Here's another ocean scape. Again, I always find it a challenge to shoot this ocean scapes, there's a lot of water, and you got to base your entire composition on the water in the sky. Now I knew this there was this wood here, this old piece of appear, I can only assume at this location, that's why I went here. So that's Let me open up my exposure so you can see it. So that's the whole basis the whole premise of this composition. So basically, this this water lines right here from the sand, this will start to guide our eye into this composition.

So I use this water lines to basically guide your eye kind of slowly into this disappear The pier obviously guides your eye right into the horizon. Now this was a beautiful morning within my amazing insane colors. So I got really really lucky there. But as you can see I positioned myself. So the sky Let me lower the exposure so you can see it. So the sky kind of creates a V, and this clouds are kind of coming towards me.

And this will in turn what it creates it creates your eyes to immediately start wandering into the picture from every direction. So every aspect of the composition is very well thought out. I shot it from a couple different angles, and of course it didn't look half as as nice as how it does here. This makes the photo really balanced and it makes sense for your eye to start wandering around the photo. It enters through here or through here and slowly guides your eye into the horizon. And same with this clouds.

Now if you start looking at the photo from up here, you get the same result it starts coming down here and into the horizon just making it a very peaceful very nice image to look at the kinds of kind of makes you you know, it just makes you kind of peaceful it makes you happy inside. So anyways, let's check out our settings. So this is 20 seconds out f 14 ISO 100 and this was with my wide angle 14 to 24 millimeter lens I was fairly close to the ground, maybe about a foot, a foot and a half. And I just wanted again to create this peaceful photo. Another thing about the composition Let me open this up was this this one waterline. So I wanted to make sure that this waterline wasn't, wasn't up higher or wasn't kind of everywhere, I wanted to have it really, really nice and calm, I want this, I wanted this to be a calm photo.

So that's why I went with the 20 seconds, because I knew that going at 20 seconds, this everything would be kind of kind of nice and soft. As opposed to when you go a fraction of a second or a couple of seconds, you could see more definition on the water and what it's doing. So that's, that's how I got that and that's the reason behind that. Let me get out of that. Who said my exposure, and let's get started. So again, first things first.

Whoops, that was the whites. Let me go to my shadows and I will open them up all the way. And I can see a little more what's happening here immediately. I want to go to Contrast contrast slider, and I'll bring it up a tad yes to give it that extra punch. Now it's still really, really dark. Right, let me give it more contrast right about there.

As you can see, when you when you bring up the contrast, this colors just pop really, really good. Now, I still can't see the bottom. So what I'm going to do is I'm going to grab a radial, not a radial, I'm sorry, a graduated filter. I will press on that. And it's a graduated filter. So you're just going to grab it from the bottom up to maybe about halfway up a little bit below the the horizon line.

Okay, so I'm going to reset the exposure. And now I can bring it back up. And that looks really nice right about there. Now you can flip this, you can turn it up, you know, make it whichever way you see fit this one I want to pretty straight. And a trick to get it more straight is to see when you flip it close to the close to the ball it becomes really really hard. But when you come out here it becomes easier to control.

So it's not all crazy all over the place. And I want to pretty even so right about there looks good. I will click out of that and I will close out of it. And that looks really nice. As you can see we just exposed all of our sand in a little bit of this, this broken pier this this concrete pillars, and that's exactly what I wanted to do. So now I want to come down and bring my highlights down.

And basically I am looking at this spot. This is the hottest spot meaning the the the spot with the most highlights. So I want to look right at it and just bring this down and get a little more color out of it. Instead of being white. I want it yellow or orange Which that's where the sun was coming up from. And that's where all these orange reflections are coming from.

So that's what I'm looking at. And that looks really good right about there. Now I want to pop my vibrance a little bit. And look at that. That just looks insanely cool. Really, really nice.

