Masking is a powerful method for enhancing outdoor photos by balancing the tones throughout a scene. Unfortunately, this transformative technique is overlooked by inexperienced users who consider it too advanced for their rudimentary skills.

Complex masking occurs when working on images that require multiple selections, each with their own adjustments. But as you’ll see in today’s straightforward tutorial from the PLOG Photography YouTube channel there are times when one simple mask is all you really need to turn a good image into a great one.

Today’s episode from German landscape pro Christian Mohrle demonstrates how easy it is to introduce an awesome glow/spill effect using a single Radial mask. We encourage you to download his sample Raw file with the link beneath the video so you can follow along and make the changes yourself as the simple steps are explained.

Mohrle’s edits always begin with a few global adjustments to create the best possible base image before turning to selective enhancements that create his final effect. This time he starts by changing the profile from Adobe Color to Adobe Standard which immediately lessens contrast.

Other preliminary steps include dropping exposure in the top left of the sky to bring out more detail where the glowing effect will be added later on in the process. He then brings down the shadows and increases the Whites to “spread the histogram, making sure to cover a nice tonal range from the darkest darks to the brightest highlights.”

After a few more basic adjustments the image is much improved, and now it’s time to open Lightroom’s Masking panel and gets to work. The glow effect is created with a Radial Gradient near the end of the process, and you can jump to the 7:40-minute mark of the video if that’s all that concerns you.

However, we recommended watching the preceding portions of the video where Mohrle applies optional selections that improve his image in other ways. Once the masking is finished with the glow effect in place, Mohrle completes the impressive transformation with thoughtful color grading and simple sharpening.

If nature and landscape photography are among your passions, be sure to explore Mohrle’s instructional YouTube channel where there are many more shooting and editing lessons to be found.

We also suggest watching the tutorial we featured recently with another Lightroom expert who demonstrates the difference between “Capture Sharpening” and “Output Sharpening” when editing soft photographs in Lightroom.

After months-long speculation and rumor, Ricoh Imaging announced the PENTAX 17 to the thunderous applause of legions of film shooters and dedicated Pentaxians. Shutterbug was fortunate to receive the loan of an early sample for evaluation. Here is our report.

Overview & First Impressions
A film camera in 2024—that’s news. Opening the shipping carton was fraught with intense anticipation. The PENTAX 17 sample enclosed therein did not disappoint.  Felt like a real camera, and had many real-camera features, including a familiar film advance lever that won my heart immediately.

Obviously, a film-based camera cannot preview any of its capabilities the way a digital camera can, so I had to wait until I had charged it with film and had the celluloid developed and scanned. But for sure, the dry-firing was enjoyable, even though the tiny noise the shutter release made was underwhelming after my many years of experiencing multiple DSLRs and mirrorless camera ka-thunk their way through the exposure process; nonetheless, I was instantly sold.

Key Features & Specifications
• 35mm half-frame (17mm x 24mm images on standard 35mm film)
• Default vertical format
• Magnesium alloy top and bottom covers
• 25mm f/3.5 lens (equivalent 37mm) 61° angle of view
• Lens design has 3 elements in 3 groups
• Zone focus (6 focus zones)
• 25mm minimum focus distance

Key Features (cont.)
• Seven AE modes including Bulb and Slow Flash Synch
• Shutter range 1/350 to 4 seconds
• Albada-type optical viewfinder with closeup frames
• Traditional film advance lever and manual rewind
• Selectable ISO plus Exposure Compensation (+2 / -2)
• Built-in flash, GN 6 (ISO 100 in meters)
• 40.5mm filter thread

Key Features (cont.)
• Film box top holder
• Three strap lugs to accommodate vertical or horizontal carry
• Compatible with optional CS 205 Cable Switch
• Requires one CR2 battery (not compatible with rechargeable CR2)
• About 10 x 72 exposure rolls per battery
• Measures 5.0 x 3.1 x 2.0 inches (127 x 78 x 52 mm)
• Weighs about 10.2 ounces (290 g) without film/battery

Focus & AE Details
The PENTAX 17 compact film camera has six focus zones,  0.82 feet, 1.7 feet, 4 feet, 5.6 feet, 10 feet and infinity (0.25m, 0.5m, 1.2m, 1.7m, 3m, ∞). Although I didn’t find it in any PENTAX documentation, the supplied wrist strap is about 10 inches long, making it a handy measuring tool to establish the closest close-focus distance.

