Adobe Lightroom CC: The Easy Photo Editing Course | Phil Ebiner | Skillshare

Adobe Lightroom CC: The Easy Photo Editing Course

Phil Ebiner, Video | Photo | Design

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36 Lessons (3h 59m)
    • 1. Enroll Now!

      2:08
    • 2. Welcome to the Course

      2:58
    • 3. Download Your Practice Photos

      0:48
    • 4. Importing & Organizing Your Photos

      9:39
    • 5. Crop & Rotate

      3:28
    • 6. White Balance and Saturation Adjustments

      6:25
    • 7. Exposure Adjustments

      8:15
    • 8. Color, Saturation & HSL Adjustments

      2:03
    • 9. Effects - Vignettes, Grain, Etc.

      4:38
    • 10. Split Toning

      1:29
    • 11. Details - Noise Reduction and Sharpening

      4:44
    • 12. Optics - Remove Chromatic Aberration and Lens Corrections

      3:06
    • 13. Geometry Adjustments

      4:04
    • 14. Exporting Photos

      2:17
    • 15. Healing and Clone Brushes - Remove Blemishes

      3:34
    • 16. Brush Adjustments

      3:57
    • 17. Radial and Linear Gradients

      4:47
    • 18. Advanced Options & Using Presets

      4:24
    • 19. Editing Photos in Your Web Browser

      3:04
    • 20. Portraits: Enhancing Eyes

      6:01
    • 21. Portraits: Whitening Teeth

      3:07
    • 22. Portraits: Smoothing Skin

      2:16
    • 23. Portraits: Removing Wrinkles

      7:24
    • 24. Portraits: Enhancing Lips & Changing Lip Color

      3:44
    • 25. Portraits: Cheek Enhancing and Face Contouring

      5:18
    • 26. Portraits: From Start to Finish

      11:26
    • 27. Full Edit: Night Photo

      10:38
    • 28. Full Edit: Portrait

      13:39
    • 29. Full Edit: Car

      15:06
    • 30. Full Edit: Starry Sky

      10:01
    • 31. Full Edit: Woman and Dog

      15:26
    • 32. Full Edit: Snowy Landscape

      10:53
    • 33. Full Edit: Icy River

      12:27
    • 34. Full Edit: Surfs Up

      9:29
    • 35. Full Edit: Wildlife

      14:48
    • 36. Full Edit: Roses are Red

      11:20
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About This Class

Do you want your photos to look better… to look amazing?

Do you want to learn the world’s most powerful and efficient editing application, used by professional photographers?

If so, you’re in the right place - and I'm happy to have you here!

Start editing photos in Adobe Lightroom CC (the newest version Lightroom CC) today!

Maybe you're an amateur photographer who has done a little bit of photo editing, or maybe you have quite a bit of photo editing experience. Either way, we've made this course to help you make images that matter.

Key Topics in this Lightroom CC course:

  • Navigating the Adobe Lightroom CC desktop & web-based applications
  • Importing and organizing photos
  • Fixing white balance, crop and exposure
  • Color mixer adjustments
  • Sharpening and noise reduction
  • Vignettes, grain and dehaze filters
  • Using and creating presets
  • Split toning
  • Geometry corretions
  • Lens corrections
  • Removing blemishes
  • Gradual, radial and brush adjustments
  • Improving portraits and photos of people
  • Exporting photos and adding watermarks
  • and so much more!

Make your photos look better - fixing basic things like exposure, white balance, cropping & rotate. 

Take your photos to the next level with - localized adjustments, sharpening & removing noise, effects, vignettes and more.

We've included over a dozen full editing sessions, where you follow along with an entire photo edit. These lessons are great for learning all of the skills a professional editor would use to make their photos look amazing!

What do you get?

  • Easy-to-follow video tutorials
  • Downloadable project files to follow along
  • Premium support from instructors who care

Who is this course for?

Whether you are using the new cloud-based Adobe Lightroom CC, this course will teach you how to use the program to its fullest potential. This course was creating for beginner photographers, and advanced photographers looking to learn a new application.

Our Promise to You!

We'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message. 

We want to make this the best course on how use Adobe Lightroom. So if there is any way we can improve this course, just tell us and we'll make it happen.

Go ahead and click the enroll button, and we'll see you in the next lesson!

