A Beginners Guide to Better Photo Editing in Adobe Lightroom | Chad Thompson | Skillshare

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A Beginners Guide to Better Photo Editing in Adobe Lightroom

teacher avatar Chad Thompson, Photographer / YouTuber

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (36m)
    • 1. Class Overview - What we're learning

    • 2. RAW Vs. JPG - Why to Shoot RAW

    • 3. Setting up Lightroom for Editing

    • 4. Why & How to Use the Histogram

    • 5. Setting & Changing Your White Balance

    • 6. Tone Tools & Correcting an Image

    • 7. Presence Tools - Vibrance & Saturation

    • 8. Tone Curve Tips & Contrast

    • 9. Properly Sharpening an Image

    • 10. Exporting Files for Online & Print

    • 11. Wrapping up the Class

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About This Class

Welcome to my class: A Beginners Guide to Better Photo Editing in Adobe Lightroom. 

In this class, I will be going over basic photo editing and how you can apply those edits in Adobe Lightroom. Each task we will cover in this class applies to all digital photography!

We will be covering tools and topics such as:

  • The Histogram
  • Shadows / highlights
  • Contrast
  • Sharpening
  • White Balance
  • Tone Curve
  • Exposure
  • Vibrance / Saturation

The goal of this class is to teach you the subtle art of photo editing. When editing properly, professional photographers go by the rule "less is more". The idea is to edit your photos, where the editing can't be seen. 

Who's This Class for?

  • Aspiring / Novice Photographers 
  • Novice editors looking to better hone their skills
  • First time Lightroom users
  • Lightroom users looking to learn a little more

Here's the before and after image we'll be editing



Meet Your Teacher

Teacher Profile Image

Chad Thompson

Photographer / YouTuber


Hello, I'm Chad. I've been a freelance photographer & videographer for over ten years! Since doing creative work, I have been able to work for clients such as: NASCAR, Old Navy, various colleges / universities, as well as many towns and city tourism groups.

I have over the years slowed down my client work in order to pursue more personal projects and teach online. I have ran a YouTube channel (Chadeveryday) for about three years now and decided to branch out to Skillshare as well.

I have a blast meeting and talking to others who love photo and video work as much as I do. It's more than just something I love to do, it's a big part of who I am.

I hope I can help you learn some new things and have fun along the way!

