Adobe Lightroom CC: Landscape Photography Masterclass 2020 | Fabian Rosshirt | Skillshare

Adobe Lightroom CC: Landscape Photography Masterclass 2020

Fabian Rosshirt, Professional Landscape Photographer

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16 Lessons (3h 16m)
    • 1. Trailer

    • 2. Introduction

    • 3. Import and basics of Lightroom

    • 4. Local Adjustments

    • 5. Create an HDR in Lightroom

    • 6. The RAW Development

    • 7. Sharpening and Export

    • 8. Edit a night photo with Lightroom

    • 9. Dynamics and special effect

    • 10. Create Colors and Dynamics

    • 11. Processing of a sunset photo - add colors

    • 12. Basic Retoutching

    • 13. Complexify the light

    • 14. Combine multiple exposures in Photoshop

    • 15. Edit an autumnal waterfall photo

    • 16. Reflection and thank you

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About This Class



Hi, my name is Fabian Rosshirt. I've been a professional landscape photographer and Lightroom instructor for over 6 years and I'm currently teaching more than 12,000 people. Welcome to my Lightroom course!

Get more out of your photos and take your image processing skills to the next level. You will learn effective and professional techniques, how you can edit your RAW files perfectly in Adobe Lightroom Classic CC.

We will also shortly Adobe Photoshop for the final sharpening and a special effect. In today's world, image processing is necessary to get stunning photographs and to take advantage of the technical possibilities. And the best: It also can make a lot of fun to edit photos - if you know how to do that. Let me show this to you!

How is this course structured?

Basics: At the beginning I introduce you to Adobe Lightroom. I will show you all the important features and explain how to import, edit and export photos. I won't bore you with unimportant theory. We will jump right into many practical exercises after the introduction.

Part 01: Now I present you my workflow by showing you a complete processing of the first image. Here you will learn how to edit your photos, step-by-step and with a detailed explanation.

Part 02: In this section I will show you the development of a night-photo. You will learn how to steer the viewer's eye and increase the dynamics by using visual effects. Here we will also briefly use Photoshop to add a special effect.

Part 03: Bad weather does not mean bad photo: Have you ever made that experience? Sometimes you really do not have the right conditions for taking an optimal photo. But unfortunately we can not influence the weather. I show you how to make a great picture out of a supposedly boring photo. Discover the power that Adobe Lightroom Classic CC offers to you.

Part 04: In this part we will repeat a lot of what you have learned so far and apply the knowledge to a fourth photo. You'll see that with my tricks you can get so much more out of your RAW files. We also talk about the importance of colors in landscape photography.

Part 05: This lesson will be amazing. We will edit together my most successful landscape image. With that photo I have won 2 competitions and it also got published in a famous magazine. I tell you all my secrets and explain to you how I achieved that spectacular photo out of the RAW image captured with the camera.

Part 06: Autumn pictures need a special treatment because of their colors, that they catch the viewer and still look natural. I'll show you everything you need to know to edit your waterfall photos with Lightroom.

Bonus: You will receive 11 Lightroom Presets, which I have specially developed for you. With these, you can give your images a whole new look with just one click. In addition I give you all the RAW files I use in this course for explanation. This allows you to put the theory directly into practice and bring routine into your image processing.

Further details about the structure can be found in the curriculum.

Im very happy to help you and I will answer all your questions! Also I'd like to see your progress and give you feedback on your edits with Lightroom.

Short summary:

  • all explanations - step by step
  • logical structure to make you familiar with the workflow
  • all RAW files and 11 Lightroom presets
  • take advantage of my experiences and tricks as a professional landscape photographer
  • personal support for questions (you can ask me anything)
  • also works with the newest version of Adobe Lightroom Classic CC
  • and much more
  • updated for 2020!


Please note: Adobe has made some changes to the name of the Lightroom software. In this course we use Adobe Lightroom Classic CC (formerly Adobe Lightroom CC). Of course you can also use your knowledge to work with the new Cloud version as well!