Cheers,

Phil

Transcripts

1. Enroll Now!: do you want to learn how to edit your photos to make them look amazing to turn average? Not so great photos into photos that wow, your friends and family Perfect. This is the course for you with adobe Light Room CC. You can add it your own photos efficiently and professionally, and with this course, you'll learn everything you need to feel confident and comfortable using light room. Whether you're a casual amateur photographer taking photos for fun or you're looking to have a career in photography, this is the only light room CC course you'll need. With easy to follow. Step by step tutorials and downloadable practice files, you'll learn by doing, you'll learn how to import and organize your photos to easily filter and find the ones you want. You'll learn how to fix basic issues like cropping, white balance and exposure. You'll learn how to add style to your photos with color, advanced filters, brushes and other powerful tools, and you'll learn how to save your photos as high quality files for sharing online or printing. Please note. This course is if you want to learn the cloud based light room CC application, not the light room Classic CC app. Light Room. Sisi is the new cloud based app from Adobe that lets you edit your photos at home or on the go with powerful tools while being able to store everything, including your edits in the cloud. Why take the scores for me? I know there are lots of other courses and tutorials you may find online, but with this class you learn all the skills you'll need in one place. Plus, we provide premium support to make sure you are completely satisfied. If you ever get stuck or have a question, will be there to answer it. With almost one million students, we've learned a lot about creating online forces and strive to make this the best light room CC course out there. With our 30 day, 100% money back guarantee, there's no reason to hesitate. Just click the enroll button to start editing your photos like a pro, and we'll see you in class 2. Welcome to the Course: Welcome to the Light Room CC course. I'm so excited to have you here before we jump into the lessons. I just want to say hello and introduced myself if you haven't taken a course from me. My name is Philip Inner, and I'm founder of Video School Online. Since 2012 we've been creating top rated courses that teach people like you amazing new creative skills. In this course, I'm going to show you how to edit photos using light room CC, and you're in the correct course, right? It's important to know that this courses for light room CC users in not light room classic CC users. I have another course on light room Classic if you're interested, I know it's confusing. I don't know why Adobe has created two programs that are named so similarly, but this classes for the cloud based light room cc in the lessons in this course will be using the latest 2018 version of light room. See, see if you're taking this course with the newer version. That's completely fine. We'll make sure to update the course with any important changes or additions that adobe ads you can see from the course outline that we start with importing and organizing photos way . Don't spend too much time there. As I know, you probably want to jump right into editing. And so the bulk of this course covers all of the different ways you can edit your photos to make them look awesome. We go over all of the editing tools and filters that light room has to offer, including presets and advanced filters. And finally, you'll learn how to save high quality images so you can share them with your friends and family. And the cool thing about this course is that you're going to learn how to use Light Room CC both on the desktop app, the Web based browser app and on the mobile app. When I first learned Light Room, I loved watching tutorials by photographers that show the entire process of editing a photo from scratch. And that's why, at the end of this course, I've included several complete photo at its showing you different styles of editing from beginning to end. Make sure you download the practice photos in the next lesson, which you can use to follow along with the entire course, and I also want to clarify that if you're in the photography masterclass, you may find some of these lessons are familiar. We've included the basic editing lessons from this course in the petard masterclass, but in this class we've added more advanced lessons and hours of additional full editing demonstrations that really take your skills to that next advanced level. So if you're wondering, should you be in both classes, I would say yes if you want to take your skills to that advanced level and really learn all of the tools that light room has to offer than this is the course to be. Remember, if you ever get stuck, just post a question to the course will respond as fast as I can help you out. I'm excited to dive right in, so go ahead and download the practice files in the next lesson. Then let's jump in tow. Adobe Light Room 3. Download Your Practice Photos: make sure you download the course project files these their practice photos that you will be working with throughout the rest of the course. So go ahead and click the your project tab and then click this link right here, which will take you to a Google Drive folder that has some ZIP files that you will have to unzip. And in each of those files or folders, you'll find a number of photos that you can work with throughout this course, starting with the Practice Photos folder and then throughout the course, you'll probably see that we switched to some new sort of techniques, going from basic edits to more advanced tips and then to some actual portrait photos and then to some full editing sessions. And you'll use each folder within these project files for those different parts of the course. 4. Importing & Organizing Your Photos: when you open up light room C C for the first time, there are going to be a few windows and a little tutorial if you want to watch it or go through it, and it kind of walks you through the interface. So I recommend doing that as well as watching this video too quickly. Just jump right in and tow. Start importing. All you have to do is click this plus button in the top left for add photos. Now you want to do that and browse through your computer because you probably downloaded the practice files to your computer. Or you can choose photos from any sort of connected device, like an iPhone or a smartphone or other device. So click browse or use the keyboard shortcut Shift I to import. Now I have my photos in my light room CC folder. I'm going to select all of them and choose review for import. Here is the import window, and you can see that all of these photos have been checked. So if you, for some reason don't want to import specific ones, say you go on a shoot. This is a good idea to go through all your photos and you might have a lot that you don't necessarily want to import, and you can turn them on and off here. There's other ways to organize your photos later. If you do just want to go through and import everything and then sort of filter them later . You also have this option for adding to an album up here. I'm gonna go ahead and not do that, and I'll show you how to create an album in just a second. And then you have this check all or select all. Or it's like none but in here, which would make it easy to select all or still select none. If you have a bunch of photos, then choose. Add seven photos and you saw here that we did have some photos from my wedding that had been imported in the past. So when you open a new set of photos, they'll appear down here in this sort of film. Strip at the bottom, and you can go through by clicking on them or using the arrow buttons on your keyboard to go left or right. So I want to teach a little bit about organizing in this lesson. If you come from light room classic CC, you can see how simplified this sort of interfaces on the left below the adding photos. But in you have the my photos button. This is how you can organize photos, and you can choose to see all photos. You can choose to see the recently added photos. If you have multiple imports, you will have them by date. Or you have this album option here, and this is where I want to go ahead and create an album. So click the plus button to add an album will call this light room practice. Edits. I have include the selected photo options selected, which will include this one photo of the Doan um hand, which is good to show you that you can select photos from your film strip down here to add to this folder or this album, that is, and then just click create. Now this album only has one photo in it. So if I click on that now you see in this film strip at the bottom that only one photo is in this album. Soto add photos to this album. I can go back to my recently added photos to see all the other ones select the ones I want to add by shift clicking or command clicking on a Mac control clicking on a PC than just drag and drop into this album here. If you click This Plus annual also knows you have a folder. A folder is a way to group albums, so say you want to have a folder of all of your vacations. You can have a Vacations folder and that will appear here. And if you want, you can drag and drop your albums into the folder. So say Create another folder will call this photo masterclass. So this is going to be another folder, and we can put this full this album into that folder now and so it's just a easy way to organize your different albums, so that's a little bit more about the organization. Let's just talk quickly about viewing and rating. So here you can click these buttons and the bottom to view your photos in a different way, from grid mode to square grid so that all the photos are the same size. You have your standard detail option, which is best for when you are wanting to preview more full screen, then you have an ordering option this button down here, which you can order these photos by captured a import date modified day if you sort of added them before or star rating. So that brings me to my flagging and rating system. You can flag photos that you like and sort of unflagging them or reject them with these two buttons down here. So what I would typically do is import all my photos and then go through them one at a time and give them a flag or a rejection. So, yes, I like this one. Yes, I like this one. Yes, I like this one. No, I don't like this one. And the keyboard shortcuts for those two options are Z and X, So Z will flag as a pick. X will reject it. And you also have these star ratings. So this is another way that you can filter your best photos and this helps you choose which ones you will at it or not. So this one say I want to rate it as one star. This one, I'll do two star, which you can use the keyboard shortcuts. 1234 or five This one I love. So we're gonna set that as five. This one is a two. This one is a three. This one is a four. This one is a five. Now, how do you filter these? Click this filter button at the top and I'm gonna go ahead and close this down over here on the left hand side. So we're more full screen, and you can choose this filter option to show your filtered photos You can filter by rating . So this is filtering photos and only showing one's greater than three stars greater than two stars greater than four stars greater than five stars, greater or equal to you can click this equals but in to change how it is rated. So if you just want to see one star photos said it, two equals in turn there to click one star to turn off the filter. Just click the filter button up here. You can also filter by your rejections or picks, so clicking one of these that will show all the pics clicking off of it and then choosing your rejections will show the rejections and then, if you haven't flagged any, you can click that middle one, and now you can flag them. Choosing multiple of these. You can show once that have been rejected and not picked yet. For example, you also have filtering options here, like showing photos, videos, keywords if you add any keyword data to your photos, which I'll show you in the SEC cameras. So it imports all the metadata from these cameras. So if we just want to see Fujifilm x t two photos, then we can choose that camera. You can also have locations. If you do have locations in your metadata, let's turn off our fill options down here in the bottom. Right moving here. We have different view options. We can fit the entire image to this window. We can fill the screens of this whole editing sort of window with the image you could do 1 to 1, which is zooming into the photo. So you're seeing the full quality based off of your screen and your screens resolution and the photos resolution. So this is seeing at 100%. Um, according to this screen in this photo, let's go back to fit and Then you can turn on and off the film strip down below. And then you can also show the original. If you've made edits or not, which we'll see in just a second you have these tagging and information buttons down in the bottom. So if you click the information but in any of the metadata that is imported or seen through the file is here. So you can see the camera, the lens, the information, the settings. I s O the lens. You use the aperture, the shutter speed, which is really awesome. And then here is where you can add things like a title. You can add the location saying Dimas in California and you see a map actually pops up where we took this photo. If you're more precise that IHS, you'll notice that down below that is sinking has the sink status menu because it is sinking in the cloud that adobe cloud so that if you want to, you can go to the desktop editor or to your mobile device. If you have the light room CC, app downloaded and open this photo and everything is sink and this button down here, you can choose to store it locally or not. If you don't want to have it stored locally, it will just be in the cloud. So that's the info button. And then, lastly, we have these keywords, so weaken tag it with keywords such as Portrait. We can tag it with Phil. And so now if we go to our filter options, we can look for keywords such as Phil or Portrait, and it will bring up all the photos that have those keywords added to the photo. Awesome! So that is how you import an organized photos and light room C. C. I know it's a lot, but go ahead and play around with that. And then in the next lessons, we're going to go through editing our photos in light room CC and learning the prakit proper workflow for doing so. 5. Crop & Rotate: let's start actually editing our photos. So I'm gonna go ahead and take this photo first to show you how to crop, which is usually the first step in my editing. So I'm also going to go ahead and turn off our filmstrip so we can see more of a full screen view of this photo. You have all of your editing options over on the right hand side. I'm actually going to jump down to crop right here, which is also C on your keyboard. I love using keyboard shortcuts. When you do that, you have this grid that appears over your image. You also have these little looks like kind of buttons on the corner that are a little thicker. And those symbolized that you can click on those parts and then if you drag around, you are actually reach sizing this crop. So right now, when I do that, everything is completely custom, so I can have a completely skinny image. It could be a square ish image, but it's completely free hand. If you want to lock the aspect ratio to the original sort of photo, so you're not changing it, you can hold the shift button down and then click and drag, and it will keep that aspect ratio let go and then click in the middle to dry your photo around. You can also rotate by hovering over one of the corners and clicking and dragging to the left or right or up or down to rotate. You also have these options in the menu over here. Now the aspect ratio is the original aspect ratio of the photo. If we click down this drop down, you have multiple options for presets like 1 to 1, which would be a square. You also have widescreen like 16 by nine, which is perfect for televisions or computer screens or mobile devices, and also these presets that are great for popular print sizes. And then you also have custom, which allows you just create freeform. You also have the option to rotate or straighten with this slider. Here, dragging to the left or right allows you to rotate this way or you can click in this number area and type in a specific number. If you have a specific number or amount of rotation, you also have these rotate and flip options here. If you want to completely rotate or flip your image. You can choose these options or, if you want to flip, let me get back to original kind of rotates, so it's easier to see. And then you can flip your images vertically or horizontally. This way, once you are done and happy with your crop and rotation, which I'm just for this image, I am going to use the square, which is great for Instagram. And then I want to line it up with ease tables on the bottom in terms of the rotation. Also the lines. When you rotate, you see that there's an extra grid that appears to help. You sort of flattened out horizons and things like that, trying to get as symmetrical as possible with these lines, all the lines in the image. And then when you're done, just press the return key on your keyboard to sort of lock that at it and then get into your other options. We can always go back and edit things later, and that's the beauty of editing in a program like Light Room CC. It's not burning in these edits to your image. It's not Raster based. You can always go back and make changes cool. So that is crop and rotate. In the next lesson, we'll learn more about white balance and then pop into exposure. 6. White Balance and Saturation Adjustments: the next step in photo editing workflow that I use is to fix any white balance issues, and that is under this option. Up here is the top button. It's those three little lines that look like sliders and then, under the color drop down, you can click the arrow to see all of these options. So with color, this is fixing your white balance, making adjustments to saturation and things like that. So you have multiple options for fixing white bounce. You have a preset option up here with this. Drop down, depending. If you're editing a raw photo or a J peg photo, you will Seymour options. Since this is a raw photo, we have all of these options or presets. So if we say to light room that this light here was tungsten light than it's going to adjust it to that, The reason why this looks so bad is because this wasn't tungsten light. This was mawr of like cloudy or shade shade a little bit too much underneath the shades shelter. That looks decent, but I would say more like daylight looks like proper white balance. You also have what's called this white balance color picker or selector. So if you click that I drop her and then you go in your image to something that is white or neutral and then click it, it will balance everything else to that color. So there really isn't something that's white in this image. If I click this green, it's going to not work because we're telling light room that this green should be white or neutral, and then it tries to balance all of the other colors to it. If I click in the sky again, this guy was a little blue, so that doesn't work. So for this image, I don't think the white bounce selector will work. Let's just go back to daylight, and they also have an auto setting that would try to adjust it automatically. But I don't really like that. So I'm going to keep it at daylight. Let me just go to another photo really quick. Let's hear images. Let's go to something that does have white in it. So this image has white. We still have our white balance color selector up, so if we click something that is white than it should work now, the tricky thing is it can't be completely overexposed because if there's a white part like this area right here that's completely over exposed, it's going to ask you to pick something that's darker that has actual information in the image. This sidewalk down here is gray, so that might work. Yeah, that looks pretty good. If I click over here on this wall right here, which is grey, it makes everything a bit warm because thes lights are fluorescent and it just warms those up based off of the cool lights that were shining on these this brick wall. Now this brick wall or Ismet Waugh looks more neutral, but the rest of it looks warm. So I think this sidewalk down here at the bottom is mostly the best neutral gray to use for this image. Okay, so let's go back to this photo down here. Turn off our filmstrip. So that's how you use the white balance selector up here. If you want, you can also use these sliders. So if I take the temperature slider to the left or to the right, this is a manual way of adding warmth or making it more cooler to reset. Just click the title of the effect right there to reset it. You also have tint, which goes from green to magenta, depending on what lighting you're under. If you're under some sort of fluorescent lighting, sometimes you get sort of a green tint. So you might want to combat that by adding some magenta to it that will really show up in different photos, and we'll actually see that, not necessarily under fluorescent lighting. But under this photo, we might want to add a bit of magenta because we're getting so much green from all the greenery that is bouncing light around me. So with this photo, though, you could also type in a specific temperature here. So I know that sunlight is around 56 to 5700 kelvin. So if I tell light room that hey, we want our white Mouse to be 5600 then that works pretty good at getting a proper white balance so you can type in numbers there as well. You can also just click this black and white button. If you want to make your photo completely black and white or without that selected, you can drop the saturation here to the left to get rid of any color and then increase it to increase the saturation of of all the colors in your image, which can make things very colorful. Vibrance. The last slider that we kind of just skipped in this panel is a way of adding colors in amore intelligent way. Let's go to this photo of me and show you what happens when I increase the saturation. All the colors, like really good. The greens look and papa really nicely now, but what happens to my skin is you see a lot of reds, the oranges and yellows and my face get a lot more saturated, and that looks pretty unnatural and unflattering. Let me reset this. And so vibrance is an intelligent way where if you drag this up to the right, all of the colors, except for the skin tone colors are more saturated. So the greens blues, all those things will get mawr saturated, but the skin tones will look better drying into the left. You can see that it's decreasing the saturation of all the colors, but the last things that it's really affecting our my skin tone's so here. If I increase the vibrance and then use the before and after right here, you can see the before and after. It's a subtle change right now to reset any of these sliders. You can also just double click on the slider that you've made changes to and that will reset it, which is similar to light room classic CC. So that's the color tab. We will dive into this color adjustment are color mixer in a future lesson. But basically I wanted to show you how you fix white balance. And since we're in this tab, I showed you vibrance and saturation as well. Next, we're gonna go back up to the light options here, which would be the next step of editing your photos. 7. Exposure Adjustments: I'm going to stay on this portrait image of me for the next setting, which is light mostly when it closed down my filmstrip. So let's open up the light options. These are your exposure options, and you have a number of ways to adjust exposure. You have sliders that increase or decrease the exposure of every part of your image. You also have sliders down below that a just specific parts of your image, which is usually how I like to edit my photos. Sometimes doing an overall exposure adjustment can help. If something is completely under exposed with this image, though it's relatively well exposed. There's just parts that we can adjust to make it a little bit more contrast e and pop a little bit more with all these settings or with a lot of them. You also have this auto button just by clicking the auto button. It will try to automatically make your photo a well balanced, well exposed image, and that can be a good starting point. But often it's not going to make it perfect. So let me undo that by pressing Command Z on my keyboard on a Mac that be control Z on a PC , and then you also have this contrast. Lighter dragging to the right makes things more contrast to the left. Less contrast E. What that means is that increasing contrast. The darks become darker, the life become lighter, going less contrast. E that darks become brighter and the highlights or the lights become darker. So you have more of a mid range tone across your image. Let's get into the other options down here, where you can pinpoint a part of your image to adjust. You have your highlights, shadows, whites and blacks. The highlights are those brighter parts of your image, which allow you to adjust just the bright parts, and you can kind of see in my hair some of leaves up above decreasing. The highlights brings back some of that information the shadows. By increasing the shadows, Aiken bring up that exposure on my face, which was kind of dark, in my opinion, so I would bring that up. The whites will be the even brighter parts of the image, so if I drag that down, I can get a little bit more information back from the background and some of these leaves in the background. See before. After drying into the right, I would increase the contrast. If you wanna have a very blown out background, which might be a nice Die Elice stick approach, Teoh a photo like this, the blacks will be the darkest parts of the image, making the blacks blacker the very dark parts of my eyes here, my shirt a little bit darker. Dragging to the right sort of washes everything out again, a style that you might like. But for me, I like bringing down my blacks in this image to increase the contrast. You can see the before and after quickly by hitting the back slash button on your image, and that will show the before after before after, so you can see a more contrast E dynamic photo that I've adjusted. If you need to make an overall adjustment here, you can so say it's still too dark. I can bring up the exposure here, and then maybe parts of it are two white like my whites, so I bring my whites back a little bit. But now my face is a little bit brighter, so I'll usually make those sort of overall adjustments and then go back to my contrast lighter toe. Add a bit of contrast if I want or you also have the curve tool the tone curve here by clicking that button. And this brings up this line and this graph which allows us to adjust exposure by clicking and editing parts of this line on the bottom left, you have your shadows going up the line, you of your darks than lights and then your highlights. So clicking in the middle of this graph and dragging down it will decrease the darks, and it also starts to affect the blacks and the lights. Depending on how far you go. If I click on the top part, for example, I can increase the lights. And the more I edit like this to create this s looking shapes. Look how this curve that I'm editing becomes more s like we're adding contrast. So you might hear that a lot with photo editing, An S curve adds contrast. You should also see the hissed a gram appear here, sort of in the background of this tone curve graph. This is the hissed a gram of my image so you can see a lot of mids, and they also have some pure whites over here on the right hand side, you can also use these sliders in the bottom to adjust taking the darks, making them a little bit brighter or darker. Taking the mids dragon to the right will make him a darker to the left will make him brighter and saying with the highlights, you can drag to the left to make everything brighter. You can turn on and off this individual tone curve here with this button right here to see what you're working on. So let's reset this by double clicking in the middle to get back to our original at it. In this tone curve window, you also have the point curve. The point curve is similar where you can create points and add contrast or adjust the exposure. But what I like about this are the black points and the white points that you see. The black point is this bottom left point. And if I click that and drag to the right, what you're telling light room CC to do with this photo is to make more of this image black . If I drag to up along the left hand side of this square. We are actually increasing the black point. So nothing is really black, what is actually black and the image becomes more gray. So if we want mawr of the image to become black, we just drag this to the right and you can see as I do that more becomes black similarly with the whites. If I take this top right point drag to the left mawr, parts of the image become white. If I drag it down, the right hand side less becomes white and white actually starts to become more gray to create that sort of ask her if I can just click in the middle and drag up and down to create. That s the cool thing to is you can go in and specifically add more points. As many as you want to get really specific with what parts you want to increase or decrease the exposure of. You also have presets down here for the linear curve, which is your standard. You can add some medium contrast or some strong contrast quickly with those presets. Lastly, you have these individual color point curves. You have red, blue and green. So if you take any of these, you can increase or decrease the color or the reds in your image. So if I decrease the Reds, what's left are blues and greens. So if I decrease the reds and then I go to my green curve and I decrease greens, you're gonna get more magenta and the blue that's left over with the blue, you can increase the blue, you can decrease the blue to get yellow. And so this is a way that you can get really creative with the colors of your photo. You can also create sort of an S curve with these colors to create contrast in the blues or in the Reds or whatever colors you want, Adam or contrast to. So obviously, this is a creative edit. This is not how I would personally like to edit my photos. So I'm gonna save the set these all back two Lanier for the point curve. I might go ahead and add that strong contrast back in there. And now we have this image that if we see the before and after, at least where my face is a lot better exposed. It's definitely a style with that nice, highlighted background. But it's something that I like for this image. So that's your light and exposure adjustments and how you can fix a and improperly exposed image in light room. Next, we're gonna go back into our color and see these color mixer H S L adjustments. 