Adobe Lightroom Classic CC 2019 - Zero to Pro | Marcin Mikus | Skillshare

Adobe Lightroom Classic CC 2019 - Zero to Pro

Marcin Mikus, Retoucher and Photoshop Instructor

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59 Lessons (6h 45m)
    • 1. Introduction to the Course

      5:30
    • 2. Lets Start!

      3:47
    • 3. Importing Images

      7:26
    • 4. Selecting Images - Flags, Stars, Rating

      10:59
    • 5. Selecting Images in Bridge

      6:05
    • 6. Keywords

      8:27
    • 7. Metadata

      15:03
    • 8. Quick Develop

      7:46
    • 9. Develop Panel - Introduction

      4:20
    • 10. White Balance

      5:41
    • 11. Basic panel - Understanding Lights

      6:57
    • 12. Basic Panel - Pressence

      10:22
    • 13. Color Profiles

      5:33
    • 14. Tone Curve

      8:14
    • 15. Tone Curve - RGB Channels

      8:44
    • 16. Hue/Saturation/Luminance - Color

      10:34
    • 17. Split Toning

      6:48
    • 18. Color Calibration

      5:08
    • 19. Sharpening and Noise Reduction

      7:33
    • 20. Lens Correction

      6:48
    • 21. Vignetting

      4:29
    • 22. Adding Grain

      5:41
    • 23. Transform Panel

      6:06
    • 24. Synchronize Settings

      4:58
    • 25. Crop Tool

      5:22
    • 26. Spot Removal Tools

      9:29
    • 27. Graduated Filter

      6:09
    • 28. Radial Filter

      4:41
    • 29. Adjustement Brush

      3:54
    • 30. Creating Panorama

      3:59
    • 31. Exporting Images

      4:18
    • 32. How to Open Image in Photoshop (non-destructive)

      2:40
    • 33. Things to Know Before Creating Presets - Part 1

      6:07
    • 34. Things to Know Before Creating Presets - Part 2

      6:20
    • 35. Creating Orange & Tale Preset

      6:04
    • 36. Warming Preset

      3:34
    • 37. Locating Lightroom Presets

      2:51
    • 38. Creating Profile

      4:53
    • 39. Creating Profile From Scratch

      4:45
    • 40. Converting LUTs into Profiles

      2:36
    • 41. Location of Presets & Profiles

      4:10
    • 42. Landscape Editing 1

      7:02
    • 43. Landscape Editing 2

      5:03
    • 44. Sunset Editing 1

      7:18
    • 45. Sunset Editing 2

      6:52
    • 46. Family Image Editing 1

      10:05
    • 47. Family Image Editing 2

      10:56
    • 48. Night Image Editing 1

      6:26
    • 49. Night Image Editing 2

      7:38
    • 50. Bridal Image Editing - Part 1

      11:19
    • 51. Bridal Image Editing - Part 2

      2:55
    • 52. Bridal Image Editing - Part 3

      7:15
    • 53. Bridal Image Editing - Part 4

      4:54
    • 54. Bridal Image Editing - Part 5

      4:54
    • 55. Map Module

      7:46
    • 56. Slideshow Module

      11:02
    • 57. Print Module

      10:32
    • 58. Web Module

      9:48
    • 59. Book Module

      18:38
26 students are watching this class

About This Class

Do you want to make your images stand out from the crowd?

Lightroom is most popular software used by milions of photographers and understanding this software is often a key to the amazing images. At this moment you are in the best place to start, having professional retoucher as your instructor!

Within few days you will be able to understand key things abut Lightrooom software and what's most important you understand more artistic side of photography that will allow you to edit images beautifully!

No matter if you are an complete ammatour or already have some experience in the field. I will make sure you understand you images, their lights and color, which will allow you to get much better at what you do!

Why I am so confident about that?

I have been workin in retouching industry for over 5 years, retoching and processing images for world class Photographers. I had closest possible experience with mastering every detail of the images, following color harmonies and it's artistic appeal.

Major subjects taught in this course are:

  • Understanding Library Panel and it's Layout

  • Importing Images - Picking them, flagging, rating and adding keywords to the images

  • Understanding Develop Module

  • Basic Adjustements - Exposure, Contrasts, Lights and Shadows

  • Working with Colors - Curves, Hue/Sauration/Luminance, Split Tonning

  • Color Calibration

  • Sharpening and Noise Reduction

  • Lens Correction and Perspective

  • Adjustement Tools - Crop, Spot Removal, Color Filters and Adjustement Brush

  • Exporting Images

  • Skin Retouching in Photoshop

  • Creating High Quality Presets and Color Profiles

  • Landscape Photography Editing Lessons

  • Night Photography Editing Lessons

  • Editing Sunsets

  • Editing Portraits and Bridal Images

  • Other Lightroom Modules

  • Lightroom Mobile Editing Lessons

Learn how to do edit images like a PRO by following this few major steps in post-production.

Adjust Lights and Contrasts - basic but a major step of every editing, you need to make sure your image has perfect lights before you will process to the next step. Luckly even though when you images are under exposed or slightly overexposed you are able to fix it in lightroom!

Color Grading - other course never pay enough attention to process of color grading. What I do different, I teach you how to color grade you images in the right way - following the basic rules of color harmonies. Thanks to this your images will always look perfect!

Skin Retouching - Yes we also work on portraits, I will show you how to retouch skin in Lightroom as well as in Photoshop which is much better software for skin retouching!

Final Touch Ups - All you need to do to make sure you image is ready to export!

Presets and Profiles - Amazing thing about this course is the fact I am sharing with you my Color Profiles that will transform your images withing seconds giving them this extra punch!

You want to learn but you don't have many images to practice? Don't worry, I will share images with you so the learning process can be easier!

This course include editing lessons from start to finish so you can see my full lightroom workflow that I do on the daily basis with my images!

Enjoy!

