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Let's give this RAW a little upgrade in....

... the better the results.

The less complicated the processing techniques...

Simpe yet effective steps:

Enhance the light rays

Remove overexposed parts from the RAW-file

And many more creative techniques

Create the perfect color balance

Maximize shadow details

''Few words to describe his tutorials? More addictive than Netflix.''

''I’ve learned that with simple processing techniques you can achieve unlimited things!''

''Your editing videos are the best, I use your techniques on all my edits.''

''I was impressed that such an extensive and impressive editing could be done.''

''Max's editing videos revolutionized my post-production value.''

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What other photographers have to say:

(these were just 5 out of 233 testimonials)

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A simplistic and unique processing technique with powerful results

Overly complicated Photoshop techniques

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PROCESSING VIDEO TUTORIALS

On this page you will find Max Rive's famous from Start to Finish tutorials. Each instructional video has been edited with Adobe Camera Raw and Adobe Photoshop. The tutorial will start with an introduction by Max Rive - talking about the location, photography gear, compositions and more.

PROCESSING VIDEO TUTORIALS

On this page you will find Max Rive's famous from Start to Finish tutorials. Each instructional video has been edited with Adobe Camera Raw and Adobe Photoshop. The tutorial will start with an introduction by Max Rive - talking about the location, photography gear, compositions and more.

Camera RAW

The Post-processing starts in Camera RAW in which Max Rive demonstrates his simple yet very powerful work-flow. With his unique exposure settings and color techniques, The RAW file - which is included with each processing video, will already look incredible after the Camera Raw editing. Max Rive will concentrate on the exposure settings, Photoshop Color techniques, use of digital ND-grad filters and radial filters. All these camera RAW editings will result in much better contrast, light and colors.

Adobe Photoshop

After the Camera RAW editing, the processing tutorial will continue in Adobe Photoshop. The techniques in this part of the tutorial will vary with each processing tutorial. This can be his Unique Contrast Control technique - in which Max Rive optimizes the light and contrast of the image. The result of this Photoshop editing technique is greatly improved light. Another famous technique is his selective color, color balance, and shadow-highlight color painting - all will result in the perfect color balance.

3D effect

An in-depth demonstration in each Post Processing tutorial will be given about how to create a three dimensional effect on your images. Wen multiple RAW files are used Max Rive will demonstrate his creative way of focus stacking in that photo editing Lesson. Did you know that exposure blending in Photoshop can be done with only 1 exposure? - overexposed parts in the RAW can be fixed? - and that you can combine the best color settings with the clone stamp tool in Adobe Photoshop?

Instagram

In each post-processing video, Max Rive will make his photo ready for Instagram. The techniques in each processing tutorial will vary with each editing lesson. This can be his Unique distortion technique and contrast and brightness adjustments in Photoshop. Other adjustments in the Photoshop tutorial can be the optimal color profile, the correct image resolution for your Instagram photo, and how to come up with the best composition and crop for your Instagram photo.

Camera RAW

The Post-processing starts in Camera RAW in which Max Rive demonstrates his simple yet very powerful work-flow. With his unique exposure settings and color techniques, The RAW file - which is included with each processing video, will already look incredible after the Camera Raw editing. Max Rive will concentrate on the exposure settings, Photoshop Color techniques, use of digital ND-grad filters and radial filters. All these camera RAW editings will result in much better contrast, light and colors.

Adobe Photoshop

After the Camera RAW editing, the processing tutorial will continue in Adobe Photoshop. The techniques in this part of the tutorial will vary with each processing tutorial. This can be his Unique Contrast Control technique - in which Max Rive optimizes the light and contrast of the image. The result of this Photoshop editing technique is greatly improved light. Another famous technique is his selective color, color balance, and shadow-highlight color painting - all will result in the perfect color balance.

3D effect

An in-depth demonstration in each Post Processing tutorial will be given about how to create a three dimensional effect on your images. Wen multiple RAW files are used Max Rive will demonstrate his creative way of focus stacking in that photo editing Lesson. Did you know that exposure blending in Photoshop can be done with only 1 exposure? - overexposed parts in the RAW can be fixed? - and that you can combine the best color settings with the clone stamp tool in Adobe Photoshop?