1. Trailer: Hi, My name is stopping listed. I'm a professional landscape photographer from Germany. I'm happy that you're interested in my light from media training. In this course, I'll show you how to edit your pictures and light room and bring your photography to a whole new level. Let me show you all my secrets and tricks, and you'll be able traded your images in no time using effective methods, I explained to you step by step the basics of flied room and then show you my workflow. Based on five different editing examples. You will learn a lot in this with your training and lateral become your most important tool in landscape photography. Your photos will shine a completely news planet and you'll be able to target the images, assisting them with your own eyes. Let's learn together. I will teach you my knowledge and show you how to proceed to get everything out of your photos. As a bonus, I give you all the profiles. They're using this course for explanation. This helps you to put the theory directly into practice and bring routine into your image processing. I'm looking forward to your participation, and we see each other in the course. Your farm in Austin 2. Introduction: Hello. My name is Father invested. I'm the instructor off this video course, and I'm happy that I have the honor to teach you. So let me show what we're gonna do in the next lesson. So you will learn off course. My amazing light room landscape photography, editing workflow. So I will show you my workflow by editing these five images with you completely. We, of course, talk about handle and difficult light situations. Bring boring looking raw files back to life. And I promise you that your photos will shine in a complete new splendor and this workflow off course will improve your complete landscape photography. So it's just amazing how important post processing and image editing is in the year. 2017. Andi, I'll show you all the things you need to know. It's off course. In the first lesson, I will show you all the basics of flat room so that you really know how to import photos. I will show you all the really important slides and tools that you have to know that we can work together in the upcoming lessons then to really just learning the basics of flat room on that you are familiar with the program. And then in the next lesson, I will already start in teaching you my workflow. So let me show you that before Roe file. So that's the original raw file that came out of the camera and that he on the ride will be the final image that we added together. So I will show you step for step, how I at the colors, how I am add more dynamics to the image and how to off course handle difficult light situations like shooting right into the sun, as I did in this image and the next doesn't. Then I show you how to edit NYTPhotos like this image on how to correct the perspective of an image. So, for example, if you're standing two bit to found the right, we will fix that in light room with some really easy methods and also there I have a bonus for you, so I'll show you Ah, special Effect and Photoshopped to increase the dynamics of a photo. So it's in really awesome effect. I will teach you in this lesson also then, in part three, off my course, I will show you how to make something really great out off boring looking roofies. So if you return from a photo rabbit trip and Eurofighter just looking boring, No problem at all. You can still do something with them. So we I show you all the tricks to bring back the color, to bring back the dynamics, to add too complex if I the light and to make just awesome images out off these roofies. So with this image, you can still make a print out of out of it. You can share it on social media on. It's just amazing what you can do with flattering by following the simple methods I will teach you. And then in part four, I will show you another editing on, and I will show you how many information can be interested. One row, far Onda also the importance of color and landscape photography. So I laughed colors and the color is the most important thing for me and landscape photography. So I show you how to bring back these colors on how to make use off all the information in your raw files. So that will also be an amazing before and after. Here you see it an amazing lesson, Andi. Then in Part five, I will edit my most favorite landscape image in 2017. I shot on my orca. So with this image, I also want to competitions, and I got published in the magazines that it's just amazing. The people laugh that image and I will show you all the tricks, all the secrets I have used to get this stunning image out of that raw file, and it's just amazing. I will also show you how to blend multiple M exposures and Photoshopped, so that's also a bonus. But of course, and the most important thing is the raw development and light room. As you've seen, here's the unedited raw file, and here's the final image. That's just amazing how important colors are, how we can bring them back and how we can bring your raw files back to life. Um, so it's really it will be really cool. So I think you will laugh. That cools. I prepared for you, and I promise you that if you finish the course, you can edit every raw file on. It's always the same. It's always just the same steps you have to follow, and it really will change your landscape photography. And of course, you will have better images then so we see each other in the course. 3. Import and basics of Lightroom: Okay, guys, in this first lesson, I will now show you are the basics off lad room so that you are familiar with the program and that you know how to import photos, how to edit them and how to export them. So I will not show you every function and lad room, but I will show you the functions you will need to edit your images properly. So for this lesson, I chose row fire to show you the different functions off lad room Onda. Um, now we want to import this profile, so I'm to import it. It's very simple. We just have to direct this profile onto the double latte from logo in the dark like this. And then, um, not from opens. And there you will see a pop up window, and all you have to do now is just click import here on the right. Okay? And now our raw file is imported into lad room. You can see this. Here we are now in the library. Montreuil off, lad. Room. Andi on the right. You can see the history, Graham, for example, you can see if your images balance right? Ifit's exporter is right um also conceded here other, um, the settings off your photo, for example, how you chose the settings to examine the i e. Isso on the apertura, the shutter speed and so on. You see, am I took this photo with the Sony A 6000. Um, with the kid lands 16 to 50 millimeter on now, I will show you all the basic functions off large room based on this image. So to edit an image in lad room, we just have to go to the develop module here on the top. If it if your lad room does look not like my lad room, you can try to click these little arrows here, and then you can show and hide some more menus. But we don't need them now, so you can hide everything here and lend it in again. But we just move on to the develop module. So here we are. Um, bedroom. Just need some time to load the raw fire. You can see this year. Okay, Now the raw file, it's loaded completely. Andi, to begin with here on the right. Yeah, all the settings you can make you can adjust in an image So this year on the right is the most important thing in my bedroom here, along the functions off lad room and first we have the treatment so we can decide whether we want to edit the image as a color image or if we want to truth black and white. Then you see we have a black and white image, but and for this lesson, I choose color to show you all the basic things a flight from So it starts with the white balance. As you know, I'm your camera always sets if you, if you chose auto White balance, tries to find the correct white balance off the scene based on different factors on sometimes it. Yeah, it just really suitable the white balance, which the camera chose. But often it's too blue. It's you to yellowish to warm, and then we have to adjust this, for example, here it wasin an evening situation, so it waas after the sunset. The was a little bit red and orange in the sky, but in the raw file we flushed these information so we don't see the colors here, and we want to get them back to recover them So for sunset photos, I often choose the white balance and shade. It makes the state. They're the things a bit warmer. And by the way, if you want to see it before and after comparison, you just have to press why I'm key on your keyboard. We're pressing. Why you can see the before and the after. It's a little bit more warm than on the left so you can already see and that these errors moved a little bit. If you press why again, it hides again. So, um, now we of course, can adjusted manually so we can make it a bit more warmer. A bit more cold. Yeah, maybe like this. And at a bit of magenta. Maybe so. Okay. But I will show you more to this when we when we start the editing, these five pictures, as I told you in the introduction video, Then we come back to the White Palace thing again. So on the next section of larger miss the tones action, this is also a really, really important section. Because you can hear, you can make the basic adjustments off your and the basic corrections off your raw files. So For example, if the raw file is too dark, you can boost the exposure or you can bring the exposure down to dark it up. More like you won't. By the way, if you want to reset one ah, function here again, you just have to double click on the title on the left. So if I want to reset you the exposure, I just double click on exposure and boom, it's reset it. It's back to zero. So maybe on this image relief the exporter because I think if I make it brighter, that was scheduled bone out. And if I make a dark hurt will be more dark here. But I think it's quite well exposed. So it's quite right exposed toc this in the history Graham. Okay, the next next thing is contrast. I think this is self explaining. You can boost the contrast of our lower The contrast. Okay for this I will not change anything at the contrast. Maybe later. But now, for now, I'm fun with that And now come there are four important points. Imagine the highlights. Shadows, whites and blacks thes are really important for my landscape editing workflow. You will notice that in the next lessons as well that they are very important. So usually I bring down the highlights completely, so the highlights is the same like exposure, but it only effects. The bright tones often image so as you see if I change the exposure, it affects the whole image defects the shadows. Here the doctor aims and, of course, also the bride Schoen's. But if I now change the highlights, it only lightens up, brightens up the really bright tones and a picture or its tax them. So I bring down the highlights Tu minus 100 for this image and you see, we have much more knitters in the sky. Often I under exposed my photos to really capture other all details. But, um, this image we have, all the chairs are nothing is blown out on Now we can recover them and bring them back to life. Um, by just here and bring down the highlights. The shadows is exactly the opposite off the highlight. So it is the same like exposure. It changed the brightness, but now on Lee off the dock tones. So if I bring it to the left, adopting is the doctor owns more on Dhere on the right. You see the doctor on Skip Bride? A much broader. So usually I take something like 80 here in the shadows and bring down the highlights Tu minus 100. So that's the basic start of my work for but much of this in the upcoming lessons. Now we've lost a bit contrast as we brought up the holla, brought up the shadows and made this things with the highlights. So to recover the contrast, of course, he could just add a bit conscious. But then it looks really again. So here, um, really some very important functions, the whites and the blacks if we just do right. We had a contrast to the white tones and luthier just blacks to make them more dark and more black. So to see now how far we have to move these arrows, I press and hold the old key on the keyboard. So you have to notice that the old Kian Landrum is really magic. Often if you press the bulky on the different new you see you hear the tone, for example, changed. You can recep the whole section here, but just President Recep tone. So the Ultra is really magical. Imagine. Just remember this by President holding No, the old Kiwi and then moving the Aurora, the whites. We see that if we move it too far, they're allowed room marks, the pieces off the picture which up known out which are burnout. So we I move it maybe to 30. Let nothing is burnout. That's very important that way because I don't like to burn out things. It looks bit than Andi. So I put it to 30 on then the blacks. Exactly the same. We hoped. And President, hold the old key and move the blacks until we see some from black. Maybe like this. Okay. And always, um, beef recovered the contrast again. If we look at the before and after were pressing why, you see before and after we have much more details. We see, you know, really, the houses, the trees and we have much more data from the sky as well, and we've bred and brought back the contrast. So now let's take care off the color. But first, here's another very important function. That's a clarity in Landrum, and many people are doing the mystic and making the mistake that they adding clarity like, you know, plus 100. So you off. I often see these pictures and social media and Facebook and Instagram and people. Yeah, they said they think clarity 100 while nice. But just look at this. This doesn't look natural. This look, that this looks weird. So, um, I do exactly the opposite. Most off the people who with the clarity, the clarity most of the people Plus I go minus 20 because I did the thing with the highlight, the shadows, the bites in the blacks and that it doesn't get this HDR this classic hdr look, I go the opposite. I go like meaning minus 20 for example on minus 18 something like this. And then it doesn't get this this wrong. This hdr look so that's really important. Vibrant is also important. So I'm the clarity just something like contrast as you've seen. But it only affects the mid tones as the shadow shadows, for example affected The doctor earns the clarity, effects the midterms and boost the contrast in the midterms. It's It's nearly the same then contrast but only in the midterms And many people also think that the pictures get sharper if they add clarity off course, they seem to be sharp about, but in fact they aren't sharper. So we MLK about shots happening at the end of this lesson and also in the next lessons. But for this carrot E minus 20 is fine on vibrance is very important function Landrum to bring back the color. So the roofies often ah, very different than you've seen it with your eyes. The pictures off when I waas there at this scenery, it was really there were really colors in the sky, but on the camera captured this raw file with need to know color. So to bring back the colors, we need the vibrance function and night room, and now we just drag it to the right. We know too much, make it more subtle. Vibrance, maybe plus 57 plus 60 is fine here with this image, and there's a difference between saturation and vibrant. At the first glance, it seems that both off these functions are doing exactly the same, but in fact vibrant at Scala's to your picture and saturation increases or decreases these colors some of vibrance we bring more colors to the picture and with separation will boost them. That's the main difference if you compare them. Yeah, they and it looks like they're doing the same, but I hope you could understand the difference. So usually I go much higher with vibrance to add more colors to the picture, and then I boost them again with saturation chest a bit just a bit more than it looks natural. So at this guy, we bring more colors later with the local adjustments, but just weight. Some seconds. Then we will boost the sky as well. So now, before or after it looks much better. We have more teachers, we have more color. We have brought back the dynamic to this image, and now we can can go to the next section off Lied room. By the way, if it looks other, if it doesn't look like my PC here you can just here these Eros and then the sexual open or close. Though I'm for this because we don't need the tone curve these curves, you can adjust. The contrast, for example, can, uh, yeah also do many things, but this is too complicated for my simple workflow. We don't need this junkers. So we will skip this section and we'll go right into the H s l color section off lateral so that in the first part of the sect of this section, we can change the tone off the color. So example the tone off the red tones here of the red color. It's hard to see on the video, but let's go to the next orange here you see. Now it's more green, the orange tune. Now it's more red, so both look veered. So let's make sure that we don't change too much things here in this first part of the section and color in lateral. So just the bid. Maybe if you wanted a bit more red or a bit more run char the yellow tones. Bit more orange. No problem. But don't overdo it here. The next point is important saturation. I told you that we will increase the callous now in the sky. So it's mostly rant and our intra tree should and Cruz and increase. So here we are, yellow orange, but more okay Now, you see, we only increase the saturation off these colors. Not off the whole image, because you don't want to be more blue, the image to be more blue. We want the image Teoh be natural and just to boost the colors in the sky. But and you couldn't do this fine with local adjustment. So if you think, for example, there's too much blue in the picture, no problem. Go to saturation section here and lower the saturation Onley off the blue tones. So you see, it's very easy to change the colors and to change only some colors off your picture. And so no problem at all with flight room as a important part off the sections, the luminous you can, for example, darkened simple colors up, for example of new Chance. I think it looks much more dramatic if we docking them up a little bit because you get much more drama in the sky here. As you see now, this doesn't look really well. So maybe just like this, minus 30 minus 27 by the way, if you are, if you move over over over the number here and then click and move your, um, your mouse, you can also address the arrow, and it's much more easier sometimes than a trusting the arrow here, so or you can also enter number if you want. No problem. My study on, um at the top off the section. Here's a little the little thing When we click this, you can see what we've done with the settings in the sections of what the color corrections now do. Okay, you see the difference. We brought back Maximus and Callus here and load the Luton so wonderful. Now we can move on to a very important part word which will which I will use in all the editing examples in the upcoming lessons. So this is really important. Now we can choose the tone for the highlands for the bright parts of the image so that we can color them, that we can bring more colors to the picture. And now it's difficult to choose the right tone. So he comes The key plays a big role in that room, as I told you and burned by pressing and holding the old key and now dragging the arrow to the left and to the right, you can see them how the color will affect the image if we boost saturation to 100% So maybe we had a bit off orange like this. And now we have just the bid saturation. Not too much, Not too much. Just settled. So like this, Okay, on the shadows, the same repress. And hold the Elke select. Maybe a more bluish tone. Okay. And add a bit of saturation. And this also brings back color to the image. As you see. For example, if you have really a scene, Abed rather day and you have no colors at all, you can bring back colors with this blue Tony, you're very important function and larger, so really important it balance. You can choose whether the shadows or the highlights are more saturated. So something like the zika balance it. And again, he has no right or wrong. It just just must to your personal get to your personal. I'm taste. There's no right or wrong. So just do like you want to. Okay, maybe, um, we can crop the photo first. So he at the top. There are some local adjustments in lad room, and here is the crop to So by clicking it, you can see that the crop mode and lied room opens. And now we have these lines here. So the rule of thirds, it's easier to to make the rule of thirds, for example. And now we can crop the image, just making a bit more panoramic, for example. So I like the panoramic look because it gives more on dynamic to the image. Maybe like this. And now we have to make sure that our horizons straight. So it's very important landscape photography that your pictures are, um need your that they are correctly leveled up. So we can do this with this tour. Sorry with this, Julia, but just taking it. And now selecting a starting point at the horizon. So I want the bridge to be straight because the bridge reflects the horizon in a good way here in this image. So maybe like this, and know if a just released mamas boom That room rotates the image. So it no, we can manually adjusted by just going here outside and too easy these arrows and can click and move upwards and downwards and rotate the image. So I think something like this does look very well. Okay, then you kick down. Wonderful. 