Marcin

Transcripts

1. Introduction to the Course: Welcome to my course. My name is marching Miko's. And before we start, let me tell you few words about myself. Why am I teaching you light room? Then I'm going to tell you few words about this course. So what? You're going to learn what's included and what resources you are going to get with this course. So let's start from me. I'm a professional recapture, specializing in fashion and beauty photography. You can easily find my portfolio. You just need to time my name marching because that come and you can find my portfolio and some more informations about me. I'm also Photoshopped and light Room educator, and I've been teaching on YouTube for the past seven years. I've gained quite a following a lot off free videos to find on a photo shop and light room . And the other thing I really enjoyed photography, and this is the reason why I decided to create this course. I love taking photos, I think seminary every day, and I need to edit them because, as I said before, the first step to there to be in good photographer is taking good fathers. But the second step is master in post production. And that's why I'm trying to spend a lot of time and post production on trying to make the images simply look better. So what you learned in this course will be starting from basic. So I'm going to start from the library panel and talk about few things that you need to know. So I'm going to explain to you how history Graham works. We're going to talk about keywords. We're going to talk about meta data. We are even going to do some quick develop in these sections. Off course everything about importing the images flag in the images, rating the images just to make sure that your work in light room will be comfortable after we get these things thought that we're going to move to the proper place to the proper place where we added our photos were going to move to the devil panel and what's important to know about developed panel? This is the place where you do all off your editing from very basic to the very end. You do the lights here, so if your images under exposed or over exposed, this is the good place to fix it. You're do. You will do everything for flights, everything for shadows who were set up. The contrasts. Even you'll choose the color profile. And if you want to use presents, that's where your presently supplied. It's all about the devil. A panel. You'll learn how to use tonk your colors. Luminous and saturation will work with the panel. Explain. Toning will take care of details. Will will talk about the lens correction calibration off the colors and applying FX to change. So will you will have full knowledge off the editing process and every single tool that you need to use. And when we talk about the tools, of course, you'll learn how to crop. Images. Have to use the Greg until have to use the radio toe. How to use the brush. So all of these informations, you don't have to be worried. Nothing escaped. All the informations about editing is here was the really good part is I'm going to teach you how to create your own presets and how to create your own color profiles. But it's not only about creating as the re toucher. I work a lot with color grading, and what's important here is understanding how the color works. So before we will be creating this presets and profiles, I will talk to you about the things that you need to know about informations, about the lights that you need to know and informations about the colors that you need to know. So we will talk about color harmonies to make sure that when you will be creating your own presets and profiles, you will create this accordingly to color harmonies. Thanks, toa this your images will look good and you will not be really raining your images, as many other people do because they don't have information about how colors works and off course. I cannot forget about the gift in this car's I'm giving you eight presets and then I'm giving you ate color profiles with this course. So if you want some quick adjustments, if you want some really cool filters for your images, you can download days within this course and apply to your images. And by the way, if you like how this image looks like, I actually used one of the color profiles and did some quick adjustment so you can see before, and this is the result. After So if you think this is something you want to learn, this course will be perfect for you. Once again, this was done with the resources and providing in this course quick adjustments plus color profile that you can download in this car. So now let's just jump to the first lesson and start layering this amazing software. 2. Lets Start!: off course. Before we jump into our image editing in light room, you need to learn how to navigate around the light for me to understand on different panels and sub panels. What's most important? Everything about important images. That's why in this section we are actually going to talk about the basics. So how to start with light room? And in the next section, we will be doing everything about image editing so more likely when you open light room, this is what you are going to see, probably with a little bit different image. And right now the reason why you see this day out is because I heed this develop sign over here and starting from this apart. This signs on the top are different main panels, and this is where you're all work will be happening in the developed panel. And to navigate in the different panels, you just need to curry con them or heat. If you use your welcome tablet. There's two most important panels in light room. And, of course, the 1st 1 already mentioned Develop panel were all of the work. All of the editing work Well, the happening for you so whether you want to work. On contrast sides, colors crop the image. Everything will be happening in this panel and other panel. Equally important is the panel where you will be important, the images choosing the images, thanking the images, checking information about the images. Is this library panel. So understand We will talk about this library panel and develop panel. How to navigate, how to look around and then panels, ass map, book, slideshow, print and Web on. This is not something you use on a daily basis, working with light from and images. That's why will mention about this a little bit later. So, as you already know, develop panels is all the work, and library panel is somewhere where we usually start on the science off your light room. Whether it's and develop rhino or a library panel, you have more sort off SAP panels, especially when it comes to develop panel. So with a library on the left hand side, you'll have your images folders. This is where you will be looking around on the bottom. As you can see, there's least you're off your images on that you will be choosing from you will be tagging them and making your selections and coming to the devil a panel once again, As you can see on the right hand side, you have sub panels with your editing effect and adding in tools and of the left hand side . You have some helpful tools. Helpful sub panels As Navigator Pres. It's so filters you can apply a straight away and, of course, the history. But about this we will be talking and he beat more. And the first panel we're going to start our adventure with light room. He's the library. So let's jump straight into the next lesson and let me explain to you how toe work of this , how to import the images, how to read the informations about the images and how to do a selection off your images to make sure that your work is fluent and fast. 3. Importing Images: in this lesson, I will show you how to import images to light room. So I removed all of the images from my life room to start with there. Plain card. Maybe you just don't know that the light room. Maybe you just opened this and you don't have any images. But of course, we need to start from importing because latam is all about editing the images. So you want to import and straight away to get some information to start editing them. And maybe you don't know how to do this. So we start in the library panel and there's two ways you can store your images off course on the hard drive, or you can use external drive. I have to admit, honestly, I like to do my selections off the images a little bit before I store them on their hard drive. The images that I work with, I put on the heart off it. Take me more time to move them from external hard drive, tow my computer hard drive, but the reason for this is it works just a little bit faster. I don't like to work with the 1000 images, but there's different approach to it, but let's just jump right into it. We have this battle import and which is off course essential for it. I'm just going to hit in court, and as you can see, I have toe hard drive. One hard drive is the Mac computer, and the other is this entitled? Which is as D called that I plucked to my computer just to show you. So If you want to get everything from your card, you just choose the images all checked here, and you import all of the images or you can unchecked just few of them. If you need that, I'm going to show you once I'm going to choose the folder from my computer that I want import because I prepared the images four discourse. So we are going toe import the images that we already selected for this course. So I opened my Macintosh hard drive. I'm going to users. My name margin. I'm trying to locate the folder with the images, and this is also important for you to try to keep everything intact, so don't keep it everywhere. I have the certain places. I'm quite a messy person. I have to say I have a lot off images on there was actually beak mess with my folders. But this mess is under control and I know everything. Like my personal images as camel 60 off course. And keep my images over here is to locate if I want this I just imported delight from I'm ready to work for the courses. I leave this under my courses and for the course today I keep this under line from C C images. So I just the folder where the images are located and now we can see the term nose off them . What you can see as well. All of them has these small marks on the top because once you want to import, all of the images will be checked by default. So if I would eat import now, all of the images from this folder images would be imported now to the workspace off light room, you can on check them all. In this case, we cannot import anything. So to bring back, maybe you want to choose just a few images you can heat on them and then your import toe light from a limited number off images. It's very unlikely you will be working on this way because usually you import everything from your folder unless you just want to remove few images that doesn't match, then you will hit. This marks off the images that you don't want to import. So it's again I'm going toe hit check all because I will import all of the images and also about the view. So as the view we see all as the timeless Now we cannot see too many details, but you can check the view in term full image. I don't think it's really useful. And at this moment, the reason why. Because you want to see full image in the workspace on light room in light from after you import days so you don't want to be bothered into switching, wasting your time on looking at the images. Which image is good or not? You want to see the view off all time nails and once is selected, you're going to hit import, so it's important right now and we're going to see what is happening. So came apparently I just until beat. Ah, no Talking from seeds. The I imported the images with different folders so one folder with the images was coming 60. I can also see workers like to mass, you can see and two different folders containing the images, and this is really important. You want to keep your image images in separate folders, whether you're gonna plan them by the day. Many people recommend buying the date, actually a lot off my images. In my retouching work. I do keep as the date for the course. It's a little bit different, as you can see by imported the folder named Images. In this folder, there was two folders. One folder works with my personal images titled Come On 16. So it's one folder and images those order folder under the different name containing 21 images or two different folders. So if I want to work on the separate set, I'm choosing one off this folder toe work on the Separates said, and I have now 10 images in my workspace, so you want to keep everything in order. That's why you keep separate folders right now. If I would import 500 images, we found any order we would get lost good things about lighten, but I import for for example from my SD card, they nice to get a planned via date so I can have all folder and then check through the date. But to be honest, if you work through the ages, if you have a lot of images, the date is not always the perfect resolution. So toe remind folders you see all off your images. Here. You have also catalogs where you will be seen all photographs or previous import as it's our first import. We see all of the photographs here as well. In the next lesson, we will start planning our workspace and choosing images to work with. 4. Selecting Images - Flags, Stars, Rating: Let's talk about such an important factor. Us choosing the images to edit, which we could call us Well, us Tagen