There are seven Auto Exposure modes:
· Full auto (Pan focus program AE, Auto flash)
· Standard (Program AE, Flash off)
· Slow-speed shutter (Slow-speed program AE, Flash off)
· Maximum aperture priority (Max aperture priority program AE, Flash off)
· Bulb (Bulb, Flash off)
· Daylight sync (Program AE, Flash on)
· Slow-speed sync (Slow-speed program AE, Flash on)

Exterior Construction, Fit & Finish
Nice! Excellent! Solid! These are just a few of the positive adjectives that popped into my mind when I unwrapped the PENTAX 17 and raised it to my eye. The viewfinder is very bright and the superimposed framing outline is easy to distinguish. The back pops open with an authoritative click when you pull up the rewind knob (just like in the old days) and the body is comfortable in the hand.

The PENTAX 17 screams “high build quality” throughout. You can’t ask for more than that.

Image Quality
Half-frame 35mm is not a new concept. Over the past 50 years or so, many camera manufacturers have produced half-frames, including the legendary and highly sought-after Olympus Pen series. The area of a 35mm 17 x 24mm half-frame negative is 408mm², about 20% smaller than APS film’s 504mm² area. Even if you don’t remember APS film, you can thank that monumental format failure for the size of an APS-C digital image sensor.

Evaluation of image quality must take the negative size into account. In general, the half-frame format is way more than good enough to produce excellent images. The PENTAX 17 squeezes every drop of quality from the film, despite its comparatively simple 3-element optical design. I was more than satisfied, even though I was mildly skeptical in the beginning.

The monochrome image of the mushroom shown above is a great example of what this little camera can do. I’m glad I got down on my belly to sneak up on this bashful fungus, even though I’ll never get the grass stains out of my tee shirt.

Focus Cheat Sheet
The film box top holder on the back of the PENTAX 17 is cool—just like cameras in the old days. But it’s doubtful that you’ll forget what kind of film you loaded. So instead of a box top, use the holder to display this cheat sheet. Copy this, or make one of your own. I omitted the ∞ Infinity setting because that one I can remember.

Film Processing
I sent the film to Roberts Photo Lab in Indianapolis, the processing arm of Roberts Camera (AKA UsedPhotoPro.com). It was easy—I just printed the order form and mailed the rolls off in a padded envelope. Actually, I used Adobe Acrobat to fill out the order form because I type more legibly than I print.

Roberts Camera is a great source for 35mm film, too. Take a look at this crazy Street Candy Psychedelic ISO 400 35mm color negative film.

Check out our recent story, Shoot Film? Here are 5 Labs that Develop & Print, for more information about having your film processed.

And for a comprehensive primer on getting started in film photography, read this: Start Shooting 35mm Film — Here’s a Complete Guide.

Conclusion
I can list five reasons why you want to buy this PENTAX 17 half-frame 35mm film camera.
1. It’s Film and it’s Fun
2. Exceptional build quality
3. Excellent overall performance under most lighting conditions
4. Scanned images are excitingly different than native digital images
5. Buying a new PENTAX 17 vs a secondhand film camera offers multiple advantages

Price & Availability
You can order a PENTAX 17 directly from Ricoh Imaging today for $499 or in a kit, offered exclusively at the Ricoh Imagining portal, that comes with one roll of Ilford HP5 Plus 400 black and white film, one roll of Kodak UltraMax 400 color film, two prepaid film processing coupons and 2-Year Extended USA Limited Warranty. The kit contains everything you need to shoot film today and costs $599 when ordered from Ricoh.

Currently, the PENTAX 17 is not available from Amazon, but that may change in the future. At any rate, you may want to check out the Official Pentax Store on amazon.com.

Looking for a great deal on a gently used, refurbished Ricoh/Pentax product? Visit Ricoh’s Product Outlet. At the time of this writing, you can land a refurbished HD Pentax-DA Fish-Eye10-17mm f/3.5-4.5 ED for under $300. [I own one of these fish-eye zooms and it’s awesome!]

Curiously, Ricoh Imaging’s website also hosts a totally separate Open Box/Refurbished section that features a wider range of available products, including a very desirable PENTAX 645z 3-lens (55mm f/2.8, 90mm f/2.8 and 28-45mm f/4.5) comprehensive kit identified as “trade show samples” at a steep discount from regular price. Inventory turns over quickly so check back often.

Scorecard

Pros
• Fantastic ergonomic feel, fit and finish
• Outstanding image quality under most conditions
• System of warning lights deters accidentally wrong settings
• Just the right size for a half-frame film camera
• Traditional film advance and rewind are nostalgic and satisfying

Cons
• $500 ($600 in kit) is strenuous
• Choice of zone focus settings overwhelming (see our workaround)
• Sadly unsatisfying “pip” sound when shutter pressed
• Lack of AF could stymie “Smartphone Generation”
• Film’s lack of immediate gratification (instant playback) will disappoint some

Want to Become a Better Photographer?
Begin by taking more pictures. Carry a camera everywhere you go (this PENTAX 17 is a great candidate!) and shoot even when you’re 100% sure the picture won’t turn out. Review all of your images with a critical eye and share them with others – and that includes posting the best on our Gallery. Subscribe to our newsletter (see sign-up form on our homepage) and bookmark Shutterbug as a Favorite on your browser so you can check back often. We’re in this for the same reason as you – we love photography, and we’re learning more about it every day.