4. Local Adjustments: So now a really important thing is in London to make local adjustments. So, for example, we have the adjustment brush at the top here. If we click it, you see that our mouse is now like a brush. New section flips here, Andi have the same settings as we have in the basic section off lad room. So we can, for example, adjust exposure. Contrast highlights just to a specific part of the image. For example, let's say we want to light up the boat a bit. Here in the left hand side, you can boost exposure, bitch, and then just go with our brush and brush over the boat. Let's make posted a bit more and you see come abroad. Boat gets brighter and only the bunch so it can adjust only the boat here, only the things we brush in. For example, if you think you will need a bit more reflection, just brush over it. Make a little reflection here in the water. No problem at all. But of course, make sure that it doesn't weird and unnatural. If you present the all key and holding New York, you have the razor, and you can trust really raise a bitch off the things we just rushed in. So if you scroll down a bitch, here is the setting for the brush, the size, the feathering I always choose feathering 100 feather. 100 floor identity around 75 80 is fine. And yeah, that's the thing with the brush recon also turned brush strokes on and off that we see what we changed with these local adjustments off the adjustment fresh. Okay, you can also say that we want a bit more yellow. The boat. Just the bitch booth. The shadows in the boat. A bitch. Bring it. Put it down a bit. Think it's to march. Chicken knows of Yeah, Rest something. Okay, maybe Like this. Yeah, until we think it is fine. Then we kicked. Done, and we're done. Okay. So if the adjustment brush, it can also make a new brush perfectly. Click here on the brush again. Click New. Here's our first brushstroke drugs. If you click here, we kind of did them again. If they knew, we can make a new brush. And, for example, right in the fortress. A bitch? Yeah. Okay, fine. And take them. Okay. Adjustment brush very important. Then we have the radio footer. Raedle Fouda is also very important. For example, if you want to think a little sunset here, I'm making a bit more dynamic. Weaken. Just make a radio filter here, scroll down a bit and make sure your feather is at 100. Because otherwise it let's look very unnatural. And you will see these radio filters then in the final. Imaginary doesn't want that. We want to make things natural. Look natural. Eso feather 100 is very important. Can invert the mask with you in vert. Don't invert the mask. Everything which is located outside of the radio soldier will be affected. He have you invert the mask. Everything in the inside will be effective with our adjustments, for example, you can make it a bit more orange. Here, add a bit saturation. Maybe here we can add a bit, Clary Just a bit to boost the clouds a bit. Uh, not too much security. Okay. And make it a bit broader just like this. So I think you see getting the just These local, um adjustments only affect pounds off the image poetry and choose to be affected and very important. You can also make more radio Phil just on one. Of course. The same as with the brush. Okay, I'm the next in the third important local adjustment tool is the graduated filter. It is, for example, like if you have a graduated on D photo in landscape photography, you try to document the sky. You can also do this in post production. Um, and of course, your sky must be full with details, and it's blown out it or burn out. It's too late. Of course. Then we cannot recover things. But otherwise, if everything's exposed, explode right, then we have no problem. Can, for example, make this guy But, doctor, if we think we can just make it a bit back on the right hand side, No problem. Radiant. Uh, room on the floor. So now this is affected. If he again turn it off and on you see how things change the image? Bunia. I kind of like this. Maybe a bit doctor here. Okay, wonderful. Wonderful. Yeah. Um, you can remove for it. Eyes on here can. It's like a spot removal to, like in photo shop. But I would recommend you to do these things in photo shop. So if you have dust on your lands, removed their spots and Photoshopped, it's my advice because it doesn't It isn't. It is not so good and loud room, so it doesn't work really well. He led room. So I'd recommend you to use this in photo shop. Yeah, these were the local adjustment here on the top. And now a to the end. Of course, we have to shop in the image, um, force happening. I keep the standard settings the lad room has in the beginning. So I leave all these things here amount 25 so on and so on. But noise reduction as I am, open up the shadows to 100%. There's a bit of noise if you zoom in. Um, so I do kind off. Um, not rejection. Maybe luminant 10. You know that Just a bit of the noise this reduced. And then maybe color north production, of course, as well, because this doesn't affect the sharpness of the photo I recognize. And this is happening for the final image. I do the finalist happening then in Photoshopped with with different filters. But I will show you this later in the upcoming lessons as well. So he allowed room. I keep the sharpening attest to a bit of noise reduction and the rest I will do in photo shop. So the next important pubs Lance Corrections. This is Ah, in a boat when you open an image. So if I turn it off, you see what happens here. The kid lands off the Sony A 6000 has a bit of distortion and getting You can see this. Andi God, Room has the many profiles imported already on you can trust enable the profile correction But this should be unable automatically, so you don't have to do anything. Also make sure that removed chromatic aberration is un because there always be a little bit . It's always little of chromatic aberration, every image. So depending on how good your lenses, of course. But I I make it on every turn on every editing. So no problem here. The transform section Landrum is also very important and it usually works very well if you just big auto it auto transformed the image that it is very straight that the horizons level up correctly in this image. I tried often in this image, but it doesn't work with this image. Maybe because there is not really visible on the horizon. And it's very difficult for lead room to find out here the correct, the correct position, the correct lever, but a PSA level it up already with the crop tool. We don't need this now, but in the other edit things, we just need the upright function, but mostly all the time, or only the auto function here. So we can skip this effects also important. And we can make a post crop and getting, for example, to make the to close the image to make it more dynamic to really catch the get the fewer into the image. I like vignettes. So here we can chest midpoint, see what happens. The roundness after we need the feathering. So okay, on the other end, Yeah, we can add grain, but I think this makes no sense. I want to reduce noise and to add noise. So if you needed here another point grain, you can abs some, uh, grain. Also important here, D Hayes, Um, many people overdo it with this function, so they just go like, boom, you see these pictures often in social media, don't you? With too much contras too much clarity and just overdone. And I think this I don't like this. I like a natural image. Look on and yeah, so don't overdo it with De Hayes and adds more contrast. It adds more color off cause But we already did this with the adjustment on the top. So I think I don't often use this device function. And in the last section of lied to me. If the camera calibration, we can change the way Lytro mis interpreting our raw files. I always keep it always stunned. And we can also choose camera, landscape it take some time. But then you see how it is interpreted differently completely differently. And it looks like the different here. Yeah, but mostly I go with a new twist on it. So this is too saturated for me would have Teoh too, to know decrease the saturation again. But I go with the newest on it next time. And you can also hear folks some to, um again choose the red tones that they're more more orange, more red. So saturation off red tones to get a specific image. Look, but I don't often use this camera calibration section. Okay? Eso These were the basics. The basics off the basics. So the most important functions off, lad room also, the adjustment local adjustment I've showed you. And with this knowledge, we can work on our next images. 5. Create an HDR in Lightroom: Okay, guys. So in this lesson, I will present you my basic lad room, landscape, workflow. And I will show you in complete editing of this, um, edited raw fire. And this will be the final image. So a big change on let's go. Okay, I've already imported the three raw files because I shot right into the sun on when you should right into the sun. There's always the problem with the dynamic range because you have really the sky and this image is nearly blown. Burnout for you Candies is and we don't have much detailed in the sky here. And the Roxy and the front already really dark. So that's always the problem. The dock, The docks are too dark and the bright too bright. And when you have such a problem, you just can make and, for example, making hdr image. So I, um, in the camera as elected directing Lord and I made three images, so ah, normal exposure that waas this one this Monia three, um, and under exposed image two steps on the exposed and an over exposed image. So in this image, for example, I have all the details here and the rocks. So you can see here is netting them nothing completely black. If everything about this guy's, we can introduce the sky in this image because it's just burned out. Um, in this image we have perfectly all details in the sky, so that's fine. But we don't see anything off the rocks. And this is just the middle between the both. So, um, now we want to make an HDR out of the these three raw files and you can do this by just selecting all the three profiles in large room and then make a right click and go to photo much on HDR. And now, um, latam creates an HDR preview for us. So we can also see a little preview. This takes some time. Okay, here we are. Here's the, um, the preview of the, uh, the HDR image. Don't Here's a vignette ing, but we don't care about this because lodrome will use an automatic profile to remove these meetings. So it's just here in the preview, but no problem. We just keep all that settings. Yes, they, uh, on we then finally click merge. And then again, it takes some time. Okay, then, lad room created the HDR file and now I laughed this function in large him to create a in HDR because I'm now all the information of thes three things. Raw files. Um, I'm all packed into this one big file and it's still on. We have still all the information consent. The white balance they can do everything like chested would be a normal role file, but with all the information. So that the first glance it looks exactly the same, like on the first image. But it's, as I said, contains all the information off these three fives. 6. The RAW Development: Okay, so now we can start with our workflow. So I think the white balance is quite okay. Maybe a big, more blue. Just a bitch. Okay, But I think camera did a good chop here. Exposure, exposure, maybe a bit more something like this. And now comes in really important steps. So, as I said, this guy seems to be burned out here in this image. But we have, as we have in HD our with the combined information off this refiles, we can bring down the highlights completely. And now Landrum uses the information off the doctor exposure. So you see, and the sky is no visible and we have all the details. Then I opened up the shadows to maybe about 80. And of course not. Looks a bit weird. Um, we need more contrast again. So I press and hold the old key. And now we are just divides until we see something burns out. So it's it's OK that these that the sun burns out a bit. But don't do it like this, because then we already were also haven't burned out sky. And we don't want this so we maybe go something like, Yeah, like 25 or so. Ok, on for the blacks The same. We go to the left in the negative direction. Maybe to 30 size something like this. So you see, um, in the before and after, we have much more information in the image. So we have on all the details in the sky and all the details in the rock. But now it looks a bit hdr. And to prevent this, we go minus clarity. Maybe minus I usually go minus 20 something like this. And now it comes an important point because we need more color in the image. Um, and we can do this by adjusting the vibrance and saturation, so yeah, maybe we can go to about 50. Okay. And saturation. Off course. Also, maybe about 40 something like this. Okay, now we have much more colors, much more. Um, the dynamic in the in the photo. So we directly go to the, um, to bring bring more, because it was really a sunset, and actually, it doesn't look like a sunset at all. So I think we need more red and more more orange in the sky so we can do this by going to the split toning And now I'm select color. So we're pressing and holding the ultra key. We can choose a color which we like. Um, maybe something like this Big orange, Okay. And separation. You know, we can add a lot of color, maybe like that. Okay, Wonderful. And for the shadows, we also can add Ah, um color. I often do that. I am doing that. The shadows get a really blue color on the hard. Let's get a warm a red or orange color because this also creates deaf in your photos. So maybe to this Yeah. And now a situation Not so much just a bit, because it it here at the bit of blue in the reflection off the water here in the front. Maybe like that. Okay, Wonderful. So now we go to length corrections and make sure that removed chromatic aberration is enabled because when you're shooting right into the sun and it often that you have these chromatic aberration and we need to remove them. But lad room does a really great shop here, so we can trust at this point and everything's done. And then we go to upright and click otra and let's see what Landrum does. Not really much so. I think the photo is already correct level up. So then let's crop the photo a bit. So I think this isn't so interesting. This rock unit is a little bit disturbing. Maybe like that. And I think they're also too many rocks in the front. So maybe Crawford like that on this side is son Andi. This guy isn't so interesting here. So maybe let's crop this guy as well that we have the rule of that's our so maybe like this . No, but so wonderful. Okay, so now let's take care of this guy to get more colors into this guy. Um and we can do this by using local adjustments. So on to close the photo that I call it Close the photo. I always use and radiated filter on the top and chest docking of just back up here on the top off the photo. So this closes the photo and brings the fewer right into your image. That's an important point. I dude on every picture. I ended in lad room. I hadn't great into the top, and I duplicated and turn it around Adam Radiant to the bottom. Maybe not so dark. Maybe he is something like that. Okay, this looks great. Wonderful. Um, maybe not so much us. Well, and now we can add the second Grady int just thinking in new, making new radiant. When holding the shift key, you can make it straight. Okay, now we can add a bit off warm colors here on darkly exposure a bit more Onda off course. Increase the saturation. But but maybe, like that. Wonderful. Okay? And now we can also create more colors by using a radio food. So, for example, here on the top can make a radial soldier. We can reset the exposure. And now we have, of course, a bit saturation. Make sure that feather is 100. And we can now here at the bottom selected color also which we like. Yeah, but not too much. Maybe something like that. Wonderful. Ah, bigness. Okay. And I think it's too bright here on the right hand side so we can make another radial suitor here and lo the explosion of And maybe we can add a bit of Fred here. Yes, well, so let's see. Uh, not so much They have to be very subtle with ease and adjustments, because otherwise it would look unnatural. Okay, wonderful. Don't like. Okay, here you can add a bit more contrast on a good, much saturation and vibrant. Okay, I think it looks quite well. So that's to use the Yeah, something like this. So, um, these were the important steps to really make a local adjustment to close up the photo of the turbine at the bottom, said here on great and filter to really get the fewer into the photo and then add a bit more color. You can do color, adding by, um split, toning and through local adjustments like the adjustment brush and also the radio food does . So I think the loose Quite good. So let's take care off the noise, because as we open up the shadows so much, we have a bit off noise that stupid off noise reduction. So I usually go to 10 here, and we also have a color casts. We can remove this with this slaughter here and happening and go around 19. So I have a rule that I take 100 minus the aluminum's off noise reduction. So in this case 100 minus 10 on DSO. I said the amount of sharpening to 90 in this image, and now an important point is the masking. Um, we need a mass. If you hold the r key, you see your mask and everything which is black won't get affected by the shopping Everything which is right, um will get shopping. So it's like in photo shows when you have a mask. So maybe something like that. Okay, now photo is really sharpen its noise and reduced. Wonderful. Maybe Let's also go here to the D. Hey, slider. He has the photo a bit. Just a tiny bit in it. So much have to be really much our that you don't overdo it with this slider here. Okay, So if you take it, look at before and after by pressing Why, You see, there's a big change, much more colors, much more dynamic. Really? Yeah. Also, as we cropped the photo really panoramic, it gets more dynamic. And I usually do this that I do a little of panoramic cropping at every photo On what we also conduce at a little vignette to make it more interesting. Just a little bit because, as we already have the grade Ian's and maybe we can run it up here, but again. So let's go to the radiant again and just yeah, so much. Okay. And now is he at this point of the raw and development of the raw editing, Um, maybe