8. Color, Saturation & HSL Adjustments: Let's continue with our color mixer, which is a great way that you can actually pinpoint specific colors to adjust. So if you open up that option, let's go ahead and close our light adjustments up at the top. At the top of this mixer, you can see that you can choose specific colors here, and this allows us to adjust the hue, saturation and luminant of those specific colors. So, for example, in this photo we have a lot of blues. So if we select the blues here and then we take our hue adjustments and dragged to the left or right, you are literally changing the hue of the blues in this image. If you want, you can make them more saturated or less saturated. And this is a cool way. You can have decrease the saturation of specific colors just so you can have serving colors more vibrant. Fluminense's the brightness of a color, So if we go, let's bring back our saturation and we can make the blues brighter or darker. You can also change how you adjust from color to like you. You're basically doing the same thing, but now we're just seeing the hue for any color. We can adjust the hue this way. So if we want to make those reds of the street lights or the car lights change color, we can do that, going from more of a yellow to more of a purple. And so now we can address all of the colors Hughes at once. Similarly, if you got a saturation, you can say you wanna decrease all of the colors in this photo except for the reds, which we want a boost. So let's get rid of those greens. We'll get rid of the yellows, even the oranges. So all we have is this one red light going through our photo. That's an easy way to get rid of all the color, except for one. Using this color mixer and then luminous works the same so you can go through and edit the luminous of a specific color. Using these options. It's just a different way to do it than by going through color up here, so that's the color mixer. Next, let's look at our effects 9. Effects - Vignettes, Grain, Etc.: the next set of adjustments are in this effects tab. Here you have clarity, which increases the sort of contrast and the sharpness of your image. So for this image, if I drag all the way to the right, you see all the details and the leaves in the sky. You get more stars in the sky that you didn't see when this was off. Drag into the left softens everything, which can help a little bit with skin for portrait's to make things a little softer. If I go to the photo of me, let's go. Just going to the right. There we go. If we increased clarity, you start to see all of those details of my face, and it gets really grungy, which I don't like necessarily. So softening it up can give you a nice sort of portrait dreamy style. It's under that. Let's go to this photo again and show you what D. Hayes does So D. Hayes's away that if you're shooting a photo of a hazy sky, you can pull out more of that detail. It also works here with this image similar not technically, but sort of how a polarizing filter works it adds a little bit of contrast. It adds a little bit of saturation to things like skies dragging the left will make things a little bit cloudy and foggy. Let's go to this image. Let's go to this last image here or this one here dragging up the D. Hayes. Now this is a J peg image, so we don't have as much information toe edit with. But as you can see here, dragging up the D. Hayes brings out a lot of more details in the sky. All right, so let's go Here we have our vignette options, which is another effect. Dragging to the right will create a white vignette to the left. A dark vignette. If we click this era to drop down our options, we can see that there is a feathering option that increases or decreases the feathering, making the edge of this then yet harder or softer. The midpoint makes it basically bigger or smaller. Dragging to the right increases the size of the vignette, or the circle dragon to the left will make it smaller, and then the roundness. You could make it more of a square or a circular vignette if you want sort of a more stylistic sort of like framing like that. You can drive the feathering midpoint, roundness to the left in the vignette all the way to the left. Me, We don't want feathering. You've got this nice hard border now or a white one dragged all the way to the right. So now what highlights does increase our roundness something like this increase our feathering. So what highlights does is it allows highlights to come through the vignette toe, look a little bit more natural. So seeing the top left how those highlights start to come through. If we increase this highlight slider, that's just allowing the brighter parts of your image to come through the vignette. So let's reset. What I typically like to do is add a little bit of a vignette. Definitely feather. We sent our roundness, and I like to have something very settled. The reason you would add of and yet is to increase the attention on what's in the middle of your frame. Now, with this image, we I usually don't like adding a white vignette, but for this one kind of works, I don't always like to add vignettes though I feel like it's a it's definitely a stylistic choice. That's great for Portrait's. But for things like landscapes, it generally doesn't work as well. At least in my opinion. Lastly, we have the grain slider increasing the grain gives it sort of that green. It just adds grain to it, so it gives it that style. This can work better when you're doing a black and white photo. So if I drop my saturation all the way down, maybe I drop the exposure down a little bit, too. You can see that Grain adds that sort of effect. There are more options under this grain menu, increasing the size of the grain and the roughness, making a little bit smoother or less move. So going to the left makes it a little smoother to the right, a little bit more blocking and contrast E. But as I do this, you can see that it starts to make my photo a little blurred out. So dragging the roughness to the left and increasing the size might not be the best option . It's definitely a stylistic choice. I usually don't add grain unless it's going for that specific style, so that's the effects. Here we have one more effect, which is split toning, which will look at in the next lesson. 10. Split Toning: All right, let's go back to this photo. I'm going to Reese. Turn off our color Makes your effects to show you what split toning does. Split toning allows you to adjust the highlights and the shadows differently, basically adjusting the saturation and the hue of the highlights in the shadows. So if we take this point in the bottom left and drag it up, you'll see that the numbers start bouncing around in the bottom of that window. The more we drag up, the more saturated it will be with these colors. So if we want to make the shadows of this image more blue, we would go over to the blue and add some saturation by increasing that, say, we want to make the highlights a little bit warmer. We can take this point on the right and drag up and make him super red. So now the highlights have this sort of reddish tint, and the shadows have a blue tint. You can adjust the balance of how this works with this slider at the top, leaning more heavily toe the shadows or, more heavily to the highlights. So this can be a way to sort of fine tune. The adjustment. That's pretty much how it works is definitely a stylistic thing that can work pretty good for images like this to bring out some more color and just make it a little bit more dynamic. So play around with it, have fun with it, and that's split toning. 11. Details - Noise Reduction and Sharpening: in this lesson will go over the detail panel, which allows you to sharpen your image, reduce any noise that digital grain you might see in your images both the luminous, the black and white or the unsaturated noise and color noise. First, let's start with sharpening. So if we go to this picture right here, we can see if we zoom in that my eyes were just a little bit soft. Sharpening won't make an out of focus photo in focus, but it can make the details and the edges of things a little bit sharper. So by increasing sharpening, you add a little bit of noise, but it sharpens the image. Let me zoom out, and you might be able to see if I go all the way to the top at 1 50 and then go down. It gets a little bit sharper, and it's a great way, especially for landscape photos to bring back some of that detail. You'll also notice that initially light room adds a little bit of sharpening to this raw photo, which it will do for all raw photos because raw photos need a bit of sharpening coming out of the camera they are a little soft in general, and so it applies this automatic sharpening to them. Depending on your camera, you might have to play around with adding even more now with noise reduction. Let's go to this image right here and zoom in. You can probably see that in this big open sky. There's all this little these little dots. That's what that digital noise is because of the higher I s O. If we increase noise reduction, you can get rid of all that noise. Now, when you do that, though, it starts toe make the color the edges of things a little bit more washed out. And so depending on what the photo is of, it can start to look a little unnatural. And basically, when you're increasing noise reduction, getting rid of noise, things are becoming less sharp, so it might look a little bit blurrier, so you have to balance out getting rid of the noise with how sharp you want the image to be . Color noises also automatically applied. If we drive this to left, you can see that there was a lot of color noise, these green and red dots in there, so initially light room adds this to get rid of some of that noise from the raw photos, which you might see. So if you want to add more, you can increase this. All of these sliders have fine tuning adjustments, so if we are open these up, you'll see that there's sort of similar. You'll see a detail slider, so the detail slider is a way to preserve more detail or to apply Maurer of the reduction or the sharpening. Basically, what it does is it looks at the edges, and it will apply more or less sharpening or more or less noise reduction in sharpening. You have the radius, which looks at the edges of things, so let's go into this photo again. And if you increase the radius, what you're telling light room to do is to look at the edges of things and expand by 2.4 pixels or so. So every edge it's looking at and it's applying sharpening to a whiter area basically under sharpening, you have masking, which is a good option. If you have a subject in front of a large area. That's kind of like plain, because what will happen is it will mask out your subject from the background. The noise reduction or the sharpening will apply to your subject. But in the background it won't apply as much sharpening i e. It won't increase the noise in the background. So if we take this photo, for example and we increase the sharpening all the way so we can really see what's happening and we zoom in, pay attention to the hills and then the sky. So if we increase the masking and these trees to you can pricey by increasing the masking, the background, the night sky that has less details, less Edgett, fewer edges, it doesn't get as much sharpening and you don't get that increase in noise. But the things with lots of details will still be sharpened. Then you also have the contrast and smoothness sliders under noise reduction in color noise reduction, which also fine tunes the size of the noise reduction or the type of noise reduction that is being applied. So I would recommend that you go through these photos, play around with these sliders, see what they do for you, and also test all your camera, see what type of noise reduction you need, especially when you're using Ah Hirai. So thanks so much for watching 12. Optics - Remove Chromatic Aberration and Lens Corrections: in this lesson, we'll learn about the optics options. So first we have removed chromatic aberration. Chromatic aberration is a distortion that you get along the edges of things when using a specific camera or lens you might be able to see very subtly. That along the edges of these pillars is a little sort of pinkish magenta line. It will appear as sort of magenta or green, and if you ever see that line, you can turn on the remove chromatic aberration to get rid of that. I know it's hard for you to see here. I can see it on my computer, so I hope you're following along. Can see these little magenta lines moving, turning on and off. So basically, if you see those lines, turn that on. Next. We have enable lens corrections. Let's go to this image here. So if I turn this on, look what happens. It looks like it's a little bit distorted. The edges become a little bit brighter, so what's happening is with every lens, there's some sort of natural distortion and also natural vignette ing around the edges. Well, with most lenses anyways, the wider the lens, the mawr sort of distortion. You'll get around the edges. So by clicking this honor off, it removes that distortion, and it also removes the vignette ing around that edge. Click on this drop down menu and you'll notice that with this camera and this lens, it knows exactly what lens we are using. So it's already applied the specific effects for this lens because it knows that with this lens you get X amount of distortion X amount of distant vignette ing and will basically reverse that. You can also go in and adjust it manually with these sliders. So if you drag to the left or right, you can get back. The distortion from the natural distortion from the lens drag to the right will actually increase the distortion. And then same with the vignette ing say you want to get rid of the distortion but want to leave the vignette ing. We'll just enable it, but then drag your lens vignette ing back. So you still get that natural vignette in which I actually like and you're seeing your photos through your lens So you're actually seeing that with your own I So a lot of the times I like leaving it as so. If you're editing a photo that is a compressed J peg or it doesn't have the metadata for the lens you're using and you try to apply enable ons corrections, it will not be able to pick that profile for you. You can do it manually if you know the lens by clicking this camera icon and then choosing the lens. But you want to make sure that it matches with the actual lens. Say we pick something like cannon. We'd say it's a 15 millimetre. It's creating this crazy distortion because this is not the lens we used. Well, maybe that's a sort of interesting effect you want to add, but generally you just want to pick the lens that actually matches it or just use the manual features. So that's what optics is. Next. We're even go over geometry 13. Geometry Adjustments: The next tool I want to show you is this geometry tool. This is a way where you can easily make horizontal lines, horizontal and vertical lines perfectly vertical, especially when you're shooting things like architecture. You might be looking upwards at an upward angle at the building, and when you do that, the perspective can be a little warped and straight lines don't become straight anymore. You can see in this image it's very subtle, but these pillars, while they are vertical in real life there sort of bowed out words, and we can use this tool to help us. They have some presets down here that you can try, but generally they don't work. So I'm going to use this guided method by choosing the guided method or turning on this guided tool. What you have to do is put in two lines in your image. They can both be vertical. They could both be horizontal. One can be vertical, one can be horizontal. So if I click and drag along this pillar perfectly up and down as possible, nothing happens. If I then click along this bench and let go light room is going to look at those two lines and say we're going to adjust it and crop it and warp it so that that first line is perfectly up and down in that bottom line is perfectly flat horizontal. I can add another one for this pillar over here trying to make it up and down. And so now it's going to make both of those pillars perfectly up and down. You can add up to four lines. Now, if I said okay, I want to make this line right here. Horizontal. Okay, it's going to start. Teoh get really weird while it makes that lying horizontal. It stretches everything else out. And that doesn't look too good. But maybe to add my fourth line to make AZM any verdict perfectly vertical and horizontal lines as possible. I might just go along one of these brick lines that seem that didn't really do that. Well, maybe one of these ones in the background on this play set and when I do, that starts to get a little bit wonky, so I'm just gonna leave those first ones. So if you want, you can choose this constrained to crop option. So if you did do one of these weird lines like this, it will actually crop in. So you don't see any of that white space in the background. So I'm gonna delete that, though. Alright, So I've gone back and deleted that line and turned off. Constrained to crop already. This is actually basically constraining to crop. We don't have any white edges. You can also go in and fine tune this by clicking this drop down. And here you have all your options for distortion. Vertical horizontal flipping basically. So here we convention it in or out. We can rotate and stretch vertically, horizontally, doing the same. Rotate, changing the aspect a little bit. And so you can play around with all of these to fine tune it. You might want to go in here with this photo. And now let's crop in. Go into something like this. How we had it before. And now this photo is a lot more balanced. These lines are a little bit better, and the lines of the pillars are more up and down. And I will say if you have people or other objects in your image that get distorted, it can start to look a little bit wonky. This image looks OK because there's no people that give us sort of a perspective. What should look good, what shouldn't should be worth. What shouldn't be warped. Ah, and also more subtle adjustments are generally better, so it's great for architecture photography, but not really great for things like portraiture. All right, so that's the geometry tool. Before we move on to some of these other advanced features, we're going to show you how you can export and save your photos so you can share them with the world, and that's coming right up next. 14. Exporting Photos: in this lesson, we'll learn how to save and export and share your photos from light room CC. They've made everything a lot more simple in this program, and that includes saving. If you click this button up here when you have a photo selected, this sort of share save button you can press save to toe export it as a file. It brings up this window that gives you your file type options. You could choose either J Peg or the original photo sort of the raw file or whatever format it is that you are using. Then you could choose where you want to save it. So I'm going to create a new folder in my light Room CC folder here that we've been working from at its Choose that one and then you choose your size so you have a small file size. You have a full file size, which won't which won't compress it at all, or a custom if you choose custom. What you're telling light room is that you want the long side to be X amount of pixels, So if you want alongside to be 2000 pixels, it means that for a horizontal photo like this one, it will be 2000 pixels wide and then, depending on your aspect ratio, it will. It will change the height so that it's a perfect the perfect aspect ratio based off of this long side. So then, if I click, save Goto our fuller goto our edits. And now we have this J peg image exported, ready for us to share, print or do whatever under that menu. You also have the scent of Facebook option. All you'll have to do is click the go to Facebook, authorize your Facebook account, and you could automatically share to your Facebook profile that way. So they've really simplified saving your photos here. You don't get that many options, but that's what light room Sisi is all about. Simplifying the editing process. If you want more options, you can actually send this to photo shop. Right Clicking an image choosing edit and photo shop will open it up in photo shop so you can then do all of your edits there if you want, or save it as another file type, which we taught you in the photo shop section of this class. How to say from there. That's how you save an export from light room CC. Next, we're going to be looking at these other adjustments and more advanced techniques over here . 15. Healing and Clone Brushes - Remove Blemishes: in this lesson, I'm going to show you the healing brush, which is a great way to remove any blemishes in your photo or also to clone one part of your photo and add it to another part. So if you click on this healing brush tool right here, it looks like a little Band Aid. What you'll see is a little circular mouse. Now it's your little brush. Let's zoom in. What I'm actually going to do is press the space bar to get my zoom tool click into my face . And now I can also click and move around. Say, I had a pimple. Or if I want to get rid of one of these, these freckles, you can adjust the size of your brush here. You could also just the feathering, which is the edge to make the edge a little bit softer and also the opacity. I would leave that at 100%. If you are trying to remove something completely, then literally just click and drag around. Cover up that pimple or that freckle, and what light room does is it takes another part of the skin that is a similar sort of color and exposure and texture, and it blends it with that part that you want to get rid of. So you can see here. This little circle is the one that we wanted to remove its taking from this area. If I move this area to my eye, for example, it's not going to look so good because it's saying that I want to blend my eye into the skin that doesn't work. So you want to make sure that this second point sort of matches that the color and the texture and exposure of the skin. Even if I put it down here, it might not look as good because it's a little bit brighter. It's a little bit more yellow there compared to read up here. So that's the hell brush. You also have the clone brush right here. So in a similar way, the clone brush can be used to remove blemishes. But here's what happened. So let me move over. Let's see this freckle right here. Say I click that right there. What happens is it creates the second part that is pulling from, but it doesn't try to blend it in like it did with the healing brush is literally just like a copy and paste. If I drag this over to my lips here, for example, it's literally taking my lips and copying it there. If I drop the opacity here, you can kind of see what's happening with the opacity, where it makes the part you're copying, a little less opaque of the part you're cloning. So this isn't good for necessarily removing blemishes in that sense. But what you can do is clone something. What if I want to put 1/3 eye on my forehead? I can increase the size of my brush. I click where I want to cloned the thing, then drag this selection part to my eye. Pretty crazy, right? So now we have this cloned I on my forehead, so that's not very practical. To delete this, just select it and click the delete key. Maybe it's something that would be a little bit more practical is if we wanted toe go into this photo, zoom out and we want it. Increase the number of stars in the sky so we would take the clone brush paint over here where there's no stars. Then take this selection point toe where there is a star and now we have a star there, maybe drop the opacity just a little bit, so it blends in a little bit more. So that's the clone and the healing brush. It's a great way to quickly remove any blemishes or make duplications on your photos. 16. Brush Adjustments: these next three lessons are going to be about the brush, the Grady int and the radial filters. These all work in a similar way where you are editing a specific part of your image. So let's go to this photo right here. It is a J peg image, so you don't have as much control with things like the exposure. But it will be a good example of how we use the brush tool, so just adjust the size of your brush. You can also adjust the feathering, the flow and the density. The density and flow are similar to like opacity, so it will apply thicker. We're not as thick. You also have an auto mask, but in which might work pretty well for this one. So let's paint over our cowboy here and say we want to bring up the exposure of him and the horse just a little bit. So we're painting over. It's kind of hard to see what we're doing right now, but when we let go and then hover over this point right here, the point that we started at this blue dot you can see what was painted on. And that's our selection that is going to be edited. Now you can see that it tried toe auto mask by selecting parts, the darkest parts of our image. It does try to look at where edges are with this auto mask. If you don't have auto mask on, you can kind of brush and let me show you. So now it just kind of select everything and doesn't use that auto mask technique. If you've painted on too much, you can use the erase tool here to erase your selection that you don't want to adjust. Now let's show you what you would actually use this four, and you have all these adjustments down here. So in that selection you can bring up the exposure. You can adjust the exposure values for highlights. Shadows, whites and blacks. Individually, you can increase the clarity. De Hayes ad saturation, Increased sharpness, Noise. Moray If you've ever shot a photo of someone with a very spine detailed tee shirt with like a checkerboard pattern or a stripe pattern, you might see a little bit of distortion in the shirt. That's what more are a is, and you can brush that in. Add more a reduction basically to fix that, you can adjust the temperature to make this part of image a little bit warmer or the tent as well. So that's just a cool way to adjust a specific part of your image. If you want to add a completely different brush, click this plus button and then create a new sort of mask. Because if I start to brush now, it will apply all these effects that I've already made to the rest of this image where I'm painting so you can see that if I have over this this is my selection. So now I'm addressing all of this. If I want to make a different adjustment to, say the sky, then I would click the plus button, increased the size and then reset everything. Then I get paint over the sky. Maybe we want to make this guy a little warmer. Maybe add magenta de hes a little bit, and now we have this second brush. If we want to delete it, we can click that and delete it. If we want to really paint it on thick, let's increase the flow Now. If we painted on, you can really see that's happening. So now we're making the sky really warm. And of course you got to go in there, find too in it, we can then go in, make our brush smaller. We can erase the parts that we don't want. Apply this effect too. Obviously, this doesn't like like a great picture, but I just want to show you how you use it. And so that's the brush filter. Next, we're going to go over the graduated and radio filters which work in a similar way, but you would use them for different scenarios. 