the location you wouldn’t have ever known it was there in the first place and it does look better without it

  42. phil n says:

    Great video, especially liked your comments regarding the colour wheel, it's something I think about when taking portraits but have never considered it for landscapes but it makes total sense.

  43. KirillPhotography says:

    Tell me what paper you use to print photos?)

  44. Joe Sharp says:

    It's your image. Do as you like. Shoo the naysayers. Your Sunday morning video with a cup of coffee is the first thing I do when I get up.

  45. Mario Valkenborg says:

    Thank you Nigel for this educational video !  
    The way you edit in Lightroom is simple and give me another way for bringing my photos to life.
    I find it difficult to find a personal style because every photo or landscape has its own colors and mood.
    I also have no problem removing things in my compositions but adding is a no-no for me ….. same as you.

  46. Dionisios Melogiannidis says:

    Great video! Keep up the good work!!!

  47. Dave Finlay says:

    I was out taking a seaside shot a few weeks ago and this family would not move out of the shot. My family was waiting for me. Content aware fill saved an ugly confrontation, and my vacation. 😉

  48. Hugh Mobley says:

    this is a perfect example of how everyone sees something different when editing.

  49. Micheal Pociecha says:

    Thanks so much for showing us your method when editing. Love your style and learning so much from you.

  50. Andy Smith says:

    Surely with landscape photography we don't have too many choices regarding colour, its readily supplied by Mother Nature and it is what it is at the time of shooting. Sure you can manipulate it in post but if over done looks fake anyway

  51. AndyB says:

    Hi Nigel. Photography is not reality, so I say remove offending signs, branches, reflections, and naysayers.

  52. joyce yang says:

    Wonderful video, thanks for the tips and
    great hat by the way! 💕

  53. aeroman says:

    Nigel, do you have a resource link to the motion graphic call outs that you use in your videos?

  54. Susan Blair says:

    Thank you for showing your edit. Very subtle tweaking to get just the right look. Beautiful photo.

  55. Cymru Pictures says:

    Great video as always, personally I think it’s better removed. Love your work and wait for Sunday morning every week. ( I’m a tad late this week).
    Nice hat btw

  56. Mike Smith says:

    Nice toque! 🤣

  57. Roshan Wright says:

    Love your work … we'd be similar. I've never used an edit program but want to. Am on a limited budget so where do I start?

  58. Aaron Berwitz says:

    Great video Nigel, as always. Loved that photograph when you originally displayed it. Thank you for showing us how you edited it. I completely agree with your comment on "it still being art". I've never had a problem with removing aspects from an image to improve its aesthetic. It's completely up to the creator, on how they tell the story.

  59. Steve Hedges Photography says:

    Great image and video. I think it's fine to remove the sign.

  60. Big Beard says:

    I'm sorry Nigel, but you're going backwards — no hat… If you want to get ahead, get another hat! LOL :-}

  61. Erich Stocker says:

    I am more a representationalist than a pictorialist. However, given that this is an art photo, I don’t have a big issue with removing things. But, I liked the sign. I guess it depends upon what one prefers. You preferred without-so that is what you “saw”

  62. Steve Hartley says:

    Good to see you again to day at Fotofest Nigel. Four great talks and lots to think about, and returned home to your colour vlog – Sundays don't get better than this!

  63. B E says:

    It would be nice also removing this object in another video. I think that if it is not huge or topic changer, removing is fine.

  64. Clark Barrow says:

    Hi Nigel. I’ve enjoyed watching this video and especially you signing your photos. I notice this photo is for sale on A2 and A3 paper. Could you make a video on your suggestion on matting your photos correctly in order to show your signature? Could you also explain what type pencil you use to sign on your photo paper so it doesn't smear? Thanks a million.

  65. Gisele Smith says:

    Thank you for another informative video. When you were talking about artists, I thought about Maxfield Parrish. Here in the eastern US, we are coming into the season where our morning skies often have that light and color he painted. Hoping to get some of that glorious morning stuff, I will be out shooting early come October….

  66. Huw Alban says:

    Great to meet you today at Fotofest in Bath, and a great presentation too 🙂 Love the final image in this video. Split toning has always been something of a mystery, however I now think I could give it a go. Hope the journey home from Bath was good for you. All the best, Huw

  67. Karyleiana WildernesScapes says:

    Unless you're completely fabricating an image — whilst still calling it "realistic/true-to-life" (for ex: sky replacement of a flipped milky way, adding in waterfalls that don't exist, changing coastlines to make it more dramatic, etc) — that's when I feel it's not "landscape photography", you're doing "digital art". & if that's the goal, fabulous! Just don't label it the former & be transparent about it.

    Removing the odd sign or distracting elements in an image, is no where near the same category as above. So never apologize or feel like you need to explain why you made that editing choice.

    Aside from that, great video I learned a new skill — always been somewhat scared of using Split toning haha — & I just downloaded a color wheel to keep on my phone whilst I'm out shooting to use it as reference!

  68. Rob Coates says:

    Love your approach to passing on your knowledge – quiet and methodical. Thank you. Unfortunately, not much need for that lovely beany where I live! Cheers from Perth, DownUnder.