See full profile

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1. Class Overview - What we're learning: Hello and welcome to my class. My name is Chad Thompson, and I'm a freelance photographer and videographer currently living in Virginia. And what we're going to be talking about in this class is the basics toe editing. So this is for anyone out there who is just getting started in editing or maybe wants to find out how to edit their photos a little bit better. And what we're gonna be using in this course is adobe light room. So if you have that, that will be fantastic. You built a fall along a little bit easier. However, the skills that we're gonna be learning today could be applied to any editor. So adobe camera, raw adobe photo shop looming are a plethora of others out there will have a lot of these key features that we're going to go over because we're not going over a specific program. But more so specific editing techniques that are going to help you improve your photography . Some of these things that we are going to be covering or things like the history Graham. The tone curve highlights and shadow detail how to sharpen an image and what types of files that you should be shooting in to get the best overall quality image as well as the best image file that you can edit on. I've been a freelance photographer and videographer for about 10 plus years now and have worked for a number of clients, including NASCAR, Old Navy, various colleges and university private clients. You name it. I've done a little bit of everything throughout my years. So that way I can experiment and find out what it is that I like the best. When I first started out in photography, my imagery was not the greatest, and it was not the in camera imagery so much as it was my editing. I way overdid everything. And that's one thing I want to get across right now Is that the more subtle you can be with your edits, such as the less likely people are to notice that you edited a particular photo and let's some kind of artistic thing that is the better. You want to be able to edit photos in a way where it makes images shine look like riel scenes in real situations, but not to the extreme point where people actually think that you have edited that photo. So I hope you really enjoy this class. And I can't wait to see you in the next video. 2. RAW Vs. JPG - Why to Shoot RAW: First of all, I'd like to welcome you, David E number one of this photo editing again. We are in Adobe Light Room Classic. Any other editor will work as well. It just may not be quite as easy to follow along. So what we're gonna be learning is how to edit a photo from its very original form straight out of camera to a final desired result. Now what I want to show you here first is to talk about the comparison between a role and J peg format. Now me personally, I shoot everything in role format and what that is all that means is it's an UN compressed format, so there's no extra sharpening added. There's no contrast, no crazy changes like that. And you're able to manipulate the file toe every extremity that you want to do, and I want to show you what I mean about that. So this image here because of a mountaintop and this is a raw photo taken straight out of camera, here's a quick before and after. So this is what it looked like straight out of camera. And here's with some edits. Now, this isn't how we want to edit our image. But just for the sake of showing you what a raw photo can do versus A J peg is everything. So this is our photo raw format with her edits applied. Now this is gonna be RJ pig. This is the same photo here. I just exported it from a Raul toe a j peg. But in the case of your camera compressing this file, it's going to cause it's where you don't have as much editing capabilities. So what I've already done has taken the settings from this edit the raw photo and I've copied those. I want to pace those on top of this J peg file to show you what it's going to do. So it's quitting pace that now if you can see here on your screen, this image looks a little bit green. It's very yellow like, and it's just it doesn't look well. It looks really sickly Now, if we go back to the raw format, you could see that looks a lot more neutral. That's more pleasing to look at, and it's a great landscape photo, but now the same effects applied to that J. Peg looks really rough and The reason is because this file has already been compressed and it's harder to work on it and actually edit it. Now we can move some things around to try to get some of that look back, but it's never gonna look as good as your actual role photo because you don't have as much control and flexibility over it. Now, if by chance you have shot your images that you will be editing in this class in J. Peg, that's fine, because this tutorial is gonna teach you the basics of photo editing. So we're not going to be doing anything to extreme. Just know that if you are not getting the exact results that you want to get out of your images, that could be part of the reason why is because there's already these different effects applied to the image that you cannot remove or edit very well. And if you want to see better results, be sure you're shooting in that role format 3. Setting up Lightroom for Editing: So before we do begin editing our image. I want to do a little bit of housekeeping here in light room if you're shooting in light room to give you the best possible editing space that we can. So when you first load up light room yours is probably gonna look something similar to this . You're gonna have your top navigation