17. Radial and Linear Gradients: and this lesson, we're going to go over the golden near Grady Int. So we click that and we're opening this image of Hollywood. I made a slight exposure adjustment to thes shadows. Just toe bring up the exposures in here. We might make it a little bit brighter overall so we can see what we're working with. So the linear Grady, it works in a similar sense in that you can affect just a part of an image. So let's reset all of these here, and what you want to do is just click and drag to create, and lanier fade from one side to the other of your image. So if I hover over this dot you can see that the top part of this image is going to be selected. So wherever you click from, that's the half of the image or the part that will be affected. So if I go from left to right like this now, the left side is affected. So this is a great way to effect just the sky, for example, like this where we can click and drag, and the bigger you have this gap, the more of a fade it will be weaken. Go in here afterwards and make it smaller. And if you make it really small like this, it's just like a sharp sort of adjustment, and you can click and drag around. You can click the middle line, rotate it like so. So now we can make our adjustments. So if we want to make the sky more orange, for example, you could make the sky more orange and warm. We could add de Hayes to just the sky, which is a good option for wanting to add De Hayes. But just for part of the image right, you do all these same sort of adjustments similar to what we saw with the brush filter. There's also this inver options so that you select the bottom half rather than the top half . And you also have a brush and a race option, which allows you to add or subtract parts of this. For example, in this graduated filter, I don't want this Hollywood sign in this mountain to have these adjustments, so I'll click the erase tool. You have the size, flow, feather and everything like we saw before. Now I can go in here in a race. The hills here so the hills aren't selected, but everything else is. So now. If we see our selection, want to get this down here as well. Decrease airflow and density and just paint over the top of these hills. See what we're looking at? That looks pretty good. So use the brush in the eraser tools to add or subtract parts that you want to be affected . So that's the linear ingredient. I'm just going to go to another picture. Let's go to the portrait of me and we'll show you the radio filter of the radio Grady Int. It basically does the same thing. Let's reset these, though with that selected, just click and drag out and you see that it creates this circle or oval. And so now what's being selected is the outside. If you want to invert it and select what's in the inside, you can choose invert and so say you want to make an adjustment just to my face. Weaken quickly, create a radial, Grady it like that and now make any adjustments over here on the right hand side. So for my face, maybe we want to increase the sharpness of my face. This is a cool way to actually create sort of a fake, shallow depth of field effect. Let's create a new radio filter just by clicking and dragging will also move this one around my face. But this time I don't want to invert it because I want to select everything outside of my face and let's drop the sharpness. So now it's making everything a little bit blurry. We could even drop the clarity you can see that gets really blurry. But maybe something like negative 32. It really draws your attention to my face. We can create a sort of custom than yet, so if we decreased exposure everything around, that's pretty extreme. So that's the linear and the radio Grady In similar to the linear ingredient. You have a brush and in the race tool so that you can add or subtract parts that you want to be affected in this image with this filter. So these air three amazing tools to really take your photo editing to the next level. Now, in the next lessons, I'm going to be doing some full edits to show you my entire workflow with editing a couple of these images rather than just showing you the tools so you can see from start to finish how I would add it. Photos in light room CC. Awesome. Thank you so much for watching and we'll see you in the next lesson. 18. Advanced Options & Using Presets: before we do the full demonstrations. I just want to mention this Mawr options menu, which is a great way for you to revert an image to the original. And you also have the keyboard shortcuts next to it. So you we know that if you pressed backslash, you can see the original. But to actually revert it, you conduce shift our or just click that button undoing that too. Get back here at its by doing control Z on a PC or command Z on a Mac. You can also see the hissed a gram of this photo, which is awesome for any photo. You know how his Graham works. If you've watched this entire class, you've got your blacks on the left, the highlights and the whites on the right. So this image has a lot of darks. This image, on the other hand, has more highlights. This one definitely has a lot more highlights. This one's a little bit darker. This one's definitely very dark and this is a good idea. Toe have this up while you are actually editing, especially the overall exposure. So just turn that on with command zero or just by clicking this button. You also can copy edit settings. So this is one reason I loved light room classic Sisi. Because if you're editing a lot of photos from the same location say you did in an event you did a bunch of group photos or portrait's for someone, Sometimes the set the overall settings like the exposure white balance, all of those things will be the same. So what you can do is just go there, copy with command, see? So if we'd select this photo, for example this one of the night Sky Command, see and then go to another photo like this one and then command V to paste it, it will apply all of those same edits to this photo specifically for this one. It was the split toning. Cool, right? The other thing you see here that we didn't go over yet are the presets. So you can get to presets here with this button shift p or by clicking this button down here, these air preset effects that you can do a little cool sort of filters and apply them to your photos. If you hover over them, you see what they look like. You can see that they are adjusting our settings over here, and then you confined to them to them, so you can actually apply a filter, for example, and then go into here and make the rest of your adjustments. So these air just quick ways to add a cool style or look to your photo similar to if you use instagram or a lot of the mobile APS how you can quickly apply filters that way. Another thing you can do is create your own preset. Say you love this kind of split toning that you created. If you want Teoh, save all of these settings as a preset click this dot menu. For more options, choose, create preset name. It split, toning one or whatever you want to save it as whatever you'll remember it with. And now you have under presets user presets, including this one. So now if we go to this image, for example, we can add are split Tony, and it resets everything and applies the same effects that we saved in that preset. If you ever download someone else's presets, you can install them. Just go to this button. Choose open presets folder user presets and then you should download the file. It's a dot light room template file and just paste it into this folder. So that's something you may purchase online. Or you see a lot of YouTubers and other people giving away presets, and you put them right there in that folder and they should appear under your user presets . Using presets is a great way to speed up your workflow, especially if you're becoming a professional photographer and doing things like events and portrait photography. All right, so those are just some more advanced features I wanted to let you know about before we get to our full editing demonstrations. I hope this has helped you become a better editor in light room, and I can't wait to see some of your work. So if you're editing your photos, please feel free to post them online to the chorus or just on social media. Antagonize tag. Will Sam myself video school online? We'd love to check him out, give you some likes and some subscribers. All right, see you in the next lesson. 19. Editing Photos in Your Web Browser: in this lesson. I want to show you the browser version of Light Room CC. So if you go to a light room dot adobe dot com and then sign in with your adobe creative cloud account, the one that you used to sign up for light room CC, you can see all of your photos and even edit them in the browser. So when you log in, you'll see all of the photos that you've uploaded in the past. So you see these ones. It's organized by date. You also have your albums here, just like we created in light room. If you go to your dashboard, you'll see your stats. Like how many photos you've uploaded some news or anything like that. You also have this galleries on the left, so if you click that Globe click gallery, you can create a gallery with albums or specific photos of yours and share them online. This is great if you are a professional photographer and you want to use light room Sisi as your way of sharing photos with clients, you can do things like allow downloads, comments and likes. It's a great way to get comments and notes on specific edits as well. So click Add albums. You can choose an album from your edits. Add as a gallery. You can add an image of yourself. Here you can change your name description, and then this is the link to your gallery. So if you share this with people, they can access your profile basically your portfolio and with organized at its that our public for people to see. But the good stuff is really where you can add it, and I'm not going to go through and show you how to edit photos here. You can play around with it, but look it. If you click on any of the photos, this is the photo that we just edited. You can click this edit photo, but in the top left, and you get pretty much all of the same editing tools that we got in the doubt desktop version of Light Room CC. Things are a little bit laid out differently, so you've got your main adjustments. You've got presets up here. You got your crop over here. What you don't have are all the adjustment. Brush is radial filters and graduated filters in the browser version of light room CC similar to the desktop version you can rate flag. Then here is where you would see any comments. If you do share this photo in a gallery, people can post comments there, and this is where you would see them hopes. Let's go back into the image you get, download and share images as well. This is the thing that sets lighter MCC apart from many of the other photo editing applications out there. Google photos is great because you can access your photos from anywhere, but you don't have that ability toe. Edit raw photos online like you can with the cloud version of Light Room CC. As always, Thank you so much for watching this video for the watching this section of the course, and we hope you have a beautiful day. 20. Portraits: Enhancing Eyes: Ari, Welcome to this new section of the light room CC course. In this section, we're going to be showing you specific techniques that you can use to enhance portrait's to make portrait's look better. And this is more of an advertising professional. Style of editing is not a completely, I would say, natural style editing, but there are a lot of techniques that you might want to use to enhance certain parts of a portrait. So I've imported these portrait photos, and I'm not going to be using all of them in this section, but they're there for you to use in practice with. So let's get into the first technique, which is in enhancing eyes and also changing eye color. I'm gonna be using this portrait right here, which is just a J peg image so you can see the power of even editing and J. Peg image. I'm going to zoom in here on the eyes, and then I'm going to open up my brush tool. Now. If you use light room classic CC or if you're used to the older version of light room, you actually have some brush presets, and that's not something that we have available right now anyways in light room CC, but we can do the same thing. So if you have any of your sliders adjusted just right, click and choose. Reset all sliders. And what we're going to do is be setting up a an iris enhance sort of feature. That means we're going to be increasing saturation. So boost this to something like 35. We're also going to be adding a little bit of clarity, so boost that to something like 10 and then typically, you also want to boost exposure. So we're gonna boost exposure just a little bit as well. Something like 0.3 right around there. Now, you do want this to be pretty focused on the iris of the eye and not getting the white of the eye. So I am going to take my brush settings, turn on auto mask, decrease the size a little bit, and also going to decrease the fathering a little bit and press oh, to turn on my tool and mask overlay so I can actually see what I'm getting. So I'm just gonna brush over here around the iris now notice I've selected the pupil as well I'm actually going to get rid of that. Even though the pupils black, I don't really want to add any sort of color to it, which is basically what we're doing right now. Now, if auto mask isn't working out well for you, you might want to just go ahead and use just the non auto mask. So I'm gonna brush on his left eye. Same thing. But this time I'm going to turn off auto Mass because I think I can do a pretty good job without the auto mask. So see, I'm just selecting the iris of the eye as much as possible. If I go a little bit too far into the pupil, I can always erase. Cool. Okay, so now I'm gonna turn the massacre relate off. So that's Oh, and now if we undo this, we can see what it looks like without it. Now, with it, without it with it. Now, this is how you do a basic enhancement. We can increase the saturation even more. We can also adjust the temperature so the temperature and the tent will adjust the color. So for blue eyes to make it them more blue, you might want to just cool down the white, the white balance or the temperature of this going to the right can make more of like a greenish hazel type of eye color for people with brown eyes. You might want to warm it up a bit that night. That usually makes it a little bit nicer and a little bit more brown. If you want to make green eyes, you gonna take the tent, dragged the tent to the left. Now I don't think you would really want purple or magenta eyes, but you can do that as well. And you could do any sort of combination to change the eye color. Now, if I'm just enhancing the eye color, I'm just going to take the temperature over like that. Let's undo you, dio. Now let's get out of here so we can actually zoom in and see what that looks like. So let's look at the original backslash. It's kind of subtle, but it does a lot to make his eyes pop Now. Depending on the photo, you might have to adjust the clarity as well the exposure, sometimes with darker eyes. You don't want to bring up the exposure that much. The other thing we can do is to paint the whites of the eye as well. So I'm gonna take my brush. I'm going to reset all my sliders. And this time I am actually just going to drop the saturation down to 1935. Also boost the exposure just a little bit and I'm gonna decrease my density. Now, I'm just gonna paint over the whites of the eye and making the whites of the eye a little bit brighter unless saturated it gets rid of some of that red nous, which can be good now. I brushed over and I'm not getting rid of as much red as I want. So I'm going to go in and I'm going to decrease the saturation even more. Doing it completely, especially if you're density, is all the way up and completely de saturating often doesn't look good. There's a benefit to having some color in there, But again, let's undo that. Pay attention of the whites of the eye. It's pretty good. We can actually boost exposure just a little bit more Now if we go too far. Look how crazy that looks. Not good, but just a little bit more. Something like that looks pretty good. Okay, so now let's zoom out. Awesome. Before, after, I'm gonna have to go in there and fix the paint. The whites of the eye, the brush a little bit Using auto mask would probably be a good idea there, but overall, this is the basic process for how you enhance eye color and also just make eyes pop. And this is important with Portrait's because they are the focus for at least most portrait's. They should be the focus of the photo, and making the eyes pop usually makes your photo look better. Cool. Thanks so much for watching and we'll see you in another lesson. 21. Portraits: Whitening Teeth: in this lesson, we're going to learn how to whiten teeth so similar to the last lesson we are using a brush , lets reset all sliders. And now for the effect that we're going to be applying, we're going to be widening, which means we're getting rid of a little color, so saturation could be decreased. Something between negative 50 negative 60 is pretty good. And then we also, depending on the exposure of the photo, we might boost exposure just a little bit. So I'm going to start at 600.4. You can easily remember this because 0.4 60 kind of adds up to 100 or one. And so you can kind of remember that those to balance each other out. Now let's zoom in here and when you're in the brush mode, if you want to zoom in, you can just click and zoom in. So, on a Mac that would be command equal sign. You could find it up here in the view option view. Zoom in, zoom out. So on a PC it might be different, and then I can press the space bar to get my hand tool and drag up. This time I am going to use auto mass because I want to make sure that I'm just selecting the teeth and not the gums or the tongue or the lips or anything around that density. I'm gonna go up all the way. Now it's press oh, to turn on our tool overlay Masco relay. Now it's just paint on painting on the teeth. I just bring up the feathering just a little bit. So this is a photo that you can follow along with if you want and depending on how the t look, maybe some teeth don't have as much yellow, so you don't have to do this to all the teeth. But I'm going to just go over all the teachers to show you how it works. Sometimes you can see the edge when you're using the auto mask. How kind of awkward that looks. So sometimes I do like going in afterwards really carefully using auto mask off just to get a better edge. Let's just get these teeth down here so you can see that these teas also are a little bit brighter there, almost little overexposed, so boosting the exposure might not be the best thing Ah, and you can also use multiple brushes to do this, you might not be able to do this entire effect with one brush. You might want to actually use different brushes so you can automatically see, because we have these presets applied. How different looks, so undo. Read you. Okay, so let's zoom out so we can see better. You want it to look natural. So you gotta think to yourself, OK, if I saw this photo for the first time and it might be good toe, look away from your computer or walk away from your computer, look at something else and then come back to it. Does it bother me how white these teeth are? And sometimes it's good to have a little color. So for these ones in particular, I'm gonna drop back to, like, negative 40 or so and then my exposure I'm gonna go down two point to So now it's undo. That looks a lot more natural to me. So you got to play around with this. But that's pretty much it for widening tease. It's increasing exposure and decreasing saturation 22. Portraits: Smoothing Skin: in this lesson, I'm going to show you how you can smooth skin. So I've opened up this photo. I'm going to drop the highlights and the whites and bring up the shadows just a little bit so that we see a little bit more of this guy's face. And so let's go back and zoom in. And you can see that with the modern cameras, you can see almost every poor and sometimes smoothing that out A little bit can actually help decreased overall exposure just a little bit more. So let's go into our brush. Now we're going to create a new brush, and what we're going to actually do is set the clarity all the way to negative 100. And if I do that, let me just brush over his skin so you can kind of see what's happening. So notice how automatically starts to smooth. But when clarity is all the way down negative 100 it kind of looks a little awkward. It looks like you're almost painting over and you're losing some of that sharpness and detail that you actually want. And so, in contrast to that, I'm gonna boost my sharpness to something like 0.30 or so somewhere around there. See how this just a little bit more detail, but the skin is still smooth, so let's undo this. So pay attention up here. Undo it does a little bit or a pretty good job. I just getting rid of some of the detail that we might not want in the skin. Now we don't want to soften things like eyes or even hair or lips or things like that. But when you have such a high resolution camera and you're seeing all this detail, this kind of helps. And it's actually a pretty good way to actually just get rid of some, like of the minor acne that you might have on someone's skin. So let's go ahead and zoom out. So let's command minus. And now let's see the before and after when you're seeing the before and after of everything. So let's just do the brush undo. See, I just softens it up a bit. Looks a little bit nicer. That's with clarity. At negative 100 sharpness increased to between 20 and 30 or so 20 and 40 depending on how much detail you want brought back 23. Portraits: Removing Wrinkles: in this lesson, you're going to learn how to remove wrinkles, things like crows, fee and also like underneath I. If someone doesn't get a lot of sleep, you can remove some that darkness under eyes and make people look a little bit younger. Now you're not gonna be able to remove every single wrinkle, especially if it's someone that has a lot. But let's see what we can do with the healing brush and some other brush techniques. Now, we already learned about the clone and healing brush in the basic lessons, but this is basically what we're going to be doing. So I'm gonna take the healing brush, make it a little bit smaller, increase the feathering quite a bit opacity. I'm gonna leave as is I'm just going to work slowly. One sort of wrinkle at a time. Our Crosby's. I'm just going to take this one right here, paint over it, press. Oh, if you don't see the overlay. So we're seeing where it's selecting. I'm going to select the skin down here just to get something that's a little bit more similar in color. I'm just gonna go again. Go here. Dont play around with the size of your brush to. I'm gonna take this big one right here. Gonna move that selection right there. All right, we're gonna wait on that dark spot underneath. I right there, just get these ones over here on the left. So just be careful on pay attention to the selections that light room is making. Sometimes they don't make the best selection, so you might have to move it around. Yes. And now we're gonna take this whole spot right here. So it does a pretty good job at blending in everything. So let's go ahead and just see the before and after before after before after does a pretty good job. Let's try to tackle this big area right here. We can try to do it with the healing brush, so I'm gonna try that first. When you do this, though, it can start to look a little bit unnatural. Okay, It's closed that down. See the before and after. Okay. So see how it looks a little bit unnatural now, before and after before and after. It looks like you got, like, a smudge right here. We're gonna undo that, and we're gonna do another technique So the first thing we're going to do is actually take our brush. We're going to reset all of our sliders. We're just going to boost the shadows and then we're gonna drop her density down something like 45. And now, with this brush, I'm just gonna paint over this spot right here underneath the eyes, me in the eye socket right there as well. Now, after you do that, you can adjust things like the shadows and you bring up the overall exposure just a little bit. Bring back down the whites. The highlights. Just trying to Brian in that area just a little bit before we actually use the clone. The healing brush. So that helps just a little bit. So let's go back to our healing brush this time. Let's make it a little bit smaller. Let's increase the fathering and drop the opacity just a little bit. This way it's gonna blend in a little bit more, and it won't just look like straight up, like we painted over it, dropping the capacity to make it blend and just a little bit more. Now, on top of this, what I'm going to quickly dio is I'm going toe, create a new brush, and we're going to soften the skin just a little bit. So remember Claire de Negative 100 sharpness around 30. This time, my density is gonna be all the way up, and I'm just going to paint over here, turn off Auto mask, actually, so this can also help with some of those details in the shadows and wrinkles and pores, that ad to the wrinkles and things that you might not want. All right, so we're kind of combining a few different techniques, but together we'll see the before and after. We'll see what you think. It's probably good idea, actually, to start out with just doing a little bit of skin softening like this. And here you can see that in those shadows you get a lot of blue. So what we can also do? Let's just see it before and after. So here's before, after a complete before, after with the healing Russia's well before After that, zoom out before, After before. After. See, we're getting there a lot. Now notice with the shadows, you get a lot of blue. So one thing I'm going to try is to create a new brash and we're going to just warm up a bit. Density. I'm gonna drop down, Increase the size. Now, I'm just gonna brush over here in those parts with the shadow. Now see if I go too far. No, I don't want that. I want to kind of match the skin around it. I might go back and erase parts of it because really just want to affect those parts with the blue. Now, if I press Oh, to see my overlay here, we can see and that's probably a better way to see we were actually affecting. This would also be a good one to enhance her eye color as well to see what it looks like. Cool. So let's zoom out, turn off our brushes, said the before and after. So there you have a lot of things that weaken due to remove wrinkles, so a lot of those wrinkles are completely removed. We've removed those shadows and those deep eye sockets. We've warmed it up a bit, and we've also softened the skin around to sort of blend in and get rid of some of those pores and details that you might not want so this is definitely more of a stylistic type of editing. This is what you see on magazine covers and things like that, and it's not personally my favorite type of editing. But I do want to show you how to do it. In case this is kind of the style you're going for or if someone, a client asked you. OK, get rid of these wrinkles and get rid of the the crow's feet or whatever. You know how to do it. Awesome. So that's how you can improve wrinkles or smooth those out. Let me know if you have any other questions and we'll see you in the next lesson. 24. Portraits: Enhancing Lips & Changing Lip Color: in this lesson, I'm going to show you how to enhance lips and change the lip color. So I'm using this one to practice with. It's very similar to our other brushes airbrush techniques we've used in this section so far. So go ahead and take your brush, reset all the sliders. And first with this one, I'm gonna make my selection. So I'm gonna turn auto mask on press Oh, to see my selection, and I'm just gonna paint over the lips now. I don't want to get the teeth. And I don't really want to get the gums either. So, depending on if the lips have multiple sort of colors and the lips, then you've got to pay attention to that and just also pay attention to the edge with the auto mask, as we've seen before. Sometimes with the auto mass, it the edges look a little bit like jagged. So I might just turn the auto mask on, turn my feather all the way up. Go carefully over the edges. Don't want to get in the mouth right there. Just go over the edge is very slowly and carefully. Okay, So after I have this selected were basically going to be doing what we did with the teeth or with the eyes, not in the teeth with the with the eyes. So now if I press oh, that's just the mask overlay. So that's not the color we want now. This is a case where I like to zoom in before I start adding color, because for some reason when I'm zoomed in adjusting lip color, it looks a little awkward so you can play with the temperature intent. With the tent, you can make lips more sort of purple or pink. You can also make them darker with the blue, so if you go too far automatically, you can start to see that looks a little bit awkward. It makes it a little bit more purple, but just going slightly to the left. You get that more purple, purple or blue tone. Going to the right with temperature will increase the yellow, making the color a little bit lighter. You can also just skip the temperature intent and go straight to saturation, and this just enhances the color of the lipstick or the lips that it naturally is in the photos. You can also do things like decreasing the exposure SOCom, Boeing, all these things. So I'm gonna make a little bit pinker decreasing exposure, increasing the saturation as well, Decreasing the clarity just a little bit. Can also soften up the lips. That's pretty good as well. So here we see the before and after Subtle. But this is what I would do with this portrait. I would just do this kind of edit to make those lips a little bit mawr enhanced and more colorful. If I wanted to go a little bit crazier with the color, maybe do something like this. I'm gonna go in here because part of the lip I feel like is not selected. So I'm gonna brush over the top right here. We're still getting a little pink from before, so here we go. Something like that. So now all the lips hurt selected. You can see here with the clarity. If we drop it clarity, it makes it brighter, but it also softens it up. Maybe even dropping the sharpness is okay in this situation as well. So here we have it. Enhancing those lip colors before and after before, after out in color. Changing color enhancing cool. So that's how you do it. Let me know if you have any questions. Otherwise we'll see you in another lesson. 