Ozzie in the trouble, but less darkening. Yeah, that it gets metre. Now comes the magic. I call it magic because now we take an adjustment brush on. We try to do something like dodge and burn like you do with portrait and photo shop. You can also do this with landscape images. So, for example, you can make important things as the reflection here in the water, brighter, inducting other things which aren't important for the image you can docking them up. So here I really like the reflection. And due to the fact that I had a polarizing and indie filter, so I made a long exposure off. I think it waas 10 seconds. Um, and with the polarize of the water, it's really clear, and I really like the smooth, clear effect here in the front. So I think we can ride this up a little bit so just rush over these parts of the image. Also here with the rocks. It's it's small for a gets a really nice effect and then just let it up of it. Maybe something like that. And also other interesting parts. For example, if you think I think this rock here's interesting and just brought up a good or the fortress that it gets more attention off, the fewer just brush over it and brought it up. So let's take a look with the brush strokes did. So I switched off and switch on. So you see the reflection here in the water, and you have to do it on a way that the fewer doesn't realize that you have brushed into the picture him. But if they don't know that you did brushstrokes here, they won't realize that if you don't overdo it, so just take a look at other things, then come back to your photo. Look at it again, and then you say, Oh, what's that? I can clearly see that I brushed here. Something's in all you say. Oh, it's it's two less you can and more. But be we really subtle and don't overdo, do it with these adjustments. But I think this really gives the photo of but an interesting part. It makes it interesting. More interesting than just, um just do a normal roar development. So, for example, here, but more Yeah, I think it looks quite good. Messi on the fortress looked at before we know. So we're pressing the old P and then brushing over the part of the image will remove the brushstrokes here. So it's a razor. Yeah, and I think it looks very nice. So if we're done, we just we've done. And now we have one issue here in the middle, we assume, and we see that here is really much noise in this little work. So let's take care off that that's no problem. We can just use the adjustment brush rush over it. So Okay, so this rock and here at the bottom us well, and now we can do noise reduction here, so we just go to minus 100 and it takes sometimes the lead rem need some time to render this. And we can also reduce the saturation these parts and then you can just click done Well, that it's much better with the noise in these parts of the image. So he's an art that we can see the whole image. Yeah, I think it looks good. And if you take a look at the before and after that, change really re changed Really many things. We added dynamic to the image by adding these local adjustments. This brighten up these reflections, he in the water and then do it with every image. I asked myself, What are the really important part of thes off this image? What are the points I want the future to look at and these parts I I brought them up, so that's really important that you ask yourself this question and then ride these parts off. So we've started with the local with the with. The basic adjustments were bringing down the hall. It's open up, the sheriff setting our white and all blacks, then going minus clarity, add vibrant saturation, go through the split, toning at colors off them with this bit toning than at local colors by using radiance and radio filters, close up the photo and on the top on the bottom on, and also then do the magic. But dodging and burning so that the fewer has some points. Who can, where he can look at. So that's really important. That is the basic wrote workflow I use every time when I adage landscape photos off course out of the cropping is important because if you crop the photo more panoramic, it feels right. It gets, Ah, more dynamic feeling is you look at it so I often use this panoramic cropping. Maybe here at the left in the left corner, we can burn it up a bit more, cause some rocks could've dark, but that's no problem. Um, maybe, like this wonderful. And then we can trust click down. And now important step is just go away during a coffee, for example. Then go back to your image, look at it and then you will see things which you yeah said, Oh, that's not good or that's fine. And that's just a bit more exposure here. And then you can fix these parts, and when you're done with the editing in light room 7. Sharpening and Export: Okay, So now if you want to export this image out off, lad, room them as ah j pic fire. You, of course, can go to file on export and exported for flied room. But, Aziz, you trusted a basic sharpening in lad room. I'd like to open it in photo shop and then do they are the final shop innings. I do this and every time with photo shop. Because I'm I've found out a method and Photoshopped, which worked the best and which had the best and recites and sharpening and good sharpening your images. So I go right click on this image, go to edit and added in Adobe Photo shop. And this now takes some time until photo shop opens. Okay, so once it is opened in photo shop, we just duplicate the first layer. So this layer, by dragging the layer onto this, I can into the new layer I can and release it. So we have duplicated it. And now we go to fill it in other and high purpose. And as a radios I ever take 3.0 picks is I just found out that this and worked the best within three picks is and then click. Ok, so now we go to so we Now we see we have all the details off the image. Um, it looks a bit like a doctrine burning layer in Photoshopped, but that's no problem. So now we go to image adjustments, you and saturation. And we drag this situation tu minus 100 click. OK, so now it's the same burnt. We don't have any colors in there. And all we have to do as the last step is that we have to set it to overlay Mullah, our image is shopping. So maybe we reduced capacity of bitch to around a and then we have a wonderful sharpened image with a very high quality. And you, of course, can make prints out of it with ease method it chest is very sharp. No matter if you printed or if you showed others on the screen, it's just very sharp, as you hopefully could also see in the video. So now we still want to export its, um, Che pick as we already as we still have the DMG file. So we go to file export and safe for whip. And now it again takes in time until this we know here opens. Make sure that the sizes to 100% that you selected here Chapek maximum off quality 100 on with the color profile and convert toe s RGB include all major data and as an quality go to the cubic shopper then all you have to do here, see the arm The fight I sold will have 12.6 megabytes and then you can go to safe select Ah , but he wants So for example, in the Donald's Fuller rename its image and just say food I wanna you have exported the image out off Photoshopped So that waas the editing off the first image I hope you have learned many things so far and that you could understand my workflow how I am started Every time it's the same. I do the basic adjustments than I had color. Then I do the local adjustments and then I shop made and exported. So it's these simple steps. If there you follow them, you can edit every row file and you see and the next episode we will edit a night photo. Andi also we will have a special effect in photo shop 8. Edit a night photo with Lightroom: So in this lesson, I'll show you how we added a night photo. So that's the before. And that's the after off course. We start with the raw development and night room and then we had a little special effect here. You concede on the clouds here in photo shop, So let's stop. I already imported the profiles to Lad Room, so I decided to again taken HDR image. So why did I choose to taken HDR image? So you can see this and the fortress is very bright. Andi Hill here and the middle ground is very dark. So it of course, I could just open up the shadows to 100. But then we would have a lot of noise and I want to make Brent out of this image. So I decided to take an HDR, which we have all the details and then we can reduce the noise because we have over exposed image where we have the details in the middle ground and we have a next post image where we have all the details in the fortress. Andi. Yeah, so I can show you the exit data. How I took this photo You can travel this and let room by pressing command. And why on your keyboard, Andi, it was at 2.5 of a second at APA. True Off eight. And I is a 100. And of course, it was taken again with the Sony A 6000 and with the kid lands at 16 millimeters. So, um, at first we of course, have to gonna make the HDR. So we select all of the three row files, then we make a right click, go to for a merge and HDR. Then it takes some time for lead drum to create a preview. Okay, So once led room finished with the preview, make sure that auto line is neighborhood here at the top. And make sure that DIGOS amount is said to known because you don't need any diggers because was taken on a tripod. There was no movement between the single raw files and so we can just at this too long here , then if let room has done his work, we just click merch. I'm going to take some time, so light room is ready with creating the HD. I consider this here. It's hdr that DMG um so It's now one big profile with all the informations off these three ringer guessing the raw files. So now we can start with our workflow at first. Of course. Let's take a look on the white balance. I think the camera did a good job in this photo, and I think the weapon it is. Okay, so I will let the white balance. So I'm the exposure. It's a bitch. Too dark for my taste. So, um, let's light it up a bit. Maybe something like that. Okay? Contrast is fine now. And now the important thing, I bring down the highlights, its have seeming the first lesson. And I opened up the shadows. Maybe not so much in this image, because we have really much information. We have really over exposed image here. So I think we can stick with 60. And now we will set our whites by pressing and holding the old key. You can see what is burning out. Maybe around 40. Okay, to bring back the contrast. And then we can set our blacks to have something like that until we see them things which are really black. Okay, then we have more contrast of course in the image. But now again, it has a bit off them Hdr look, So we will reduce the clarity to about minus 20. Sorry, minus 25 is fun here as well. So if we assume in, it has a great sharpness. We have no noise at all. So wonderful, um Vibrance. Just a bit more color. But I think this image is also very saturated. So don't overdo this. And if we now would end saturation, I can show this to you. Yeah, it looked very reared because in the blue is too blue and I think the orange is too saturated in this image. Also, if we have saturation at zero, so we have to take care off that on Beacon. Do this in that room with the HSE l color section. Yes, I already showed you in the basics video, so the orange tones are too saturated here. So let's take a look. If we can reduce this so orange saturation, you can see this. What happens if I drag it to Mont Tu minus 100? So all the in orange tones. Ah, now completely unsaturated. So maybe let's go to something like minus 20 until it looks fine for us. Okay? And I think the blue tones are a bit to unearth that register. We can boost the saturation at the blues. Bitch. So you can see this. What is affected by the blue tones on? Maybe we can go to around 35 something like that. Okay. And it can also boost the ECU a bitch also to around 30. Wonderful. So if you press and why, you know, chemo received the before and after and here we have a big change already with these single step. So we have brought back all the details by first and making an HDR image down, opening the shadows and bring down the highlights. Then we brought back our contrast by setting the whites and the blacks. And now we took care off the colors by and doing local saturation and reducing the saturation of the orange chance that it doesn't look very it And I think it looks quite good already. Okay, um now we can also take a look at the split toning if you can do something there. So I always after I've done the basics. The basic retouching. I take a look at the split toning. If it makes sense to adding color here, suppressed the old key. And then we can see you how the color effects our image. So let's take a look. If you find a tone that we like, maybe something like that and not so much saturation just a bit that we reduce the bluish look a bit on that it gets a bit more interesting. The image here. So maybe something like trendy here, and I can show you the effect of the split toning by switch by turning it often on here. And you see, we just reduced a bit this blue look because otherwise it looked a bit like we had just a filter, a blue filled, and I don't want that. So I want to make it more natural. And you see, this year in the cloud in the reflection on these this plutonium effects these parts of the image on that quite like it. Okay, let's take a look if we all said, uh, color in the shadows. But I think it's blue enough, and it would also make no sense to Adam warm color here, so I think we can leave the shadows on this image. Eso We're fine with the highlights here in this blue Tony. Okay, now, if I took the image, it was a bit difficult to find the right point where I placed my tripod because I really wanted the fortress to be in the center off the image. But I think he and this image it. Yeah, it's not really in the center and also a bit off. You have to transform it a bit because I waas standing on the right side and not exactly in the middle. So it's not perfect from the perspective here. But Lateran has a great function transform so often we can use Auto A bride. Let's look what Ultra bride does here. Okay, it just rotates the image a bit, but I think that's two less for us so we can do a manual transform in that room. So you have these richest your vertical horizontal on more. So let's take a look what vertical does here. It correct the perspective, and I think it looks better. There's the fortresses, obits. It doesn't look really straight, so let's go to minors just a bit. And her recent we also have to do something because I as I told you, I was a bit too far on the right. So let's take it to drag it a bit to the left, maybe something like that. And now you'll see the fortress is completely in the middle, and it seems like we were standing right in front off the fortress Derek directly in the middle. So of course we have to crop it now. So let's open the crop. True. And make sure that the fortress is completely in the middle. So something like that. Okay, American crop, It here also a bit. So it's not that interesting here, Maybe something like that. And let's make it a bit more panoramic, okay? And I think we need to love up the horizon. So let's take this tool here and make sure that over rising is correctly lined up. Okay, fine. Then we just kicked down and we look at it and water. It seems now like we were standing directly in front of the fortress in the middle, and it's much better than before, so I can show you what the transforming here did. So can you see that I was standing to found the right, and now it seems that I was standing directly in the middle. So here we corrected the perspective, the correct perspective. Um and yeah, it does a great difference. It s a great different to the image because I think the most important part of the point of this image is the symmetry, the reflection in the symmetry that is directly in the middle. And that's very important. So it's ah, wonderful that we corrected this. Um, we also make sure that a neighbor profile corrections is switched on. Okay, It is by default and remove chromatic aberration also. So now let's add a bit more dynamics to the image, make it a bit more dynamic. And of course, we can do this by making local adjustments, as I already showed you in the last lesson. So let's take a graduated filter and close up the photo. So if you hold the shift key your, um, Grady and will be straight like this and then no, the exposure to really close up the photo and to get the fewer into your picture, something like that on. Then we also do a Grady in at the bottom. And maybe we can re crop it here because it the bitch to list Warner. So something like that. Okay, on and go back to our Grady. And I think he had the bottom. It's too strong. Salutes something like that. Looks five. Okay, so I can show you with art, uh, the great aunts and with the great. And so that's not a lot of more dynamic to the image. Just a bit less here. Maybe a bit more at the top. Okay, Wonderful. So we can also add a little vineyard that we ducking the cornice off the image. So let's go to effects section and lied room. Andi, She was an amount for the vineyards. So we can add a strong win it in this image on and maybe the midpoint. It's time. The rightness we can address the bitch. So, you see, it gets a bit more another shape so we can go to minus 60 on. Make this tethering higher. Of course, that it doesn't seem unnatural. Yeah, I like it. Okay. So, um no, the great and the bottom is a bit too strong, so we make it less. And here the top. It's fine, I think. Wonderful. Okay. And then just click down. So that's also we closed the photo now, Andi, Now let's do some magic. So we take the local adjustment brush and we go to exposure at a bit exposure. And now I'm I think the most important part of this image is, of course, the reflection and the cloud. So this should be a bit more on dynamic and bit more drama, so we can add a bit more interesting things by just brushing over the reflection in the clouds and make them a bit brighter. So I showed to you just like that, rushing into our image ciders If every landscape image, I ask myself, what is the important card where the fuel should look at on its way off course, the reflection and the cloud, of course. The fortress also. But I think these clouds at a lot off dynamic to the image. So we really should bridon them up. Okay, Just like that answer here on the top of it. One, the foot. Maybe boost exposure a bit more. Okay, so let's take a look. What? This brush did big difference. Okay, then click done on. And I think if you take a look at the before and after we already changed and not sorry and yeah. 9. Dynamics and special effect: I'm quite happy with that re side. So, um, but one thing I think it's disturbing because here the clouds seem really like the effect off a long exposure when the clouds of really smooth and when it seems that they are moving so off course, I could have taken ah long exposure here. But just making 15 seconds or 30 seconds instead off 2.5 seconds. Exposure time, shutter speed. But then I am. I wouldn't have this symmetry in the image. So if the clouds move to the right, they would move to the right here, and they also would move to the right there. So I think the symmetry would lost would get lost if I had done this. So I decided to just take her exposure time off 2.5 seconds and to add this effect then in photo shop. So you can learn how to at this long exposure and effect in Photoshopped, Andi. So I will do a long exposure to the middle here into the middle here that it really gets it . This symmetry back and also here on the bottom in the reflection. Andi. So let's show me to you for this. We make a right click on HDR Image now on our edited image and go to add it in and edit in the we photo shop and then and only foot A ship opens up, it takes some time. Okay, so now our image is imported into photo shop on, and let's start with The special effect is the first Let's duplicate are layer by dragging the layer onto this bacon. So now it's