Instagram

In each post-processing video, Max Rive will make his photo ready for Instagram. The techniques in each processing tutorial will vary with each editing lesson. This can be his Unique distortion technique and contrast and brightness adjustments in Photoshop. Other adjustments in the Photoshop tutorial can be the optimal color profile, the correct image resolution for your Instagram photo, and how to come up with the best composition and crop for your Instagram photo.

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Adobe Photoshop + Camera Raw

Adobe Photoshop + Camera Raw

After checkout you will receive link to the video. It will be a streaming video service. 

After checkout you will receive link to the video. It will be a streaming video service. 

When using only lightroom you can still learn from these videos, however we recommend using photoshop instead in order to follow the courses more accurately.

When using only lightroom you can still learn from these videos, however we recommend using photoshop instead in order to follow the courses more accurately.

No, he doesn’t use layer masks but is using a technique with the Clone Stamp tool which has similar results. For those using layer masks the techniques demonstrated in the videos can easily be used with layer masks.

No, he doesn’t use layer masks but is using a technique with the Clone Stamp tool which has similar results. For those using layer masks the techniques demonstrated in the videos can easily be used with layer masks.

You can see a video of Max talking in English HERE.

You can see a video of Max talking in English HERE.

Yes, they are available for download. 

Yes, they are available for download. 

SOME TECHNIQUES EXPLAINED

Unique Contrast Control

Tutorials with this technique

The Unique Contrast Control Technique has been created by Max Rive. It was first used by Max on his Patagonia image ''Persevere'' back in 2016. The idea behind this technique is to make 2 edits of the same image, each with different settings in brightness and contrast, and combine them in a certain way, with incredible contrast as a result. When contrast to a landscape photo has been added by the normal method, the darkest parts tent to be underexposed and the brightest part overexposed. Besides, some parts of the landscape photo should not get extra contrast at all.

The Unique Contrast Control Technique has been created by Max Rive. It was first used by Max on his Patagonia image ''Persevere'' back in 2016. The idea behind this technique is to make 2 edits of the same image, each with different settings in brightness and contrast, and combine them in a certain way, with incredible contrast as a result. When contrast to a landscape photo has been added by the normal method, the darkest parts tent to be underexposed and the brightest part overexposed. Besides, some parts of the landscape photo should not get extra contrast at all.

With the UCC technique however, all contrast has to be added manually. You have to decide which area of the image should get the most light, and which area the least. However, shadow details will remain in those dark areas. This technique is also very well suited for making objects look more 3-dimensional, because it allows you to paint with a certain opacity. The photo on which this technique has first been used (Persevere) won the award for best photo in 2016, at the International Landscape Photography Awards. It also received a 100 score at the website 500px, which has only been achieved one other time in the site's history.  

With the UCC technique however, all contrast has to be added manually. You have to decide which area of the image should get the most light, and which area the least. However, shadow details will remain in those dark areas. This technique is also very well suited for making objects look more 3-dimensional, because it allows you to paint with a certain opacity. The photo on which this technique has first been used (Persevere) won the award for best photo in 2016, at the International Landscape Photography Awards. It also received a 100 score at the website 500px, which has only been achieved one other time in the site's history.  

HSL and Color Balance

Tutorials with these techniques

With the HSL menu, colors can be controlled individually in Camera Raw and in Photoshop. In Camera Raw it is called the HSL menu (hues, saturation and luminance) and in Photoshop it is called the Selective Color Menu. While both menus offer the same options in terms of adjustments, the effect on the colors are different. The HSL menu in Camera Raw is using the Raw file and in Photoshop you are editing any other format.  As a result, you want to use both menus to ensure getting the most accurate color tones. 