flanking star writing or color. So we will be using the tools that will help us to choose images we want to end it. So in this case, I have this cannon six d folder and this images are quite diversified. But dimension the situation that you go for a shooting and you end up with 500 images or even in the best case, 100 images, and you need to truce 10 images for your customer Off course. You don't want to edit all 100 images and then truce the 10 images for your customer or for yourself. But you want to make the selection on the very begin. So right now I'm going to show you how easy you can make this election, how you can attack your images for your work. So we have 87 images right now. At the moment, I'm going to go with this because we have quite many off them and also what I want to do. I want to change the view first because I need to see how the image looks like to select them. So I will be using my arrow toe sleep between image and then I will be choosing the image for my workflow does the first step. The other step is putting the flags on your images Put in the star writing or even color. And those things will help you to choose the images you want to work with on the bottom under the image. You can actually see this flag I see here. And it also informed me than the short key for this is letter P in light room. You want to use a lot of short keys. The reason for that is you want to speed up your workflow. So I'm going to put all of the light room short, please. For you also the next one. We have rejected images, which will be the letter X So will be working with these two factors. Sometimes you don't need to use all of them next to this. We have stars and nothing more than that. If you don't see and don't worry, just heat this arrow over here. And if you don't see the flag in if you don't see the rating. It means it's not really selected here. So he'd the arrow choose franking. And as you can see, your flags appear, then I'm going to trust also rating. So I will get the stars. And in the end, you also might want to have color label. So now whatever you want to choose your images, however you want to select them, mark them. You have this opportunity. So now let's do small practiced. If you want to choose the image while looking at this, we are going to press P on the keyboard and you will get this information flag are speak if you don't want to flag it. If you want to remove the flag, you'll press you on the keyboard and this remove the flank and then if you want to exclude the image, we will press X on the keyboard. So I'm going to start from very beginning, so I don't want this image moving to this one. I'm going to press P. I'm going to fly this. I don't want this image here. We have nice sunsets. I'm going to press P on this one and on this one moving on, I want to work on this image. I'm going to fly this this one. So as you can see, I'm moving quite fast. And this is the first step that I want to do here. Want to? This one's not really needed. Maybe this one. Some images from Cape Town movie None. This one's gonna flag this one, this one. So I'm trying to be fast. But also, I'm looking at the images to make sure which ones actually are good for us. I'm gonna let myself to choose quite a few, so I'm not excluding that many off them. This is not bad. And I'm not really a pressing eggs toe. Exclude the images. I just need the flag. At this moment, I think we don't really need to exclude anything to make some solid selection for us. Some images from Hong Kong, the city I'm located. It's true. Some 19 images for our later workflow. Us? Well, two more then maybe no Need, uh, to choose more of this moment. Last two images, and I'm going to go with this one. So how many did we choose right now with lacked the images and on the bottom we have the information like filters off. So what I'm going to do, we can choose the filter as flag. Or you can press a small icon and that will show you only deflect photos. So how many off them? We have this morass agency. We have much smaller selection. We have selected 32 images out off 87. So we removed on, not really removed, but decided to not use 55 off the images. So I think it's quite good for us to start. And now moving on, we can actually just our favorite images. So this ones are quite universal. I don't want to go further with this, but for example, I could go with this images and just maybe some of my favorites, uh, mark them which image are really like. So I have a few of the images and let's say I want to choose for the test for the customer . Five images. What I would do here, I would choose the rating, so I want to write images from and the best do the ones. I'm not really liking that much, so whether you can if you have a lot of images, you could go a freight in 54321 As we have very small selection, I will go just with one star. In this case, I don't really need to go too far. So this is the star. I want to go back. You can also press as the shortcut, which is very important here. Number 1234 or five toe Simply rate the image. So I'm gonna give us start to this one. Move on. Start to this one. I would like start to this one. Let's see, starting this one. Not really huge fan of this started this one and maybe so. Then once again, we can go with another fielder. We can choose the rate at once. And as you can see, we have the selection off six. So this are the images which is doing, friend, that we can also choose the colors. Remember, you can always do different ratings on the same images. So even though here we made the selection off our images, for example, with flats, um, 32 images, then you can go on and, for example, do star rating and then as the selection you choose on aerated if you want to narrow down. Keep narrowing down your selections off course. When it comes to the images, you can also on give them in different colors. So I personally don't really go with colors that far, but we can have some recognition to them. So, for example, I want to go of color. Red will be prison number six us the next numbers. So for the white perspective, I will make my mark my images with the color red for the portrait. I can go with yellow. I will press seven on my keyboard. Six. White perspective six, six and seven for yellow. So this is how you can different marks. This is how you can exclude the images. This is how you can narrow down your selections. And for many people, this already helps of the work. Personally, I tried to go to light room with a selection off. The image is already done in the next election lesson. I want to show you my technique, how I actually choose the images fast before I'm going to light room a sui work with light from C. C. We get orders software, such a photo shop and Adobe bridge, So let's treat the next lesson as the bondage. How you can narrow down your images also quickly before you go to light from Some people prefer to do it light room. Some people prefer a little bit different ways. 5. Selecting Images in Bridge: Now I will show you another method for your image selection. So I would say these method I'm about to show you is very specific for me. In my professional work, I am we toucher and some of my friends, sometimes half a lot of images. It can be 1000. It comes 2000. And when I have some spare time to ask me, can you help me to narrow it down? Can you help me to choose 10 best images? And if I can, trying to help And this method for me is the fastest. When I need to narrow down the images, it's faster than flagging in light room for me. So I believe maybe some off you if you work as photographer and you shoot a lot. If you have 2000 images, you have previews that you need to narrow down that you need to choose. For example, 10 images. I hope this method will be very helpful. Maybe some of you will want to use it. So I know we're staying in light room and I just blanked my SD card. And there's nearly 2000 images as I mentioned to you before. Uh, if you have like, um, open. You planned an SD card. As you can see, on the right hand side, I have some information and the images are actually shown in the light from 1825 images. They're not imported here. I could import them all. And what's really great about light room, if you are messy, asked me you plaque as the card and all of your images half the different date, the date I told them, which is really great when you like to work with dates. When you have a lot of images, you want to have them all in light from that what you can do and you will have everything date by date in light room, which is really great. But I don't want to import all of these images. So, um, choosing different way. We are working with light from classic CC, which comes with photography subscription. So you will have a light room light from classic Sisi will have adobe bridge and you will have also fought a shop. And I know B breach is crucial over here. So I'm going to open and I'll be bridge. Make sure you east of this because you have this. So on Adobe Bridge can be really helpful when it comes to selecting images. If you don't know how to open this, just keep it in dark. When you when you east? How days If not, just open for the shop and you can go to file and browsing bridge and your bridge will pop out. So OK, what I want to do my SD card this plant I'm going to the computer in under the bridge. I'm choosing this entitled, which is SD card. I'm all penning this and I'm opening the images So there's anti images. They do not slow down my life because if I would import this old light from the lateral puppy very slow, it will probably take 10 minutes to import them all, which would be ready the money. So what I can do here? I can really sleep between images really, really fast and I find this really useful. It's OK, that's the first. The other step is you create yourself another folder where you want to place the truth and images. So what I do, I just, like, keep going down and I tried to find on Lee the best images when I find something that I like. For example, this image a heat right and I use copy to. Then I tried to look hate the folder and let me find the folder that already created It will be in line from C C course images, and I choose that folder test choices. This is where I want to copy this so he'd open and the image waas carpet. I move on, I move on and I see the image I really like. It's on. Lee works when you have big memory alive, like on the 50 images. Better to do it like him. If you have big number, you choosing only the best ones. You go fast. Heat right. Copy, too, as you can see test choices and moving on off course. You can copy few off them at once, but it doesn't happen that often. So another image I want to choose. He tried copy to test choices, and I've been working like this all the time when I have a lot of fashion images, a lot of beauty images that works really great from he tried to copy to test choices and once I now would done, for example, to 2030 even 50 images. Then I moved it to light room and then I flying my images. In light of this is just how I like to work. As some people probably would say, they don't like this, but for some, that could be good option if you don't want to have thousands off images in the light room . So once it started, I'm going to show you how it looks. I just copied a few images, of course. So I'm going to default there, test choices and they're looking, Yeah, so that's how I like to this election, especially with the previews. Many people, when they have a lot of images, they have also Jay picked previews. So I don't like to go to light room and go. It is, but I like to see the previous in and W Bridge before I'm actually going to import these tonight from three days as the bonus Lassana. Some people would like to have some alternative. Some people want to know a little bit more how to do certain things. So this is option for you, how you can also select your images if you don't like the way in light room 6. Keywords: what we're going to do right now. We're going to explore the right hand side off your A library layout, and we have some sub panels here. Quite a few quick developed. I am going to escape this right now. We are going to take care of this, but let's move to another one, which is key wording. And this might be really helpful for people who work with big number off images. So if I'm the guy who worked just with the 100 images here, this key wording is not really important. But for photographers who deal with big number off images in light room, this is absolute lifesaver. And I'm the guy who like to take a lot of images. I pretty much go of my camera every single day and also people who are professional photographers working every single day. They really need key wording. You're to work mind beyond aid. Your keyword could be our name off the shot. Your keywords could be a name off the models, just everything that could help you to find the images. So let me explain your days a little bit better. For example, I'm going toe start with this three images over here. This is the sunsets. I can see. I have some more sunsets over here. So we are going to planned around this a little bit more. First of all, let's open the key wording. So I'm going to start with this image and the key word will be there. Off course. Sunset. That will be the number one we can tie below. It could be also son Rice, which is very similar. The Sunset sunrise. We can put to pretty much the same group. Also, that could be city that could be hiking. So anything that is related to this image. So I gave a few difference keywords, not too much. And now I would move to another image. So that will be quite difficult if we would actually try to time every single that time. So what you want to do, you want to send cries? The keywords with the same set off the images. That's why I'm going to select this tree. I compress command or control heat three images or press shift. Choose the 1st 1 and the last one. So my main image in this case is the image where I typed my keywords. The next images do not have the key words. What I want to do. I want to synchronize the key words in this image. So I'm going to press sink like the synchronize. Do not confuse this with sync settings. This is no settings yet just sink and I go down to the bottom. I see keywords Make sure this box is checked because if it wouldn't be checked, you will not synchronize that. So the books keywords is checked and we have city hiking, sunrise and sunset. So I'm going toe hit. Synchronize now and let's see what is happening. What happened now our keywords synchronized with the older images. So let me true. Some other images are swell. I'm going to choose the images that I took in Cape Town. So I'm going to start with this number one. I'm going to write Cape Town once again. I'm going to type sunset. I'm going to type sunrise. I'm going to type Africa And that would be enough for now what I'm going to do. Start with the 1st 1 and I see the sunsets go until here. Shift, hold, select. It'll sink. I'm going to sing they setting stuff. So I'm going to press synchronize. Okay. We have already some sometimes done over here. I'm going to truce. Also, some other images like this one. This one This one so completely different. Group off images. 