duplicated and, um, to get now this long exposure effect, we can use a filter in photo shop, which is called motion Blur. So we go to filter, blur and motion blur, and now we have to set on some values. So here you can rotate this thing. And now let's take a look at the clouds so the clouds are moving or we want that they are moving towards the fortress. So it's an anger that goes like this. So that selecting anger which goes like this, so maybe minus 2050 if you look at the clouds and the angle, it fits, okay? And now we can select the distance. So how I'm strong, the long exposure effect is so you can see this life for the shop applies this life to the image and we can select your value, which we like. So this is too much, of course, but maybe something around 100 is fine. So you see the clouds and moving. So it seems that the clouds are moving. We have the correct anger. So if you turn now, the anger it can show you This makes no sense because we want them to move right towards the fortress, though angle minus 20 and distance 115. Run something around that it's fine. So then we just like okay. And it is applied to our layer. So now we need a layer mask by clicking the new mask I can hear. So we've added a layer mask and now we take our brush on. And first of all, we have to make the home ask black by just clicking command and the delete key. So I'm asking is black now and now we can brush in the effect to the parts of the image where we want to him that this effect is applied to so we just make brush a little smaller . And now you see I'm on the mess and brushing on the mask. And everything which is white on the mask will no affect the photo. So here you can see, we smooth these clouds towards the fortress. Wonderful. Okay, Now you have to watch artificial him in. We did to something. We're here with the trees because I brushed too much here. So we just can change the color off the brush to black megabit smaller. And then we can fix this weaken, brush it out. So it gets black again in the mass, and it won't affect the image. Okay, so we have to work out here, But I think it looks son wonderful. So take a look at the before and after with this one layer. So he had the top. Wonderful. The cloud seemed that they are moving like going along expert long exposure. They are really smooth. And now we have to do this and four times because if he just would brush in also the cloud on this side, it would not function. Because then the clouds are older moving in this direction. So we have to do this with these four sides with number one. Number two number three and number four because they all need a different angle at the motion. Blur, filter. Um, that they're moving into the right direction. So let's repeat the stiff duplicate our lay a mask, drag it to the top at a filter. Go to there. Motion blur. Distance the same. So now let's take care of the clouds at the top here. So maybe something like that? Yeah. Angle of 45 maybe. Looks fine. Okay. Just like okay, we had a new musk goto brush. Make sure that Why does the foreground color right click command and delete mascots black and we can brush in the path that we want. So here the clouds. That's what Trump here. That Okay. And I think this looks kind of nice. They were moving wonderful to make sure that we don't do something weird with the trees here again, Um, maybe here you can erase bit. Okay. Sorry. You raise it. So that looks kind of nice to know we have to make the next corner, but duplicating the lay again, dragging it to the top, go to filter, blow and motion blur again, selecting angle something like that. Okay. Create a mask. Go to a brush. Make sure that white is the focal in color command. Delete and then we can again brush in part of the image. Okay, here with we have to erase some parts again because this looks beautiful. Fortress trees. Just make sure that it all looks natural. Wonderful to be foreign after and no the fourth corner duplicate on layer. Drag it to the drug top, Go to blur motion, blur and select the angle. We want our clubs to move, click OK in a mask, make the mask black. And now we can begin brush in the plugs. So wonderful. And you see this absolute much done Eric to the image just awesome on the picture. Also got quite successful in social media, so it could reposted by many. Big instagram helps Andi good. Many likes the people, like the effect of the symmetry and they liked also the colors and the dynamic off this photo on. And if we just make a group of them now, look at the before and after it's a lot. It's a huge difference. Eso this kind of special effect. Really. Um it is very important with this image. So now you know how to fake long exposure in clouds and photo shop. So if you have an image and was possible for you to take a long exposure or you decide you want a long exposure afterwards or you just want to have really a symmetry because clouds are just moving in one direction. And to really get this symmetry you have to do this afterwards and photo shop, you know, know how to do this. And you see, it's really, really easy. But just following these simple steps and don't overdo this, that's the rule. Every time again, no matter what you are doing in image editing, don't overdo it. Take much out that it looks natural. And then you get wonderful images which the people at which you like and which you can make prints out of it. So we have a good quality also. So the last step would be that we shopping the image. So we, um, just make a new layer out of all these layers. So by pressing command, old shift and E, we add a new layer with all the effects. Now we go to filter, as I already showed you in the last video. Other high pass. Then it takes. We select radios. Three point several picks is you click OK, we go to image adjustments, you and saturation directors saturation Tu minus 100 and go to blending mode. Or will a? And if he knows him in, you can see what this hype has fielded. Us makes a really big difference to the image. No high pass filter with Harper's feel so much more sharp and no noise in the picture or because we took this HDR. We took three images. We have no noise here in the shadows, in the dark tones, even if we brought them up in Lodrome. So no problem. And we can make a huge print out of it. So, for example, on the cameras on the crew image. Wonderful. So I hope you like this lesson and you could learn many things which you can also used for your own image editing. And as I already told you, I give you all these row five for free in complete resolution that you can practice that you can try this on your own. And maybe you will change something. You have. You don't have to do this exactly like me. So it's just It must fit your taste. And it's Yeah, there's no right or wrong. Just do it like you want to. Andi. Um, yeah, keep practicing. 10. Create Colors and Dynamics: so this lesson will be very interesting for you. Sometimes your war fired a just looking boring. For example, if you turn return from the photographic trip on the weather wasn't good and there was no much color information in the roofies and the raw facts just down look interesting. You can still rescue them by follow these simple tricks and then your your images will turn out in a complete new look and you can still print them and share them on your social media accounts. So let's stop. So I've already imported the raw file. I can show you the exit data. So it was six seconds exposure time UNEP a trough 11 and ice 100 shot with the A 6000 and the kid lands at 16 millimeters. So at this and day, it waas the other weather wasn't good. So I am with a friend I and went to Wurzburg City and I tried to get some nice photographs off the city to make a stunning wallpaper at the river. But unfortunately there were near the just worth no, really nice sunset. It was really boring. So I wasa bitch desperate after returning home, Andi saw the raw files on the computer, but I still could rest to them and could make a wonderful looking image out off this profile. So how did I do this? So, for this you can again use my standard workflow. Um so first we will take a look at the white balance it's know as shot with the camera. So I think the white balance is quite OK, so we don't have to change this for now. So let's take a look on the exposure. Maybe it's a bit too dark and weaken Brian it up just a bit. It was something like this. Okay, on reality it off contrast, you know, as I do it every time I bring down the highlights completely, I open up the shadows to around 70 or 80. Something like that. I would set my white point, but holding the old key show that nothing is burned out. Okay, I said, my black point into the sea. Some blacks, maybe something like that cannot so much bless Wonderful that we brought back the contrast and off course. We will reduce the clarity to minus 20. Sorry, minus 20. That's the basic return retouching that I do every time. So off course you can end by brands then to bring back some color information. But you see, there's nothing in the sky. We have no sunset. It's just a bit blue. So it wants the blue hour. But I am missing a bit off the red tones in the sky. But we take care of this in a few seconds. So that's first and a bit of saturation to Okay, Wonderful. And now we can go to I think, the orangey and the fortresses too strong So we can fix this by going to the ages. Alcala section lad Room on Reduce the saturation of the orange tones Chester bitch. Something like that. And we can still boost the saturation off the blue tones. Okay, wonderful. So to bring back some color, we have different options, as in the lessons before already shown. So, um, we first go to this platooning as I do it every time on let's see if we can select nice color, which adds a bit more orange tone. Yes, I'm from like that. Okay. On and saturation. Okay. In the shadows. I think we don't have to select tone for the shadows right now because the shares are already very blue. Otherwise I would select blue. But in this case, in this image, it's blue enough. So let's take care off this guy with some local adjustments. So for this we can off course use radio filter radio suitor here, so make sure that in what the mask is enabled, that feather is around 100 on and exposure said to serial, everything's to Syria. Now we can add Cem purple and magenta and some orange to the sky. It may be a bit off exposure, of course, more magenta on a bit saturation, maybe something like that. Wonderful. And now I think we have recovered some detailed in the sky. So the orange is still too much for me, so we can reduce this a bit more. Okay, so, no, I think there's a special trick to get more dynamics into and one image. So if the skies really boring, like on this image and also hear the foreground is really boring, we can crop the photo and make it more panoramic. This at a lot of dynamics to the image. So I'm first. Let's go to, um transform and make auto her bright. Okay, one before. So and the fortresses. No straight. The rising This correctly leveled up here in this image. So this always does a good job in my bedroom. Not not at every picture, but it. 90% of the pictures or upright, as a great job. So I really recommend you to use this function off lad room. And now we go to our cropping tool on make the whole image a bit more panoramic. So the image of the sky is not interesting. So we can cut the sky and maybe take care of the rule of thirds. Maybe something like that, and off course. Here at the bottom, we can also crop it. And he and the left hand side is also not very interesting with these trees. So we can crump them arj just like this. Something like that. Okay. And now we get much more into the photo. Okay? Wonderful in it, it's completely different. So you see it? It gets a complete new message, the whole image. So ask yourself always the measures message. What won't I to express what we want I to get? What is the message I want to get across and it's a bit more panoramic to show really the river to show the evening situation here with the lights who are mirroring in the river, which arm hearing in the river. And I think with this cropping we and a lot of dynamics to the image and it looks much better than before. Okay, so now we and took care off the color. So we have brought back the colors by marrying vibrant saturation by adding more saturation to the blue turns. And then we took care off the colors in the sky of the warm tones by using the split toning and the local adjustments with the radio filter. So radios food is always good to figure. Sense it to to add to the colors like a sunset would add them. Maybe we can make it up. It's morning here, but I like also that it reflects here in the river so it doesn't look fake. It looks very natural. I think we have much money tooth than in the original image, so I show you the before and after for now. So as we opened up the shadows brought down the highlights, you have much more information or image. And then we brought back the contrast and added the color. And I think it looks much better and more interesting than our original raw file already. So now we have also to close up the photo, and we do this by ungrateful filter. So holding shift that it gets dread using the exposure here, Maybe something like that. Wonderful. And I think it's still a bit too broad at the top here. So let's at a little radio filter here and just make a bit decker wonderful. Okay? And then click done. So now we've closing up the photo at the top. We also have to close it up in the at the bottom. So again, a radial suitor mine is exposure. And even if it does look weird for you at the first glance, the people don't know that you have for used radiance here. They won't recognize it, but it will lead the few directly into the photo. So I really recommend you to use thes Grady ins to close up the forward will a lot more death to your for So now we have closing up the photo we've close at the photo on Let's complex if I the light. So let's add the magic or what I also call complex if I the light. So we use a local adjustment brush. And now let's ask ourselves again the question. What is the important part of this image? So I think they're really important. And part off this image is the reflection in the river and the river lights here and also may be here but in the middle, the bridge. So let's bright these parts up so we can use our brush for this houthi exposure a bit. And I just brush over the river here over the nights over the important parts off the image . Even if it does look v it for you at the first clans. So you see what happens. We really bright up thes parts of the imagery, which we want the few to look at. And that's lots more dynamic to the image just brushed over it. With the light on may be boosted a bit more. Something like that. Okay, looks fine. And I think we can make the image a bit brighter here in the middle. He at the bridge so we can add a living radio fota. Make sure that feather is around 100. Okay, maybe like that. And boost a bit. The exposure saturation and a bit of contrast. Just a tiny bit. It's much more interesting. Okay, if you think we, uh the brush is too Izabal, the brush strokes are too visible. Just no exposure, bitch. Maybe something like that. And off course. It's very important that you look at others things that you maybe go outside for a walk and then come back to your image on and then you see if it looks weird or not. So if you're just looking at the image all the time, you can say, if it's unnatural or not. So it's very important to look at other things and then come back to your image and make the final editing. Okay, so I like this wonderful. Um, maybe let's take a look. If you can add a little vignette, just a little vignette. Oh, make sure that remove chromatic aberration is switched on. Naval profile. Corrections off course. So little frost. Convenient ing, maybe Like that. Okay. If you think the great in here, the bottom is too strong. Just made a clip rider that it doesn't look natural. Wonderful. Okay, so I'm quite happy with the result we already got. So I'm let's zoom in. And look, if we have some noise here because, um, we have only one exposure this time and we have opened up the shadows to around 80 and it is okay for the Sony is extend, though you can do this with the raw files off this camera. It is not much more noise here, but a little bit of noise. And we can, of course, remove it with light room. So let's take a look at the shopping and detailed section here in Landrum. And there's a noise reduction, so I always do no introduction off. 10. If I do noise reduction to nuts do too much noise reduction because it would also affect the sharpening. And we would lose a lot off details. Um, what you can always actuate is the color noise reductions or the color caste. It works very well on. It doesn't affect the sharpness. It also, even if you would drag it to 100% it doesn't ruin your image, and it doesn't ruin your details. So I found that out, that it's really cool. I always go to around 50 and the color cast here and now if it's to mean we see the North's got less so wonderful. But I was also lost some details a bit so we can sharpen it a bit in lad room. So, um, I do sharpening this image around 70 the radio's I stick with the standard radios and also the standard value at the details which but make sure that you activate the masking because if you know, shopping the image of the high well, you than 70 also the sky and the water gets happen. But there are no borders. There are no things which should be sharp. It just that's noise to these parts of the image. And we want to don't have noise there, so we activate them asking, and if you click and hold the out key on drag this switch here, you can see where are sharpening actually affect the image. Everything which is white will get shopping. Everything which is Blackwood won't get shopping. So, um, just make sure that the river doesn't get shopping and the sky on Lee the borders off the houses and off the phone trees of vibration. So on the tree get sharp now. And so I think we can stick with this value off 47. Something like 50 year on. It sharpens on Lee the borders off the buildings and not off the smooth river on the sky. It is really good image. And of course, you can print this image because we have a high quality and maybe we can try something, because here we have little clouds in this guy. Maybe conduced them a bit so we can take, uh, radial food again. And Booth drank it over to these little clouds here, reset the exposure and maybe a bit off clarity here. Just a bit. Make sure that feather is 100 that it doesn't look unnatural. Maybe it's a bit of contrast here, just a tiny bit. Okay, wonderful. So if we take a closer look at the before and after you see boom, with ease, easy steps, you can bring back the color. You can bring a dollar looking raw files back to life. It can still make something great out off them. So this picture I already got Many likes on Instagram. The people really like this emerged off their home chancellor's autumn, my home terms. I have many followers on living in Wuerzburg, and they like the image. They laughed it. And if I have posted this rough out here on the left, I think nobody would have left this image. And here we have brought back the color. We have brought back the details. We added the dynamics by using local adjustments but complex. If eyeing the lights on by really make something special out of this boring looking raw file and the qualities just awesome. So and I give you all these row farts for free that you can try on your own, maybe you find a complete special different looks. So maybe thing we should change the color here and this guy, we don't add so much magenta. We make it more orange to make it more what what you want. So there's no right or wrong just up to you. Then you can practice practice, practice and you'll see no row. Father's lost, even if you don't have much color information. Lateral is so powerful, and with these simple steps with these methods, you can bring your off outs and your images back to life on. It's