With the HSL menu, colors can be controlled individually in Camera Raw and in Photoshop. In Camera Raw it is called the HSL menu (hues, saturation and luminance) and in Photoshop it is called the Selective Color Menu. While both menus offer the same options in terms of adjustments, the effect on the colors are different. The HSL menu in Camera Raw is using the Raw file and in Photoshop you are editing any other format.  As a result, you want to use both menus to ensure getting the most accurate color tones. 

The color balance can be found in both Camera RAW and Photoshop. In Camera Raw it is called the Split Toning Menu - in Photoshop it is called Color Balance. In the split toning menu in Camera RAW you can adjust the tones of the shadows and the highlights. With Camera Raw version 13.1 and higher you can also adjust the tones for the mid tones. The adjustment options consists out of choosing a certain color tone and saturation. 

When using the Split-toning menu in Camera Raw, you are editing the Raw-file. With the Color Balance menu you are not using the RAW file. While split toning (RAW) allow you for a much greater range of color adjustments, the color balance in Photoshop makes for much more accurate adjustments. Ultimately, the HSL, selective colors, Split toning and color balance are all connected with each other. Max Rive's workflow with these 4 allows you to create the perfect color balance. 

The color balance can be found in both Camera RAW and Photoshop. In Camera Raw it is called the Split Toning Menu - in Photoshop it is called Color Balance. In the split toning menu in Camera RAW you can adjust the tones of the shadows and the highlights. With Camera Raw version 13.1 and higher you can also adjust the tones for the mid tones. The adjustment options consists out of choosing a certain color tone and saturation. 

When using the Split-toning menu in Camera Raw, you are editing the Raw-file. With the Color Balance menu you are not using the RAW file. While split toning (RAW) allow you for a much greater range of color adjustments, the color balance in Photoshop makes for much more accurate adjustments. Ultimately, the HSL, selective colors, Split toning and color balance are all connected with each other. Max Rive's workflow with these 4 allows you to create the perfect color balance. 

Separation of the layers

Tutorials with this technique

Separation in a landscape photo is the contrast between layers. The better the separation, the easier it is to identify the layers and the depth of the image. More separation is always better, though it has to look realistic with the given light and conditions. For example, there has to be a soft transition of brightness level on the mountain itself. The lower part is often slightly brighter than the higher part. This is due the cold air, which is heavier and denser than the warmer air above it. Another aspect is the transition line between both mountain layers, which should be softer when the layers are further away, and sharp when more nearby.

Separation in a landscape photo is the contrast between layers. The better the separation, the easier it is to identify the layers and the depth of the image. More separation is always better, though it has to look realistic with the given light and conditions. For example, there has to be a soft transition of brightness level on the mountain itself. The lower part is often slightly brighter than the higher part. This is due the cold air, which is heavier and denser than the warmer air above it. Another aspect is the transition line between both mountain layers, which should be softer when the layers are further away, and sharp when more nearby.

The saturation, colors and brightness levels are also important to take into consideration when applying more separation between the layers. This is especially important when the sun is nearby. There should be a transition of brightness, saturation and warm and cool color tones - with more brightness, saturation and warmer colors when being closer to the sun, and less brightness, saturation and cooler colors when being further away. The warmth and color tones are also depended on the time of day and cloud presence. It is also possible that these conditions only make for a difference in brightness and only slightly warmer colors. 

The saturation, colors and brightness levels are also important to take into consideration when applying more separation between the layers. This is especially important when the sun is nearby. There should be a transition of brightness, saturation and warm and cool color tones - with more brightness, saturation and warmer colors when being closer to the sun, and less brightness, saturation and cooler colors when being further away. The warmth and color tones are also depended on the time of day and cloud presence. It is also possible that these conditions only make for a difference in brightness and only slightly warmer colors. 

Adding Mist and Haze

Tutorials with this technique

Mist can be welcome to a landscape because it adds mood and depth. The mist can increase the depth of the landscape when it is attached between mountain layers or when it moves inside a forest. Mist is water vapor that condenses on the ground. When this is done higher from the ground in the atmosphere it is called a cloud. 