25. Portraits: Cheek Enhancing and Face Contouring: in this lesson, we're going to look at enhancing cheeks and doing some face contouring. So basically, what I mean by that is when you look at someone's photo, especially if you're shot, you're shooting a photo with professional lighting and a nice set up. You see others some shadows in the cheek, especially with the cheek bone underneath the cheekbone. You might see a little bit of dark shadow, and that kind of just creates that shape of the face a little bit more. And even if you don't have the that, this is something you can add to a portrait or to somebody Teoh define the shape of their face a little bit better. You also have highlights. So in contrast to the shadows that you see about here, you have some highlights of above. So let me actually just take this. Let's reset our sliders. This is just to show you what we're doing. So here you see some highlights. Highlights, highlights here. Let's go ahead and create new brush and shadows. So this is obviously not how I'm going to be painting this, but here you have some shadows that you might want to enhance, too add more definition to the photo. All right, so let's undo all that and let's actually do what we were going to do. So basically, what we're doing with the brush is dodging and burning. It's a technique that a lot of Photoshopped editors use in retouching photos, and it's just a subtle sort of exposure increase or decrease based off of where you want to increase, where you want to enhance the highlights or the shadows. So first, with these shadows, what we're going to do is create a brush size. You can adjust, but we want our feather to be up. We want our density and flow to be a little bit down, and then, with our exposure going to decrease, the exposure decreased the shadows as well. Now we want this to be subtle. We can always paint over again if we want, and that's what we're going to be doing. So let me just zoom in here. So here I'm just gonna go along this cheekbone, just paint same right here, down here on the chin, down here on the bottom of the chin as well. Whoops. I was a little bit too much. Now it's hard for you to see. But if I go to before and after, see how her cheeks and her cheekbone look a little bit more defined to play when playing with the size and things to you can really kind of shaped the way her face her cheeks. Look, now, pay attention. You might have a race. So I think I went a little bit too far over here by press. Oh, you can kind of see what's I'm selecting. So those are my selections, and that's pretty good for for that Now, let's go through and creating new brush with this one. We're going to boost exposure instead of highlights we're gonna boost. Or instead of shadows, we're gonna boost highlights and same thing. We're just going to enhance some of these highlights here, here, on this cheek down here, down here this side of the nose. Now, I might go back and go back to the other brush. So if I press oh, and click on this other brush, I'm gonna just paint on this side of the nose just to get a little bit more shadow there, and that's looking pretty good. So if we zoom out before after just notice how that kind of enhances the cheeks. Now, this dark spot over on the left, not a huge fan of I'm going to just make it a little bit smaller, just a little thinner, more like a line cool. So now I'm going to enhance the color of the cheeks but creating a new brash Let's reset all of sliders. We're gonna make it a little bit more pink by adjusting the tint pretty big this time. We're just gonna go over the cheekbone or the top of the cheeks right here. Now this is one where, after you paint on, you might want to play around with the color even more if you want it to be more pink or more orange. No purple. You know, obviously you don't want something like that. This has got to be subtle. Let's see the before and after, more defined, more colorful. You can increase saturation that might do the trick a little bit better to, especially if they already have some color in their cheeks before and after, before and after. So subtle is the key. You don't want to go overboard with this, but these air the techniques that professional photo retouch er's use, this dodging and burning to really enhance cheekbones, jaw lines, things like that in people's faces. All right, I hope you enjoy this lesson. And the next one we're going to be using all of the techniques we've learned so far to do a complete photo portrait at it. Well, see there. 26. Portraits: From Start to Finish: So it looks like we actually are going to use all these photos. So I'm gonna open up this one right here and now I'm going to use all of the techniques that we learned in this section to enhance this portrait. So I'm not using any of our regular edits right now. I'm just using the techniques from this this ah section. I mean, overall, this photo looks pretty good. Exposures pretty spot on. So what we're first going to do is soften up the face. So that's usually what I like to do first. So I'm gonna take my brush. Now, remember, with our brush for softening skin, we're going to drop our clarity all the way to negative 100 then sharpness. We're going to go up something like 25 or so. Start there. Density flow or bringing back up. And now I'm just gonna paint over her cheeks. Nos forehead. There are a couple blemishes here, a little scar on the forehead. Now this is something that it's completely up to you. It's completely up to your client whether they want that removed or not. So it's a good idea to definitely talk with any clients. If you're going to go ahead and do that now, the skin down here on the neck is a little bit out of focus already, so you don't get as much detail. But I'm just gonna go over that part right there. Cool. So already before and after you can see this does a lot just to soften that skin. Next things. We're going to our focus on the eyes in the lips. So let's go ahead and create a new brush. It's actually zoom in here a bit more to the eyes. We're going to decrease the size of the brush. Let's reset all of our sliders first. Let's just make our selection. So auto mask is off, Just going to select the eye right there. Now, this photo you can really see it has that nice I light. You have that reflection in the pupil of the light that is lighting your subject. This is really good thing for a portrait. Photography really makes the eyes pop. Press Oh, again to turn off the overlay. And now we're going to decrease our temperature in hands that blue. We're going to increase the clarity. It also increased the saturation. Now you gotta balance this. You don't want to go too far, but that's looking pretty good for me. Now I'm going to create a new brush, and this time we're going to reset all sliders we're gonna press owed to the get into the whites of our eyes. This time I'm gonna turn on auto mask number is gonna pay in the whites of the eye to make those whites pop just a little bit more by increasing the exposure and also decreasing the saturation to get rid of some of that red. Okay, so now it's press owed. Turn off overlay. Let's first decrease our saturation just a little bit, then boost our exposure just a little bit too far. Starts to look really awkward. Really quick. Maybe decrease clarity a little bit as well, just to kind of blur those veins and stuff together. So there's a good one toe. Zoom out and see what looks natural. Think the explosion just a little bit too much. See, the before and after. Looks pretty good, though. All right, so next we're going to create a new brush. We're going to zoom in here to the lips gonna make that selection first. This time, I'm gonna go without autumn asking to see what we get. Okay, So painting over the lips, trying not to get the teeth or the skin above or below the lips Because you really don't want to add color change color to that. And here we're like the top and bottom lips meet. This can be a little bit of a tricky area to deal with, so definitely pay attention to that. Pay attention to your brush size. Cool. That's pretty good. So again, I'm gonna zoom out here, turn off her mask overlay. Looks like we already had some settings. So I'm gonna undo our saturation exposure and clarity Adjustments. First, I am going to boost saturation and play with the tent just to play with the color. Go down. Actually, it kind of like that. Make it a little bit warmer. Gonna go something completely sort of creative. Take that back. We're just gonna make a little bit more pink. But also add a little warmth to it as well before and after, before and after. You can tell that the color is really what's being chained is not getting a lot darker, so let's actually decrease exposure just a little bit. That's like I'm pretty good in. Let's specifically go into the whites and the highlights decrease those because there's some glare there that I don't really like. And we're gonna decrease clarity just a little bit to soften it up before after think. All right, so next let's fix some of those blemishes. So let's go in with our healing brush. We're going to zoom in. So the first thing is just the scarred the top and take the opacity all the way up. Just paint over like so doesn't really get job. Now it's up to you, depending on if you want to get rid of any of these moles or not too quick, click moles are pretty easy to remove, especially if you have, ah, good lighting. So let's go ahead and get rid of this more right here on your neck. See, that one didn't get all the way. I'm just gonna go. That selection is probably off. Let's just delete that one. This one, Move down here, delete it. Let's start over. Make sure we get the whole more nice cool, so that's pretty good now, this one on her lip, We're going to make this more into, like, a beauty mark. So let's take our brush. Reset all of our sliders. We just want to make a selection right there. Oh, to see your selection. Great. What we're gonna do is decrease the exposure. Not too much. Increase the temperature, Keep it warm, brown, decrease the shadows. See the before and after you get that little beauty mark a little bit more in the hands. Yeah, that's pretty good bounce. All right, so this is looking pretty good. I mean, this is definitely a stylized at it. The next thing we're going to do is really focus on that facial contouring. So let's take our brush. Could a new brush reset all of our sliders decrease exposure just a little bit. Scene with shadows decrease air density and flow. And now we're just going to paint. All right, here on our cheek, down here on her jawline. And this over here on her cheek as well. The press. So you can see the selection for this one. It's looking pretty good. Cool. Now let's create a new brush. Let's increase the exposure in the highlights just enhanced this highlight right here on her cheek, right here on the bottom of her chin. You don't want it to be like shiny. You don't want to be too bright, but just a little bit brighter press. Oh, so you can see my selection something like that. Now if we see the before and after before after you get a little bit mawr shape. Now let's do one more for colors of new brush. Resettle sliders increase the tent and saturation size gonna bring up. Let's go over this a couple of times decreased that size. Get cheek over here. Cool. So now let's see the before and after major difference. Now let's do one other thing I didn't do in the in the previous lessons for hair. Sometimes you can enhance hair by increasing the contrast and playing with exposure. So what I'm going to do is paint over our hair. Let's go ahead and turn on our mask overlay so I can see what I'm painting. I am doing auto mask, so I'm not really selecting the background, and I don't want to select her face. Really. I just want to select her hair density weaken, Move all the way up, actually. Okay, so that's pretty good. I might spend a little bit more time later on adjusting that first. Let's bring up the clarity, actually, so we get a little bit more definition in there. Bring up the highlights. Whites bring down the shadows, bring down the blacks. Now. This can change hair color as well. You can make it a little bit warmer if you want a little bit darker cooler. And I think that looks pretty good. Making a little bit cooler, actually. Cool. So now if we see the complete before and after, that's pretty good. I'm enjoying this at it. I hope you are enjoying this edit to see how amazing you can make your portrait's definitely more magazine advertising style. But now you can do that with the skills you have in light room. Thank you so much for watching. If you have any questions, let me know. Otherwise we'll see you in another lesson. 27. Full Edit: Night Photo: in this lesson. I'm going to do a full editing demonstration to put together everything you've learned so far in this class. So I want to reset this photo to scratch so I can choose shift our or click this button to revert to Original. So starting with my work flow, the first thing I always do is crop my photos. So, using the crop tool, I'm going to adjust the aspect ratio to 16 by nine. It's my favorite aspect ratio specifically because I come from a video background and I just love having that 16 by nine widescreen format perfect for using as a desktop screensaver or putting on my phone. Then I'm going to rotate just slightly because it feels a little bit off something like that. I don't want to make it flat because I know that this part of the road is higher than that , that part. But just trying to get it balance on this front side of the road in this front side, too, and also maybe cropping in just a little bit so that the road just barely touches the edge of each frame. Okay, President, the return key were locked in and loaded and ready to go. So the first thing I like to do is make sure my white balance is good. So under white balance or under color, we have white balance weaken, go through these presets, maybe choose auto. I definitely sensed that it's a little bit warmer than I want. I can use other things to cool down the sky, but I am just going to go ahead and let's try our color picker. Pick something like this gray right here, which is the street, which should be a pretty much neutral color unsaturated. And that actually looks pretty good. Cool. So I'm happy with that. I'm gonna leave the color mixer for now, maybe actually, all go into the blue and see what happens if I boost the blue saturation. Yeah, that's pretty good. Usually I like to do this after I do my exposure adjustments, but that looks pretty good. Awesome. So now I'm going to go into my exposure adjustments. This has a wide contrast of exposures in this image you can see from the History Ram. It goes from basically pure black to pure white. I do like the contrast, but I also want to bring back some of that information, especially in the highlights here in the road. So the first thing I'm going to do is try to bring down the highlights and maybe play around with whites to see what that does. Actually, I think that bring down the highlights and bring up the whites. The whites are really this bright part of the headlights right here, which I don't mind being overexposed at all. I think it's fine if those are over exposed and I can't really bring back any information from them anyways because they are so great. So I'm happy with that. I do just like playing with the shadows just to see do I want to have more information in the shadows, not make it a little bit more contrast? E. I actually think I am happy with how it was before I might go into my point curve, so I'm going to choose my point curve and just see about adding a little bit of contrast this way. I could use the slider up here, but I like using the point curve to get super precise, so that's looking pretty good. I'm happy with that. next. Let's go under our effects. So my choice right now is Do I want this to have, like, a grungy look, everything sharp, or do I want to have it clean and do some noise reduction? And the reason I'm thinking about that right now is because I'm using this clarity slider. If I increase the clarity, I get this very sort of grand G look, which I think is actually pretty cool. If I want to decrease that, I can get sort of a washed out. Look, I don't get as much detail, but this would be good if I do want to decrease some of that noise reduction later. I think for this at it, I am going to be grungy. I'm gonna get this clarity, boost the clarity up. But you know what? After doing this, I don't like the clarity in the sky. I like it on the road. So what I'm going to do is I'm going to use a Lanier filter in a second to add that clarity to the bottom. For now, I'm not going to add any clarity to the whole picture. I'm not going to d hes it. No, not at all of and yet maybe adding a little bit of a vignette. Want to boost the feathering of it? We already have such a vignette from this lens and just the darkness around this curve. So that's fine Like that? Yeah, Looks pretty good. I don't want to adding any grain to it. Now with the split toning, I did kind of like what I did before, where I made the highlights a little bit warmer. Right now, it's a little too cool. So I'm gonna take my not my shadows. My highlights. Warm them up just a bit. I could make him super red to kind of add to that red tail light, more yellow, something like that. And I can turn it on and off just this effect with that button right there to see how that looks. And I like it. Don't want to go too crazy. Something like that. Okay, Yeah, I'm happy with that. All right, so that's our effects tab. Let's go on to detail. I might apply a little bit of noise reduction to the overall image just to get rid of some that luminous noise in the sky. Even though we're adding some of that greediness with the clarity slider. I still want to get rid of some of that noise in the sky for optics and geometry. I'm gonna leave those. I like how my lens looks. I'm not going to try to quote unquote fix it. All right, So next what I want to do is apply that clarity to the street with a linear Grady in. So if I check that, lets reset all these now let's create ingredient for the bottom half of the image. Something like that. Remember, if we hover over the center, we can see what we're selecting. Something like That's pretty good. Now let's increase the clarity. So now we are making that street super grungy, which I like. When I do that, it gets a little bit too dark, boosting that contrast of the street. So let's see what happens if I boost exposure. Ooh, that's looking pretty cool. Let me see if I just boost this the shadows because I don't want to boost the highlights that much more. And I don't necessarily want to boot the blacks because that looks a little faded out and I don't like that. Yeah, that's looking cool. Awesome. So that's cool for the bottom half. But what about this guy? I feel like this guy is not playing as important of a role in the story of this photo as it could. So I'm going to just click and create another greeting filter going from top to bottom. Lets reset these settings. Let's think about this. What would make this guy a little punch here, maybe increasing the exposure, Maybe if it was a little bit more blue. Even so, if we take this temperature and dragged to the left even more, we can get this night sky toe look really, really blue, which might be kind of cool, maybe boosting the shadows just a little bit so that the skies a little bit more pronounced when I do that have been yet around the edge starts to look a little bit two of and yet he to me. So I don't know if that's a word, but I might go back and decreased that vignette ing injustice. Second, let me try D. Hayes, which will actually increase the saturation and also a little bit of the clarity of the stars. I don't want necessarily the clarity, but the hazing helps a little bit saturation. Um, I don't think I'm going dio for this image, Sharpness, na, but that's looking pretty good. If I delete this and then undo, you can see the before and after, which I think looks pretty good. Now let me just look at this. I do want to get rid of parts of this radiant filter where these hills are so that these effects are applying as much to the hills. So let's go to our eraser. I got my flow and density all the way up to 100 so that it really erases same within these trees over here. So I hover over this. We can see our selection. It's drop our density and flow and just go over the edge. Little bit of these hills blended in just a little bit more. Just keep painting over until it looks a little bit better. Yeah, I like a little bit better to me now. Let's see the before and after before, after before. After I think it's looking pretty good. Let's go back to our overall adjustments, go back to the effects living yet, which I think I'm going to decrease just a little bit. And overall, I might just boost the exposure a little bit. Just all feels a little bit too dark. So there we have the before after before, after everything's looking pretty good. And I'm happy with this photo. I am ready to share this, So I'm gonna go ahead and click my share button save too. We're gonna not resize it will do full size. We're gonna save it there. Let's go to our finder In our editing light room, CC edits. And there we have our photo looking pretty good. There are a couple tweaks me those brushes I could have fixed a little bit better, but overall, I like this sort of grungy feel. It looks cool. The colors are very vibrant compared to the original. And I'd be happy sharing this online. Thanks so much for watching If you took a chance and edited this photo, we'd love to see how you came up with the specific style of your own posted online posted to the course and we can't wait to see it 28. Full Edit: Portrait: Welcome to this new full editing session in light room Sisi. I'm taking this portrait image of myself. Who knows? Maybe I want to use this for the cover of my break out singer songwriter album coming out next fall. Not really. Because I don't sing. Let's get into photo editing, which is something that I do try to dio. So first things first, I always crop. My image is this one is actually a really good crop already. The only thing that is bothering me is on this right hand side. You see these brown branches? I'm not a huge fan of those, and also, I'm a little bit too far on the left hand side of the image. So let me crop in just a little bit. I don't want to crop in too much because I don't like images where my face like goes from top to bottom of frame. So I'm going to make it as wide as possible, but also get getting rid of those branches. Something like that, making my eye on that intersection of the third looking good to me. Cool. So then we're going to adjust our white balance. So for this image. We got a lot of green coming from the light bouncing through this tree. You might like that style. That might look kind of cool, but I do want to see what it would look like if I add a little bit more of magenta. Maybe warm it up a little bit. Yeah, I think warming it up a little bit, having just light tent magenta that's looking pretty good. It's a tough image because the lighting is so weird because you get all of that sort of green light coming from these trees in these branches. I will increase the vibrant quite a bit. I do want to increase the color and saturation of the green, but not so much of my face. So I'm gonna increase this quite a bit, maybe even decreased this overall saturation so that my face looks a little bit more natural. That's looking pretty good. Now let's play with the light settings because I really feel like this is where I can make this photo pop. I definitely want to bring up the exposure of my face. I can use a radial filter for that, but in general I do want to bring my blacks down, make it more contrast. E You can see with this hissed a gram that we have all these highlights, but nothing is really touching the left hand side where the blacks are, where pure black would be. So let's do that. Let's bring up the shadows. Highlights. Let's bring up similar to how I added to this before in the exposure section or lesson. I do want to make the background. I don't mind if it's over exposed something like that. So right now I'm kind of looking at everything except my face because I do like the contrast and the exposure of the plant. I'm still not 100% about my face, though, but I think I can edit that better with some radial filters later on, I'm going to leave the point curve, as is something I like to do is leave that. So at the very end, if I want to add a little bit of contrast to make it a little bit more dynamic, I can use that sort of as a crutch at the end. In terms of effects, I'm not gonna had any right now. Detail. Let's zoom in really quick. There is a little bit of noise, but I also my eyes aren't that sharp. So what I will do is do a little bit of noise reduction. There is some chromatic aberration going on. So let's go toe optics and see if that Oh, I guess I already have it on getting a lot of weird colors on the edges of things, So I helped a little bit. Not amazing, though. So the noise reduction looks good for in the plants again. I'm gonna be using a lot of brushes and radio filters toe edit my face to make it look better. So I'm not worried about the sharpness of my face right now, which got a little bit softer with the added noise reduction geometry. We're going to leave, as is cool. So now we get to the fun stuff. I'm not gonna remove any blemishes. Not that I didn't have any, but I'm just gonna leave my face as is. Let's go ahead and add a radio. Grady in lets reset all these settings, click and drag around my face, and I want to make sure I'm selecting my face. So let's do invert and Now I'm going to really boost the exposure of my face like that. So it pops a little bit more but also bring back down the blacks to increase the contrast. Yeah, that's starting. Look better. At first, it was kind of blending in with the background, which I didn't like. Spring down the shadows a little bit. That's looking a little bit better. When you add contrast like this, though, it increases the saturation. So what I am going to do is decrease the saturation here so that we're not adding too much red in my face. Actually, speaking of CEO, my ears are really red. That's from the sun, shining and behind. Let's see what we can do with the color adjustments. So if we go into color, it's going to read and see if we get decrease. See, that's pretty cool. Actually, I want to get rid of some that it might even be some of this pink. It's more of the red, actually purple, etc. Enough all right? Yes. So if I don't want to get rid of all the red cause, then I look like a zombie. But just a little bit, I think helps with getting rid of some that read in my ears, which looks a little bit better so they don't stand out like that. Okay, so back to our radio, Let's go here because I did that. I lost a little bit too much saturation overall. So I'm gonna go back, increase the saturation here, starting to look a little bit better. One thing that I noticed, though, is my lips starting to look a little dead there. So what I'm going to do is use a brush press space bar. Go to my lips, click over here. Let's resize the brush, reset our settings. Here. It's good. Now I'm gonna p over my lips. Looks like I'm a zombie. And now those selected soon back out. Keep pressing Z because I'm so used to a light room classic Sisi, where Z would zoom in or out. Now let's increase the saturation, and I don't want to add lipstick to me. Maybe add warmth, just subtle, just staying saddle. Phil and I want to go too crazy. That's looking a little bit better. Is turning off back on is very subtle, but it brings back a little bit of that color my lips that we lost from decreasing the red in the whole image. While I am using a brush, I'm going to create a new brush. We're gonna go into my eyes. We're gonna try to make my eyes pop a little bit more. So we have auto mask off. We're gonna go here for my iris, my pupil. So there we have those selected and now we want to boost clarity and saturation. That's how you can make your eyes pop a little bit more. You can also change the color a bit with the temperature intent. If you want saturation, We're also going to sharpen up those eyes quite a bit. Maybe boost the exposure JAA slightly, just slightly. So now if we see the before after now, you get a lot more color in my eyes, which I like. I also wanna improved the whites of my eyes make it pop even more so let's create a new brush, make it super small Gonna paint in the whites now to help me see where I am painting. I could do something like increase my exposure so I can really see where I am painting. Okay, So cool so that's good. Now lets reset all these. We don't want to increase clarity or saturation. What we actually want to do is kind of decrease the saturation so you can get rid of that red eye. That's something. If you need to get rid of some red, I paint over the whites of your eye and decrease the saturation. You don't want to go all the way, but just a little bit. And then let's boost the exposure just a tiny bit. Another thing you can do is instead of clicking and dragging. If you hover over these sliders and press up or down, you can actually adjust them with your arrows, which gives you sort of easier, an easier way to fine tune them. All right, so let's look at the before and after of just the eyes. Look how that pops way, way more than the original photo. Cool. All right, so let's zoom out again. So everything's starting to look pretty good. We got this nice sort of green tone going. Let's go back to our radio radiant. Let's try to get a little bit more creative, so I'm going to create another great aunt around my face. This time, though, we're going to invert, not inverted. So we're selecting everything. What we're going to do is adjust the sharpness, decrease the sharpness, decrease the clarity, getting our attention on my face. If you want a really shallow depth of field, what you can do is make this really small, so literally just my eyes, my mouth and the Maybe I'll go in here with my eraser. We'll decrease my density just a little bit and paint the front of my hair. Maybe I want a couple of these plants and focus like these ones up here being around my chin, my nose. Make sure none of that is out of focus. But now you get this sort of baked up the field because everything here has the clarity and the sharpness, sliders all the way down. One thing that you can do back with our brush tool to soften skin is to decrease the clarity of the skin, which helps make it look a little bit better. So let's actually decrease clarity the like, negative 25 or let's actually go toe. Negative. 