just amazing 11. Processing of a sunset photo - add colors: Okay is the welcome to the editing number four. I will show you how you get this image out off this row. Fine. So back to lad room. I already imported Aro fire. Now it's a raw file off the Sony A seven are so I can show you the exit data. It wasa taking within and deferred a so I could accept the exposure time to 82 off a second on butcher eight just to have ah, big sharpness of the photo. And I saw 131 millimeter at food friend. So these were the exit data, and now we will start with the raw development. So at first we may be cropped the photo because I think you're here. We are have a little bit less detailed in the sky that we can crop this guy out. Just a bitch. Maybe something like that's and also hear the trees. We can ah, cut these trees out and make the rule of thirds you and also the rocks here and as interesting. And on this side also so that we just get a bit closer to the fortress. I'm just a bit have a different and in this look. So OK, then, as a second step, make sure that neighbor profile corrections is searched on. So But this is by default. I can show you about this dust in this image. Okay, so with the Thais lands, it doesn't have a big effect. It's still removes a little bit off distortion and Vigna ting. And also make sure that re activate remove chromatic aberration as we again shot into the sun. So there were some chromatic aberration there. But lad room removed this very well. And also make sure that we and click auto a bright Okay, then we have to change the cropping just a bit again. Okay, maybe a bit more off the rocks here. Wonderful. Okay, so now we can stand with our basic retouch mint. So at first, we have to that bite balance because I think the white balance isn't correct in this raw file. Um, so as it wasa son said, I always like to go to shade and then at a bit off magenta. So that's my usual work for if it edit, um, sunset image, I go to shade as the white balance, the preset straight and then just add a bit off Magenta. Maybe something like that. Okay, on also, it's a bit docks, and they re pride it up. Just a bitch. Just a bit. A bit of contrast. Okay, so I know a so I do it every time I bring down the highlights. Open up the shadows. And now look at this. How maney information on these in this row file here off the Sony A. Sona. It's just amazing. It's no HDR image. It's just a single raw file. And from this where you think it's completely black, we have nothing. You can still recover all the details, but we won't overdo it and won't go to plus 100. I think we can stick with 70 something like that. And I always said a white point. Take the old key and hold it on. Look that nothing burns art. Okay, so no, nothing runs out. Said a black point. Yeah. We make sure that we don't make it too dark, because ready What's really dark? It won't get black here. So something like me at minus 15. This fine here. Okay, Andi, as always, Clarity miners. Maybe this image not that much maybe just minus 15 here, but something like minus 15 to minus 25 is always fine. So, Clara, cheap miners and to prevent this hdr look So now it looks very natural. But we still missing some color in the image. So color is the most important thing off landscape images for me. So I laughed color and therefore I and some y brands here So we can go to 60 or see this. We create new colors here and I think we also can boost this colors by increasing the saturation a bit. Something like that. And it looks much better than the roofies. So take a look on the before and after. This could also be a finished image. If you like it, then that way. But for me, there is still missing some red colors because it was really when I was there, it was really crazy sons that it was really read. But in the contract, I didn't catch it like it really waas on. So we can at this colors we can go to split toning as I do it always after my basic retention And now we present hold the or turkey and select tone color. Maybe something like that is fine. Orange or red? Okay. And saturation. We can go far to the right. So I like that you can go to 90. Wonderful. And for the shadows, we can also the elected tone, more cold tone. Maybe something like that. It often agenda off purple and also at this to the shadows. So you see this effect, for example, here, the bride at the dark tones in the riot and corner. Okay, so I'm not too much this off customers. But I'm quite happy with something around 35. 34. That looks good. Wonderful. Okay, so now we have still to do something at the HSE Ellen color section. So we can, of course, Busta bits of saturation off the red tones. So this is Onley affecting the red chance. Here, you can see this. That's too much, of course, but maybe can go to Yeah, 10 maybe. Okay. Also, we can boost the saturation of the orange. So this is affecting here the part of the fortress and also here, But not that much. Maybe we go to something around 60. Okay. Wonderful. Andi, Um, I think the green tones. I've been too saturated as we boosted the saturation to 34 so we can lower the saturation of the green turn to bit. Not that much. Something like that. Okay. And to make it more natural to really get a better look, we can also change the make the greens a bit warmer. And we can do this here in the you section off the h e l h sl color, um section lad room. So just drag the greens to the left, and you see what happens. They get much warmer, and it fits more to this sunset situation here, so I'll make them a bit warmer. Something like that. Maybe minus 10. Yeah, I kind of like that. Okay. Luminous. We can also increase bit aluminum's off the greens because I think they are big dark. You can see this year just makes the photo a bit more interesting. So maybe go to something around 20. Yeah, on this looks nice. Okay, so now we have made the basic adjustments. Maybe we can also take a look if the D. Hayes function does something good here. So go to the D. Hey, slider. And let's try this out. Not that much. Just a bit. And I can turn it on and off. Yeah, just a bit more contrast. A bit more color contrast. Of course. And maybe we can Also, the red tones are really just looking a bit magenta. So I'd like them to be a bit more orange so we can change this in the camera calibration section off lad room and can change the interpretation off the red tones making just a bit more orange. So, for example, we go here to, um But while you have 10 and if you turn it on and off, you see, it just gets a bit Well, my here. Okay. So I think that's fine. What we also have to do is off course. Close the photo. So we take a Grady int on big, radiant at the top. Maybe like that, just lower the exposure, make greater, wider. Okay on. I think this part here is too bright, so we can fix this by using a radio. Fota adding a radio here, make sure that feather is at 100. No, get a bit smaller. And now we know where the explosion off the radiant and you'll see it looks much better. Doesn't look that right anymore. Wonderful. So I kind of like that, then Retest, click. Done. Okay, so I'm we've closed the photo at the top. No, we have also to do this on the button. But if we if it put a reading here just very straight, it would affect the rocks, and we wouldn't see the rocks anymore. So I don't like that. And so with this Grady int and we make the Grady into bits here on the on the left side. So maybe like that. And now we lower the exposure off the Grady INGE. Now it doesn't affect the rooks. So the rock stay bright. Just this one road is bit affected by the Grady in, so we can take a brush, press the old key and just erase you are the Grady in deaths on this rock. Okay, so now it doesn't affect the ruk and you in any way. Okay, Think done. Wonderful. So we've closing up the photo of the turbine at the bottom. Maybe. Let's take a look if you can. Adam, We knew it. So we go to the effect section in Landrum and try odds. Yeah, not too much, because it's already the gray Diem's something that that's and we make it more feather, make it more natural. And I think the roundness in the mid point is fine. Here. That's trout. Would wrongness does here. I like this better. Okay? And if you think the grain at the bottom is too strong, you can just go and make it a bit broader and then click down. Okay, If you take now, look at the before and after it gets much better image. So it get, really. It gets warm and has colors it. And we boosted the colors with the vibrant saturation and also with the local adjustments he with the With the ages of color section off lad room. It's a really magical and powerful tool here that we boosted the orange tones. Look at this. It really looks nice here. The orange at the fortress. I kind of like that on we also. Yet we have much more details in the image by by opening up the shadows. It's so magic of what information could be in a row file in a single row file, just awesome. So maybe Let's take a look at the noise if we have some noise here so we can see just a little bit of noise. Not really much so. The a seven hour hazard noise at eyes of 100 Of course, but maybe conduce, um, noise reduction at town. Something around 10 10 11. Okay, fine. Maybe, but color cast removal. Okay, on we will do the shopping as always, with the high pass filter, so I won't change anything here. I won't do that with photos up. And now what we can also do is we can complex if i the light. So we open our adjustment brush, and it's always were m ask yourself the question and where won't do we want the future to look at. So I want a few to look at the fortress here. So I think we can, uh, create something like a leading line. Or we can use the river here like leading line, but just making it a bit brighter. Just a tiny bits toe rush over the river here over the reflection off the sunset and just make it a bit brighter. That's very nice. So and also hear the bottom I already told you I loved the effect off a polarizer onto him in De falta When you a long exposure? Because, really, the water then gets clear and it is really smooth here. And I like to brought up this a bit. Okay? And also here, the rock at the button. We can light it up a bit to make it more interesting here. The foreground and too complex. If I just light bit. Okay. What? We also kin let up. It's the fortress. Of course, Because you want if you to look at it. Yeah, maybe here. Just a bit. The reflection. That's a bit too much. Just you raise it again. That okay? Something like that. Okay, then click done. Oh, they can do another local adjustment brush and maybe can make it broader. Yes, well, the second leading line to the fortress. And also we can complex if I the light in the and the trees here on this side just make some of the trees a bit brighter. Okay? And then we just click done. And of course, it's always go outside. Look at other things, then come back. Take again and look at your picture and see if you're confident with your work. And I think we're done with this road development. So I really like the look off this image off the colors on by also good, really positive feedback for this image. So the people are also liked it. Andi, when you take a look at the before and after, it's just magical about the possibilities of lodrome are, too really make something special out of your office, and I hope you like this lesson on been the next lesson. I will show you the editing off my favorite landscape picture in 2017. So it is also is my most successful image, So I phoned to competitions already with that image. Onda. People just love it in many Facebook groups and photography groups. Them also good published in a magazine, and I show you the complete editing off the row file until to the final image. And it's just amazing what we can do with my work flow in NitroMed 12. Basic Retoutching: Okay, guys. So welcome to part five of my video coups. In this lesson, I show you the editing, the complete editing off my favorite landscape image in 2017. So I took this photo at the kept forming tour on my Yoka. So many tourists visit this place every day, so it's very crowded there. But after the sunset, when you can see really a magical light. So when it gets really red in the sky, when it's a magical moment, all of the people are leaving the cap form into other. They are driving home with their cars. And I used this moment Teoh, capture the light trick off these cars and combine it into my composition to use it as a kind of leading line towards the lighthouse. So I really like the curves here on the composition of it. So that was the roof. I, um I took with my Sony a seminar and I'll show you how to make something really great out off that kind off the bit boring raw files or it's too dark. Of course, there are less colors in the sky, so we will take care of that and will turn out with a great image. So that's the before, and that's the after. Let's stop, guys. Okay, so, um, back to lad room. I've already imported our six row files. We will need to make the final image I have showed you. So why did I choose to take more than one photo here? You see, um, I can show you the excess data. So it was 30 off the second Onda. You see, the cast need more than 30 seconds to drive the whole street from the lighthouse to the bottom here. So I decided to take more than one raw file to really have a continuous light trek because he and this image, I have only parts of it. So I really wanted to have a complete lie trick off red lights off casts which are driving him right? Two worlds. The lighthouse on and also ah, continues white light track off cars who are leaving the lighthouse. So I took six images. I can show them to you. So that's image number one. Here we have the red red them night track. Image number two bit broader here. Image number three. Number four. Number six and number seven. So we will start by doing the roar development and light room. So But we will choose one of these images on DNA. Make something right out off that in my bedroom. So do the magic. So we will really am recover the colors in the sky. We will sharpen the image and so on. And then we off course and go to photo shop. Andi, I show you how to blend these six images together to get born. Um, really awesome photo. So, guys, let's start by going to the develop module in light room. So for the road development, I I take one photo which already has nearly a continuous life's track. So this one here is only missing apart. So with this photo, I can't imagine how the final image. Then we'll look eso I decided to take this for the road development and then we will, of course, synchronize all the settings, um, to the other roofies and then we will add it them in photo shop. So I start with my usual work flow, as I already showed you in the last lessons. So first, to make sure that enable profile corrections is switched on also removed chromatic aberration. Okay, so then we also click also at a bride that the image is leveled up correctly. Okay. Wonderful. Andi, Um, no, we may be also can start at cropping the photo because I think this guy isn't that interesting in this image, because there are no clouds. There were no clouded this evening. Um, and we can maybe crop it just a bit and make sure that the lighthouse is in the middle of the picture. So you can take this little thing here to, um to make sure that the latter is in the middle so we can crop it a bit on this side. Maybe something like that. He and the bottom. I think it's fine because we have some interesting foreground with the This brush is here. Um, so I will maybe leave it like that. The horizons also straight, I think. But we can make sure that it really is by using the tool here, lad. Room? Yeah. So now it's really straight. Then we just click down. So now we've already corrupt our photo on them. The lighthouse. It's really in the center, off the image. And now we can start for basic retouching. So first it's always we will have to set the correct white balance on the camera. I think the images much to blue, so as it waas, a little bit of sunset situations would was shot after the sunset. I think we really need warm colors here. So every time I added a sunset image as I told you, I go to shade white balance shaped in lad room and you'll see the difference. So we take a look at the before and after it gets much more warmer. Of course, it doesn't look really well now, but we will add more colors to the much later and also take care off the explosions that I think it's a bit too dark. But I always under exposed my shot to bid to really capture all the highlights to have no to have no part of the image which burned out. So maybe that's brighten up just the bitch. Maybe something like that. Okay, contrast is fine, I think so. We don't have to change the contrast here and now. As always, I bring down the highlights. Maybe not so much on this image. Maybe something like 90. Here's fine. Okay, so now I open up the shadows. So you have never seen me doing that? Yes, on dumb. Then we have to set our whites, of course. The white point. So by holding the old key and here just okay if some parts off the lights trailer burned out because we don't care about that. Just make sure that we have a bit off contrast in the image. So maybe something like that is looks good here and also our black point to go to minors. Maybe not that much, because already what's really dark? Maybe something like minus 20. So we've brought back the contrast now and have all the teachers. So if you take a look at the before and after here on these brushes and also the rocks here and it was really dark, so we couldn't see all the details. But now, by opening up the shadows and bringing down the Heil as we have much more details in this guy and also here in the dark turns off the image. But now it again looks a bitch hdr So we reduce the clarity with minus security is always maybe something like minus 17 here is fine. Okay, so that's the basic retouching. Off course. We have to take care of the colors now. So that's a bit off vibrance here. Maybe something like that. So you see, the the ocean gets much more blue. The trees have more colors here. Also on here. Yeah, I think this really looks time also weaken boost the saturation a bit. So I really like that kind of look on now to add more color and to really and really we recover the colors in the sky. We can always do this by the split toning and by doing local adjustments. So we go down to the spittoon eggs. Action off, lad room and we're now hold the old key on Select a color which we like, So maybe a bit often orange tongue, something like that. Something like that. Look, sign and way off course boost the saturation of this. Yeah, but not too much. Because otherwise it looks weird if you have too much orange also here. But you can see this also here on the stones and the rocks amid effects. Also these parts of the image because they ibid bright and this gift, really a warm look to the photo as the stand would still shine on these rocks, I'd just looks awesome. Also, we need to select a tone for the shadows. So again, holding the old key and select tone, maybe 230 is fine, the kind of blue turn to create a bit death. Now we have to be really much out with the saturation to not overdo this, because it will destroy the whole look off the image. So just go a bit. Here, booth the exposure bit. So if we turn on and off the split Tony, you see we have a bit more color information, the sky a bit more off blue 20 and the deaths of in the dark tones in the shadows. Just the rocks here will shine a bit warmer, so I really like that. And now let's take care off the colors in the sky. So that's really important for this image that we bring back the colors here because I want to communicate the message off a wonderful sunset image after sunset image here on day, it's completely missing, so we can off course now do a radio filter to bring ah, fake the sunset again or to boost the sunset. He and this image. So I'll do a radio all over the full with off the image here. Maybe like that. Okay. And now we will at a bit off magenta. Oh, no, not that much. Okay. And maybe make it a