123456 It's going a little sloppy here, so I'm going to do a different way from here to that c They're here. All of this will be from Africa going to select this. Few are swell here, so I didn't add in a keyboard. Now I'm going to give just one to show you Africa. Okay. And now I'm going to synchronize. Synchronize. Okay, so we added the keywords to different group off images. So what we can do right now, I'm going to open on other panels like cured settings. Of course, you can use some recommendations over here. Half keyword released that we're using. So you have also order cures use like wedding photography. So, like some some recommendations that you could actually work with. Let's have a look. And when in photography, and we could use some keywords that would be recommended here. I don't use that often. I just look at the image and time. But some people could find it easy with her family. Your family photographer, you will use keywords that will be family photography. And then what I want to do here. That's my look. I have the Africa, but I want to go with this assets worth my sciences. So we have quite a few key words here, and we can just look it it easy because we don't have that many keywords. If you have a lot of key words, you can simply type your keyword here. So, for example, I want to find images. We've the keyword sunset. I'm going to type sunset. And as you can see, I have only one keyword available. Right now, I'm going to change the look of this. I see all of the images that I imported before, but now I'm going to heat this small arrow next to the number of images. And what happens now? I can see Onley images with the keyword sunset. So if you work with really big number off the images, this is something that will help you to locate the images. Let's try a different way. We want to find images with the keyword African it. I'm going to heat the small arrow next to the Africa, and as you can see, it located the images on Lee with the keywords Africa. So whatever you do, let's say your wedding photographer, family, photographer and landscape photographer and you want to find all of the images that are family related. You will create yourself the keywords when you will be working every single time for the family images named family. If you want to find this time later and the images you simply search for the keyword family , locking them and all of the images that have killed family will be available within seconds for you. So this is simply why the keywords might be very useful for people who work with big number off images. 7. Metadata: in one of the last lessons about this library panel, we will talk about metadata sub panel and respect informations about these, and I will try to be as objective as possible. There is some photographers, some postproduction artists that claims that metadata is completely useless. You don't have to be concerned about these, and they would probably just mention in a few words about metadata. What is it? And there is a group of photographers that say's That mentality is actually very important for you, for your protection, and you should have deep looking to this. You shouldn't skip it. So we'll try to have looking today's and think when it's actually useful when you should be concerned about your meta data, where you should write down so information or when it's not really important for you, because I strongly believe it depends on the situation and on time off work. You're doing so once meta data. Simply speaking, it's the informations about your images, so even in the default view will have the basic information about the image. The information is that you cannot change, so there will be the capture time, the capture date, so you have you can see 6 28 PM 17 May That's the time when I took this image in my beautiful city off Hong Kong. Commencing view on the one child the peak really like this image. Later on, it was on Lee better than this and below. We have some more information, so we have dimensions. As you can see non corrupt image. We have the exposure, so specification off your settings. In the camera, you have lens information. 70 millimeters isil 100 flash not used as you can see information information about the camera and information about the lens. So pretty important information you can have a look about. If you want to know with which settings you should the image. This is the information. This is the place where you seek for this kind of informations, and I believe the basic informations about camera are super important. Whether it's your image or whether you work on someone else image, it could be them a row processing for you. Let's say you're retouch us. Me, you do row processing. You want to know information about the camera is pretty important stuff, you know, specific ations on. Then you can find out really a lot. So this is the basic view on and you have also few places that you can write down. So title you can entitle to the image like view on Hunk. I'm going Just keep this and this man, We're not going to change anything. You how you have some other informations? We are going to talk about this a little bit later. But first, let's see on the views. So we have also all planking metadata, so there will be nothing because on there was no planning here. So no, all the informations we have the n g. If that would be DMG file that where is information about the engine fire? Of course it is not BNG file. Let's look more. We have exit, which is all the basic informations informations you cannot change. So the information about the comma camera settings about the lens and about the time over the shooting and I mentioned off your images, then we have a BDC will be first before I PTC is the information that you can actually edit that you can actually write down. And that could be important for a certain group of people. I will meet straight away. I don't really use it. But I will tell you why. Um and it will all clarify. And then we have also some order views that are not re important. So we have location, which is this views are basically part off the I PTC view. So location that will be limited information. We will have something minimal. Very basic information, etcetera. If you have the video also, you can write down a lot of detailed information about the video. So most extended version here, off your information for mental later will be exit and I PTC. That's why I'm going to go with these view. So I have foul size type of the camera file type. Of course, Raphael, we always work with the role file on that. There will be rating if I would rate it. This image. I did not read it. I did not give it a title. I did not give it a caption on my do. A little bit later, we have the exit information. So all of the information's that we cannot edit information about the image. You can't change Isil right now, So there's that solid information that we have and below. You can have creator contact information. You can have headline category Intellectual general and also the copyright law. The copyright status. In case you sell images, you share images. So now, having this, let's think when it's useful and when it's something you should not be really concerned. So my professional job is retouching the images. I often get images from other people. Often it's row file, and my job is about getting the images, processing them, entertain, retouching them, returning, Do I? Should I be concerned about mental data? I might have a look into the basic informations, but I should not be really concerned about the Creator job title because it's not my job. That would be a waste of time, and there would be no point off doing this. But then, let's look on the other possibility. Let's say I am a photographer. That should images for some magazines for some travel magazines or even more than Sam, the photographer who sell this stock images online. So I used photography and let's travel photography. I asked my source on income, and the copyrights in this case when I sell photography are quite important in this case. I want to have. I want this image to have my information, whether it goes online did and someone tried to steal it. This image has my information. So that is my protection silver here. Um, I could, of course, write the contact. Which will be That's my image. That would be my name Martinique, whose job title I could do photographer in this case because I took the image of the photo a C ki Hong Kong, and for member can't email, I can give the email here off course. I don't really need to provide it'll of the information, so I just want to give some basic informations for you to understand what's going on here. Headline in i PTC I don't really need to feel anything here. We have three a lot of information so we can provide way more information than it's needed . And, of course, as the copyright status. If you sell images, you want to put copywriter, so there is your image. If there is your address and your copyright state status is copyrighted, when someone still your images, they might be in trouble. So this is really important um, think right. You such that usage times. You can specify them here and copyright in for u R l is the influence somewhere online. You can do it here. So speaking off this informations you can easily realize In some cases meta data will be useful for some people. For some others, metadata will not be really useful. The other thing is we can actually create our press it for method a come. So what I would recommend for creating present? Because, of course, all off the images are different. So also, you don't want to create something. You want to create something universal. You don't want to be all specific if you have quite diversified images. And let's say you were doing wedding photography and you write down all of the information's about your wedding photography, you will not apply the press it later to your landscape photography. So what do you want to do? You want to give information that will protect you but will be equally universal for all of the images. So I'm going to hit this and I can add it. Press it and I will try to create some present. So copy name basic info. Come Rain for will have it all. Here. Let's go down. Creator, this is something I want. Toe right down. Creator phone. I don't You you want toe arrived? Those details Title. Let's see what else we have here. It's way more informations. That would one. So that's it. I country 12 go too much. Let's let me have a look. Informations. I can provide a little bit more usage. I'm not really sharing those images for a cell unaware, So I'm not concerned. On these moment, I could show the raw files with you off course for practice reasons camera in for you have a few informations that you can adhere informations about the locations off course category . This is something that would not be universal here, so OK, I would, uh, copy, name. Press it. Let's name this something. I will save current settings as you present. And that will be a test in the light room, of course, going to create this and then So I wrote down location off a city off the contact Marchi photographer. So we have to present test light from cause And what we could do this all images in common seeks the mark. Two are mine here. So if I want to write down Maurin formations about those images, of course, fairly universals on my name and my city I'm going to select the mall. I just dragged. Or But you can, of course, also press command in a to select or images. And then I'm going to heat synchronize. I want to make sure image were there meta data on