Mist can be welcome to a landscape because it adds mood and depth. The mist can increase the depth of the landscape when it is attached between mountain layers or when it moves inside a forest. Mist is water vapor that condenses on the ground. When this is done higher from the ground in the atmosphere it is called a cloud. 

Existing mist and clouds can be enhanced in Photoshop by making it brighter. This can be done with dodge and burning, the unique contrast control technique or with selective color painting. Mist and clouds can also be created easily with Max Rive's painting techniques. The technique itself is very simple, though the workflow is more important in order to make it look realistic. 

Existing mist and clouds can be enhanced in Photoshop by making it brighter. This can be done with dodge and burning, the unique contrast control technique or with selective color painting. Mist and clouds can also be created easily with Max Rive's painting techniques. The technique itself is very simple, though the workflow is more important in order to make it look realistic. 

Adding Lightrays

Editing Tutorials with this technique

A light ray in landscape photography, can be defined as a visible contrast of light, in a straight line, created by the sun or moon. They can be point downwards, when the sun is above the mountains, or upwards, when a low positioned sun makes an angle with the clouds. The reason why we landscape photographers like them so much is because they look spectacular, and they work as a leading line towards the sun. 

A light ray in landscape photography, can be defined as a visible contrast of light, in a straight line, created by the sun or moon. They can be point downwards, when the sun is above the mountains, or upwards, when a low positioned sun makes an angle with the clouds. The reason why we landscape photographers like them so much is because they look spectacular, and they work as a leading line towards the sun. 

It can happen no light ray, a slight light ray or a strong light ray is visible in the RAW file. With a slight light ray or a strong light ray, these can be enhanced with the right editing techniques. Light rays can also be added with Photoshop, even when non are visible in the RAW file. The intensity of the light ray is depended on the angle of the sun with the mountains and the amount of dry particulates in the sky. The colors are also important. Closer to the sun they should be warmer, and further away they should be cooler. 

It can happen no light ray, a slight light ray or a strong light ray is visible in the RAW file. With a slight light ray or a strong light ray, these can be enhanced with the right editing techniques. Light rays can also be added with Photoshop, even when non are visible in the RAW file. The intensity of the light ray is depended on the angle of the sun with the mountains and the amount of dry particulates in the sky. The colors are also important. Closer to the sun they should be warmer, and further away they should be cooler. 

Semi-Black and white

Tutorials with this technique

Photographers often choose to go for a black and white conversion when the image is lacking any interesting colors. This can be due to the light, the surface of the landscape, the conditions or the season. Think about a situation like the time between autumn and winter, a snow-caped winter landscape, a misty forest without many leaves or a mountain landscape with mostly stones. In all these conditions the saturation is expected to be low, and there is no real color dominance

Photographers often choose to go for a black and white conversion when the image is lacking any interesting colors. This can be due to the light, the surface of the landscape, the conditions or the season. Think about a situation like the time between autumn and winter, a snow-caped winter landscape, a misty forest without many leaves or a mountain landscape with mostly stones. In all these conditions the saturation is expected to be low, and there is no real color dominance

A full Black and White image has no saturation in any of the colors. This will allow for a much higher contrast without making the image look artificial. This is due to the absence of colors, which normally reveal how the contrast of the scene should actually look like. A black and white image can help to create a new, dramatic reality, which looks artistic instead of overdone. The big downside however is the lack of colors - which add mood, depth, separation and story to an image. The semi-black and white conversion combines the contrast with a different level of saturation for each individual color.  

A full Black and White image has no saturation in any of the colors. This will allow for a much higher contrast without making the image look artificial. This is due to the absence of colors, which normally reveal how the contrast of the scene should actually look like. A black and white image can help to create a new, dramatic reality, which looks artistic instead of overdone. The big downside however is the lack of colors - which add mood, depth, separation and story to an image. The semi-black and white conversion combines the contrast with a different level of saturation for each individual color.  

Panorama merging and distortion control

Tutorials with this technique

The definition of panorama image is a bit broad. In this case we are talking about a panorama when multiple different photos have been merged into one photo. This is usually the case when a wide angle lens isn't wide enough to cover the whole composition. The aspect ratio can be either horizontal, square or vertical oriented. 