bit warmer, make always sure that feathers at 100 that it looks natural. So maybe a bit more magenta on boost the saturation. Yeah, I kind of like that. The last magenta on the big orange, maybe. Oh, that looks nice. Wonderful. Okay. And now it can do, Ah, second Grady int to make more orange tones here at the right. So maybe just make sure that the exposure is set to zero here. We don't bride it up so much. Okay, Make sure that feather is 100. Then we add because you set the exposure and we had a bit off orange here to this part. Yeah, not too much. So be very subtle. And watch out that it looks natural. Maybe boost this saturation. Okay, We can add a bit of exposure here, maybe like that, and also here, but more saturation and exposure. I think that looks really nice. So if we take a look at their before the after off the radio filters, so you see, it really brings back the colors to the sky. It looks now that we had a wonderful sunset or after sunset situation here. So now the sky at the top is too bright. So, um, we will have to do that. Would I do that? Every image. We will close the image at the top. And at the bottom, of course. So let's add a Grady int here. And no, the exposure to really get the fewer right into your photo, something like that. So you can make the bit more blue at the top here. But most saturation of the darker something like that, I kind of like that. Look. Okay, maybe we can, uh, radial salt a bit to the top here. Higher. And who's to bid the saturation just a bit. So always remember that the colors on mobile phones and if you put this image to social networks will get less so sometimes you have to overdo it a bit just a bit on your computer , because the colors just won't be as strong as on your PC then. So I have recognized this very often. So I think here in the left hand top in the left top corner, it's still bits too bright so we can add a radio filter here again on lower a bit. The exposure here to make it more natural. Okay, something like that is fine. Wonderful. So I can like that. Look here and let me show you the before and after off the radio filters. So it's just amazing what you can adjust with Raedle photos really important tool in lodrome. So boom, we've recovered in the sunset, so we have no colors in the sky. And as we such the correct white balance of war, my parents, it looks natural because also the rocks and everything here is a bit warmer. And by doing the split toning, we have also warm tones now in the shadows and in the highlights here at the the's Stones. So it just looks natural, I think, and if we will take a look at the before and after wow while with these simple steps but just doing broom, the basic retouch mint with the highlight shadows. Whites, blacks minus security, vibrant saturation is always then doing the split, toning and local adjustments but adding color by adding saturation by adding a bit of exposure by closing the photo with Just get an awesome image look. And you can do this in 10 minutes. Yeah, if you have really routine to this workflow after this video was just practice with the raw files I give you and you will have a routine. And then you can add it all your role files in in a few minutes and have parade images. I promise you, I promise you. So, um, maybe we can run up the Oh, let's first close the photo on the bottom a bit. Just a bit. Take a look. That looks nice. We make a great and here. So sometimes it doesn't make sense to do this, but I always like to do that Bids just a bit here. Okay, Wonderful. Um said gives more depth to the photo again on maybe. Let's take a look. If we can add a little win yet, maybe not so much broader case that we go to the effect section in large room here on maybe just do a little post crow, Binion. Something like that. Kind of like that. So too strong, the right And he had bottom, so we don't want to be too dark here. 13. Complexify the light: And now, as we've closing up the photo, we still have to complex If I the lights so we can off course do this with a local adjustment brush. So which parts off the image are really interesting. I think, of course, the light trail here and but the latter always already is really bright. So we don't have to write it up here because it really the fewer just looks at it A to his first glance because it's the brightest part of the picture. The lights, he and ultra light off the lighthouse. But I think this tree here on the right is also interesting. The fewer maybe at his second glance then should look on this tree. So we brought this tree. But I really like the tree here. This or this bashed um it's really interesting. It just has a fuzzy kind of look. So I brought it up all the way, something like that. So it looks really nice. And we can also brought up this just a bit These brushes here just a bit. So maybe not that much. If you hold the orc, you can you raise, uh, but more. Ok, so I think this kind of looks nice. And now we can also complex if I the light by, I'm using radio filters again. So, for example, I think this Rocky is really, um really looking interesting. So we can bride it up just a bit by dragging a radio right onto the rock. Here, just make a bit brighter and makes your feather is 100 to that. It looks natural. So let's take a look at the before and after off the radios. Yeah, and it also that's a bit of dynamics through the image. I like this okay on may be here. Also, we can duplicate this radio Fouda and dragged over here to just make some points off light and complex. If I the light situation more so there's no right or wrong. Also, we maybe can brought up the lighthouse off course. So let's duplicate the fragile foot again and drag it onto the light house because the lad has really the important part off the image. Just brought it up a bit. Maybe here we can also add a bit of clarity. Just drinking the contrast off the star. Okay, just looks nice. So let's take the brush again and maybe just brush a bit on worthies stones here, but in them at the bitch to make the light more complicated and more interesting. The whole light situation. Um, yeah, maybe he also we come brush a bit que maybe not that much. Okay. Morning food. And it also just It looks like the sun was shining onto this rock here, so I kind of like that. Okay, So that looking nice, then if you don't just click done on, Of course, it's always take a look at other things and then come back to image on bond. See if you're still unlike what you did to you. So I kind of like this. Andi. Um now, here. Before I took the image, she was a boat which made a nice wave. So I'd like to also highlight this wave a bit because I think it adds more dynamics to the image because we have already curves here into our composition. And then we would have a curve here on the water against I think this is really interesting for image. So let's take the brush again in the brush, make it a bit smaller off course just like that, with the exposure a bit and not just brain paint over this wave. So something like that. Okay, that's kind of nice. And then, of course, not too much said then the fewer doesn't recognize that you brushed this m and zoom out a bit. Okay, that's a bit too strong. So we with, though, are the exposure just a tiny bit? Maybe like that. Then we just kicked down and boom. So here is a bit still the light of the book. But we will take care of that. And if we are in photo shop, so of course, you can use the spot removal to hear natural. But as I told you, I already told you in the basics. Lesson only doesn't work really well in lead from So if Yeah, I don't. You like this tool? I really go to photo shop too. And remove that such things. Yeah. So I can show you the before and after. No. So it's just amazing how we complex if I had the line, how we added more on dynamics to the image, how we added color to the image. And now it has a complete different look and it's just looking amazing. So the last thing we have to do in light room, uhm is take care off the sharpening. So let's go to detailed section in lad Room, Onda said. The right amount for sharpening. So as we them in for ship off course, use the high pass filter. As always, we can still do some basic shopping here and latte room so I maybe go to 50 or something like 60 and now do a little mask off course because I don't want to this guy to be shopping here that we don't add noise to this. So on Lee, the path which are right now get sharpened. So I don't want I only want the borders to. We shop here. Some maybe take value off 60 here also. So now the corners, the boat, us get shot. And maybe as we open up the sheriff that much, let's take a look. Take some time onto the bedroom, loads the raw file because it's also very big. The rifle off the Sony s tonight as more than 40 megabytes so maybe can do a bit off North reduction just a bit earned it would boost the shop just a bit more to run 70. Okay, so with the screen recording let rooms always a bit slow, but I think that's no problem. Okay, now it's much more shop. We can also correct the color noise. So the color cast here to go around 40 on, I think then we're done in lateral with the royal developing. So now we have to m copy or to synchronize all the things. Just one correction. I think it looks kind of Italy and the has its a bit too bright. Okay, it looks more natural. We can just copy all the settings we've done everything the cropping, the colors, the local adjustments, everything to the other roofies that these have nearly the same look and then we can blend them together in photo shop. So to do this, we make right click under the photo. We've just edited and go to develop settings and copies settings. Then a pub opens and re select all. Make sure that Jay Collis enables, Then kick copy. And now, if we will select all the other files or the other raw files here at the butter and then we make a right click on them. Go to develop settings and paced settings. So it takes some time, and then you'll see how all these settings are applies to the other roofies. Boom, boom. So now these are also edited. Okay, so now we want to open these. They're thes row fides as layers and photo shop. So we make sure that all these six row files are selected. Then we make a right click on it, go to edit and then open as layers in photo shop. And we take that. And now it, of course, text tough time. Because these robots, all the very big it was, just waited a few seconds. 14. Combine multiple exposures in Photoshop: Okay, so I imported all the fights from Lateran to photo shop. So we have our six layers from NitroMed. Now I can show them to you. So number one number two, number three. Number four. Number five, number six. And of course, there is a bit of difference off the brightness off these single shots. So that's because I had an exposure time off. 30 seconds. Andi, these between these single shots, of course, the line changes a bit and it got darker here. But that doesn't matter because we only need the light track off thes single raw files on what we also see. If we go through these layers here that they aren't directly above each other. So we can fix this with for a shop. It has a four ship, has a great function which is called water line layers on and directly, then place all the layers and on top of each other that they are directly above each other . So for doing this way, we select all the layers here, and then we go to air it and kick auto, align layers and then go to motor on click. OK. It now takes some time for photo shop, Of course. Okay, so now if we hide again all these layers, you see that there now are correctly lined up. They are directly above each other. Um, now we have a little transparent thing here on some off the single layers, but that doesn't matter at all. We will crop the image done at the end, so let's blend them together. I'm here in our first, um, first exposure. We already had a big part of the light trek, so that was also the exposure. We am edited in light room, our basic exposure. And now I just want this part here to blend in on two this layer. So I'm to do that. We first course make the layers visible. Then we go to blending mode on, um select. Lighten. So what you see now for it lightens up the layer, and it we have the lie trick now blended into our first layer. But to make sure that for shit doesn't affect the other parts of the image because it will , it will off course decrease the image quality. Andi, if you and we have also a bit the difference between the brightness off this single exposures. We have to make sure that we only blend in the lights trick because the blending would lighten. Also, the other parts will get lightened and over blended. So to make sure that only the Lateran iss blended in here, we will create a new layer mask by clicking the new mask. I can hear the butter. Then we select our brush. Then change the foreground color to white, of course, click Command and dilates Andi on Now we can just brush in the part of the imagery of someone to get over blended. So it's here, the light trick in the top. So let me show that to you. Just brush it in like this and boom! Okay, let's take a look if this fits here, think this looks quite natural. Something like that. So kind of like that. Wonderful. So now we've already blended in the first layer. So we changed the learning much lighten and then only brushed in the parts of the mission to be landed in so before nafta. Wonderful. So now let's do this with next layer off course. So here we need the back lads off the cars here in the top. So let's also go to lighten now, creating your mask. Select our brush, click cumin and deletes. I know we just have rush in the path of the image we want to. So wonderful on. Do you see it gets a bit brighter because they this single roof awas just brighter than the original raw file weirded edited in lodrome. So we just make sure that we only brush in the parts you want to. So here we don't need the thing here. Okay, So, like that before and after so blended in the back lights here at the top. And it was in this, um, curve here. Wonderful. So, um, last trick gets more continues with every blending we do. Number four. Okay. So we can, uh, use, of course, the red lights here and here on Dhere. The lads, I think he also. But we won't blend in these lights here off the car because I think that's just distracting from the light off the lighthouse so it would ruin our whole composition. Eso I won't brush this in, so we also go to lighten, create a mosque, make sure color is said to write he leads. Come on, delete. Make the mask black. And now we brush in part we want Okay, so here. Wonderful. Okay, so before and after with this layer. Awesome. And, um, Now we need to have some red lights. Also here in the bottom. So again s with the last layers we go to lighten credit all musk brushed it in. So you see, it looks awesome. Wonderful. So make sure that it's not too bright here. Okay? Change of size of the brush that we can brush it in more accurate. Okay, so I like that before and after. And now we have still the last exposure. So it's Ah, nice color here at the mountain also here and still a bit more off the red lights at the bottom. So go to lighten in the US Russian in humans, some lights. Also, I think he was in lats. Wonderful. So it's looking really nice now. Boom. So if we make now a group of these and take a look, this was our single exposure from lad room, which we edited. So where we did the road development now we only blended in the parts off the light track so that now we have a continuous lad track. So and it lets that's a lot more dynamics to the image. And it looks much better, I think, than the heart only off the track. And we didn't affect our our basic image here because we only created the lay a mass and only brush in the past. We want to. So we have still a good quality and everything shop, and now we have to take care bit off these transparent things here. So I'm first of all, let's make a new layer with all the latest combined that we can work on. So to do this, you click command old shift and eat, and first up create a new layer out off all the visible layers. Okay, so, um, maybe let's delete the group to make the faster. That photo shop is a bit faster now at the screen recording. So I It's destructive working now, but no problem, because we're confident with our work here. Um, so let's make sure that we crop this out here, Really assuming Okay, I said the took Think that the tub it's fine on at the bottom. Yeah, we can just grow out of it. The bottom on the left. It's fine, I think. Okay. Uh, here we have a little transplanting in the Taliban had left to take care of that. That's well, just a tiny bit. So it's really difficult. Only crop a bit off the phone for a shop. Okay, then you just click OK? And Photoshopped. Crops of photo. Henry Sim out and boom! It's looking amazing. So before and after, it's just awesome what we can do with ease, simple and blending steps. So we have still one issue in the problem here. The lights off the boat. I already told you. Imagine we wanted to remove that in photo shop. So now is the time to do this. Let's take the, um, spot healing brush tool on just brush or rich. So in 90% of the cases, Brooks really well, wonderful and boom, it's fixed it the way for after Amazing. It's an amazing tool. It works just awesome. Onda Um yeah, I think everything looks fine. So we have a little pixel here. You probably also remove it with the with this tool. Awesome boom click to move. Let's do this final shopping, so we just duplicate the layer by dragging it onto the new layer I can. Then we go to filter other high purse on select. Of course, it's always the value off 3.0 pictures. Then we click. OK, we go to image adjustments, you and saturation and we direct the situation to minus 100 and then we click. OK, and now all we have to do is to change the blending, which overlay and boom. It's shopping. So if we assuming you see the different, it's just amazing what the hype is further does before and after. Look, just at these rocks it at so much details to the emergency. Just wonderful. Boom. It's so shop. So it is an amazing quality, so you can make a huge print out off that off course. It's a wonderful quality with the Sony a seven out of the speak Raiffeisen with the Thais lands. It's really sharp and also with the basic shopping off light room and then the hypos for the in combination. It works really well. So all we have to do now is just to export the photo. I have already showed you this in the lesson one, I think in part one, eso just go to file export on safe for Web legacy and then select them maximum quality and so on, just like you wanted and then safe your final Tepic image. And then you're done with the complete editing off this image. So guys, let me show you again the before and after. That's the before. That's the after. So I think it's amazing what has changed. 