that I edit It is visible. I'm going toe synchronize setting studs The one thing we could dough But I would do here camera in for what I want to synchronize and I, PTC creator I could synchronize that's the one way or we could simply go and juice test light from press it And then I'm going to choose all selected images. I'm going to have a look into this one. Let's go down and let's see if it haas my information. I probably did something wrong here, so I don't see the contact information. Why wouldn't I see that? Probably the reason for that is I have the contact information here so weirdly it was not applied. Okay, I'm going to edit this once again and let me have a look why it did not work. So as the president, I'm going to choose test light from press it. So just a few more things that I managed toe find. Of course, copyright math. GeneCo's comprised stages copyrighted creator matching because creator city, Hong Kong And now I found creator job title. Create a website I could add, also marching Miko's that Come and now we can try to save it again. Done test lifetime course. So safe changes to the preset test like, of course, were added in this where Fit said, I'm going to heat safe and now I'm going to try toe. Apply the pressed again, and I hope now that all information will be applied everywhere. So I'm going to use present Castlight from course, all selected and let's have a look. Hopefully, the information's now will be available off course. It's all available right now, as you can see the informations that I wanted to be here now here without really too many information. As I mentioned to you before, I'm not resetting the images. I'm not really sharing them and too much dance the purpose off your course. But if your photographer sharing a lot off images and you concerned about copyrights, really have a look into meta data if you're re toucher. If you do that, just a post production, this is not your concern. You do on it a certain part of job. So, such as thinks us information about creator of the images you are just doing job for someone. So that's it about meta data. So think to remember the penny or what you do it might be. Think you want to have a look in tow? 8. Quick Develop: last mysterious think we have left in this quick, develop sub panel that we have over here and it's not really something that you will be using too often, but I don't want to miss it. I want to explain you what's going on here, so you will be sure you know everything that you need to know about this library panel. So we developed, as the name says, is something not very precise because when you develop images quickly, well, you end up with the quick results, so you will not really polish the details that want to take care off. Your color will not be probably perfect, but it's quite powerful when it comes to increasing the Christian exporter. You can do it very fast if you just want to do it for the sake off, processing the image and getting this on the computer in pretty solid form. So I would compare this to some mobile up filters and let's say Instagram. So you take the picture on your mobile phone, you go to the instagram and you add up some filter increased or decreased exposure, and that's it. That's how I would see quick develop as well, so let's have a look what we have here and it allow you to understand this and it'll be better. So you have some present presets over here. Available pres. It's such a scholar, creative, black and white. And then we have some curve, so that will be something with flights. Contrast, you can make it more contrast. Less contrast. E you have grain sharpening Wien eating, and also the presence profiles that those have an my presence. So I'm going to start with the color and I'm going to show you How does it look? So we have natural color, not a big change. Let's see some other presence that we have you have bright image will get brighter, simple effect. As I said, So let's get with Vivid probably will be a little bit more saturated and it doesn't really looked and banter. As I said, if you want to get something quickly dance, OK, so we have also creative. Let's see how looks our cool light. So as you can see, image got way colder and I actually like this up. Some people I would say it's enough if they just look for some fast filter let's see a little bit more from the creative, maybe vintage instant. That could be nice and that actually give this special look to the image out developed, unequal beat more. But if you suit look for simple vintage affect simple colors. Effect. That's something good. Warm effects. Now let's have a look how the black and white works Black and white punch This one is with strong contrast. We can see black and went flat. So now we'll have black and white with not that much contrast Vintage effect. You can see we have washed out the shadows. What else we have here sepia tone. And I must say, this presence that we have here, there are a few very good, especially the black and white. I think light room nailed it very well. Then we have curve, so leave shadows on a little bit more if one. So it created this washed out effect because we leave the Chandos bad. Of course, cross process. Then we have some color applied to this. So different effects with curve over here. Grain. Let's say you want to add some medium grain to the image, and I'm actually going to switch the cholera a little bit more If you don't mind when it comes to them, please it or creative. I'm going over vintage. That will be something I like so sharpening. I don't want to sharpen the image, but if you feel like shopping, name is that's OK and wien eating so you cannot vignette in if you want. I don't really like vignette in ever, But you can see we create pretty decent vintage image. So let me go back with my defaults also, what you can do in this quick developed you can work on your wide balance. So this is the wind balance as the shot on the raw image You can set up the auto white balance where the change will be rather small if you're wide balance was okay Daylight wide ballets cloudy white balance. So the image automatically in this case get a little more saturated shade. Tungsten? Not sure, but the white balance is drop quite drastically lowered temperature, Some others flash etcetera. So I'm going with us a shot. You can also work on this on your own and you can extend the view over here. So, for example, you want to increase the temperature, you can increase the temperature off the white balance you want to increase or the Christine thing. You also can do this so you don't have to use this main off course. They made white balance pre made one white buns. But you can work a little bit more by yourself. Then we have tone control off course way. Have auto you can use. Although so it was set up Automatic tone and contrasts, vibrance, things like that. I'm going to reset this quickly. We can work on the exposure. We can work on the clarity and we can work on the vibrant sous well, So this quick devil, a panel does not offer you that much. It's very intuitive. I would say. I didn't want to spend too much time on these talking in details because it's not something that you will be using that often put in Simple. This quick developed can give you some pre made futures as presents you can use. You can adjust your wide balance, but I would keep this if you're white, Balance is okay. There is no reason to use it so you can play with the present for example, if I would go off create if I would go with Let's use something Once again I'm going with creative. I'm going to a vintage. I will reset my tone. I could decrease, increase the clarity, increased some vibrance for a little bit more saturation. And then, let's say I would like to add a little bit off. Nice. Maybe so, Find noise, grain, medium grain that the image does a quick developed. And this is what this sub panel offers to you. Off course. You came here not to play with some filters with quick develop, but you want to master that post production off photography, and that's why I am here, ready to help you. 9. Develop Panel - Introduction: in this section, we are moving intell development off our images. And as you can see, we moved from let the library panel to develop panel. As I mentioned to you before. This is the place where we are developing the image, which means we add it in the imagery change. The color will change the lights. Whatever we want to do with the image will be happening in this particular panel named Develop. So in few words, I will try to explain to you what is going on in here. I will start from the left hand side a little bit less important. We have a few different sub panels here in the first panel. On the top is navigator, which could help you if you need to go a little bit. Zoom in. If you need to have a look A year in something, Navigator allows you to operate around quite easily. So I'm just gonna double heat, go back below that we have things like present. So many. If you start with the light room, you will see these basic light. When presents that you have available, they're not too bad to be honest as you can see something very basic. We have some creative presents as well. We have black and white presence and a few more on the top. I have my presence because, of course, in life you can create your own presence and we're gonna talk about this. I will show you how to create your own presence for light or Maxwell's so you can make something like an action. You can create the present. You can apply it quickly for your own workflow if they're set and efforts you really like, then we have snap such snapshots, but something I want to pay attentions over here is the history. And as you could see, I played a legal beat with president, and it shows in the history here. So what? Really important to know every single step you do in light room is not distractive is not a polite to the image. It doesn't change the image, but it's applied above the image. So the effects you doing, whether it's present, whether it's some settings, it's applied non distractive, and every single step can be seen in the history of you want to remove history just clear all but every step ever adjustment, you can apply it supplied non destructively and it can be seen in the history. So as you can see this left hand side, just some small help. But what's really important is happening here. So in the very top we have just the history, Graham and history. Graham only shows you how the lights are located on the image. So as you can see, we our images dominated with highlights, which you can see over here a little beat. Because this diagram goes up here, we don't really have too much shadows. And this is enough When it comes to reading the history. Graham left hand side shadows run height side highlights in the center made stones. So this is the information that is quite helpful when you need to fix something. When you have, for example, blown highlights, you will have this information here and then using this. You can use this information to fix your life beloved that we have everything that we need for development off the image. We have some basic adjustments where we many be working with lines we have Tom Cure, which this curve adjustment layer we can manipulate with each and separate color. We can street the town, work on the details Corretja lens and apply some other efforts. We can transform the image as well crop it in the way. All of this is on this right hand side panel. So now let's jump into the next lesson and let me present you how each tool not is important for your workflow works. 