Processing Example – Mweni

In Articles, Tutorials On Sunday, January 22, 2017


I recently edited the below image to print to 60 inches and hang on my living room wall. I realised it was a good showcase of my workflow and thought processes. This is intended as a general look at what I get up to with my images and the ideas behind my edits, rather than a processing tutorial per se. However, beginners may find this helpful particularly from a thought process perspective – the hardest thing to learn is not HOW to process your images, but WHY.

I try to create visually successful, realistic images. I also bring creative aspects to my processing, particularly in trying to recapture a sense of wonder or beauty, but ultimately reality takes precedence over pure aesthetics.

You can break my editing process down into 2 major parts – RAW edits in Lightroom and final edits in Photoshop. These days Lightroom does most of the ‘heavy lifting’. I try to get my images 90% of the way there with RAW edits in Lightroom, but still leave enough editing headroom for final corrections in Photoshop (so for example I only set white and black points in Photoshop).

Lightroom is used for the following:

  • Combining the images into HDR DNGs
  • Combining the HDR DNGs into HDR DNG Panoramas!
  • White Balance, Exposure, Shadows, Highlights and Contrast changes (also saturation, but unusually this image required none).

Photoshop is used for:

  • Cloning sensor dust (in this case none required)
  • White points, Black points
  • Flare corrections
  • Local adjustments – some of these are corrections, some are creative
  • Final brightness adjustments
  • Output sharpening

Original RAW images


These are the original RAW images exported directly from Lightroom with no adjustments. I shot 2 bracketed sets at 1.5 stop intervals. These sets can be combined to capture the full tonal range of the scene before then being stitched into a panorama. The brightest frames on the right are closest to what I am aiming for ultimately, but the sky is completely blown and there are some serious flare issues that I will have to address. The left frames retain some detail in the sun but will be used for the blue sky portion of the image. The middle frame is necessary for the computer to combine the images in a realistic way without major fringing issues.

Lightroom HDR DNG Panoramas!


HDR-FLAT HDR-EDIT[/twentytwenty]

[twenty20 img1=”” img2=”” direction=”vertical” offset=”0.5″ align=”right” width=”60%”]

The before image show the result if you take the RAW images into Lightroom, combine them to form an HDR DNG, then stitch them to form a panorama. I have also lifted the shadows and crushed the highlights to give an idea of what a ‘flat’ edit of this file looks like. The advantage of working with these High Dynamic Range panoramas is the level of editability available when working in RAW.

The after image shows the edited HDR DNG Pano with a mixture of global and local adjustments (including use of grads and the paintbrush tool. To me this is already pretty close to where I want to finish, but there is still some work to do in Photoshop.

It is worth mentioning that the stitching process very cleverly eliminated the most problematic flare that you can see quite clearly in the original RAW files. More often than not the software does an outstanding job.

Global Corrections and Adjustments


Mweni-DNG-EDITED Mweni-FLARE-BRIGHTNESS[/twentytwenty]

Lens flare, whilst sometimes desirable, is usually something that you want to avoid in landscape images. With good optics most flares can be removed in Photoshop by manipulating the red channel of a curves layer and locally masking to reduce or remove flare in the affected areas. Along with these early adjustments I also look to set white points and sometimes black points to the image. If I have edited the RAW correctly in Lightroom these changes are generally very small. As you can see from the after image, we are pretty much there already! There are just a few more changes to make…

Detailed Edits



This edit is aimed at making a few changes locally to the trees in the image, which in my opinion are the main focus. The changes can be broken into two halves – corrections and creative edits.

There is a fair amount of ‘shadow boosting’ involved in the edits I made to the HDR DNG. Mostly this is done to a very high standard, but in some cases the background is undesirably brightened along with the tree. I introduced a darkening curve to correct this affect in those local areas (look at the background between the branches of the left hand tree).

One of the things that drew me to shoot this scene in the first place (aside from the obviously spectacular scene in general!) was the backlight and sidelight on the trees, particularly in the prominent “Mountain Cabbage Tree” which I placed centrally in the image. A series of curves adjustments were used to locally target the highlights in the sunlit portion of the trees to make the light more of a feature in the image.