setting up here. You're gonna have your side knave bar, which is typically where your presets, they're gonna be house as well as your navigator, where you can click in on different areas of your image. And then also just your history and things like that. Here at the bottom, you're gonna have your timeline. And if you have a ton of images loaded in the light room already, you might see more than just two down here, and that's okay. So what we want to do, though, to give ourselves more space to add it to better see what we're doing? Here's what we need to do. You're gonna notice that up here, there's a narrow at this top navigation area. You just simply want to click that, and it's gonna hide that navigation area if you want to go back to it. You can just hover over or click the arrow again and it will bring it right back. So all you're going to do is repeat that for the other two areas as well. So the left sidebar navigation You're gonna click that arrow and then for your timeline here at the bottom were also going to click that arrow. Now, by default, Your toolbar section here already has a kind of a predetermined size to it. So what you can do is if you hover your mouths over, you're going to notice. It changes from a pointer to kind of these double arrows facing back and forth with you. Click and drag. You can actually pull your toolbar over just slightly, and that's gonna help us a lot more fine tuned the details when we get to those portions of the editing, so I like to go ahead and pull mine over. But you can already see how much more space we have to work with. Now. The last thing that I would like for you to do is if you do have this gray color around your photographic image, all you have to do is right. Click in that gray area, and it's gonna let you choose other colors toe edit on. I personally choose White, and I'll get MAWR into that when we start doing some edits for the highlights and areas like that. But for the time being, just switched that toe white and you're good to go, and that's pretty much it for the housekeeping rules. This is going to give you a lot better experience to get that edit down, how you want and just kind of move around within light room. 4. Why & How to Use the Histogram: the first thing that you want to pay attention to before you really start editing your image is to kind of look at your history, Graham and basically the way that I think about a hist a gram. It's kind of like a map or an overview off how your image was exposed. Now you're hissed. A gram also exists inside of your camera when you're taking an image, especially if you go back to review that image. Or you said sure came up so that when you're looking on the LCD screeners for you through the viewfinder, you can actually see it in there as well. So what a healthy hissed a gram looks like is very similar to what I have here. You want a nice balance from your highlight areas over here on the right side, all the way down to your shadow areas here on the left side, and you're gonna notice that because this is a color image will see all these different colors of the RGB spectrum. And if we turn this to black and white, it's all just graze and kind of different tone. Ality is there because it's monochrome. There are no RGB color. So we're just gonna be editing and colors. We're gonna leave that alone now. There are certain circumstances where you might see your history, Graham look a little different. So, for example, if you're shooting in a darker scene, such is like night time or where there's just really dark areas and, you know, don't pay attention to the edit I'm doing here necessarily. But look at the history, Graham. Yours might look like this. So night time photography, dark lit rooms or things like that. You might notice those things. And that's okay if that does happen because it's in, You know, that's the way it was. That was the scene that existed at the time. Same deal. On the brighter side of the spectrum, Sometimes you'll get a look like this if you were in a very bright environment, maybe like a concert, and there was some lighting going off for your shooting some fireworks. You might have some or these extremes, and that's okay. But there are ways that we can fix that to try to level things out and make it as neutral as possible. So a couple of different ways you could work with the history, Graham. It's directly linked to your exposure, your highlights, your shadows in this whole tone area down here. So if you're hissed a Grammy, just a little bit of movement, you can either grab the area that you want to kind of slide around just like so and that right there was actually just a perfect look. And you'll notice that when I move this, the exposure dialled actually moves along with it. So I can actually manually go move the exposure dial if I want, or if I want to be a little bit more precise on moving my exposure. I actually just grab the hissed a gram until I have a nice, neat little balance here that I'm overall happy with. And I think about negative 0.30 was looking pretty good. So somewhere right in here. And that's realistically all you need to know, at least right now for your history, Graham. And if that all makes sense, you're ready to move on to the next section, where we're going to talk about white balance. If you need toe, learn a little bit more about the history, Graham, feel free to go back and re watch this video over again to get a little bit better insight 5. Setting & Changing Your White Balance: Now let's take a moment to learn a little bit more about white balance. So what White Balances