10. White Balance: as the first step. Let's just jump right into the basic panel, and we are not going to talk about all of this mainly in the basic panel. We take her off the lights, but what I want to talk about at first is the white balance. So let's ignore everything else here. And let's this CASS about white balance. It's something very basic, and it's something that you also need to take her while should he? So, personally, I barely ever work on the white balance in the post production. But there are cases when I do, and those cases are, for example, in my retouching work when the white balance wasn't right on the set, and I need to try to fix this in the post production. I usually do this manly by manipulating with this two sliders. So, for example, when I look at the image and I feel the images a little bit too called and it doesn't look right, so this image you're pretty decent. But let's say we have something wrong with the meat. We need to warm this up. I'm grabbing the cider, then manually, um, trying to increase the temperature by using this slider and then we have also another cider thinking so thin going to the left side. We will make it in the green times. In the right side, we will add some magenta to this. I barely ever probably went to the Green Side because the image will start looking quite unhealthy unless it's blown into the magenta site. So on this image, I feel it's a little bit to greenish, so I would go magenta. So these small adjustments I can apply in cases where the white balance is not really right . Let me reset that first because we also have this eye dropper over here that we can use toe march, the wide balance on our own. So when I pick eyedropper, we can easily find the place, which is the widest part on the image. So if you have some color that meant to be fully wide, this will easily allow you toe unjust the white balance in the perfect way. So, for example, I want their crowds to be absolutely why maybe the waves, depending on what you decide, Or maybe the buildings meant to be absolute white, so heating on that we need to be really precise in this case. I should actually zoom this in before if I hope I did this right. And as you can see, the white balance completely changed. Going to zoom this in to make sure I did this right? So white color here. Okay, so now I made sure the houses are fully white. Said the image in general Good way colder. Which is not necessarily right, because even we have something that has white colored has some salmon it. So it took away this natural son on this moment, choosing the buildings to be completely want wouldn't go with that sky. Something similar will be here. As you can see, I'm choosing the sky and it meant to be a completely white sky. So as the clouds had a little bit off the blue taunts from this guy, the clouds had a little bit of blue town. So choosing them to be completely elastic unsee image getting a little bit warmer. And this is probably way better than what we tried before. And we can try feather with a few more things, as you can see. And I think the best result we're actually getting when we try with the waves and it will give us quite natural result. But once again, I wouldn't really manipulate at the start with this image because I feel our white balls was quite knelt and was actually very similar to the color and the last color we applied as the Waves were really did a good job. What else you should know about white balance? Of course we can, and justice automatically by choosing these sort of pre made presents doubt like from prepared here with auto white balance, which will be very similar to the one that we actually were trying with the clowns. As you can see, image got a little bit warmer. We have daylight cloudy, a few more options, and I don't really know people who do this way who try to use it. It's more as an addition. It does exist. It has to exist. But usually when people trying to fix the white balance, they try to do this manually, and this is what I do. So this auto white balance never really worked that great, but it's here, and I would not recommend used to use it if you need to use it if you need to define the white respond. Really, the best way is to go with the eyedropper or manipulate this by yourself manually here with the sliders. Sometimes you can see the auto. How does it work? But for sure, going with the tank steen, it's a little bit extreme. So whether you look this extreme effect, you will be able to do this by yourself. But more likely, you want your image to look correct. You want your images to look right, so you will not go with this crazy experiments. 11. Basic panel - Understanding Lights: probably the most important factor off the image is light that was so important to understand this basic panel and master working with flight withers, contrast, brightness, exporter shadows or highlights. So let's have a short conversation about the lights. What you need to know, what you need to remember, and then we are going to explain this sliders. So, first of all, when you should the image how to do this to make it right. So, first of all, you don't want to have over exposed image. Once you have the over exposed image, it's much more difficult to restore the highlights than in case off your image. Being under exposed. It's much easier to bring up exporter toe, restore some shadows, then taking down exporter and restoring highlights. That's why my images often are illegal. Beat under exposed because I'm just hobby, photographer and post production artist, and I feel quite comfortable with the post production, so I prefer to have my images slightly under exposed. It's easier for me to do all of those things to fix it in post production. Off course, the best to have is perfect light, but it's not always the case, so better to make sure that your highlights are not blown. That's there. Number one thing to remember about photography also, very often, when we have raw image, it's quite flat, and we need to take her off the perspective and off contrast in the post production and all of this we will be doing in this basic panel. So let's have a look what we have here. We have exposure which will help you to brighten up the image, make it more exposed or take down exposure in case it's a little bit too dark. And then also we have contracts. So you want to make sure your exporters correct and then, at some perspective, by working with contrast, we have also highlights so you can increase or in many cases, decrease the highlights just in case. Do not making blown and the same with shadows. We have also whites and blacks, which are very similar. Also, we have the battle us auto here, and I was telling you, in case of white balance on this is not perfect. But when it comes to delights, this button autor, it's not that bad, and I always recommend to heat this to have a look. How light room will see it. So I'm going to press it right now. I'm going to hit auto. As you can see image look much better. It has a little bit more perspective. It's not necessarily how I would do this. But as I said before, image was too dark. We took down some highlights and some blacks as well, so it still didn't build up some perspective. But the image like this would be pretty much ready to start. So hit the auto. It might help you to solve very simple issues. I'm going toe reset that because I want to explain to you each slider. So this image is perfect for this. I'm going to start from exposure, as I mentioned to you before it was under exposed silently to get it up. In case your images to bright, you will go down and you're under exposed image. But you can also see it's way easier to brighten, then actually darkened change. I'm gonna leave contrast at this moment. Contrast is something it's good to do on the very end, working with the lines, then we have sliders as highlights. So in case of highlights what's come on to the image. Highlights are often a little bit too strong, and you don't want to lose details on the image. That's why you don't We want to go feather with this but often highlights what I like to do . Take them a little bit down and I want to restore the vehicles from the shadows. So what you will do with the shadows, as you can see dragging this to the right hand side, increase the details in the shadows and bright and out of the shadows. They christened this dark and the shadows add up. More contrast to the image. I'm going right in this case with whites. Let's have a look. It's not bad increasing the winds here, but I'm going to keep it quite careful and black someone toe also increase. So I think around this, the image looks not to back a few things toe a. Remember, of course, you can take back your effect, or you can just grab this liner. So, for example, you still wants to do something to highlights. You grab the slider and manipulate with this. If you cannot male the number, you can just heat in here and type the number. You can switch it number by number as you can see presente, and this will be applied. If you want to reset the certain slider, the certain effect. You don't have to press the reset on the bottom because what will happen is you will reset all on Jasmine's here. So let's say what you want to do. Oh, you just want to reset blacks. In this case, I'm going to double heat on the blacks once again. And as you can see its recent I'm going to double. He don't want recent. So then I can work straight away back, and it's the same with any other slider. You just need to double feet on this, and your effect will be reset after the lights would be done. I also can see how the contrast works taken and down humane damage more flat, a little bit washed out and what I personally like and when it will look better. The images look better, of course, when you increase the contrast because you increase some perspective. But what's important to remember in case of imprisoned contrast, you will be also increasing the highlights and you will. Also, you will be also increasing the shadows. So pay attention to those things. Because after this, you might need to work a little bit more on the highlights and on the shadows. So this is the basic informations you need to know about the lights about this basic panel . Off course. All of the history is written down here. Every move we did has its history. 12. Basic Panel - Pressence: just below our sliders related to lights, our slider in the category tone. We have presence, which is not less important, of course, than the lines, because here we have two very important options such a saturation and vibrance, and we'll start with this. And then I'm going to explain you a little bit about the haste and clarity. So saturation vibrance our terms that you probably familiar with saturation increasing the saturation image will become more colorful, more punchy. Decrease in saturation will make image less colorful, and the Christian days toe 100% will make image black and white. And then we have vibrant, which is very similar to saturation but working in a little bit different way. It preserve the certain colors, and I will try to explain you this in the best way I can. So let's start from the saturation looking at this image. Of course, there was not that much Sam, So they image accept the fact that was a little bit flood slacking off some color. So what I would do for this image? I would go right way with the saturation and have a look as we increase that you can see really beautiful change. Right now the image got more punchy, more saturated. In case you don't like colors. Of course, you can go to their left side. And, as you can see if I decrease this, for example, toe minus 30 this image still has colors, but it's pretty much de saturated. If I go to minus 100 this image become fully black and white. If I would go toe plus 100 this image would become very saturated. I think this may be just a little bit too much for most of the images. It would be way too much from this image. It does actually work, not too bad. So this is the first slider I want to present to you and now leads. Put it back to zero. I'm going to vibrant. So vibrance work very similar way to saturation. You also manipulate with the saturation values. But let's just increase that and you will see the small difference. And as you can see when you look at the colors that are yellow, orange and red, the saturation did not increase that match. And then when you look up here when you change the blue tones and greens. Reaction not is that the saturation increased way more. Let's go down with the vibrance, and what you can not is that the saturation are the blues and greens is completely away, so we don't have the saturation of your anymore. But when you look at their oranges, you still cannot just a little bit of color. So what we could understand now is that vibrance preserve the certain tones and the terms are skin color tones, so it preserves the oranges. It preserve the warm tones, though it fully saturates that it more affect the saturation off the colder turns. And it would be perfectly visible when we go to some image where we actually have a lot of this orange down. So let's have a look on this image when I'm going to increase the vibrance. As you can see, the sky become very saturated. But when you look at this kid, it's actually not so bad and going opposite Wait. Once again, you can see the oranges on the swimwear, though the blue taunts are fully saturated, Tonelli fully saturated, comparing this to the other slider. As you can see now, the oranges look completely unhealthy. So vibrance preserve the skin tones. It preserved the oranges in really nice right? And this is the major difference between these two sliders. So I'm going to have a look into or some other example. Maybe we will get some nice sunset effect over here. One off. This images made this one. So here I would like to preserve their oranges because I have quite my saturation on the oranges. But then I want to saturate the image so I wouldn't touch the saturation, even though, like I could decrease, um, saturation and increased vibrance. So thanks to this, I would have a little bit more balance between the blues and oranges. And the oranges do not dominate over the image that match. So this would be pretty good option if you have problems. When one color dominates over order, you can balance this jobs by increasing vibrance, especially if the oranges dominates increasing the vibrance. You don't increase oranges that much, but many of the other colors and if you have too much of the orange, the Chris saturation work with the vibrance. So this is different, and this will be very helpful when it comes to working on portrait, and you want to increase some saturation, but you want to be careful about the skin tones. Then, of course, you will be working on the vibrance and not that much on the saturation. Now I want to go back to library, and I will choose some other image to present you clarity in the haste. First, maybe let me show you on this image week show. What's going on here? I'm explained. And then I will show you the better work on the other image that it could be presented better. So clarity is often being confused with saturation. Many people thinks clarity