30 in contrast, were going to increase sharpness. And this is a good sort of preset for smoothing skin. Let's decreased this increase. Our flow and our density just paint over like my nose forehead. So we're kind of combating what I've done in the past with a little bit of sharpening. But I'll show you the before and after. I don't want to get my eyes at all. So with this on off, very subtle on no, if you could see that, but without it a little bit more detail, let's actually decrease clarity even more so you can see it an extreme What would happen? My skin starts to look very, very soft. Now I don't want to go too far because I don't want to look like a porcelain doll. But something like that for some people, they might think their skin looks nicer. Okay, let's close this. Let's look at the before and after now. See what we want to dio before after before, after definitely a little bit more of a stylistic portrait at it. What I like most is that my eyes pop a little bit more of the colors are more vibrant. Definitely got those warm and green tones coming from the trees and the soft golden lighting from shooting this with backlit son at golden hour. Lastly, like I said, at the beginning, I'm going to go into my point curve and just see if adding a little bit of contrast can help make this even more dramatic. Dropping my contrast at the bottom or the exposure of the bottom. Really settle, though. And now I can see that before after I like a little bit more contrast, but not so much. Yeah. Yeah, for sure. I like having that little bit more to cool. So I hope you enjoy this full edit. I'm gonna go ahead and save this to my files. Go here in there. Click Save. And there we have my photo ready to be printed for my new album cover. Awesome. Thank you so much for watching this tutorial. This is one photo I don't necessarily need you to edit and show me what you did to it. But if you want to feel free to post to the course, we'd love to see how you came up with your own style for portrait editing. Thank you so much for watching this lesson and we'll see you in another one. 29. Full Edit: Car: All right. So we're here in light room and I've imported the photos that you can download for the full demonstrations. And I've created this folder just titled Light Room CC course. So these are all the photos for this section and the way that I'm going to do it, I'm going to run through each one. We're going to edit it and just see kind of the full entire demonstration of my process from start to finish. And I find that this was very helpful for me when I was starting to edit photos just to see , even though, you know, all of the tools already available to you in lie room, it's nice to see what an actual process would be like. So this 1st 1 I'm going to be editing in this video is this car photo. So what I've done is I've actually edited it beforehand, and so we're going to try to make it look something like this. And then I've made a copy. So if you ever want to make a copy of a photo just right, click and choose, make a copy and then you can actually make sort of multiple edits to your photo. All right, so let's get into editing mode. I'm going to turn down our film strip down here and let's just start editing. So the first thing I do is always going to be cropping. So I'm going jumped out of the crop, and this allows me to crop to an aspect ratio where if there's something or a part of the image that I don't necessarily need or want in the image, that's great. And I don't have to worry about how it looks. So I am going to crop this one down to 16 by nine. This looks like a great photo that would be perfect for some sort of like desktop screensaver or something like that. I'm trying to use the rule of thirds to get this car, especially the headlight right here on that rule of thirds line. I like the symmetry and the balance from the the reflection in the water. Although I don't want to lose too much of the sky, so I'm gonna balance is a little bit lower in the frame. So we get a lot of that sky pressing return on me keyboard. We got this nice crop now now that feels a little scrunched to you and move it up just a little bit cool. Something like that's pretty neat. Next, I'm going to go to my light adjustments and this one's pretty good. It's a little bit dark overall, so I'm gonna bring up the shadows. And when I do that, you can see a lot of the detail on the grill. That's car really starts to get brought back up. Highlights I'm going to play around with. Bring those up whites, bring back down a little bit, try to get a little bit of information in those headlights. And then blacks were gonna bring down as well in terms of the point curve or the tonal curve. I'm going to leave that, as is sometimes at the end, I might want to add a little bit more contrast with that. Next, Let's loot move on to our color features, so we're definitely gonna keep this as a color image. The white balance is it? I can't tell. This photo is from we saturate dot com and as are the rest of the photos in this section. I believe most of those photos that we're gonna be editing a great resource for free downloadable raw files that you can practice editing with. I'm not affiliated with him or any things, so I dislike using them for practice. And so, with this image, I can't tell if this white balances offer if it was just like a really cool blue day because of the clouds. But to me, it does feel like a little bit too cool. So I'm going to bring up the temperature overall. And I think something like this starts to look a little bit more natural to me automatically. I'm going to bring up the vibrance just a bit overall. That brings up some of those blues, and we're gonna be playing with our color mixture as well, leaving Tintin saturation as is so with our color mixer. I am going to try to bring up the blues of the car. So we've got our teal. We've got our aqua, we got our regular blue, and so I'm going to start with the regular blue and see what that does by bringing up the saturation that brings out a lot of the blue. But as you can see, if I crank it up, it brings a lot of the blue back from the sky, which I don't necessarily want. So I'm going to use things like brushes and maybe a radial filter to just specify the color and saturation of the car. But for now, I'm going to go back to this teal and bring up the saturation, which brings back some of the color in this car looking pretty good. As for the rest of colors, I'm going toe see, let's see this green. You bring up the luminous that that helps a little bit with the brush in the backgrounds of bringing up the saturation and luminous. That's good. Let's close down our colors in terms of effects. We could do a D. Hayes for the entire thing, but we're going to do that specifically to the sky. Same with clarity. If you like that style, this is a kind of cool photo to add a bunch of clarity to get that sort of grandeur hdr effect. But I don't want that and same for Vignette. I'm not going to Adam and yet yet have been yet yet, and we'll see if I do at the end detail. Everything looks pretty good here. Not a lot of noise. So I'm going to leave, as is sharp. Same with objects. Just going to leave as is. And geometry leave, as is what we're really going to do because I'm going to get to this photo from here is play with our specific adjustments, such as our brush adjustment down here. So first I want to adjust the sky. So we're actually going to use a linear Grady in So press O on your keyboard to show the mask overlay and I'm going to right click and reset all sliders. And then I'm going to create this linear, greedy, radiant at the top of my sky, pressing Oh, well, toggle through the show tool in mask overlays so you can see your mask. All right, so I want to put this at the horizon, so it's selecting just primarily the horizon. What I don't like is that it's selecting the car, so I'm going to go take my eraser, increase that size and a race. I'm just erasing where the car is. I do have the auto mask feature on. I'm going to try to do as much as possible to include the sky in the background, but not the cars. They're going up along the edge of the windows like this. It's pretty good. I might go back with my brush and brush on a few bits as well. So I see how I do have this selection for the window in the windshield so that the sky behind it can be selected. All right, so that's looking pretty good. So now if I press oh, it will turn off the mask overlay. So now I can see what I'm actually doing. It's toggle that back up. So the first thing I'm going to do with Sky is bring back some information from the cloud so increasing the D. Hayes brings back that information. I really want to make this a little bit more fun and creative, and that's what I'm doing with these sort of full demonstrations. I'm not just trying to fix exposure or contrast are white balance. I'm trying to get a little bit more creative and show you, like, really the possibilities of what you can do with light room. So I'm gonna boost the tent, bring out a lot of sort of magenta in that sky, something like that sometimes even doing No, not not that I'm gonna not make it blue like that. But sometimes when you add blue and magenta, it can look pretty cool. But usually with a magenta. When you have that pink sky, you get a little bit of warmth as well, so that's looking pretty good. Sometimes I might play around with my light adjustments to maybe bring back down the blacks just to get some more information. Bring up the shadows just a little bit. It's looking pretty good. Cool. So that's looking pretty good. The part of this guy down here on the horizon, I think, should have a little bit of more warmth to it. So add one. Just that part of the sky. I'm going to take a brush in a reset my settings. I'm going to press oh to show with overlay, and I'm just gonna brush over where I already see this warmth in the sky. So I already see some worth in this guy, something like that. Let's get a little bit in here. That's like unbreak it. Okay, so now if we turn off our overlay weaken, boost that warmth with our temperature slider here now I want to blend it in so it looks a little bit better. So I'm gonna drop down my brush tools going to drop that density of down really low. And I'm just gonna brush over everything right here along the phrase in couple times just to brush it in. With that density down and that flow down, you can brush over, and it's kind of adding to it as layers gonna take my eraser tool. Make it really big. Make the feather Super Bigas. Well, density. I'm going to bring back up and just brush over the top edge of this overlay just to try to bland it and just a little bit more cool. That's pretty good. So now if we delete this, you can kind of see what's happening. See just a little bit of warmth there in the horizon. I think that adds a lot. We could even boost the saturation if you want even more warmth that's looking pretty good . Cool. So now let's see what happens if we add some color to this puddle down here because we've added a lot of color to the sky. A lot of detail, but now we need to add color to this puddle to sort of match what would naturally be the reflection of the sky. So I'm going to click the plus sign down here, going to reset all sliders, and I'm just going to start painting in here. And let's press O on our keyboard to show our mask overlay so we can see what we're actually painting. All right, so that looks pretty good. We've got our puddle selected. Let's turn off our mask. All right, so now let's go ahead and boost our temperature and our tent Now here is one area where, actually, I might want to add black baxam blue and some magenta because I want more color. But when I'm increased the warmth, it just looks like muddy water. I think the blue of the puddle looks pretty good. What I might do is because this blue is adding to the car into these lights right here in the headlight reflection. What I might do is erased that little bit of the car. So I'm just gonna take my brash, actually erased this part where the car is reflecting. So really, what we're doing is just adding a little bit of blue and magenta to the puddle around here , so that's looking pretty good. So pressing the backslash. But we can see the before after before after we get in. There were getting pretty good. Now let's add a little bit more color and saturation to these brought the brush in the background. So let's go back to our brush tool to adjust our brush. Click the plus sign. We're going to reset all ciders. Oh, to see our mask overlays. We do have auto mask on, which is fine because we really don't want to select the car. And I think having the mask overlay on will help. When we get close to the edge of the car, that looks pretty good. All right, so that's good. Turn off our mask overlay. Now we're going to drop the tent, make it a little bit more green, and we're also going to just boost exposure, brightening up just a little bit. When we boost the exposure, we might want to bring back down, or blacks just a little bit, too. Keep that contrast when you boost the exposure. Overall, it kind of makes it that part of the image look a little unnatural compared to everything, so you can see the before and after. Pay attention to the brush in the background much brighter, much more colorful. Lastly, I just want toe add a little bit of something to the car. We've added a lot of detail in color and saturation to everything around the car, which actually makes us lose a little bit of what the importance is of the main subject of this image. So I'm going to take a radio Grady int when it just put it around our car press Oh, to see our mask overlay. We actually have some settings. Let's resettle sliders, something like that. So this is what we're selecting. You might even go in here if you want. You could have done this with a brush you could do with the racer. Just a race around the edges. Just a little bit probably would have been faster if we just did it with a brush instead of the radio filter. Cool. So let's turn off our mask and we're just going to boost the overall exposure. When we do that, it can start to look a little bit unnatural because the highlights and the whites get a little bit too bright. So we're going to actually drop down the whites. That looks a little bit more natural. Clarity. Let's see what happens when we boost the clarity. That's pretty cool, actually, when we just add clarity to the car and also just saturation just a little bit. So we get a little bit more saturation in the car itself. Cool. All right, so that's looking pretty darn good. Let's see the before and after before after. Let's see the edit that I had done previous to this. So that's the previous at it. This is the current at it. The sky. I think I edited a little bit different in this version. This guy has a little bit more magenta overall. In the other one that I had done. It was a little bit more pink or more blue, rather around the edges, and the crop is a little bit different as well. But overall pretty good. I think I might go back into our global adjustments. It's go in here, let's go to our light adjustments with our point curved US boost the overall exposure just a little bit may bring back down. Are blacks just a little bit? Bring back that contrast. There we go. Now that is pretty cool car. Cool. So that's my ad It here in light room for this car. Let me know if you have any questions. Otherwise we'll see you in another one of these edits. 30. Full Edit: Starry Sky: all right. In this full edit, we're going to be taking this starry night sky and turning it into something like this. Really Bring out those stars making a little bit more artistic with the colors and also with the exposure of the entire image. So if you want to follow along, make sure you open this up. We're going to dive right in. So first things first, we're going to crop. So click the crop and rotate. Now, if it doesn't automatically straight, and you can use the slider to straighten that horizon, really just rotating a bit. Just so this horizon line goes straight across. If you click and rotate over here, you don't see that grid compared to defuse the Slatter, which can sometimes help you make sure that your horizon is perfectly straight. I'm also going to crop in. I am going to leave it at the original aspect ratio. But CEO, we have this Joshua tree in the bottom, right? And in the bottom left is just this open space. I'm gonna crop in something like so so that this cactus or plant balances out this Joshua tree in the bottom, right? So that feels like a little bit more balanced. Now I'm moving up, are cropping up in the image so that we have lots of negative space. And also you can kind of see the Milky Way here going across the middle. The big part of this milky way right here is in the perfect center of this image, which I like as well, All right, So I'm going to press return, open it up and save that crop. Next, let's move on to our light features. So, in the light settings, what I really want to do is crush those blacks. We do have a lot of information. If I bring up the shadows and the blacks, you can see we can actually see practically in the middle of the night, this foreground. But there's so much noise due to the high. I s so in the dark situation that this photo was shot in that instead, I'm just going to crush those blacks, crush those shadows toe perfectly, silhouette the foreground. I think that's a much more better creative choice. Rather than trying to bring out information that ends up being super noisy and just not not that good. The other thing I want to do with our light settings is bring out the stars as much as possible. Now the stars are the brightest part of this image, and so that's going to be our white. So I'm going to drag those whites up. But notice when I do that, the whole night sky gets a little bit too bright. So I'm gonna bring my highlights back down. You mean my shadows down a little bit so that the sky looks a little bit better and it's not so bright. Something like that's looking pretty good. So it's a good balance. We're going to do some other things to try to make thes these stars a little bit more detailed. Now I'm not using any adjustment. Brush is no linear Grady in Snow Radial filters In this image, I want to just use our basic settings and see the power of those settings and how you can get a great image with them. Next, we have color. So one thing that I like to do with NYTPhotos is make this guy a little bit more blue. As you can see with this image, the sky is the sort of murky gray purple. It doesn't have that much flair or color to it. So I could just take my temperature Slider dragged all the way to the left to get that blue sky, but it doesn't look that good to me when using the white balance slider it, adjust everything and it just the warmth of the horizon down here. And unless the entire horizon was blue, I don't like how this bottom right part corner where, like the sun, is probably over the horizon. It's probably been down for many hours, but you still get that warmth in the sky from a long exposure like this. It looks like it's a warm sky with like a painted sort of filter over it. I would want much rather have the sky look a little bit more natural in terms of the color and how it has a sort of graduation or graduated filter on the on the image itself or in the sky itself. So we're going to use a different setting to adjust the colors. I am going to just bring up the saturation just a little bit to bring out more color in the sky. Right now. It doesn't look too good, but when we play around with the split toning, it's going to make it look a lot better. Next, let's look at effects. This is where we can really bring out the stars with both D. Hayes and Clarity. So I'm going to drag up D. Hayes. Drag up clarity. And when we do that, the sky gets a lot more detailed image of the stars. It pulls out a lot of those stars. You can really see the Milky Way. Now when I zoom in, though, notice how grainy this images. This is partly because when we increased clarity and also d hes, it brings out that information in the detail, which has that sort of noise. So to combat that I'm actually going to go into our detail options and bring up our noise reduction. So notice pay attention to what's happening. If I bring up the noise reduction, it softens everything. It gets rid of the noise in sort of the background night sky, but you still see the stars. If I zoom in and do that again, you'll really see. So if I drop this down, then go crazy with it. See, we can still see the stars, but the background is nice and painted. It's nice and blended without noise. Now, this was a little bit too far. You get a little bit of artifact fact ing their zoomed out. It's not too bad. So you might like that style, but I'm just gonna drag this down to, like, 25 or 30 which is a better balance for me. So it's kind of combating each other. But using all of those three effects clarity de Hayes and noise reduction together brings out the stars in the nice way, at least in my opinion. All right, So I mentioned we're going to be using split toning. So that's this button right here under effects. This is just to remind you how you can address just the shadows or just the highlights and add color to those shadows or highlights. So if I take this shadow point down here in the bottom left, drag this up, you can see that I'm starting to add color to these shadows. Now I'm gonna add blues. I'm gonna move over to the blue. The higher I go, the more saturated it's going to be the lower the less saturated. And then I'm trying to find the balance between the sort of greenish blue and the purplish blue. I don't mind if there's some purple, because in the night sky there are lots of purples, especially if you've got the warm horizon kind of fading, kind of like a nice Grady in into the blue. So something like that's actually pretty good again. If you want more color, you can drag up Alex a little unnatural to a natural to me. So it is kind of a delicate balance, but something like that looks pretty good to me. Now you can add highlight tone or some color to your highlights, but when you do that with the night sky adds color to the whites in the highlights, which are the stars, which I don't like. So unless you're going super creative, I'm gonna leave that at zero saturation. So we're just adding, don't hew to these shadows. We can use this shadow or this slighter rather between the shadows and the highlights to even add more color and more saturation by dragging to the left a little bit. So that looks pretty good. And if you compare this. If you rewind, you can really see the difference between how this adds color to the sky versus using the white balance. Setting this to me looks a lot more natural, all right, And that's pretty much all I want to do. Detail. We already covered optics. We're gonna leave, as is same with geometry. The only thing I'm going to do is go back to my light settings and just play around with my tone curve once more one more time. So I go into the light settings and make sure I'm on the point curve. So this allows us to easily adjust the black point in the white point. So the black point is where all the blacks are in this image. So if I take this bottom left pointe in drag to the right mawr of this image becomes pure black, and I'm fine with that for this image. A lot of times, I don't want things to be pure black. You can really see in the history Graham appear that this left side of this graph is the pure black, and that means there's a lot in this image that's pure black, and that's fine with me. If I take this white point and bring it down as well, that can actually drop down. It's dropping the overall exposure a little bit, but it's bring out some more color in sort of the mids and the background of these stars. Now, if I want, I want my add a little bit more contrast, bringing up and adding a little bit of an s curve. Turn this on and off, You can see just makes things a little bit more punch here. Now, if I want to add blue to the entire image or pull out some more blue even more, just click the blue curve and just bring it up just a little bit. So this ad saturation and adds more blue, but in a more natural way than with the white balance. Turn this on enough, you can see. Looks pretty good, all right, so that's pretty much it. Let's just see the before and after before after. Let's see what it looks like compared to the one we edited before looks pretty good. Actually, the exposure is pretty much similar. The colors are a little bit more vibrant. I think I added a little bit more saturation. But overall, I really like this image of the stars. Look much better, much more of an image that I would want to print and frame than the before photo right here . That just looks a little bit bland. So this is how you can make your photos look Wow, with just our basic settings. And we didn't even use any of these other filters. That being said, of course, you could have used a graduated linear filter to make the sky blue and things like that. But there's lots of different ways to do similar techniques in light room, and these are the ones that I wanted to use and show for this image. Thanks so much for watching and we'll see you in another lesson. 31. Full Edit: Woman and Dog: welcome to this new full edit. We're editing this portrait photo, which is a good one because we're editing both the portrait of a person and of a dog. And there's a couple different things that you have to think about when you're editing portrait specifically of pets. And so we're taking this photo right here and turning it into this photo right here. So if you want to fall along, go ahead and open this photo and let's get going. So first thing first, I'm going to crop. My photos will go into the crop tab. Now, I didn't take this photo. This was from we saturate dot com. And the first thing I don't like about this photo is the balance of it. So we've got this model on the couch. We got this dog who should be the main focus. But the way the angle of the photo is in the way that she's sitting, you see her legs coming out and I don't know what lens was used. Her legs look way bigger than they should be based off of the angle of the lens. It's kind of distorted, and they're so small in this frame And also this light up here also is a little bit distracting. I like that. It adds a little bit of back light to them, but personally, I think we need to crop in, get that focus back in on her and the pups. So I'm going to crop in here a lot. So I was playing around with this before and I had it zoomed out quite a bit. But I ended up copping in and in and in. And when I got to something like this, it looked good because we are using the rule of thirds both her and her dogger at that rule of thirds intersection if we had that grid up. And so this something like this is looking pretty good. We might play around with this even more later on, but I'm going to start with something just like so next we're going to go into our light settings, and a lot is lost into the black of this photo. The style I'm going for is a little bit flatter. We still want that contract. Nice contrast that we get in this photo just naturally from the contrast of the light and what they're wearing and the way the dog looks. But I'm gonna bring up those shadows going to bring up those blacks. Even I'm gonna actually bring up the overall exposure. When I do that, her face gets a little bit to break. So I'm gonna bring back down. Our highlights bring back down are whites were creating a much more flatter image. But we want to bring out that detail in her dress and also in the dogs for So if you have a dog, especially if they have dark for bringing up the blacks is one thing you can do to bring out more information. So you see more detail. That's what a lot of amateur photographers do. They photographed pets too dark and you lose that information. Cool. So that's pretty good for the light. For now, in terms of color, we're going to leave, as is the white balance. Actually, Look spot on to me. Even though we've got this warm light in the background, that's perfectly fine. The light on her face and the colors look fine saturation gonna leave vibrance. My just boots booth, the virus just a little bit with effects. We are going to Adam. And yet so drop down your vignettes settings, and I'm gonna add a heck of a vignette. And so I'm gonna drag this down. I'm going to increase my father all the way to 100. Gonna decrease the midpoint, so it's a little bit smaller. Noticed, though, how when we add this been yet The light up here, it looks like it's just like a faded off. Then, like light, there's like something painted over that. So to combat that weaken, add this highlight slider, which allows the highlights to shine through them in yet basically so I like something like that. This really is to draw your attention into the subjects, which are These two people are the dog and the person. All right, so that's it for these effects. All these other ones, I'm going to leave, as is detail. This thing is a great photo, not much noise at all, So we don't really need any noise reduction, But typically with a raw photo, I'm just going to add a little bit of noise reduction, like 15 or so optics geometry. We're gonna leave at it as is now with this voted to take this to that one to this one. We're going to use some brushes, so let's dive into our brushes. We are actually going to zoom, and though let's first at it her. So if we go to our brushes, the first thing I want to do is soften her skin. So let's reset all of our sliders. I've got my brush settings. This is a pretty good size. The flow 75 density 100 auto mask on. So first I'm going to mass this on suppress owed. Show your mask overlay. Then we're just gonna paint on over her face. So this is painting rat on her face, But we're not actually painting your face red. So we want to just paint over Oliver skin, and we're actually going to soften it in just a minute. So try not to get her eyes, try not to get her lips. That's why I'm using auto mask, which does a pretty good job. Try not to get too much of her hair, her eyebrows, things like that. All right, press Oh, to turn off our mask overlay. All right, so to add a bit of skin softening, what we can do is drop our clarity. So our clarity, sliders going all the way down to something like 75 to combat, though, because I don't want it to be too soft. We still want that detail. We're going to increase