15. Edit an autumnal waterfall photo: hi, guys. And welcome to this new lesson. Many of you wrote me a message that they'd like to see more very care of Look off landscape photos. So I decided to give you a new lesson about how to edit a wonderful photo off a waterfall on how to manage all these colors or photos you shot in autumn. So it will be an awesome lesson. I show you step for step, how I came from this raw that came out of my camera to this final image. So we talk off cause about how to manage colors, how to make pictures look natural, but also how to catch the eye off the fewer and to impress them with fuel photo. So it will be in very interesting lesson and lets out. First of all, I can give you a little tip when you shoot landscape photos in autumn, for example, if you ever have the possibility to go to Germany and to visit the Black Forest, just go there. You have really nice photo sports there. I can really make recommend this spot to you. So, um, when it comes to shooting autumn photos or photos in autumn I really can recommend you to use a polarizer, a polarizer filter. I think this is the most important filter and landscape photography combined with the nd filter. So the polarizer you cannot bring back this effect in post processing. So it's really important. Toe do this right. When you're shooting landscape photos, the polarizer haps you to get more natural colors. To really make all the colors pop, as you see may be here and to also make the water much more clearer to get, um, really transparent so that you can see the ground the least which are lying on the ground in the water. So it's really nice effect in autumn. I can maybe show you another photo here. I shot with a polarizing an Andy filter combined. So you can really make use of this thesis both filters on. I promise you they will improve your image quality. So But now let's start with the editing off this photo. So I already imported our image to latam as I showed you in the basics lesson. So let's start with the editing. Maybe I show you the exit Stater that you can see how I shot this image. So it was shot at 15 off a second at an aperture 6.3 with eyes A 100 with my 24 to 70 millimeter size lens for him at my Sony a seminar. So, um, I really tried to make not a tour too long exposure because I tried to keep the shape off the waterfall here. So that's another trick I can recommend you in. In order, man comes to shooting waterfall images. You know, often it is gives the really cool effective You exposed, for example, like 30 seconds. This gives a really nice look. It is very, very clear. The waterfall. It's very kind of fuzzy look, but when you try to achieve to keep the shape off the water for that, you really can see how the water is falling to make it a bit more than Amick. The image, it's all you can also use a short, um, exposure time. Teoh Chief, This so it's really nice. Um, as if seen here, I am chose 15 off a second to really not destroy the beautiful shape off this little waterfall here. So at first, obviously, our picture is a lot to dark, so we can easily fix this, but just boosting the exposure. Betty, um maybe is something like this Looks fine, Onda for the white balance. I think it's a bit too yellowish for me, So I like I'd like the green to be a little bit more kind of bluish. So maybe that's drag it a pitch to the left. Here, maybe something like that. So we can also make the water a bit more with more fresh, a bit more natural by just changing a white balance here on making a bit more blue, adding a bit more blue to the image. So I think contrast is fine. So we started our usual workflow. Um, we open up the shadows, but in this picture, we don't have to open up the shadows two plus 100 because that's obviously too much a destroyed. But the contrast dynamics off this image. Um, here, it's fine. Maybe if you just go to something around 40. This looks kind of nice that we write thes dark parts in the image of pitch, but not too much so that we really can can keep this death in the photo. So for the highlights. Maybe we are also lower these highlights a bit, but not that much because yeah, the highlights aren't blown out. Also, we are not shooting right into the sun when you shouldn't run to the sun. Always just keep sure Highlights minus 100 or minus 80 for example. But here we don't have really complicated light. So we have a really balanced lad in this image. So I think it's fine if we direct the highlights to minus 30 for 35 for example, let's find something like that, Okay? No, of course. We set our white's point by holding the old K and bring it to the right until we see some part of the image of burning out something like that. It's fine. So you see, the water is a much more brighter now. It looks really, really cool thing. So the blacks we can also set Ah, black point, never, not too much. And yeah, something like minus 20 looks really cool. So you know, often I told you to always do minus clarity, So we will also do mind sculpture on this image. But we didn't direct the highlights of minds. 100 the shadows two plus 100. So we don't have to do minus 20 of clarity here in this image. So it's fine if you just do a bit off minus carrot here to award in HD Allah, but not too much in this photo. So, um, I think we have fine with minus seven murders. There's something like under minus 10. Yeah, so this looks should look fine by Branson. We have to add a bit more color, bit more dynamics to the image. So vibrant is always good to add a bit more color to create a bit more color here and saturation maybe become boost this culture pit. But you see, if you do too much here also looks unnatural. So let's take it with plus five. Uh, I think this still looks natural. So in autumn photos and follows your shot in autumn, I think colors are the most important aspect off your photos because these really are the main part of your photos. And they should catch on the few off the people who watch at your photos. So we should really take care off these colors here and make it really pop but also natural . We can do this by going to the ages are color section in large room on Don't make sure that we are hearing all that All sliders are visible that we can make our adjustments for the colors. So I think the lease It was really late in autumn Sword wars A to the end of October or even in the beginning, off November when I we're at, um at the Black Forest on shut. This image still on the autumn was relate already. So the colors were pit brown already. Not that right. Nice tones off red. So maybe we can fix this with the orange orange slider here and lied room by dragging it to the left. Let's see what it does. Okay, Now you've seen it. It's really too much, obviously. So no, this doesn't look natural anymore, but I think that goes to the right direction. So I want to make the least the Leafs here on the rocks a bit more to the red do not need to just make the bit more interesting and not so boring with these kind of boring brown tones. So maybe let's drag it to something like minus dirty. This looks really cool. So if you look at the before and after you see, we did our basic retouching and now we take care off the colors to make the bit more natural. So as the next step, I would also take a look if you can adjust the yellow tones because I think the green, as I already tried to fix if the white balance make it a bit more green, a bit more to the blue tones. I think the greenness is still a bit too yellow, still a bit too yellowish, so we can just drag the slider off the yellow turns a pitch to the right here and you see it changes the color off the green turns. They're looking much more saturated, much more natural, much more like in spring on. I kind of like that looks so I direct this ladder to plus age looks fine. I think you so also the green tones with the green slide. We can also do the same going the same direction. So we also adjusted to plus 10 something wrong. That's okay, so I kind of like that If the water is a kind off Turkey's. So, um let's maybe dreck the slider here bit to the left or you see the water. The color off the water is changing here, but not too much. So it always We're always trying to keep things naturally. No, but maybe something around minus 10 looks fine here on his tenant. Okay, so I think it's kind of nice. So maybe let's at the next step. We don't have to change the purple magenta tones so it doesn't affect the image of all. You see, we don't have any tone that magenta are hopeful in our image. But next weekend maybe adjust the saturation of the colors we corrected now. So maybe to boost the red tones a bit more. And also the orange tones, though the colors off the lease here, maybe something like that, something like plus 30 is fine. Yellow, I think, is fine green. We can also boost the colors off the green tones because I kind of like that. Look, maybe plus 50 on and, um also the tunes off the aqua off the kind of lookie off the the color off the water, but boosted obits. Yeah, I think this looks kind of nice. Really nice. So the last function lad geometry can use for for improving the colors is the luminant function. So we can make some parts of the image bride as I'm colors or even dark. And I think the wretch in Should be more contrast is so we can still direct them to the left to make them a bitch docker to bring a bit more color in the image on the orange tones . We can maybe brought up it up something like that, because they are really dark now. Okay, on the green chance. Let's take a look what we like. I like it. If the green turns are darker, a swell Andi, maybe we drag it to minus 50 here. Yeah, so I kind of like that because I like the look off the green tones when it looks natural and off course Such ready. So this looks fine. Um, in this image, let's take a look if you do some split toning here by pressing and holding the old key, but I think it would split. Tony would destroy the whole the whole color, the whole thing we created in this image on it would just destroy on message. Also off the image. So I think we are finished with the colors now. Um, but maybe let's like some local adjustments too complex if I the light and to make it a bit more interesting. So I think a day when I wasat the black forest, it was not Sonny sold both really gray. We have big clouds in the sky, so the light wants really dark. So maybe we can make it a bit more interesting by faking or by adding a bit kind off son to our forest here. And we can do this by using the radio filter here. So we drag a big radio filter here at the top and just drag it over the wooden bridge here and make it a brighter off course. And we can drag it down two bit until we get the waterfall and make sure that feathers around 80 or even 100 that it looks naturally. We don't recognize that we used on radio filter here. Okay, this kind of looks nice on. We can maybe at a 2nd 1 make it a bit on the left here and return it a bit to fake some kind off. Some is shining into our image here. And make sure that feather again goes to run 100. Yeah, maybe just this. It's I kind of like that because it now looks much more friendly, much more like a sunny day, Sunny Autumn day. And yeah, it just captures s'more the few off the person who looks at your photo because and the fewer will always look to the brightest Hard if your image first. So maybe here at the background to the to the sky or off course to the water, which is off course. Also really bride on which you want to achieve that the M fewer can look around here from the top to the bottom, so I kind of like that. Look, maybe we can also take our adjustment brush and brush in here on the rock. A bit of brightness and a bit of brightness here at this regatta. Kind of like that little waterfall here. Also, though, let's make it much more brighter and also so I kind off like that. Maybe who's the exposure? A bit more and this looks nice. Okay, Really good. Maybe also the rock here can add a bit off son to this rock. A bit of complex if eyeing the light here. And maybe also this point, the bridge, Just to make it more complicated a lot and add more dynamics to the photo. Okay, so let's see if he should crop the photo bits. Maybe just a bit at the bottom, but I think the composition looks kind of nice. So we have the falling water here at the lower third off our picture. And we have this nice wooden bridge here at the top on kind of like the composition here. So in the cropping is fine. Maybe. Let's take a look if we can dio if removed. Chromatic aberration is a neighborhood. We should always enable this because it doesn't really nice job in lad room. Just always enable this, um, shopping. Um, we can, of course, do some shopping and latam here, So drag the sharpening to around 70. And now we hold the old key and drag on masking slider to the right until we see them. Everything which is right now at the moment will get shopped. So I want to make sure that only the edge just get sharpened. Maybe we can go to a run 75 here, and this looks really nice. So we have not any noise at this picture because I shot this at I s 0 100 but we can always neighbor noise, color noise. Oh, it's the wrong side of the color noise reduction because this doesn't really good dropping lad room and doesn't affect the sharpness off the photo at. Although that's a cool trick toe. Always. Just make sure the color knows rejections around 50 because it every time reduced a bit off the color noise. But it doesn't affect your sharpness. Maybe we can also add a little post convenient here at the picture. Just a bit said on midpoint. Let's see what this does, okay, to make it more to center and feather off course to 100 and it looks natural. Okay, so I kind of like what we did so far. Then we convert this rock here bit with another adjustment brush. And of course I'm the part here. The bottom is really yet disturbing. It's also not as interesting as the rest off the picture. And so maybe that's take this Grady integrated here on and a little gray didn't at the bottom toe a photo. I'm just back the exposure ribcage. Okay, Something like that. And now. But you also another trick when shooting waterfall images in autumn. And you can always try to add a bit often interesting party image a bit off a spot where your fewer can really look at. So I am tried to find a yellow leave in the black forest. And I, um, place this leaf right here in the in the front as a foreground element off my photo. So I think we should also right up here. But so we brush over a leaf, are yellow leaf, make it brighter, make it you don't know can stick it. I think it's a bit too oversaturated, and we can make it even a bit broader. Something like that. Maybe with time. So that we have, um, interesting element in the foreground, which always creates more death to our photo on. Yeah, maybe we can make the sun here at the top of a bit broader. So that are left radio a bit brighter even. Okay. And if we now take a look at our before and after. So we did our basic retouching. We took care off the colors to keep it natural, but to also make them pop Onda we added a fake sun So we take the sun making made it a bit brighter We changed the color off the water. Um, we, um, took care about our foreground to make more interesting and we complex If I'd of course the light. OK, so I think we're done in light room and I will move to flourish because I am showing a little trick and photo shop How to add a kind of cinematic look to your colors to make that you can really make use off when editing photos off autumn so we can move to photos up by making a right kicking our image, go to edit in and ended in a no be photoshopped. So we picked this and it takes some time, so I'm making a short cut here. Okay, so now in photo shop and I show you how to add a special kind of look to make it a bit more cinematic on, it's really cool effect. We can add this by going to the levels adjustment binding a levels adjustment layer. And now we direct this and little slider here from the blacks to 17 on the slider from the whites to 238 And here, this little slider on the left to around 12. Okay. And now we had a little brightness and contrast Adjustment layer on increased the broadness to around 11. 12 something, something like that. Okay, on if you know, um, show you the before and after what this little effect does. So it makes the colors a bit more natural nuts as such right as we've set them in light room. But I think it's a kind of too much, so we can change the capacity of a levels adjustment, but maybe to run 75. And now we can show you the before and after. I think it looks more natural. Mawr. It fits more to the look off on image in order. So I always recommend you to use this kind of look if you think that you images to contrast to saturated or if you just want to make a bit more natural to create a bit more and the the mood often image in autumn I really like this kind of effect on That's it. I think that's the editing of this photo. Now it's always you have to sharpen the image with the high pass filter, as I already showed you. Um And you can export if off course with Photoshopped them on. Then we're done with this editing off the autumn photo. So I hope you like this lesson. By the way, I am always happy to answer your questions If something is not clear if something is too fast explained from me if you don't understand something, just always feel free to write me a message to open a new threat in the Q and a section in you d me? I'm always happy to help you on. I'm, uh yeah, I also like to see my students. And, uh um you're trying to understand the steps I do, and also asking why I do some things. So if you just something is not clear, always feel free to ask me on. By the way, I'm also happy to see you re sight to see you images to see your edits. You've done with flat room also your own images or even the images I gave to you also the raw fights. So I will at this rifle off this image, of course, to the filing new enemy so that you can download it. Just make sure you download the actual of the newest version that you have this raw file on . Just show me your edits. Show me the pictures you've edited or even your own pictures you photographed and you edited with light room on. I always happy to give you some feedback on them, even to receive some feedback off you. So, guys, I wish you much success in editing with fled room and we see each other in the next lesson . 16. Reflection and thank you: Okay, guys. So at this point, I would like to say thank you to you that you took part in this video coups and that I had the honor to teach you. I hope you learned many things. I hope you learned a workflow for you to edit your landscape images in that room on by give you as I said, all the raw files for free. So really, I'm my advice to you. Watch this videos again and again and practice. Just try it on your own to really get a routine into on the image editing in lights room. So we edited thes five beautiful images together. So I think side by side, they're looking awesome here. Ohmi added it a night photo. One of wonderful sunset photos. A special photo with these light rays with a nice composition. Also a photo and a band. Whether they were no colors, we're in the sky. So these were the before and afters. So I showed you how to handle difficult light situations. For example, if you're shooting right into the sun, how do you still get a great image out of that? For example, by using an HDR image aan den, adding the colors back in that room. Also, I showed you how to edit NYTPhotos how to correct the perspective on how to really at dynamics to an image, how to use especially effect and figure Long Spolar and Photoshopped. Also, I've showed you how to bring your boring looking roofies back to life. Eso There was also a big change, you see, Then we I showed you how many information can be in one row file and it's just amazing the power off large room if we had colors colors always important in landscape photography. So I think we you agree that this image on the right looks much better than the image on the left with no colors. Onda, Um, I also showed you the editing off my favorite image. How I achieved to get a continuous light trick. How did the raw development and how I added the colors and made it brighter and editor the dynamics to this image high complex ified the light. So if you follow these simple steps, I have showed you and I if you have hopefully learned and it will be no problem for you to add it, any raw file to ended your own raw files. And I think, yeah, it will make a lot of fun to edit photos. Yeah, and it's just amazing what you can do with large room. So if there are any questions, if you have any questions, just feel free to write me an email to with your training at ostia dot net. So I'm always happy to answer any question you might have. That's no problem. If something's not clear in this three course, don't hesitate to write me. And I also like to welcome you on my website. Photography did rusted dot net. So, um, you can you other off my works there on It's also linked to my YouTube channel. And there are also some other cool videos I really recommend to you. It would also be a pleasure for me if you'd leave rating here on this platform. Um, yeah, I just wanted to say thank you to you. So goodbye.