SUN-BEFORE SUN-AFTER[/twentytwenty]

In the comparison image above you see the effects of curves layers on the brightness of the sun. When creating HDR DNGs in Lightroom there is a tendency of the program to recover as much highlight detail as possible. In the case of the sun you really want it to end up considerably bright to achieve a more realistic rendition. These edits are aimed at undoing the ‘corrections’ that Lightroom itself introduced!

Final Adjustments


penultimate Mweni-FINAL[/twentytwenty]

Finally I make last brightness and contrast changes to the image. These are usually subtle tweaks. I often return to this step repeatedly.

Before and After


Mweni-DNG-EDITED Mweni-FINAL[/twentytwenty]

A final comparison showing all of the changes I made in Photoshop.


  1. So cool tutorial 🙂 This is a very detailed process and a great job ! Final photo is terrific !

  2. Hi Alex,

    It’s very reassuring to know that my workflow is actually very similar although not quite as in depth. The two main points that I have taken from your demonstration are the flare removal and also where the background shadows have lifted when you pulled the tree shadows up. I never realised that flare could be eliminated/partially removed. That’s something I have to look into. Do you know if it is acceptable to remove lens flares for entering competitions such Landscape Photographer of the Year??
    I still use photoshop to merge my images. Reason being that it has the “automatic vignette removal option”. If I do not use this option then I can often find uneven streaks in my blue sky’s where the vignettes of each image overlap. I use older manual lenses that have no lens profiles in lightroom to correct this prior to merging. Photoshop does a great job of removing this problem but as of yet I have not found the same option in lightroom photomerge?
    Once again your images are incredible and your final rendering is very tasteful and true to life. I would love to see you post an example of how to remove lens flare?

    • Hi John,

      I am sure that the removal of lens flare would generally be encouraged in most competitions. LPOTY certainly would allow that kind of correction. I have no experience using manual lenses with lightroom/photoshop unfortunately. I have never had the issue you describe, I can imagine it being very difficult to resolve!
      Thanks for the compliments. If I have find the time I will put up a blog about lens flare removal.

    • Thanks for a great article Alex. And John – thanks for the tip on the vignetting – I always had problems with stripey skies using Photomerge, but now I have the solution!

  3. Thanks for the rundown of your workflow. I’ve blending my images using luminosity masks for a while now but it seems to be more work than necessary. This post makes me want to go back and give the dng hdr method another go. Thanks you for that!

    • It’s rare that I use luminosity based masking to blend images now. I’m pretty picky about my images so hopefully you will find this method saves you a lot of time!

  4. Hey Alex, great article!

    I totally agree with your workflow: 90% lightroom and 10% Photoshop is quite similar to my editing process. You’ve got a nice writing style. Keep up the good work.

    Best regards
    Lukas Petereit

  5. Hi,
    It is a really stunning photo, interesting to see your workflow! Looks like a stunning area for landscape photography!
    Tom 🙂

  6. Andrew Wilding 15th June 2017

    Hi Alex,
    Just come across your website. Thanks for sharing your edit process. I’ve also been looking into luminosity masks but I feel your approach would be a simpler way and probably just as effective by the look of you final results!
    Regards Andrew.

  7. Hi Alex,

    Thanks for the great insight of your post processing workflow. Took a few new ideas from it.
    I’m wondering what camera calibration setting in Lightroom you are using for the canon shots. Maybe Neutral, as your are trying to flatten the image before you take it to Photoshop? I’m always struggeling with that. Don’t like Adobe Standard so much. I also have some film emulation presets from VSCO, but I find that they effect the contrsat very strong. What is your preference for that? Give it some kind of a look or some preset with more contrast or start as neutral as you can? Thanks for your help.

    • Hi Marcus,
      Sometimes I play around with different colour profiles usually choosing between Adobe, Camera Standard and Camera Neutral. However there are still some images where I am left a little disappointed with the start point and I am considering making my own profiles if I can ever find the time!

  8. ben marar 16th April 2018

    great article Alex! How often do you use lightroom HDR? Looks like it just giving you clean shadows. I been trying to use it but, the only difference I see is a cleaner image, it doesn not give me more details in highlights area . 5DsR here.

    • Thanks Ben!

      What the Lightroom HDR conversion effectively does is combine the files you give it into a single file. If your bracket captures a full range of information from the brightest white to the darkest shadows then you have full editing freedom. The .dng should just act as a super awesome RAW file with lots more information in the highlights and shadows. The rest is down to your processing!

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