Now I can see the entire image is still a little dark, which is not bad. But I do want to bring up my my exposure just a tad just to to make this clear to the viewer. And that looks nice right about there. And now I can tone down my highlights just a tad more. Since I brought up the exposure this This highlights opened up a little bit over here. So I just brought it down just a tad.

Remember, just very subtle changes, make big differences. Don't worry about the big changes those don't do anything but make your photo look ridiculous. So I think That looks really nice. Now I want to come down to my lens corrections, remove chromatic aberration and enable profile corrections and that also opens up the photograph a little bit. So now I can come back to my basic panel you can leave it as is or you can just turn it down just a tad maybe right about maybe right about there. And now we can check for sensor spots I saw that was a sensor spot up here.

Let me show you but when I did the profile corrections, see right here, it went away because it don't work that so it stretched it out a little bit, which is great. But I still want to check for sensor spots and so I'm already on on this topic. So let's click the the healing tool the Spot Removal Tool, and we are going to go on heal or pause. opacity Oh was that 100% feather on 17 is Fine, you can bring in a little more and the size you can control with your mouse. So now I'm going to go to visualize spots. And since there's a lot of clouds it's going to be really hard to see your sensor spots with the visualized spots tool on this one because all of these look like they would be sensor spots, but remember the donuts are sensor spots, the other stuff is just clouds and birds and other things.

So I don't really see any so now click that off and look with my eye and I really really don't see any and that's because I clean my sensor just about every time after I shoot. So I don't see any but what I do see, since I want this image to be super peaceful, super nice with no distractions, I do want to get rid of this buoys. So I will click on that spot removal tool again. I will make this rather small and click on They're, that looks really good. Click on here. That looks really good.

Now, I can click out of that zoom out, and then I'll zoom in on this one. And now I can get rid of this one right here. They just don't make sense in the photo since it's such a calm, relaxing photo. If there was more business more action, I would leave them but they don't make sense on this particular image. And I think that looks a lot better. So all in all, it's a before and after.

There's before and there's after. As you can see, we opened up the the shadows, we still have a great exposure of this shadows over here that are being cast by the light coming from the horizon. So it looks really really nice. I'm very happy with it. Let me get out of here. Let's mess with the temperature slider a little bit.

Let's bring it up. Not if we bring it if we warm it Remember, all your reds and yellows are going to come out. So if you bring it down, all your purples and blues are going to come out. Let's reset that. And I simply want to bring out the Reds just a tad more. So I'll bring it up.

I bring it up right about there. That looks really good. Very happy with that. Let's see our before and after. There's before and there's after. Look at that difference.

Very, very good. And I remember this is all entirely to taste. Don't worry about what other people are doing. You know it, trust your eye, trust your vision. That's what this is all about. And I think this looks really nice.

Not to me, this horizon looks a little bit a little bit warped. Let's see if it's warped. Let's put always on this grid view. And it is a little tiny bit of work not not much. It looks like it looks It looks that way, because of this of this line right here going across, that's kind of warping it. But you can fix that a little bit, you're going to go to lens corrections.

And then you're going to go to manual. And here under distortion, you can fix it a little bit, if you want. So you can go this way, or you can bring it out this way. And it looks like coming out. Let me let me reset it. I'm not sure that's doing much.

No, it is it helps a little bit. I think right about there minus six. That looks really good. Right about there. Now let's go back to a basic panel and just bring it give it a tiny bit more contrast. The contrast is makes this edges refined and you know the colors come out more just gives it that extra pop that you want.

And I think that looks really nice. Overall, I'm very pleased with the entire thing. Except for one thing, this pillars, I want to bring up this pillars a bit more. So we're going to use our local adjustments to do that. And here we have some options, we can use the Radial Filter or the adjustment brush. So let's, let's start with a Radial Filter.

Now I wanna, I'm going to crank up my exposure a little bit, just so I can see what I'm doing. And I'm going to draw around this around this pillar. And I know it's overexposed right now it's too much, but we'll crank it down here in a minute. I just want to see what I'm drawing. I can come up here and crank it down. Okay, let me reset it.