—Jon Sienkiewicz

(As an Amazon Associate, Shutterbug earns from qualifying purchases linked in this story.)

Do you understand the difference between Lightroom’s HSL and Calibrations tools, how each one works, and which method provides the best results when processing different types of landscape and nature images? If not, this 12-minute tutorial from the PHLOG Photography YouTube channel will clarify any questions you may have.

Regular Shutterbug readers are all familiar with the work of German pro Christian Mohrle who’s not only a great landscape photographer but a very adept post-processing expert. You’re also aware that he always provides a link beneath his videos for downloading the Raw file used to explain the technique of the day.

This episode not only demystifies Lightroom’s important HSL and Calibration tools, but it walks you through a complete edit from beginning to end so you can follow along and make the adjustments yourself as the simple step are explained in barely 12 minutes.

Mohrle prepares the image with several basic adjustments before jumping into the headline tools and the selective adjustments that are part of the equation. He begins by changing the Lightroom profile from Adobe Color to Adobe Standard to lesson contrast in the shot. Then he modifies White Balance to cool off the background, boosts exposure while ignoring clipping on water droplets, and cuts shadows for a bit more “punch.”

Other preliminary enhancements include increasing Texture, decreasing Clarity and Dehaze, and significantly boosting Vibrance for a more saturated appearance that accentuates the yellow blooms and green foreground vegetation in a way that maintains a realistic look.

The image is now much improved and it’s time for simple masks that selectively target different elements within the frame. These includes a Color Range mask with a Linear Gradient for enhancing the blue background, and another linear Gradient to adjust tones in the lower portion of the shot.

Now it’s time to explore how Lightroom’s HSL and Calibration tools can further refine the result, and Mohrle’s explanation makes the difference easy to understand. All that left to complete the impressive transformation is a bit of surgical cleanup.

Mohrle’s instructional YouTube channel is a great resource for landscape photographers and others who shoot in the field, so make it a point to visit when you have time to explore everything that’s available.

We also suggest watching the tutorial we featured recently with another accomplished pro who debunks the conventional wisdom that you should always shoot landscape and nature photographs at low ISO settings whenever possible.

This Photoshop tutorial demonstrates a game-changing hack for transforming landscape images from boring to amazing faster than you ever thought possible. The technique only requires two quick clicks and barely four minutes to demonstrate.

Instructor Steve Arnold is a professional landscape photographer based in Australia who we frequently enlist to explain the straightforward editing methods that help boost the impact of his spectacular imagery. This episode is all about enhancing light in just about any photo you capture in the great outdoors.

Arnold introduces the lesson like this: “In this video I’ll show you exactly what this game-changing technique is and the types of images it works on so you can give your landscape photos a stunning look and feel in seconds.”

The first goal is to inject beautiful, hazy light with an appealing atmospheric effect when shooting a sunset or sunrise under less than ideal conditions. Arnold’s hack is also particularly useful with scenes that have a flat, features sky—like what Arnold encountered on a trip to New Zealand.

The problem is readily apparent in Arnold’s sample photo with iconic Mt. Cook looming above the landscape in late afternoon. Unfortunately when he reached a lake at the bottom he was greeted with a bright, clear sky, “which doesn’t make for a great sunset.” He certainly wasn’t going to return home empty-handed so he made several images—knowing that they could easily be enhanced with the Photoshop trick he demonstrates today.

Arnold’s super-simple method is what you might call a “cheat code” for enhancing the quality of light by injecting more depth and separation between the foreground, background, and everything in between. All that’s required is following his simple steps, and we’ll let him demonstrate how they work.

Arnold pulls up a few other images with slightly different problems and repeats the process to reinforce how easy, effective, and versatile this method really is. You can do the same to improve photographs you shot in the past that weren’t as impressive as they deserved to be. Then add this two-click hack to your everyday Photoshop workflow.

Arnold’s instructional YouTube channel is full of straightforward image-editing advice like this, so be sure to take a look.

We also suggest watching a tutorial we featured recently with another post-processing expert who demonstrates the difference between the important Levels and Curves tools when editing outdoor photographs in Lightroom or Capture One and the best way to use them.