sharpness like 15. So this sort of balance that as a lot of softness. So if I go before and after, it kind of moves it cause of the crop. But notice her skin right there. That's pretty pretty dramatic change. So if I can also just leave this brush so pay attention with the skin softening without it with without it, you see a lot more detail, a lot more glare that could be just from a little bit of sweat or something. But because photo cameras nowadays are so sharp, you see almost every poor and sometimes you might want to just soften skin a little bit, and that is a good way to do it. All right. Next we want to play with the color of her eyes and also with the color of her lipstick. So I'm going to click the plus button here to create a new brush, gonna reset all my sliders. I'm gonna make it super small Turn on my mask overlay so I can see where I'm painting. Just get over her iris of her eye. We want to get all that blue, so that should be pretty good. All right, so now we can't really tell what we're doing, but I'm gonna drop my temperature CEO. That has a lot of blood. Er, I I'm also going to boost clarity just a little bit. I'm also going to drop my highlights just a little bit by dropping the highlights. You get a little bit more color in there. So if I delete this, see, that's after before after pretty cool, right? So that's how you can adjust and enhance eye color. Now, if it was brown eyes and you wanted to bring more color into the brown eyes, you would drag the temperature to the right to add more warmth. And that, in turn, makes it more brown cool. So let's also enhance the Culliver of her lips of press plus reset all sliders Oh, on my keyboard to show our overlay, and I was going to paint over her lips. We've got auto mass set on, so it should help and see the edges of her lips so it knows what I'm trying to paint on. No, that's the mask overlay. So we are going to play with the color here in just a second. Turn that off. Okay, so now, to change the color, you can play with the tent temperature. I'm going to add more. Been gente also going to add more saturation here. You might want to decrease the clarity as well. In light room Classic CC, you have different options for adding color with a brush. Here, we just have to play with the temperature 10 and saturation sliders, so you can see if I add warmth, it becomes more orange blue. It becomes more purple. So if you want to go crazy, you can do something like that. I still wanted to look pretty natural, so that's why I'm just being pretty subtle with it. Also, the exposure can change the color that you're editing as well, so something like that looks good. It just makes her lips pop a little bit more Ari. So notice how she has this sort of dark part of her cheek right here. That's partly because of the lighting, partly because of the shape of her face and how that shadow appears and also partly her makeup. Now one thing you might want to do with Portrait's is in the hands. Those cheekbones enhance the contouring of a face so you can do that with brushes. I'm going to click plus to create a new brush. Right click reset all sliders. This time I'm going to drop my density down really low 33. So this means that I'm going to have to. But I can, and I'm going to have to brush over multiple times to get ah, full effect. It's kind of like, uhm, layering paint, and I'm going to just drop my exposure. And so now if I bring with size up, I'm not going to have my mask overlay on because I just want to see what I'm actually doing . So paying on here, I was very subtle, and if I go again, you can kind of see what happens. I'm going too much right now, okay? And if we bring down this exposure, you can see really what's happening. But if I delete this and undo, see how it enhances that shadow on the side of her face. Now I'm going to bring up the exposure just a little bit, you know? Also paint over it down here. Thanks pretty good. Now, this photo is a little bit different. If I saw it on both sides of her face or if she was facing more, the camera would probably going this side as well. Get that little bit. But that's pretty good. And lastly, we're going to adjust her hair as well. So with a brash click plus resettle sliders press Oh, to see our mask overlay. I'm gonna increase the size, increase the density it is. Paint over her hair again. We have the auto mask on, so it does a pretty good job at selecting your hair. I'm doing this kind of quick. You might need toe spend a little more time fine tuning this. Oops. Going a bit too far. So I'm gonna take my eraser Greece that bit. Okay, so that's looking pretty good. Now, if we turn off our mask overlay, let's see what we can do to make the hair a little bit more pronounced. So if we first increased the clarity, we can also play with the highlights. Bring up the highlights. Shadows bring up now. We don't want to bring up the blacks cause then that makes it look a little bit faded so we might bring down. The blacks. Even can play with warmth a little bit to add a little bit of color to her hair. Yeah, that looks a little bit awkward, but in some situations, that works. And that's pretty much it. Me playing with clarity one more time. Okay, so let's see what this looks like with it without it. See how I just makes your hair a little bit more dynamic? A little bit more contrast. E cool, Ari. So next let's move over to our pup. So the thing about the pup is because of some subtle motion. The public's a little bit soft, so I'm gonna take a brush, click new reset all sliders, just going to crank up the clarity also the sharpness and just start painting over everything that knows the face. And it's also brings out more detail in the for as well. Okay, so I just want to see what I've peanut on. This might be a case where I don't use auto mask, actually, just cause I want it to select everything. Okay, Cool. So if I decreased clarity, increased clarity, you can see what that's doing. A little bit more detail in the face. Cool. So let's zoom. How, Actually click Done. Looking pretty good. Still, the face of the pup is a little bit dark, so I'm actually going to use a radio filter. So let's reset our settings radio filter around the face. So here we have it around the face, something like this. Our selection is the inside of the face. And now let's bring up our exposure. Now, when I do that, I don't want it to be too much and especially with the background. So I'm gonna bring down the highlights just a little bit. Actually, the whites I'm gonna bring down. But the highlights I'm gonna boost noticed this. I light in the dog's eye when you're taking photos. You really want that? I light that shiny point in the middle so it really makes the eyes a little bit more pronounced. And bringing up the highlights really exaggerates that and makes it look good by bringing up the highlights so much though, the background looks a little bit brighter. So maybe what we can do is make this a little bit bigger. Kind of faded out the good feather. Something like that looks pretty good. And in terms of all these other sliders, I think I'm gonna leave it, as is cool. So Ah, it looks a little bit to break. So bring down that exposure just a little bit. Looks a little bit more natural. I don't want the dog toe have, like a big spotlight and then her to be like a shadow Cool. So let's go back. And now, if you see the Before and the Haftar, What a change. What a difference the focus truly is on her and her dog. It's not this awkward balance with light and her legs down here. It's really centered on them and you see a little bit of before and after with their faces , much more detail. Her eyes are a little bit more pronounced in blue and sharp seem with his face, her lips and her hair. And that's what you can do in light room with the portrait. So lots of stuff here. I hope you enjoyed this lesson. If you have any questions, let me know. Otherwise, we'll see you in another edit 32. Full Edit: Snowy Landscape: in this photo editing session. We're going to take this photo of this landscape Internet into this photo of this landscape . It looks like a completely different photo, at least to me, in terms of the color exposure and things like that. But in a situation like this, when you're shooting out in the wild and nature, you might end up with a photo like this where you don't have that much information. It's a little blurry. It's kind of washed out. But once you get into the photo editing room, you could make a look amazing, like That's perfect for your desktop arias. Let's dive right in. And so in this photo, what I actually did was waited to crop because I didn't know I was going to crop it wide until the end. And so I'm going to do that throughout this at as well. So first, I'm going to start with our basic light adjustments. Now, with this photo, we've got lots of highlights, lots of darks. So at the core, we're going to bring down some of our highlights and our whites and bring up some of our shadows. But what we're really going to do is play with the brushes and our adjustment filters over here to edit just parts of this image. So that's all I'm going to do right here, because if I bring up the shadows, too much starts to get washed out and the shadows of the mountain part, I start to lose, which I like. But on the other hand, I want more information in the trees. So that's why we use linear ingredients over here. So that's all. I'm going to do it light with color, just gonna boost the vibrance. Overall, I'm also going to go into my green color mixer. So open up your color mixer and boost the saturation of the greens down here something like So you can also boost the lumens. It's down here of the greens, which is another way to increase the satchel, the brightness of the trees down below. And that's pretty much all I'm going to do there with color with effects. We are going to add clarity and D. Hayes overall now notice when we add De Hayes overall, we start to crank up the contrast again in the trees down below, so I'm only going to add a little bit going to add a bit more with some filters to the sky . Now zoom in. See what this clarity is really doing. Bring out more of that detail, and especially when you're shooting a subject that's really, really far away. Sometimes there's just mist or fog that's in between you and your camera and that subject and so increasing clarity and d hes can bring back some of that detail in terms of detail. We're going to add a little bit of noise reduction just because for raw photos, I like to add some noise reduction up to, like 20. But that's pretty much it. Pretty sharp, non noisy photo that we have optics, geometry. We're going to leave, as is next, let's add it, the different parts of our photo. So first we're going to use the linear Grady int. We're going to reset all sliders, press oh to see our Moscow overlay, and let's just create our mask. So we're just going to at it just the trees now, So I'm gonna set it right here that I'm gonna take my eraser and we're gonna erase the top part of this ingredient. And again, you could has brushed on used a brush for the trees, but I thought the linear green was pretty good. Now notice how when I start and I click up above in the mountain background and then I brush over the top of the tree line Light room kind of knows that. Okay, because auto mask a set on, we're going to keep the treeline selected. But the background, the blues and the grays of that mount in the background we're going to get rid of in terms of this selection. So look how need that is. Its likes pretty much just the trees. Okay, press Oda, hide our overlays. And so now let's play with our adjustments. So for this, we want to make make it a little bit greener. So I'm gonna take my tent, drag to the left just a little bit, so that actually makes it a little bit more green. Then we're going to play with the exposure. So overall exposure we're going to boost. We're going to bring up the shadows even more that we lost when we added some D Hayes to the overall felt photo. Let's boost the clarity just a little bit to bring a little bit more detail in those trees with clarity. We don't add darkness as Muchas with D. Hayes. Now if I had D. Hayes look how dark it gets, That's not what I want. So usually with the Asia usually focusing that on things like skies but not land the land itself. And that's looking pretty good. If it's too bright for you, you might want to bring back down the blacks just subtly, just to get a little bit more contrast or just bring back down that exposure overall. But I'm pretty happy with that. Next, I want to edit the mountain itself. So with a brush click brush, right click and reset my sliders press Oh, to see my mask overlay and mass tool, and we're going to make sure that we have auto mask on and let's just brush on here. So we're just selecting the mountain itself again. We might have to use the eraser tool a little bit because I don't want the trees to be selected. That's pretty good, though. Take our eraser, erase some of the trees right here. Cool. Okay, So Oto Haidar overlay Now with this mountain in the background. I just want more detail. And also I'm gonna drop the saturation a little bit because I don't want it to be blue. I wanted to be more like gray. You get a lot of blue tones on the mountain when it's very cloudy. But in reality it's actually a lot of more grace. There might be some blue, so I might not get rid of all of it. But I'm gonna drop my saturation just a little bit, increase my clarity even more. And so you might be saying, Phil, why don't you just add clarity to the overall image? And yes, we added some clarity to the overall image. But in reality I don't want to add the same amount of clarity to the entire image. So that's why we use brushes and filters so that just for the mounting itself, I can add clarity. I can drop my blacks, drop my shadows, play with my highlights. I don't want it. I don't want it to be to contrast the like, different than the rest the photo. But I'm tryingto just make it more detailed. Something like that looks pretty good. Cool. So that's four our mountain next we want to edit the clouds. So for this one, I think I'm just gonna use another brush. I think before I edited with a linear ingredient just going to use a brush. Now see, airbrush auto mask on, and we're just going to paint over are clouds. Now, I kind of know that I'm going to be cropping out the clouds up above. So you got to pay attention to that. If you know you're gonna be cropping later on, then you don't have to pay as much attention to what happens up here. Now I've gone over and I have selected sort of the edges How I want them. Now I'm gonna turn off auto mask and just paint over the top where I'm not really touching any edges of the mountains, so I don't really care. I really just want to select everything. Okay, that looks pretty good. Oh, to turn those off. Okay, so now with the sky, I am going to add De Hayes to see if I can bring it. Oh, more detail in this guy. So now if I go too crazy, it's too crazy. I don't want that And part of that the reason is because it's just different exposures in the sky. Some areas are more cloudy, and sometimes when you're adding D. Hayes, it's like trying to pull out information that's not there. And so you have to be careful about going too far. But something like that looks pretty good. I might play around with my highlights. Bring down my highlights, bring down my white. So no, leave my whites as is so that's looking pretty good. Um, I add a little bit of warmth to the clouds. I don't think I did this with the original at it, but just add a little bit more color to this photo grading going from green to more like blues to warm. Something like that looks pretty good. All right, so let's go back to our original edit. Let's crop it now, so I'm going to use a custom crop. Make sure that I have unlocks now, reverse to the crop that I had before. But you might see something like this, so make sure this is unlocked, and then you can just literally crop it however you want. No, I'm cropping it pretty wide. Something like that looks pretty good. One thing I did at the very end was and sometimes I do this at the end is look at our color profiles. So if you click the browse under this profile new profile option, you have all these different profiles for the colors that automatically edits all the colors. It processes the colors in different ways. So you have these favorites that are already preset from adobe. Then you have these other ones down here. So I'm going to go down to the modern ones. And if you just hover over it, you can get a preview of what it looks like. I believe I chose something like this modern eight, which has more like these flat colors. And so I click that to select. And now if I go back, we have the slider for the amount I can go down to 02 and it does nothing or increase it, which basically doubles the effect that was applied or go anywhere in between. I'm gonna go right there now if I go back to see my other edit. Here it is. And it's pretty close to the original edit. I think in the one I just added. With the sky of being a little bit warmer, I had a little bit more detail in contrast in the mountain, but overall pretty close at it. I like it definitely something that I would print out, maybe on like a canvas or something and put on my wall. Thanks so much for watching this edit. We'll see you in the next lesson. 33. Full Edit: Icy River: art in this photo edit. We are taking this icy landscape, which is somewhat similar to the other one, but we're doing a lot of different things with it compared to that snowy landscape in the last edit, and we're turning it into something like this. So here we have a lot more color, a little bit more creative in terms of the exposure highlighting the sunset. So lots of cool stuff. So let's dive right into it. So if you want to fall along, make sure that you open this photo. So this photo by itself it is just a little bland. It's a little bit dark. It's super contrast. It's one of those scenarios where you're shooting into the sun, things air, overexposed things or under exposed, and you need to get in to edit and play with the exposure. So that's what we're going to do first in our light settings. So we're gonna bring up the overall exposure just a bit. We're going to bring up our shadows quite a bit. Just get that information back into the mountainside and the plants on the side of this riverbank. We're going to drop down the whites just a little bit in the highlights just to try to bring back some of that information in the sky, which were also going to do with some brushes. And then blacks were just going to leave, as is cool. So that's pretty much all we're going to do with the light settings. Next, let's look at color. White balance overall looks pretty good. If we use our color picker, try to choose the white of the snow. It's not gonna look good because the snow actually has a nice blue sort of tent to it, naturally, and so we're actually going to leave the white balance as is. We're going to use some other methods to get the blue to pop in the sky and also to add some blue to this frozen river with the rest of these were just going to leave, as is with effects, we can add a little bit of clarity. That's one thing I like to do with these landscapes. Just add some more detail. You can see if we zoom in its there's a little bit of motion blur, and maybe it's just cause of the focus is a little off, but adding clarity can help. And speaking of that, when we zoom in, we see a lot of noise. So we're going to add some noise reduction, something like that that's looking a little bit better. Cool. So that's with detailed. That's with effects. Were going to leave split toning alone. We're not going to Adam. And yet De Hayes were going toe ad with our brushes and other effects were gonna leave that off. Terms of optics. We're gonna leave, as is enabled. Lens correction. Sure, we'll add that. Why not? Geometry? Also going to leave as is so the magic of getting this photo to our edit is with the different brushes, So we're still a long ways away. So first we're going to use a brush for the sky. So let's take our brush. We're going to right click reset all press Oh, to turn on our mask overlay and mass tools. We're gonna make sure auto mask asan density is all the way up, and we're just going to paint over our sky. Let's turn off auto mask. Just paint over our entire sky. Don't worry about the edges because we're going to erase with auto mask and sometimes that works a little bit better. So we're going to go to the race now and now we're going to go over the edges. And when we erase and we get close to the edge because there's such a difference in exposure light room knows, OK, we want the sky to remain selected, but we're erasing the darker part of the image of this foreground. And so that's looking pretty good. Pretty solid job with that edge selection. Cool. So now what are we going to do to this guy? We want to bring out that clouds. We want to bring out the information, make it blew. So first, we're going to hit that D Hayes, But and bring that up. We're going to drop that temperature down, get some more of that blue Now the trees right here It looks a little bit awkward that the trees air super blue. So I'm just gonna paint over a race those trees right there, and that's pretty much it. We might want to bring down the whites just a little bit or the highlights just to see the highlights actually have the ones that we want to bring down to get more information in those clouds. Cool. Awesome. So that's looking pretty good. Now what we're going to do is click the plus button. We're going to add basically the same colors to this river. Now this is a creative artistic vision for this photo. This river is not blue. It's white because it's ice. But just for fun, we're going to make it look like it's a little bit blue. What I'm actually going to do is turn the density down and change my size a little bit bigger. Gonna leave auto mask on. Actually, let's turn off Auto Mask and we're just going to paint over the river that we want to add color to now. I already made a mistake. I know that there's some parts of this where it was pure snow, like on the side of the river bank that I don't want selected. I'm just going over here when I get up here and might want to turn on Auto Mask, actually, so it tries not to get the rocks in the river bank, and also, when I'm going over the edge, tries to get all the ice down below the snow bank now if I press Oh, I can see really where this is Over laid. And so here it might take my brush with auto mask on a race over the snow over here. I don't want this noted any color to be added to the snow or these rocks because what we're doing is adding blue to it. Go back to my brush at some right here a little tedious. And, you know, this could take a long time if I was actually spending the time to edit this myself. Not for a tutorial. I would probably take a little bit more time to be more perfectionistic about the edges and things like that. All right, so that's pretty good to start out with. So for the water, you can see that we have the same settings as the sky, but it doesn't look as blue, so we're going to drop the temperature even more. We're going to increase the D. Hayes even more. Increase our saturation, maybe add a little bit of green to make the blue a little bit more blue, like greenish. It's not if you go crazy, it looks like aqua. We don't want to go that far, but just to add a little bit more, that's that's looking pretty good. So before and after, we're already having a lot more color, and it makes it a lot more interesting. So just be careful with these rocks right here. Just erase some of that mass because I don't want the rocks. Teoh, have any blue added to them? Okay, cool. All right, So next what we're going to do is really highlight the sun set, which you have this sun going through this mountain and it's shining along this river. And so what I'm going to do is use a radio filter, reset my sliders when I'm actually going to do is just create this big oval radio filters something like this. So this is what my selection is. That's what's going to be edited and added, I just want to add some warmth. So I'm gonna crank the warmth here. I'm also going to increase the overall exposure. Now, this is something where you might not want to do it yourself. But I want this to be almost over exposed. Sometimes it's OK to have parts of your image overexposed. Something like that is looking pretty good pressing. Oh, to see my overlay. Gonna make this a little bit bigger. Okay, so that's looking pretty good. What I don't like about this is that this warmth is being added to this part of the hillside, which is behind a mountain that is actually shaded. So I'm gonna take my eraser. I'm going, Teoh, Um, turn off auto mask. And I'm just going to paint over this side of the mountains. See how this is naturally, how it looks. That's what I wanted to still look like. I don't want the warmth that I'm adding, With this radio filter to be applied to this side of the mountain, I wanted just to make, like, an s, like going here through this canyon, then around and then down here on the rocks and also the same thing with the face of these rocks and erases because the face of these rocks should be dark blue because they're in the shadow. We just want that light to shine through the canyon down here in the and then along this river. And I could have used a brush to do this, but I like using different types of filters. So I just cranking up the warmth even more cool. So again, this is going a little bit extreme with the edit, but I like it now. The last thing I'm going to do is the side. So the sides of this river bank, it's just kind of bland. You got all these rocks and details, but it's almost, like all meshed together. So I'm going to use another brush. I'm gonna reset my sliders. And now I'm going to just brush over these sighs. I'm gonna turn my density all the way up. It's turned off. Auto mask Just brushing over these mountains sides here. Oops. Got some of that river bank. I'm gonna have to erase that on the same thing over here. Might just warm it up just a little bit. But not as warm as I did this sort of center pit bit right there with that radio filter. Let's just take a racer. It's right here on the river. All right, so now I just have, like, the banks and the sides of the bank, that's kind of the shadows. And so what I'm going to do is warm it up just a little bit. Also, going to increase the clarity and boost the overall exposure. All right, so that brush, it kind of just boost the exposure for the hillside, Something I might have been able to do with the overall exposure for everything. But when I was boosting that exposure, you were losing a lot of information in the sky and even in this river, so I didn't want to boost it there. That's why I used the brush. If I was going to spend a little bit more time editing this, I would make sure that the selection of the skies a little cleaner on the edges you have. It's the Automat didn't do a perfect job with the edge. And when I'm adding some blue and some clarity and D. Hayes to this guy, it kind of hits the edges of this ridge, which looks a little unnatural, so I'd pay attention to that. One of the thing I might crop out really quick is for some reason, this lens it's got this dark spot in the top left, so I'm just going to take this crop in and just crop and just a little bit just to try to get rid of that. Something like that. Looking pretty good. So here we have our before after. Wow. Pretty incredible at it. Right here. I would say so myself. Definitely. A little bit more creative. Bit more artistic. But that's what I'm trying to teach you. What you can do here in light room. Thanks so much for watching. I hope you enjoyed this one and we'll see you in another lesson. 