is the same as the saturation, though there is quite a big difference. Clarity builds up the local contrast, so especially once again invisible on the skin and in some details, as you can see. For example, here we have color white. He will have dunks, and it will build the local contrast between these two small areas and saturation actually built. Excuse me. Many people confuse the clarity with the sharpness, and there's major difference. Clarity is not really sharpening. It's basically building up the local contrast on the image, so it builds Abd contrast between this whole small differences, for example, have some difference here between the white color black and will build a lot of contrast in this area. So the image overall will look more sharpen, but it's not sharpening its not sharpness. But is this local contra sell? Let's move this. And as you can see, the contrast between the small beetles is built everywhere, so the image overall look sharper and going opposite Off course, the image will start looking faded. It will start looking soft so it will build up more contrast in the image that is too soft . If your image is a little too soft, if you want to add some more texture to it, increasing clarity will help with this a lot. So I'm going back to zero and D. Hayes. So let's say you struggle of the problem off Hazy City because of the pollution because of the folk and you want to restore the details, De Hayes will be perfect for it. Increasingly, Hayes, as you can see, increase the contrast in a little bit on a healthy way. It might darken the image in bad. The haste is gone or opposite to this. You want to add Hayes, you want to wash out, The image will go in opposite way, and it will Bryant in the image and create the effect off haziness. It doesn't work well on most of the images, but once you have that good image for days, it will work really well. And that's what I want to show you on some different example. So I'm going to choose this image. There's four key images here because it's quite a interesting mood, and I think this mood might work already well, in this case. So, for example, I have this haziness. I will move to develop with these images and I want to take it away. I will increase this cider Deghayes and what you can not. This the haze is gone. We could increase a little bit off exporter because it got darker and the Christie saturation here for the better balance. Or maybe you want to. Actually, I had some Hey so well, dark in the image will increase the saturation and then the moody effect, the haziness. It's even stronger. So this is the way how I would use this and this is the way, how most people are using it, to build up some mood or to change them with. Of course, this will work really well. As you can see, you can bring contrast, take away the contrasts in the same way off course, we can present you with clarity increasing the contrast, the local contrast or taking down the local contrast. If you would look for my personal opinion, how often I use the haze, how often I use clarity, clarity I might use on the end off my processing just to add a little touch off. Some contrast that just to make the image a little bit more crispy. But these two sliders is not something that they use a very often off course, mostly on the start. I'm going with the lights working on this and basic contrast mints here. And also I can work a little bit with the saturation. If my images d saturated, my images were oversaturated. I want to make sure that the colors are just on point, though when it comes to clarity, the hace it's morality that I would use that 13. Color Profiles: before we finish with basic panel, we need to talk about profiles, which are really amazing and can improve your work aloud. So when you look above presence above tones and white balance, you will have this small signed profile and next to it more likely and a big color, which is said by default. So this is the color profile that we work. This is the color profile that and they'll be offer. But when you heat on this, you will have a few more options and even more when we heat brows. But let's start from the very beginning. Each call a profile has slightly different color, and I always recommend toe start from this place when you do something in the basic panel. Also check your color provides because you might find something better, something more suitable for your image, which can save you a lot of time and a lot of work. So let's have a look through this basic profiles. I'm going toe the landscape. Let's choose this, and I should keep can see colors slightly change this profile. It meant to be for landscapes, but of course, it doesn't mean you have to use it on the four landscapes than other we portrait, which is slightly on their saturated to me standard at the believe it, which is a little bit more saturated. And this basic profiles do not ovary that match. We also have monochrome, which will be black and white, and I believe this black and white profiles in a large room. I really amazing. So if you want to change your image into black and white, I think you can save a lot of time by just using profiles. You only have to experiment on. And I'm speaking from the heart that black and white profiles are really amazing, and it's not treating some. Some people think it's another professional, but this profiles are often better then black and white FX, then people and that people create. I'm going back to other Bacala on. Of course, when you heat brows are adjust heat this area here you will open more profiles, so let's have a look into our profiles and I will start with the Bureau, which is in big part, very similar or the same not review at that'll be natural. I think we had, which is our yet within half Adobe Natural. We have only a bar favorites, but we cannot activate more profiles below. You have also camera matching, which is my personal favorite. When I look into this, I think camera matching standard is the best profile available in the light. Room is more saturated, and it's actually the image that you see looking in your camera. Three good much, but even others such as camera, much unfaithful, camera matching landscape camera matching, no trouble, portrait and standard, which already mentioned and off course monochrome. So choosing one When he chews it, you can heat close and you can start your work from this place, having already better color profile. Let's open this again and see what else we have. So I pressed standard but then off course, and they'll be offers you other artistic profiles, which are not always good. But why not to have a look into this? You can see in the number off eight different profiles. Personally, I think this one is really good if we're looking for some very nice effort, and I think this one not unequal, too much to green. But maybe you can find something for yourself below artistic we will have a lot of black and white, and this is the thing that I said instead off experimenting with your black and white when you rush when you are. Maybe wedding photographer. That's pretty good options to go for this, even when you create some more artistic if it's something dark, black and white 11. Absolutely amazing. So you have different black and white profiles, really matching most of the possible needs. You have the ones with bright with strong contrast. You have the ones that are dark with low contrast and below. We have some modern and vintage, so let's have a quick look for this as well. And I think the modern profits really beautiful as well. Just have a locus modern number treats. So these profiles you all have it in your light room and also vintage for Does who look for more vintage effect. Of course, it will always the pen off kind of photography, but if your images are in this vintage style, you might find something for yourself at the end. I want to say you can create your own color profiles in light room, so I have some this our mind pre mate. We're not yet going to talk about this. I'm going to show you later how to create the profiles. It will be a little bit more advanced. SAT first. Let's start with this. What we have in light room and how you can start boast in your image and even a little bit better profile matching for your own needs what you're looking for. Make sure you have a looking toe profiles together with working with your own, your basic adjustments. 14. Tone Curve: after recovered the basic panel. We will move to the things right below that and I'm talking about Thanh Cures sub panel So let's open this and first thing that it's worth to mention tonic. Your of sub panel works exactly the same way as curve adjustment layer in foot ship, which is known to be one of the most powerful adjustment layer ever. It allows you to adjust contrast allows you to retouch the image, allows you to do color grading and very similar are you can do in light room. So first of all, let's have a look at our He stole Graham because we can start from this and it allows us to read the image and no on. It will be more details about the image I mentioned to you before about the history Graham on the top, which allows you to see the image as this and first think you can Not this On the left side , as I mentioned, we have our shadows and this he stole from here. It's exactly the same. He still graham, that you can see over here in this tonic you of panel. So how we can read this we have already a lot of shadows. We have a lot of dark points, so we have fully black over here, 100% of darkness, which you can see over here. It's, Ah, a little too far, so we can easily read. That's complete darkness from this level, and we don't really have that much of a highlights. The major highlights is the dress, but it's OK for this image because what's really important for this kind of bridal photography is that the object needs to stand out. So that is the reason why we have so many dark colors over here. I'm going to start with some presents by default that we have so you can use Lena. As you can see, it's simply bring up some of the shadows work, not that medium contrast, which will increase the contrast on the image. And also we have strong contrast when you will want toe reset your curve adjustment layer. First of all, you can double heat on the points and as you can see the point on the curve disappear or just press control. Or he tried flattened curve and your curve is back to normal. So we're not going to use this and adjustments that we actually have here. But more likely, we'll try to understand how does it work? So we already know In the center we have meetings left side, we have shadows, right side waved the highlights. So what I would like to do over here, for example, if you want to bring absent shadows, you will drop this corner of the curve, as you can see and it will allow you to manipulate with the shadows. In this case, I'm still holding this. If I want to make the shadows darker, I will drag it down. If I won't want to make the shadows brighter and it'll wash out, I will drag this curve up. So I had this and it'll be dark. Probably I would go up with this after the shadows. I like to move into the highlights and I will do very similar things. I would grab this curve over here and then if I want to increase the highlights, I'm going this way. I can go different directions, as you can see, manipulate this and affected the highlights. If I want to darken the highlights, so make them not so strong, so flat and the image I would keep holding this and drive this just equal beat down. If you want to change the overall light off the image, you will work on the meat on. So in this case, I would place a point in the center just by clicking it just by pointing on it on my welcome tablet or creaking by the mouse from two dark and the meetings I go down right and I go up. So these are the basic moves that you need to remember. Shadows, highlights and meetings. If you want to be a little bit more precise, you need to know that you can place your points, the points on the curve anywhere you want. So first of all, we did the point on the meat on. I'm going to do this again. Then I want to make the point closer to the shadows and one point closer to the highlights . So I brighten up the darks here, but I want to dark and just partially the dark meat comes and so shadows I would go down here and just a little bit and go after the highlights and right and the lines here, so highlights down and complete shadows dark, but then brighter shadows or darks a little bit darker, and the lights are a little bit brighter. So what we created the complete contrast opposite points highlights shadows. We flatten up, but we still increase the contrast by working just right next to the meetings on the buff opposite sides. So this curve you can see right now is very basic and standard curve that many people start learning. Whether it's like from for the shop or camera, it allows you to precisely work on the contrast and create this soft master. So I'm going to recent this once again. Right now, I'm gonna heat right and flatten the curve, and I want to heat this small icon over here. It will activate another curve adjustment layer, which I'm not a huge fan, and it will not let you manipulate with such a precise way. But it allows you to understand the curve very well as well as you can see when I'm pointing this, you even have the sign shadows. So this quarter here