is trying to get that overall look in a neutral look to your particular images? And one of the reasons I said that shooting and raw format is so important is because it really helps with things like white balance. So for this example, I did have a properly exposed white bounds in camera. I shot it for the particular scene that I was shooting for, which was out in broad daylight about two hours before sunset. Now, because I know that I was shooting in daylight. And obviously this scene is so I could also choose daylight as my white balance for shooting, and you'll notice here that it moves the temperature to a different setting. In this case, 5500 which is exact daylight in the Kelvin scale, and you don't need to know a lot about those numbers yet. That's something I want to say for my intermediate course. However, just know that the type of scene you're shooting in is kind of what you want to set your your white balance to. So, for example, if you're out shooting on a cloudy day, you could set this to cloudy. It makes your image a little bit warmer. And that's not to say that you can't use the cloudy, preset white balance for a sunny day or just a regular daytime. If you like a little bit warmer images, that's fine to use that there. But you'll also notice on your white balance. It's changing the tent when you do these as well. If you want to take that tent change away, you could double click on it and set it back to like a zero setting here, where you could actually manually dial that end. So if it looks a little bit green, you can add in small magenta. In this case, there's too much magenta, so we need to add in a little bit more green. And I think actually, zero setting works best for this particular image. Now, one other way that you could do this, which just go ahead and change this back to as shot is you can actually select this eyedropper tool, and what you want to do is look around the image to find something that's neutral so you could find something that is absolute white or black or grey, and you'll notice when you move around. There's an RGB percentage down there with some numbers, and they change as you move around. What I like to do is to get those numbers as close to each other as possible to make the image as neutral as possible. Juno's my numbers here are 26.7 25.8 and 26.8. That's all very close. So what we're gonna do is click on it. When you do that, you'll notice that the image changes here. Now, I typically like my images to be a little bit warmer, but this here is pretty neutral and very accurate toe how the colors actually look that particular day. So that's a good starting point for where are white balance should be set. But if you disagree with the way this looks, you can add it. It just a little bit to kind of dial that end to be more of your taste. You know, art and photography is very subjective. And like I said, I like warmer images, so I'm probably gonna warm mine up at least 2 56 100 because I like that kind of a look in the image and we'll do a quick before and after here and you can see this was the image straight at a camera, a raw file with no edits whatsoever. And now we're dialing in this image very slowly and making sure it looks as close to reality as possible. See, I could go a little crazy with my white balance and turn it into this color. Make it super warm. That's a little bit unbelievable. And it looks more like I poured some mustard all over the image or we go to the cool setting, and it does make it feel a little cooler. I mean, it was shot in the wintertime, so that's OK, but I don't really like that blue looks. So just remember to be a little subjective with your images, because it is your taste. This is your image, but you also want to try to keep it subtle and neutral, and that's pretty much all you need to know about the white balance section. It can seem a little overwhelming at times, but for the most part it's pretty easy to work with. It's a lot of fun, and you can create some great stuff from here 6. Tone Tools & Correcting an Image: all right. So now that we've looked at our history, Graham, we've got our overall exposure set, how we like it. And we've worked on our white balance. It's time to jump into the tone tool section and kind of more fine tuned these different settings. Now, if you'll notice here the sky, it looks pretty good. We do have some clouds. It's a nice blue sky. But one thing I like to do, what I'm shooting images like this like especially like a landscape really out in the open and you can see those skies. A lot of times I like to bring highlights down and you'll notice we bring down 100%. It's not doing a whole lot here. We'd have to bring the exposure down some more. But what I want to do is just to pull this back and kind of give us a little bit more death . So what this is going to do is this is how we start to add contrast into the image, because if you just go with the regular contrast slider and try to add that, yes, it's going to pull your highlights back in your shadows a little bit, but it doesn't look that great. It's a little bit unbelievable. We want our image to mimic that of the human eye because a camera, for example, cannot achieve that look, at least not without some of this post processing. So before we add any contrast in, the first thing I want to do is pull her highlights back, and I want to do this to about 50% in this particular image. It maybe Mawr and others for you. So, for example, if you didn't have as nice of a balanced exposure here, you might have to pull this down to negative 100. But for your image, just