The overlap is the amount of the photo which is duplicate to the next one. The desired overlap amount is around 30%, because around this number the distortion is similair. Goign for a lower overlap can result in merging errors due a lack of recognizable objects.

The definition of panorama image is a bit broad. In this case we are talking about a panorama when multiple different photos have been merged into one photo. This is usually the case when a wide angle lens isn't wide enough to cover the whole composition. The aspect ratio can be either horizontal, square or vertical oriented. 

The overlap is the amount of the photo which is duplicate to the next one. The desired overlap amount is around 30%, because around this number the distortion is similair. Goign for a lower overlap can result in merging errors due a lack of recognizable objects.

When merging the photos, you can choose to use one of the auto modes, or do it manually. The preferred auto mode is reposition, which doesn't influence the distortion of the image. When the panorama image consist out of nearby foreground objects, the reposition mode will have more difficulty. In that case an auto mode such as the cylindrical or Spherical mode can be used. When the result is too distorted, a manual merge is recommended. The merging line is important when merging a panorama manual. This can be the sky or a surface without many recognizable objects. 

After the correct merging method has been chosen and completed, it is time to remove the noticeable distortion. This can be done with Max Rive's distortion control, which can remove almost any distortion to a minimum.

When merging the photos, you can choose to use one of the auto modes, or do it manually. The preferred auto mode is reposition, which doesn't influence the distortion of the image. When the panorama image consist out of nearby foreground objects, the reposition mode will have more difficulty. In that case an auto mode such as the cylindrical or Spherical mode can be used. When the result is too distorted, a manual merge is recommended. The merging line is important when merging a panorama manual. This can be the sky or a surface without many recognizable objects. 

After the correct merging method has been chosen and completed, it is time to remove the noticeable distortion. This can be done with Max Rive's distortion control, which can remove almost any distortion to a minimum.

Light from the Side

Tutorials with this technique

When the sun is just outside the frame, it will create a visible light on that side of the photo. This side light will be visible on your camera lens, but also with the naked eye (look at a certain angle away from the sun). 

When this side light is visible on your photo, it can enhance the mood of the photo, and it can also give direction of the composition. The balance of the composition will increase in weight on the side where the light is added or enhanced. 

When the sun is just outside the frame, it will create a visible light on that side of the photo. This side light will be visible on your camera lens, but also with the naked eye (look at a certain angle away from the sun). 

When this side light is visible on your photo, it can enhance the mood of the photo, and it can also give direction of the composition. The balance of the composition will increase in weight on the side where the light is added or enhanced. 

The light from the side can be added in both Camera Raw and in Photoshop. It is important to take the different color tones into account - which should be warmer towards the sun. Light from the side is different compared to haze. There should be a lack of contrast with light from the side and the brightness should increase gradually when going closer to the light.  

The light from the side can be added in both Camera Raw and in Photoshop. It is important to take the different color tones into account - which should be warmer towards the sun. Light from the side is different compared to haze. There should be a lack of contrast with light from the side and the brightness should increase gradually when going closer to the light.  

Light from the Side

Focus Stacking (manually)

Tutorials with this technique

The focus stacking technique allows you to get both the foreground and background in focus when it isn't possible with a single image. This can be the case when you have foreground objects very close to the lens. This can also occur with a telezoom lens when the distance between the focus point and background is far greater than that of the camera and that focus point.  

The focus stacking technique allows you to get both the foreground and background in focus when it isn't possible with a single image. This can be the case when you have foreground objects very close to the lens. This can also occur with a telezoom lens when the distance between the focus point and background is far greater than that of the camera and that focus point.  

When you are unable to use a tripod, or prefer to shoot handheld, the different images will not be aligned perfectly. There is however a technique in which they can be merged manually, with identical results. 

When you are unable to use a tripod, or prefer to shoot handheld, the different images will not be aligned perfectly. There is however a technique in which they can be merged manually, with identical results.