34. Full Edit: Surfs Up: in this video, I'm going to edit this surf shot to look something like this. This one's a pretty simple one, but we're making the colors and exposure look super cool, super radical. So let's get into it. So if you want to follow along, make sure you open up light room and let's get into it. So first things first, we're going to crop. I often like these 16 by nine format, so I'm going to crop this in now. One thing I could try to do is use the rule of thirds to get this surfer on one those thirds intersections. But when I do that, it gets a little bit too close in. The other thing is, when I crop like that, I don't like cropping photos or taking photos where the action or the movement of thes subject is moving towards the end of the frame rather than the open, negative space side of the frame. So I would have rather put him on this rule of third intersection. But when I do that, I lose all the awesomeness of this white water, the cliffs in the background. So what we're going to do is we're just gonna put him right on that lower third line or kind of using the lower thirds in the sense that this wave follows the bottom of this rule of thirds and we still have the cliffs above cool. So I think this is actually a little bit of a wider edit than I did before, But let's move on to light now. Overall, the exposure of this image looks pretty good, actually, so I'm not going to do much. One thing I usually don't do is just head straight into the contrast lighter or the point curve or the tone curve and just add a little bit of contrast here. With this, I could be a little bit more precise than with the contrast slider, so I might just do that, bring back down my whites there. Or I could bring back down my whites here cause I don't want to lose too much information in the white splash here yet because I am going to add some exposure adjustments here toe enhance how the light is coming from behind this wave to the right of the frame. Close that down so you can see more. All right, so next we have our color again. Overall, I think it looks pretty good. The water looks pretty well in terms of the white balance Looks proper. That being said, I am going to make some adjustments. So I'm going to go into the blue and increase the saturation of the blue not worrying about the cliffs up above. Because I'm gonna use a Lanier grad filter to adjust those with luminess. I'm gonna make the water just a little bit darker, the blue a little bit darker. And then with the blue, I'm just gonna Hugh, I'm just gonna drag to the left just a little bit to make it a little bit more aqua. Now, I'm gonna go to this sort of teal, and I'm going to increase the saturation. And for the luminous I'm actually going toe. Bring it up, CEO. That kind of highlights the water right here. Looks like the light is shining through it a little bit more. And, Hugh, I'm going to drag to the left even more to make it a little bit more green. So you get that nice blue green water. Thought we would all love to surf in Ellie's. I would. So that's looking pretty good. Overall, vibrant saturation. I'm gonna leave as is now with effects. Everything looks pretty good. I'm not really going to add much in terms of D Haze or I've been yet. Clarity is the only thing I might add a little bit just toe. Bring out some of the definition in the water and in the cliffs above. Now I'm going to do a little bit more of that using the linear Grady in just a second with details. There is a little bit of noise here, so I'm going to add some noise reduction you can really see in the hills here how much noise there is. So it's a balance of wanting to sharpening. Sharpen it a little bit more versus noise reduction to get rid of that noise. Somewhere around there looks pretty good. Now with optics, I always see if it helps. It does get rid of that. Been yet that little bit of distortion from this canon lens. So I'm going to include that geometry. We're gonna leave, as is all right. So next we're going to use a graduated or a linear Grady int to affect just the cliffs above. So I'm gonna reset all sliders, press zero, or oh, Rather, to see what I am working with My selection is what's above the water here maybe faded just a little bit more than that. Looks pretty good, Chris O. To turn that off. Now what I want to do is enhance the warmth of the sun or make it look like this was shot more at sunset at golden hour. So increasing the warmth that kind of fixes a lot of the white balance issues to them kind of look like you got so much blue reflection coming from the water on the cliffs, adding some warmth helps. Now this isn't as warm as I want it, but it's as warm as I want this entire cliff range to be. I just want this part of the cliff on the right hand side to be a little bit warmer, but we're going to be doing that with another filtering just a sec. I am going to add De Hayes just to bring out some of that definition in the cliffside. Now, if I want, I can add some more contrast with the blacks, shadows, blacks that was a little bit too much or clarity Now, working with clarity. Andy Hayes together, kin typically give you sort of that detail that you want gonna bring back up those shadows and blacks now because I added that clarity cool. So overall, that looks pretty good. What I want to do is at some more warmth on the right hand side. Now let's see the original already looking pretty good. What I'm going to do is just create another Grady in So using the same settings. Actually, I'm just going to click and drag like So. So now if I press oh, you can see that the right hand side is my selection right here, and that's what I want. But I don't want my settings to be that extreme. So I'm going to turn off my d. Hayes, turn off my clarity. And really, I'm just adding some warmth, and this helps because it makes it look like the sun is hitting this side of the cliffs. But then, for some reason, this side in the shadows, it's not as warm, but I want to add a little bit of warmth to some other areas, too, So I'm going to use the brush Gonna turn down the size Gonna brush over here can see that the sun is probably hitting this side of the cliff even more Then I'm also going toe brush right across here on this side of the wave, which adds a little bit more warmth to the surfer and the back of the surfer as well. So if I press Oh, you can see what I'm actually painting on him, painting on a lot of this image, just adding warmth where I want the sun to basically hit cool. So that's looking pretty good. If I want, I'm just gonna play around with the tent. That's actually pretty cool, adding a little bit of magenta to it as well. Cool. So that's looking good. The other thing, too I want to do is highlight, sort of in terms of exposure. I wanted to be a little bit brighter in the background over here, so I'm going to use the brush right click reset all sliders this time. Actually, I am just going to boost exposure just a little bit. I'm just gonna brush on just this part sometimes I like having things a little bit extreme terms of the exposure. So something like that looks pretty good. Maybe add a little bit more warmth just to that area and adding these layers of filters and brushes, it sometimes can make it look a little bit more natural than just having one linear ingredient that says, OK, everything on the right hand side is warm. So now it, like this part of the image has some warmth out of this very far right part Has even Mawr warmth added to it. And so I think that looks pretty good. I'm gonna add a new brush. And I'm just going to paint over our surfer here. Bread in that part up of the wave just a little bit. Exposure's good. I'm gonna bring back down my blacks in the shadows so that my surfer isn't too like overexposed or washed out. And then bring the tin down just a little bit. The warmth up just a little bit to make it a little bit more of that aqua color. Cool. And so now, if we see the before and after before, after looking pretty there in good, I'm just gonna go back to our overall light effects see if our point curve are are contrast is where we want it. Just gonna boost contrast just a little bit and I'm going to call it a day. I'm ready to go out and serve myself. So I'm gonna call this one here. I hope you enjoyed this at it. Pretty quick One, but just another one where you can play around with light and really enhance where the sun is shining with brushes with linear filters and things like that. Thanks for watching. 35. Full Edit: Wildlife: All right. Welcome to another photo editing session in this one. We are editing this wildlife shot. This was actually just shot in my back yard with a pretty inexpensive lens. So the quality of the image isn't great. The sharpness isn't perfect, But we can still get a decent image from it and make it even better with editing. And we're gonna turn it into something like this, which will be better for sharing on social media. So that's what my goal right here is to take this photo and turn it into something that is perfect for social media. So first things first, we're going to crop now. When I first did this, I didn't crop it as a square. I just made sure that this fence, the top of this fence here was level. So whenever you're editing horizons, or if there's like lines across your image, you want to make those flat, if that's the style you're going for. But at the end, I ended up going to to this one by one aspect ratio good for something like Instagram. When I did that, I didn't want to put the bird directly in the center. I put the bird sword of someone in the using the rule of thirds. The bird is now on the left side of this frame. I made sure to try to level this horizon as much as possible and because the bird is looking to the right of the frame, I want the negative space on this side vs this side. Now when you put negative space behind someone's head, that's definitely a choice you're making. And it can say something different than this. This is more natural. This makes people think a little bit more, or at least makes the brain work a little bit more to see the balance of the photo. So I'm just going to make this more balance, something like so So this was shot with a long, Tamron sort of cheapie lens, and so it's not super sharp, so we're going to be doing some things to sharpen it up, making the colors pop. And also we're going to be adding a vignette to really focus the I onto this bird. But there's something interesting that happens, so we're going to be using a custom been Vigna, actually, So first let's go into our light overall, the exposure is pretty good. It's a little bit bright. So we're just going to drop exposure just a little bit, dropped the shadows even more and then dropped the blacks. We're gonna leave it like so and will use the point curve later on. If we need toe, make any changes. Next, let's move on to our color. Same thing here. White balance is pretty good. If you want to warm it up, you could. But I'm not going to warm it up because I think the colors of the bird are nice. The background is pretty green and that might actually look good if we made it a little bit more green or even a little more warm so that the bird pops from the background a little bit more. But with this overall temperature adjustment, it makes the bird and the fence down here look kind of awkward. So we're not going to use that same thing with vibrance. We could just boost the five vibrance right here, and actually that looks pretty good. So we're gonna boost it a little bit here, but that boost everything. So you could either use vibrance here or we can go straight into our color mixer here, boosters, blues to make that blue really saturated and then maybe go into like the reds on a boost. The red on this bird here that helps a little bit. We're gonna use a brush in a minute to really boost the saturation color in sharpness of the bird itself. That's pretty good with color now with effects. I do like adding a vignette with wildlife photos because it does often if it's not like a big open landscape when it's specifically on one subject, it does help guide the eye towards that subject. But notice when I added. And yet here, even if I feather it out because the background up here is darker, it this dark corner looks super awkward. Now, remember our crop right here? This is just the background. I think there was some plants in the shade back there, and so with even yet I'm not. And I'm not digging that dark corner up there, so we're going to create a custom of, and yet with the radio filter in just a minute, in terms of clarity, I do want to boost the clarity for the bird but not in the background. Notice how in the background when I boost clarity, we add more grain. I don't want that. So what we're going to do is just use a brush to increase the clarity, sharpness on the bird. So really, with our effects were not doing anything with detail. We are going to do an overall noise reduction because we have some noise in the background . So we're trying to get rid of Assad much as possible. So going up to like 25 30 something like that gets rid of some of that noise overall sharpness. We're just going to leave this as is, but we are going to sharpen just the burden in a moment here. We do have a little bit of chromatic aberration on the edge of this bird's beak. That's that sort of greenish or magenta line you'll see on the edges of subjects. And so let me see if down here you can see it. Maybe down here on the leg, we turn this off. It's very subtle. Here you have it. It's little magenta. Depending on the lens you use, you might seem, or look at the bottom top of the fence right here. Very, very subtle. If you're practicing on your own computer, you might see it a little bit better. All right, so this is looking pretty good with optics geometry. We're just going to leave, as is so first things first, let's focus on our bird. So I'm going to take my brush. We're going to right click set, reset all of our settings. We're gonna turn on auto mask, make sure density and flow are all the way up. And make sure we press o on our keyboard to show our mask, overlay and tool overlay. So I'm just gonna brush on here. We're trying to get the entire bird all their feathers. And sometimes when I clicked, I started clicking on the chest right there with the red feathers. It's harder for a light room to make a selection of another color like the blue feathers. So I actually have to go again and click and start where the blue feathers are. So that light room knows that. Yes, I also want the blue feathers as well. It wasn't a mistake. And see how good that liar whom does when I go over the top of the head. I'm literally going over the edge by 50%. Sometimes just the way that I'm using my mouth. But it's still knows that I don't want that background selected because I'm using Auto mask . Let's get the beak right here. All right, Cool. When? A little bit too far on the chin. Let's just get that one more time, okay? Cool press. Oh, to turn off our overlays. All right, So now, Lord, what are we going to do? We're going to first boost saturation. Usually. So again, we already boosted saturation of the blues, but we're gonna boost even more. We're going to increase clarity just a little bit now. You don't want to go too far, because depending if that's your style, I can get a little bit to contrast e so somewhere in the middle is pretty good. Something like that. I do want more detail in those feathers. So increasing clarity's good and also boosting sharpness just a little bit as well. Terms of these other options. If you want, you can play with shadows. Maybe you want to bring up the shadows just a little bit to get a little bit more detail in the face of this beautiful bird. Cool. So that's pretty good. So if we see the before and after, that's what we've done. And if I just delete this brush, see what it does to the bird? Subtle. But it makes the colors pop even more, and it sharpens those feathers and the edges of those feathers. Quote. I'm going to add one more brush. Really quick. Reset all these sliders. I'm just going to go ahead and boost exposure and drop my density. I'm gonna turn off auto mask and increase my size of my brush just to go over the face a couple quick times now, because the density is down when you brush over multiple times. It's like layering on this effect. And so if I press oh, you can see that if I go over once, I'm just peeing on there. It's a light brush. If I go over again, it continues to brush on. I'm gonna undo that. I just wanted to brighten up the face just a little bit cool. Now let's add a little bit of warmth to the background. Now. One way we can do that is with a radiant filter. So our radio radio ingredient. So if we take this, let's reset all of our settings. Let's just choose everything except for our birds. So if you don't see it, just press Oh, so we can see our tool overlay and our mask overlay. So we're basically trying to choose everything except for our bird. Okay, there we have it we created to. So let's take this one again. And we can basically make it the size of the bird and then take our eraser. And with auto mask off density all the way up, we're just going to paint over our bird to make sure our bird doesn't get affected at all, cause I don't want our bird to be affected. Now, if you want, maybe you want to brush on with the auto mask to get all of this background green to make sure the green is selected, something like That's pretty good. Try not to get the legs groups don't do that. Now. You could have done this with the brush as well. But the radio Grady, it kind of gives you a head start. I got the be great there. I'm gonna have to go back and erase. Okay, Cool. So now we've selected everything except for the bird. I want to actually do something to this. So what I'm going to do is actually increase the green. So we're making the background a little bit more green, a little bit warmer so that our bird pups, because the blue and the red are in contrast to the green and yellow. And so the more green it is compared to sort of the brownish just yellow it was before the more the birds going to pop out. Okay, I'm just gonna leave the not warming up. Just make it even greener. If you want, you might want to play with exposure. So if we want the bird to sort of pop even more, we wanted to beam or contrast it with the back. And because the bird is darker, we might boost the background just a little bit. All right, so the problem with this is that we actually had this fence selected, and I don't want defense to be green. So what I'm actually going to do is use a linear Grady int resettle Sliders just create this linear ingredient right here at the bottom. So I'm putting it. And the selection is everything beneath this all this This Ah fence right here. So what I'm actually to do is what I the opposite of what I did before. You make it a little bit more magenta, but I'm also going to actually just drop the overall saturation, make it a little bit darker as well. Just try to get more of, like, the natural color that it used to be. So if we go the before and after now it's back to sort of the normal color that it was now granted, I could have just used a brush to brush the background to make it more green. I didn't have Teoh do that with the Grady int are the linear grading as well. The other thing. I could have gone in here to our color and seen if boosting the green saturation here helped a lot, which, which it does, can even play with the hue to change what the green looks like if we want to be really green or more yellow. So I'm going a little bit more extreme than I did on my previous at it. But I like it next, we're going to add that custom. And yet again with a radial Grady in so right clicking, resetting all sliders. I'm just going to create a circle in this image pressing Oh, to see what I'm actually selecting. So I wanted to be a nice feathered oval, and we've got a nice feather on this, Grady. It already something like this position at the bottom. Now, since it can be kind of custom, we could put it a little bit more towards or over our bird. I'm going to erase our bird, though, cause I don't want this to be affecting the bird at all. I wanted to be affecting just everything around the bird, but because the feathering of this radio great, it was so big, It's kind of selecting everything. So now I'm just going toe take down the exposure. So this is pretty dramatic, but I kind of like it. And now what I'm going to do is actually with my eraser dropping down my density just a little bit, bring up my size. I'm just going to erase up here and see how. Now that looks like a much more natural than yet Because We've already had the dark spot in the top right corner that was actually creating, like the edge of this vignette in the corner. Now, even though we're we've erased this part of the radio overlay, it balances it out even more. And so this is the selection we have, and we're applying that sort of exposure dropped to it. So if we turn this exposure off and then on, I think it focuses our attention a little bit more on the bird. Vignettes are always a sort of stylistic thing, but this is pretty much it. So here is our bird. This is the before nice and flat, a little bit overexposed. Here's the after colors, pop, even mawr. The bird pops from the background. Feathers are a little bit sharper, better edges. And with that vignette of focus, the focus is the eye on our subject. Hopefully you enjoyed this tutorial. If you did Well, I just hope that you did so if you did continue watching the course, leave us a rating if you haven't done so already, and we'll see you in the next lesson. 36. Full Edit: Roses are Red: welcome to this new full editing demonstration. This one is pretty creative. We're taking this photo right here of this Rose turning it into this. See the difference? Pretty dramatic. We actually got rid of a lot of these roses in the background. We played with the colors to make it a little bit more dark, moody, dramatic and romantic. In my opinion, we fix the over exposure of the hand, lots of stuff coming up. So if you want to fall along, make sure you download this. Open this up and let's get going. So first up, the overall light of this image is really off. I didn't take this photo. This is from we saturate. But this hand right here is completely over exposed. So let's take down our overall exposure quite a bit. I don't mind having a little bit of a darker image. I kind of like that feel for this photo. So we're going down pretty far, and then we're taking our highlights. And are whites down even further to get back that detail on the hand, going to take down my blacks just to get that contrast in these shadows in between the pedals and just playing with shadows now, just to get sort of a nice balance of contrast. That's looking pretty good. I'm saving my point curve for later. If I want any changes at the end, color is where it's at with this photo. I'm not adjusting any of our overall adjustments. I'm going to our color mixer. I'm going to our specific hue, saturation and luminant adjustments. So first things first. I want to play with the color, the actual colors, the hue of the colors. And so these greens in the background I wanted kind of dumb them down a little bit, both in color exposure, hand in saturation. So with the green slider for Hugh, I'm actually going to take it to the left to make it a little bit less blue and more yellow and same with the aqua. Now with the red, I like the red, but I'm going to make it a little more purple, actually. So taking the red slider driving just ever so slightly to the left. I don't want to go too far, although this is one way you can completely change the color of a flower, so just a little bit to the left. Now notice. On the edge of these pedals, we have some more sort of magenta. And so that's this magenta slider, and I don't want to actually take him to the left, which makes it more magenta. I'm going to take this to the right, and now notice how the edge and the colors you can even see it kind of in the middle of this flower. It kind of balances out, and it is more similar to the rest of the pedal or arrest of the flower. So I like that more balanced, not the splotchy nous that you had before. Next. Let's go to our saturation. Overall saturation is pretty good. We're going to die down the green just a little bit again. Just so it's not as overpowering, and we want to make sure our red pops so both green and aqua go down red and magenta, but more so The red pops goes up next. Let's move on to loom in its. So this is the darkness of the the colors and so again dropped the green dropped aqua. Make those a little bit darker, read boost so that it stands out a little bit more now here we can also play with the yellows and the orange notice in the hand, which has a lot of orange and yellow. This can help bring back some of that information Now. I don't want to go too far here. We can use a brush to really affect the hand, but just a little bit Looks good. Cool. So that's looking pretty good. Next, we've got effects. Overall, this looks goods. For now we are going to out of and yet, but I want to finish. The rest of our are at it Before we added and yet detail, We are going to add a little bit of noise reduction we can see in the background. We got a little bit of noise, so just soften it up. Going up to 34 optics leave geometry leave as is, are you so first things first, let's fix this. Fix this hand. Let's take a brush. We're going to make the size a little bit bigger. We're going to reset all of our sliders, press O on our keyboard to show our mask overlay, and we really want to just like this entire hand. So I'm just gonna brush over the hand. Oops. I should have had auto mask. Consulate's under that turn auto mask back on so that we're not selecting the green in the background. So this does a pretty good job Now. You might want to go over like the creases of the hands right here again, where the wrist is, so that light room knows to get that. When I was practicing with the shot, I noticed that I didn't get that part of the hand the first time. Because it's a different exposure. It's a little bit darker. So if I start clicking on the part of the hand, that's a little bit brighter and then go over this little bit in the wrist, it doesn't get selected. Whoops when? A little bit too far. So making sure you get the edges now, this might be an area you spend a little bit more time on. If you're doing this yourself, just toe, make sure getting the edges. Sometimes it's good to like if you have the selection you want unclipped. So it saves that a couple times right there. You saw me. I was going, going, going, and then I made a mistake, and then I had to undo everything I just did. So this looks like a pretty good selection. Let's drop down the highlights. Let's drop down the white now. I don't want to go too far with the this because it starts to look a little bit distorted. I wanted to look natural. Now, one thing that makes this hand look a little unnatural is the color as well as this exposure. So dropping the exposure this much. We get some of that detail back, but I want to warm it up. So I'm actually warming up the skin tone with this slider here, kind of a tricky balance because it looks a little bit splotchy. So let's move that out with clarity. And let's drop the clarity down just a little bit, so we have a little bit more detail. It looks like it's exposed a little bit better, but it's smooth. It's not as splotchy, so that's looking pretty good with the brush, all right, so next thing we're going to do is remove some of these roses in the background now. First things first, though. Let's crop because I actually do want to crop in just a little bit. I'm using the same aspect ratio. But actually, I take that back, This at it. We're gonna make it a little easier on us. Let's crop it to a square. So this is pretty good. Perfect for Instagram. Or rotate it just slightly so that the wrist is going straight up. Perfect for social media, something like that looks pretty good. All right, so now I want to get rid of these roses in the background. So what we're going to use is the healing brush tool. So that's that little Band Aid looking tool right there. Make sure uran hell play around with your feather and your size, but you want the size or the feather to be pretty high up and opacity at 100. So I'm gonna paint over and make sure I'm hitting all the edges now, depending on how fast your computer is, this can be pretty render intensive. So now it's I've painted over that selection and now I got to make sure I press Oh, so I can show my tool overlay. It's actually taking this part of the image, and it's replacing it or using it to heal this part. So I'm going to take this back, move it up here, see how it's pretty. Render intensive. It takes well, but that looks a lot better. So now I'm gonna go up here to this Rose, not pedal up there. Okay, So here, See, I didn't peek over the entire thing, so I could either undo that and redo it. Or I could drop the feathering to see if that works. Because there's quite a bit of feathering going on and so decreasing the feathering actually fills out this entire selection and looks pretty good. All right, so I'm going to speed up this video, but I'm basically just gonna go over the rest of these now. All right, so this is looking pretty good. Notice how we got a little bit of like this red splotch ing is or blurs going on. That's just because of the selections that I made. If I spent a little bit more time doing it, I could probably fix it even better. But I'm going to show you a couple things we can do toe get rid of that or make it less appearance. So what I'm going to do is go back first to our effects were going to Adam. And yet so this will help a lot. So I'm gonna add quite a dramatic vignette here, really dropping that midpoint. So it's focused in on here. And just by doing that, you lose a lot of that information around the edge. Next thing next, just to blend in all the selections and healing we did, I'm going to use the radial. Grady INTs reset all my sliders and let's just make sure we show our mask. And I'm just going to create an overlay. Something like this. Make sure it's around our rose, so it's selecting everything. So I have inverted press Oh, to hide the overlay, and now I'm going to drop the sharpness. So the drop dropping the sharpness helps because that makes a more natural blurt. Dropping. The clarity can also help, but doing it too much makes it feel like it's a little bit like watercolors or like not a natural out of focus shot like you would with a camera. So that helps. I'm also going to duplicate this to increase the power, so if you want to quickly add more, so we can't go and drop sharpness even further. But we can do is duplicate this Grady in. So if I right click and choose duplicate, it's going to actually multiply that. It's kind of effect by two. Now let's do that two more times. So we're actually quadrupling the effect, so it's pretty dramatic. This is definitely a little bit more artistic in that sense. And then I'm also with this last one selected, I'm going to drop saturation just a little bit. So overall saturation is pretty good. Now I'm going to take my brush, gonna reset all sliders, and I'm actually going to drop my saturation and drop my destiny and just paint over. Turn off auto mas paint over these parts with the red just to get rid of some that read. That's just something I can do at the very end, basically to quickly do that. And I think it's OK that parts of this image have a little bit less saturation. Maybe go over a little bit more. I'm just clicking kind of clicking randomly toe, make it a little bit more organic, and that's pretty much it. So this is a pretty dramatic change from the original. Here we have it. Here's are at it. Hand looks better. Flower looks better. Background looks better so that our flower stands out a little bit more. I think I went a little bit too crazy with that saturate de saturation with the brush that I just did. I probably should have done a better job at using the healing brush, but that would just take a little bit more time. But let's see our other image, this one. I think I did a lot better at it before. This one looks a little bit more natural to me, but yeah, pretty crazy what you can do in light room. I hope you enjoy this lesson and we'll see you in another one.