kind of eyeball it a little bit. Don't go too far, but, you know, adding enough where it is making some subtle changes. And when we do anything to highlights, you always want to also go in and probably tweet the shadows as well. You think of this is like a balancing act. When you do something to one thing, sometimes you need to do the opposite to the other. So there are some areas here that are a little dark, but it's really not that bad. But what I'm gonna do is start to pull those shadows up and I'm not gonna go super far. I'm gonna go to maybe about 20% and we can see a quick before and after here. So again, we have our original image on this side and then our edit image on the other side. So let's go back. And now, when you do this, when you start to pull up on the shadows and down on the highlights, you're kind of flattening the image. And basically, what that means is you're taking some contrast away. And when you do that to balance everything out, you simply add it back in. Now, I'm not gonna go too extreme. I'm going to go toe about 10 maybe 15% here. And that's gonna add back in some of that contrast between the highlighted and the shadow areas. Now, the last two things we're gonna look at here are whites and black, typically with whites. I'll pull that up just slightly here, maybe to about 15%. And then the blacks I'm actually gonna pull them up on this image to about 10% and that's just gonna kind of neutralize everything, make it look as close to humanly possible as we can, and that's gonna give us a really nice, balanced image that works really well. And that's really all you got to do with the slider sections is just kind of eyeball it and play around with it. Just make sure that if you're taking away from one area, you're kind of adding back in and other areas just like we did now. The present section is what we're gonna be talking about next. That's where we're really going to start to see a few more changes within an image. And we're also going to talk about these different sections that I feel like sometimes we can go a little bit too overboard with. So if you're happy with the way your image looks now that we've learned about the tone tool section, let's go ahead and talk about the present section in the next video 7. Presence Tools - Vibrance & Saturation: and what we're gonna be talking about here is the present section of your toolbar areas. So what we have here is texture, clarity, de Hayes, vibrance and saturation. Now these air some tools that I've seen a lot of photographers, especially amateurs and beginners, using a little bit too much off, and you might think that these things are going to aid your image. But in reality, they don't do so great of a job, especially when you add way too much. Now, if you do subtle little additions, that's okay. But here, let's take a look, for example. So in the texture setting, we're just gonna start cranking this up and you could see how this image changes. Yes, this is extremely sharp now, and it actually looks pretty decent for this image. But now let's take it all the way back down. You noticed image gets a little bit flat, but when you start to pull it all the way up, this is just way too much. Now, if we zoom in as far as those little details, that's really nice. So it does make it a lot sharper, and it does do a great job at least in this landscape setting, so we are gonna use it. But let's only go to about 25 and if we go right about here, you can see that it's added more texture to those areas. It has done a great job, but it's not extreme like this, and you start to see all these little extra details, which I think become really distracting to the image. And that's kind of what makes the difference between a more professional style photo versus an amateur style edited photo. Now, with clarity, it works in similar ways, and what it likes to do is to add contrast around sharper areas so you could see here clarity at a max 100% is really bad. Clarity at negative is also really bad. So we're gonna start back around zero here and to slowly start to drag this up, I recommend maybe around 10% if you are gonna add clarity back in, because again, subtlety is key. When you're doing all these edits. Now the D. Hayes tool here works fine. If you're in situation where your image does look a little hazy, hence the name here. Typically, when there's a lot of fog or things like that. You can use the D. Hayes tool to kind of clear up some of those areas. But unless you have extreme fog and your images, I recommend not even using this tool whatsoever. And even in the case of some foggy images, I probably still would not use this tool. There's other methods we could learn about, but that would be more for my intermediate Siri's now the last two on the section Here are the vibrance and saturation, and one thing I see a lot of newcomers do when they're editing photos is go a little wild with the vibrance. When you do that, it's going to completely change the overall look of the image and just totally destroy your colors. Now you could pull it all the way down to get more of a black and white. Look, if that's what you're going for, but this is a color image, and we want to keep it that way. So if you are gonna work with Vibrance, I would honestly recommend not going above a plus 10 if it all. But instead of saturation, what I would do is use vibrance. I feel like Vibrance does an overall way. Better job at fixing up the image because saturation focuses more on the individual colors and just really drastically pulls those up individually and to me makes a huge mess. But