I just want to crank it up. Very subtle. So that's a 19. And now let me see this before and after with this switch right here. See, so Very subtle. And that works for me.

I like it. Now I'm going to do this one. Same thing. And that's too much. Now once you draw a new one, the settings will be new for the new one. So you don't have to worry about controlling both both of those both circles.

So I think that looks nice. Now I think that looks good. Maybe I should make it a little tiny bit bigger right about there. And let me just make it like right there. Plus 28 does nice and subtle. Let me go before and after.

Before, after. Okay, that's nice and subtle. You can't really tell so that's good. Let me press Done. I think these are okay with the shadows. But what I can also do is just to open up the sights a little more, I'm going to come to the adjustment brush, I will click on that my exposure can be cranked up, that's okay.

And now I can draw on this side. And just just I just want to show it a little more and make it more three dimensional. Okay, now let's press the O key and see what we're doing. There's the O key thing, just subtle changes. Very nice. Now, let me get out of the Okay, let me crank this down.

Just down not up just a tad. Maybe like a 40. Maybe even less, maybe like a, like a 32. That looks pretty nice. Yeah, that looks good. Now, let me shut this off.

And I'll turn it back on. Off. on, off, on, okay, let me crank it up. Just a tad more. Maybe like 48 That's good. Let me off.

Okay, that's good. Press done. Click out of that. And that looks a lot better see how you can see this, the sights of the pillars a little better. It's not a huge difference. But the subtle changes your eye catches when you're looking at this photographs.

We can also do that to the top of these with the same adjustment brush. And we'll just draw a little tiny bit on it. Nothing too crazy. And now this I want it to be very subtle. So I'm going to bring it down to like a 10. And now let's go on and off.

And you can really tell so let's bring it Okay, let's bring it maybe like 18 Before you can really tell, huh? That's pretty good. Let's see before. There we go after see just to touch on the top, just so your eye goes to the pillar. Very good 34 word here on the exposure. So we'll close out of that.

And I think that looks really really nice. All in all, I'm very, very happy with the image. We didn't do a lot to it just enough to tweak, tweak some, some colors a little bit. And I think that looks fantastic. So now let's finish it off with our detail panel. We'll crank up the sharpness this image is entirely sharp.

You don't need to do this. But since it sounds very textured you can without getting any noise. So now we'll come to our masking. Hold on your option key and remember what to White is sharp, what's blocked is left alone. And I just want to basically sharpen up the sand a little more. And the pillars not it doesn't really need it, I just want to show you how I finish up all my images.

It's, you know, doesn't hurt. And that looks really, really nice. So all in all, I'm very, very, very pleased with this image. It looks stunning. It's just such a calming, beautiful photograph. Remember, the composition and ocean scapes is very, very complex.

You basically have to base it off a sand, water and clouds and when you don't have any clouds, it's gonna be very, very tough to get a good composition. But I think it's doable. It's very challenging and you can get some some stunning results. Let me see I just I just noticed that this radio filter right here might be a little bit overdone. So I'll click back on it. And I'm going to crank down this exposure to like a 16.

I want it more subtle. So now we click Done. And that's a lot better. Basically, I could see a little Halo back here, and I didn't like it. So all in all now it's really, really good. And remember, if you catch anything before you're done, go over your image one more time just so you can catch all the little mistakes.

Believe me, people like me are always looking for little, little mistakes. And even though your photos might be stunning, it would be terrible to print a photo and hang it in a gallery and have a huge sensor spot on it. So always once you're done, you know go over it again recheck it, it's worth it's worth a couple minutes of your time I've made after I printed a beautiful image of New York to get to art basil and I had a huge sensor spot on it. I had To take it down and replace it with another image that I had printed, which was sad because at that point I couldn't do anything about it. So, anyways guys before and after. There's before there's after.

What a difference. Very, very pleased with this image.