  69. Holly Mathis says:

    Gorgeous image, nice hat and I agree that the sign was too distracting, very nicely done Nigel 🙂

  70. Noealz - Rain Photographer says:

    very well put and very well thought out – good stuff man. PS that editing is lush~

  71. John Drummond says:

    I'm fine with removing the sign. As a former painter, if I were painting the scene I'd likely leave it out. There's a difference between taking a photo and making one. I'm also with you on never adding elements that weren't there.

  72. Ed Cox says:

    Thank you for another informative video, Nigel. I appreciate seeing your Lightroom flow and your use of the color wheel with adjacent and opposite colors.

  73. Gord Roberts says:

    Thanks Nigel, as usual I learned some good techniques and improved my understanding of why I like what I like (if that makes any sense). To answer your question about removing the sign, that is exactly what I would do. I see no point in leaving distracting elements in a composition, or not adjusting the white balance, dodging or burning or whatever. What we are talking about is Art, not photo-journalism. Thanks for sharing, looking forward to receiving my calendar. Cheers from BC!

  74. Elly Elzinga says:

    Absolutely love that hat! And I am so glad you decided to remove that sign.. I couldn't stop looking at it throughout the entire video, it was so distracting.. I was very annoyed by it to be honest.. xD It was a very interesting video to watch, I've never worked with split toning on this way!

  75. thegreatestlight1 says:

    Painting their photos! Not heard of that before 👍

  76. Phill James Broadcasting North Yorkshire Video says:

    Another fantastic video Nigel…. I was going to say “I love your Pom-Pom” but it would have come across as ambiguous!!! Thank you for your videos I watch them every Sunday, it’s like church for photographers!!!

  77. Deborah Hammond says:

    If you were making an image to accurately describe a location, for a travel mag as an example, then it should stay, but otherwise, surely as art it’s the choice of the artist

  78. Mats Sandquist says:

    I love these soft colours. This tree photo just proves it that you don't always have to go to epic locations to get a great photo.

  79. Amish Parekh says:

    You did mention about colour wheel in your video, which you try and use to understanding colour palette. If you don't mind can you please share the name of the app which you use as it may help me with my understanding. I love your subtle colour palette a lot which you tend to use in most of your images – different perspective though

  80. Neil Camden says:

    Nice vid Nigel. The sign is clearly for a National Trust area. Would you keep a version with the sign still there and tag the post with @NT in order to get them to feature your image? Or is that not your style?

  81. Tony Utting says:

    Nice hat. On the removal of items, if you take stuff out, you are still creating an artistic image, but in my mind it stops being a photograph?

  82. Martin Agius says:

    I agree that some things needs to be removed to improve the image.

  83. M. E. says:

    I stumbled upon this a while ago, it changed my perspective. http://www.tedgorecreative.com/blog/2016/2/8/imc0w2lc0ie6b1jtixfht4jgqyjvnu

  84. Julian Baird Photography says:

    Nice new hat mate! Great catching up with you yesterday. Hope you enjoyed it as well. Meant to say, if you're ever down my neck of the woods give me a shout. Cheers 👍

  85. Maggie .White says:

    Great Video as usual. Love the hair and love the hat.

  86. JoDaniels.Photography -The Netherlands says:

    Take away some “disturbing” parts of a photo is like a painter finalize his painting. It’s part of the art😊

  87. Jeff Storey says:

    Another great video, Nigel. Thanks for sharing your editing techniques.

  88. Dan Maynard says:

    I had a proper laugh out loud when you kept saying photos and progressively more frustratingly wrote paintings below.

  89. John Hawkins says:

    Great to see you at FotoFest yesterday – will be catching up on the video later tonight (I hope).

  90. Günter Havlena says:

    Beeindruckend schön sind Deine Bilder, mein großes Kompliment

  91. Patricia Meave Hopkins says:

    I agree with the removal and no addition practice. Thanks again for a great video and the link + 10% off a beautiful new warm hat~just in time for the colder season! xx

  92. cpnock says:

    I’m ok with removing the sign , painters would "paintshop" pictures and amend the scene much more than we can. Only thing you could not remove would be Pebbles as she would make the photo.. 🙂

  93. Andreas B says:

    I have often looked at pictures of William Turner. His color palette is perfect.

  94. Divi Photos says:

    Great video nice

  95. Dieter Voegelin says:

    This is a fantastic video, Nigel. Thanks for sharing. Such "disturbing elements" can be easily removed if the whole picture is really disturbed. Something adding, never. This is really a nice and warm hat, winter can come.

  96. Joseph Cole says:

    If it doesn't belong get rid of it!! We get rid of distractions because they are just that a distraction.

  97. Djeon Cornelius says:

    Awesome video. Nice hat! I haven't yet learn how to remove contents from my images during edits. However, I do agree with the idea of removing and not adding to the image.
    '

  98. Richard Laurin says:

    I, too, remove small, distracting objects that can't be avoided when taking a photo. The goal is increased coherence. Enjoyed the video a lot. Very instructive.

  99. Michael Fate says:

    The image looks more like "Fine Art" without the sign, as opposed to a "Snapshot" with the sign. Good call on your part to remove it!

  100. Mark St.Pierre says:

    Totally fine to remove the sign, if you ask me. It was man made, in a photo of a natural setting, so even more reason to get rid of it,

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