when you do vibrance, it does a better job at balancing out as it's pulling up those colors. So we're gonna go to about 30% on this particular image, and you could see that it has done a great job. Now if he did want to add in just a little bit of saturation, maybe go to about 5% there and it just adds a little bit more color to the overall image. Not necessarily something I like for the most of my edits, but for the sake of showing you what these two tools conduce you, especially when you're working with them together. I think this works pretty well, so we're gonna actually move this down to about 20. Leave our saturation at five, and I think that looks pretty good. So if you're happy with the overall looks you're getting with your edits after applying some of the stuff we talked about here, you can continue on to the next section, which is gonna talk about the tone curve. I think it is one of the single most important tools that we're gonna be able to utilize when trying to get a better look for our images. Subtle little tweaks in this area, and we could do some amazing things. 8. Tone Curve Tips & Contrast: So now one of my favorite sections to use when editing a photo is in the tonal curve. There's a lot of possibilities that you can do with the tonal curve. And just to make sure yours is set up like mine and not like this, if you go down in the bottom right corner, you're going to see this little box here. Just click on it and make sure that your tone curve looks just like this one. Now what we're gonna do is set it to Channel RGB. We're not going to go into the individual channels. That's something I'd like to talk about in a later video when you get a little bit more experience. So now with this tonal curve, what we have here is in this bottom right hand corner is your shadow areas. The top right hand corner is going to be your highlight areas. Then right through here is kind of your mid tones and different sections like that. So I want to show you really quickly one thing you can do with the tonal curve. This is more of an artistic thing and can be used in your image today if you like I'm not going to do it for this one. But you know, that faded Look, that is really popular. That kind of emulates more of like a film style. You could achieve that by doing a tonal curve adjustment. All you have to do is grab the bottom point of your shadows, start to pull those up. I go about Midway's up on that and we click on a point in the shadow sort of area. And then I just kind of pull that down to add back in some contrast. And now you can see that there's a nice, little faded look. Now, I'm not gonna use that for this image. So I'm just going to reset really quickly the way you do that, as go to the point curve here where it says custom and change that back toe linear, and then you're reset. What I am going to do is something that I feel like can apply to pretty much all images that you ever edit and apply a tone curve to. And this is just a simple s curve. So what you want to do is in this little box area here this first little square quadrant. You just want to click right at the corner. That's going to set an anchor point for your shadow areas. One dead set in the middle. That's for your midtown areas and then one up here in the top quadrant for your highlights . And this has called on Esseker for a reason. I want to do this a little bit extreme at first, just to show you what the S curve looks like. And basically, that's all you're doing is creating this nice little s shape and your curve line. Now, this is a little bit too extreme for this particular image. So I'm gonna pull the shadows up a little bit closer to the actual line there and then the highlights. I'm gonna pull them back just a little bit. And now that is gonna add more contrast to the image. So if it does that and it's a little bit overwhelming, one thing you could do is go back to contrast, appear in the tone section, and we're just gonna dial that back to about a five in this instance, and I think that looks nice. It adds a little bit more contrast to the image to given overall change between your highlight and shadow areas and just kind of makes it look a little bit more realistic and just eye catching and really pop out. So that's just the basic settings that we're gonna do with the tone curve. To learn more about those, I'm gonna make more tutorials in the future at the intermediate and more advanced styles. Where will also jump into the individual channels and show you some really cool effects you can do with that. So now we're almost done with our image. Today we have one section left that I really want to talk about in today's video, and that is the detail section where we're going to take a look at sharpening and maybe a little bit of noise reduction as well. 9. Properly Sharpening an Image: have the last section that I'd really like to dive into today is the detail section, and what the details section includes is sharpening and noise reduction. So our particular image shot in nice daylight here doesn't really need noise reduction. But I'll apply just a little bit to show you how it works and kind of how to dial that in. But as far as thes sharpening section, when you shoot a roll image, there isn't in camera sharpening added to the image. So we have to kind of dial that back in ourselves. And what we want to do is just click on the image we can zoom in and see where this sharpening is taking effect, and then I'll show you how to apply it. So that's not going to areas where you don't necessarily want that, such as in the sky. So the first thing we want to do is go ahead and pull, are sharpening meter up, and I'm gonna go ahead and max this out just so we can see. So you know, you could see that there's a ton of detail. It's being pulled from these rocks in these areas, and the overall image. It does look pretty nice with that, sharpening added. Whereas if we take it away, you'll notice it gets a little bit on the flatter side and we don't necessarily want that. So what I recommend is the point you're sharpening up to about 50% and then zoom in on the area and see how that looks. I think 50% looks great here. If we were to print this image and at a pretty big size, we're gonna be able to see a lot of sharpened detail in this area, and that's where we want it. But one place where we don't want sharpening to be applied to the pixels is in the sky, and you can't really see a lot here. There is a little bit of grain going on due to some of this sharpening will go and pull it all the way back down. Now it's not quite as noticeable. If we max it out, you're going to notice it quite a bit. So again, we're gonna set this to about 50%. I find between 50 and 60 works pretty well, but what we were going to do if you're on a Mac you want to hold down the option key, And I think if you're on a PC, it's the vault key, and we're gonna go down here to where you see masking and we're just gonna pull this up. And if you click and drag, you'll notice all the areas and white is where sharpening is going to be applied, and all the areas in black is where it's taken it away. So what we want to do is to pull this to where you basically you're seeing no white whatsoever in your sky. You'll notice in mine. In this case, there's just a little bit where the clouds are and that's gonna be okay. But I want to set this toe probably about 85% and then just release everything. And now you have a nice mask applied to that detail. Is that what you have? The sharpness still in these rock areas, but nothing up here in the sky. Now, for the sake of noise reduction, I'm gonna go to my sky settings here, and a lot of your noise is caused by something called I s. Oh, well, this particular image, I think I was shooting at 250 i s O, which is a pretty decent one to be shooting at. Ideally, I should have been at 100. And basically the thing to take away from my eso is the higher the number, the more grain and digital noise that you're going to see in your images. So with noise reduction what? Aiken dio we take this loom in its tool here and we're just gonna start to pull that up. I'm gonna pull it pretty far just so you can see what's happening. And what it's going to do is to help kind of blur some of that grain and make it look a little better. But one thing we have to watch out for is it's going to apply it to other areas. Now you can see the rocks are starting to look like they were painted in the scene, and that's not what we want. So if we take our noise reduction tool and we start to pull that back and just take it away completely, you'll notice we get our details back in these rocks. So what I want to do is pull this noise reduction up to about 20% and kind of see what kind of a look that gives us now are rocks don't look terrible here. A 20% and our sky looks pretty good up in here. But I'm worried that it's gonna take a little bit too much detail away. So I'm actually going to remove noise reduction from this image that we maintain maximum sharpness in the rocks. And I think our skies gonna do just fine. I actually have a print of this, and the print looks phenomenal. There's minimum to no notice of the grain and noise that we're seeing here on the monitor, even at a larger sized print. But when you might want to use noise reduction is in a darker scene such as, you know, if you had to shoot a higher I eso and you just notice a lot of grain and noise, then you can use that to pull it down and then re balance. You're sharpening as need be, But that's pretty much it. As far as what we're gonna do to edit this photo today I have one more section that I do want to talk about and that is the export section and What we're gonna be talking about today is how toe export the image for both Web as well as print. So that way, if you want to do one or the other, you're going to get the best quality image you possibly can. 10. Exporting Files for Online & Print: So the last thing that we need to talk about today as how toe export your photos for the best possible settings. So let's say for example, you want to export your photo to share on Instagram. There's two ways that you could do this. If you have a land escaped photo and you want to share this to INSTAGRAM or other forms of social media, what we need to do is go down to inter custom and our crop mode here and we're gonna set this to a 1.91 by one and just simply click. OK, Now, what you're gonna do is have a crop box here and you might lose portions of the image, so this may not always work the best, but what this is going to do is give you the perfect crop to be able to share this on social media. It's gonna have the right sizing and proportions to make this photo look great. So what I'm gonna do is go all the way down here. I'm going to click done and now I have my image ready to go. But let's say, for example, that you had a vertical image that you want to crop for Instagram. So what we need to do first is have a vertical image. And if you do have a horizontal that you want to switch to vertical like I just did, just open up your crop tool, hit the X key on the keyboard, and that's going to give you that vertical crop. Or if you have a vertical image already, of course, you don't have to do that. And what you would do is change that to a four by five or an eight by 10. And then let's go ahead and crop the image and include whatever you would like into it. So in this case, there we go. I have my vertical crop ready to go. Remember, vertical crop is a four by five and horizontal crop was the 1 91 toe one. And once you have your crop exactly how you want it, we're going to go to file. We're going to go to export. And this is where we get to choose our settings. So I want my export to go to my desktop, and I don't want to put it in a sub folder and is gonna put the image straight on to my desktop, and we need to look at a couple of different things. The first of all the files settings. We want this to be a J peg format in the color space of S RGB. I'm gonna leave my quality set here to 100% and then resize and fit. I don't click on this box, but I do make sure that the resolution is set to 72 pixels per inch. Anything more than this is basically just overkill is gonna make a bigger file size, which is going to get compressed, even mawr by the different social media websites. So in this instance, leaving at 72 that's the output of a monitor and what it actually shows. And it will give you the best quality for digital files. Everything else stays just basically the same, and we click exports and your file is ready to go. Now let's say we wanted to export this file to get a high quality print. What I recommend because I don't like to print at home because I don't have a printer that is good enough to get me the quality that I really like to see So I send my photos off to a website called M Picks. There's a ton of different places you can go to do that as well. But the way we want to do that file, it's again go to file and export. But we need to change a couple of things here. So in the file settings, we can change this to a better file such as A P S, D a, P and G file those air both bigger file sizes that are going to contain a little bit more information. But if the website that you're gonna use Onley except JPEG, you can leave that alone. So with whoever you plan to print with, just check to see what file types that they accept and make yours accordingly. If they do accept PSD s. I think those are some of the better files that I like to use, and that's what you want to do. The color space I leave, it s rgb and less. Of course, the website or whoever you're getting your prints through tells you to change this to maybe see him like a or some other kind of format. Then you could click other, find that format and try to export it that way. But for the most part, these to work great leave your quality set to 100% and then on this section we want to keep it at pixels per inch. But you want to change this so numbers like 240 pixels per inch or 300 pixels per inch are great areas to start with. Personally, what I do is just export my resolution at 300 pixels per inch. That's gonna allow you to print a pretty big final size to be totally honest if it isn't good enough, or if you upload it to whoever is going to do the print for you. And it says your file size is just too small. There's a couple of factors there that could be causing that. Maybe your original file was shot on a J peg. Maybe you imported a photo that was smaller than what you thought it was going to be. But if you're shooting on Raul images like we talked about in the beginning, you have all these settings like this. You do about 300 pixels per inch you're going to be good to go. And all you have to do at this point is hit export. Upload that file and you can get your prints made. 11. Wrapping up the Class: So now the kind of wrap things up. I really hope that you learn something today that's gonna help your editing skills. The biggest thing to take from this class is to keep practicing your skills and playing around thes things. It's very important to think about all these things when you're shooting the image. So that way you don't have to apply as much editing to the final edit. Always remember that the closest you can get to the final looking image in camera, the better for you for multiple reasons, one of which you're going to save a lot of time, your image is gonna look way better, and it's gonna look way less process than what it could be. And you're just gonna be happier with your overall results. Always had trouble over the years thinking, Well, I can shoot the image this way in camera, and I could just worry about all the editing stuff later. But over the years I learned that shooting everything correctly in camera was theme most important part that I possibly can. So that being said, I am going to try to teach a class on exposure and how to properly expose and compose an image so that what you don't have to do quite as much editing on it later on. So if you would like to learn about that, be sure you're following me as a teacher here on skill share, so that way we can get MAWR into it. In the meantime, I also do have a YouTube channel called Chad every day where I do a lot of photography tutorials, especially on editing, special effects and different things like that. So that's something you're interested in. You could check that out as well, but again, hope you enjoy this class. If you have any questions, be sure to leave them below, send me a message or contact me on one my various forms of social media. I'd be happy to discuss anything with you. Hope you have a great day. Always be sure to create cool stuff and have fun with it. But most importantly of all, be sure to create something new today.