once again is shadows going up darks here. As I said, we before dark in the dunks, Um, and bright and the shadows. Then we have lights here, which will brighten before and highlight here, which we darkened. And you can change these areas here by manipulating these sliders on the bottom Self, for example, want to decrease the wrench off the highlights and increase the wrench off lines and the same for the shadows? Maybe I could easy move him if I want to change the area for my meat tones. Were my meetings dislocated and balance before between blacks, darks and lights I can manipulate with this and then we can do seem our fingers before. For example, I want to decrease the highlights and increase the shadows, but they want to decreased darks and increase the lights so we would create very similar effect. But even though it seems it gives you a lot of control behind because you have all of the ciders, the basic point curve gives you a little bit more flexibility because you can easily create the points on your curve, as you like. In this case, you can't just go and create this point. So that's why I'm a really huge fan off the punkers. I'm going to resettle. So I will press control and heat on my tablet or just creek right? Recent all. And I will go back to the point curve, so something I prefer. And this is how you work with your RGB curves manipulating lights, shadows and meet tons. 15. Tone Curve - RGB Channels: Argie beakers is not everything. When it comes to the town cure, it's just the basic information. So let's answer ourselves the question. What is RGB curves and what it stands for? RGB. Simply Stearns for red, green and blue color light channel. So these three different color lights connected together create your image the way the color. It has delighted house, and it's represented us RGB. In RGB moment, you are able toe only manipulate with flights, but then, if you are going to switch toe the separate channels, for example, I'm going to start from the channel read. You will be manipulating with the red primary light, and you are able to get into two colors. As I mentioned, the primary color off this channel or color light is red and secondary. Color light will be opposites two days, which will be science, and it allows us to do some color grading and manipulate with the outcome off the image. Still, we can separate image for the shadows light and meet themselves these days. Pretty simple. On the left hand side, we have shadows right side. We have highlights in the center. We have meetings not necessarily left hand side, but just left side off. This hissed a gram, of course. So how does it work? Let me just start from the center. I'm going toe. Increase the curve somewhere around the meat turns up and what you can see, the image is field wife, color red, and increase will be mainly represented around the need. Tom's. If I'm going to go down with this curve, I'm going toe. Increase the Simon the image. And once again it will be mainly represented on the meetings, and people beat less in the shadows and a legal beat less in the highlights. You can actually see this on the sky, how the meetings area were field with the cyan color. So this about the meat tones, but when you think off it, it actually allows us to manipulate with the separate areas off the image. So, for example, when I would like to do, I would like toa add some science to the shadows and some reds to the highlights. As you can see in this case, the reds appeared around the highlighted areas. You can see this on. The clouds are on their highlighted parts off the face on their highlighted close, and the science appeared more in this shadow areas we can go opposite to this. So, for example, if I'm going to grab this curve go up, I applied threats to the shadows and now science to the highlights. And you can see some science color around their dress. Not too much. But I can increase this, and it will be visible even more in reds around the shadows. That is basic movement off this curve. And of course, we can manipulate with this the same way we're doing before. So we come put more points, and the result will be a little bit more complicated except the shots Channel Red. You have also green and blue, so let's have a look through all of the channels. I'm just going to heat right and flat and discover first. I'm going to channel green and green. The primary color off course is green opposite color. Light to the green will be magenta double heat, and then we also have channeled blue, where primary color is blue and secondary color light to the blue, his color yellow. So we have. This seeks very basic colors, manipulating with them. We can split this to Shadow's highlights and meet tons and all of these features that conquer of house and the possibilities off affecting shadows highlights and meat on separate e creates really powerful tool when it comes to the color grading on is going to do some very simple move. Maybe we will actually some color grading. So what I want to do on this image I want toe. Apply some warm tones to the shadows and some colder tones, more like science tons to the highlights on, and we will see what we will get. So I'm going to start with Red Channel. And, as I said, I want to apply a little bit warmer tones to the highlights to something like this and colder tones to their shadows. Excuse me to the highlights, of course. So just something like this not a big resulted, not already big change. I want to manipulate a little bit more. Then I will go to the Blue Channel and in the Blue Channel. I will drag this curve a little bit down, so I will apply some yellow color to the shadows and some blue to the highlights. So mainly the shadows become more orangey and what I can see. Well, I think the skin looks a little bit unhealthy, so I would probably choose, and it will be different. Method. I will try with their cold shadows and warm highlights. Will will try something different, and we'll see if the result gets any better. So I'm going to flip it flattened disk Irv. And as you can see, we have opposite results now. So we applied the cold colors to the shadows and warm colors to the highlights. Still not what I'm looking for. So we would like to would probably have to spend a little bit more time master in this and checking which color actually a suit to this image. I think the result that we're getting on the very beginning with the red and silent the highlights is pretty good. So increasing. There's a little bit further, I think works not that bad on the image, and this is how you work separately with Red Channel, Green Channel and Blue Channel Off course. We are able to test it on many other images, and I really like to work with curves and especially on the landscapes or sunsets it always give really nice colors. So this is the first tool that you can find, and that is really powerful when it comes to the color grading. So I will just do a little bit more on this here and we'll see if we get some interesting results now. So more red. The shadows. We can try with color green as well. For instance, this time it's not about a little beat. Strong effect. So I would like to make maybe the blues article smaller. Ah, lot off red in the shadows This time I do really like it. And in the end we can off course do something that we already did so work a little bit With RGB, we have increased the contrasts. We can even go a little beat feather. And as you can see, this would be the image before and after this small test processing. So this is how you work with the tongue cured in light room 16. Hue/Saturation/Luminance - Color: next panel. Ages L slash color, which stands for hue saturation luminous slash color. So let's open this and understand. I can already tell you that this is my favorite Palo when it comes to the color correction . So what this hue saturation ruminants be before we dive in tow any work and moving the sliders. Let me explain to you a few things about the color component, so each color for image has specific colors. That's the obvious think, but the color has actually few components that make this so unique. So let's say, let's start with the color red and color. Red has few different components, and these different components apply to every single color. In case of the red, the hue off the reds. It's some around zero. Of course, you want to go more in tow yellow colors. You'll increase that Q. And if you go more intell purple colors, you will be decreasing, Hugh, but overall, the red color hue is around zero. The second component off color after Hugh is saturation. So how intense is the color? You want the color to be more intense, you will add more saturation. You, on the color to be less intense, you will take away the saturation, and the last component of color is luminess, which stands for amount off light within the color. So if you want the color to be vivid off course, you will add some light to the color. If you want to the color to be faded barely visible off course, you will take away the light from the color. And if you see the image and the color is not really very strong, that would mean the color doesn't have much saturation. If it's fate that it means it doesn't really have much off aluminum, so it doesn't have much off the light. And this is exactly what this panel few saturation, luminous show to you it breaks down. The major colors, such as red, orange, yellow, green are quite blue, purple, and you can manipulate with the hue off each of the scholars saturation off each of those off this colors below separately and luminous off this colors separately. So, for example, in this case, if looking at this image, I can see there is a lot off yellows, oranges, some reds, unequal, beat off blue in the background and Each of these colors has different values, but we are able to change them. So, for example, maybe I would start with oranges. I want to have a look. If there is a lot off oranges and as you can see on this image, there's quite a few oranges. When I want to check into yellows, I have some yellows as well. So maybe start with yellows and I have this to major yellow buildings a little bit in the background. So if I will grab this slider, this yellow hue slider, drag it to the left side. As you can see, this color will become more orange. If I'm gonna grab it, drag it to the right side. This colors become nearly green, and this is the way how we can manipulate with this color. So and they start, I will take some off the yellow on, make it more orangey. Then, if I want to work more with this color, I would go down to saturation and maybe increase some separations as you can see this yellow color now, God, much stronger. It's much more vivid because we added more saturation to this color. We have some color green as well. So in the saturation, I could increase the greens. As you can see, the greens here and the greens inside the windows become more vivid. If I increase reds and oranges, I will increase this orange building. But I also increased this yellow buildings because there is still some orange color within these buildings. And at the end, if I want to affect the luminous of this, I will go to the last slider. So, for example, yellows very strong here. If I decrease the luminous, as you can see, it become unpleasant because there was not much light in it. But if increased alive for yellows, as you can see, the buildings become very pride. The reason for that is because our yellow color become very bright. If I would like to increase the line in the greens, I will go to this green slider, increased the light on the greens, and this windows and this color green here become brighter. I can do the same for the reds and for the orange just a little bit, So in this panel you can work separately on the hue, saturation and luminous, and then separately, with each color off course. You have other option because you don't have to split the hue, saturation and luminous. But you can switch into color, and in this case you will have these three components hue, saturation and luminous as the one. So if you want to start specifically working with the color and not just for the hue at first, as you have in hue saturation, luminous, of course, you will go first in the huge, then go down to the saturation and then go down to the luminous. But let's say you want to take her off one color at once and then go to another color. You will go to color. You will switch this panel to the color. And then, for example, you want to work with red, and you will unjust the hue off the reds, saturation off the reds and luminous off the reds. At first, it's exactly the same sliders that we have before in hue, saturation, luminant stripe bad. Now we have them all together, split into colors. So if I want to work with Luminess of the red, I don't have to go down. But I have this within my red. If I want to work on the color blue. I just go to the blue and I have here hue saturation and luminous at once so I could change the shaded, the turn off the blue So I'm changing the hue I entry I can increase the saturation And also if I want this Kyle, it will be dunker. I could go down with Luminess and this is how this family works. What you can not this It's really powerful when it comes to any color correction. So let's jump through a few images and see how it looks like manger color yellow here. Okay, so I want work just on the yellow. I will start with their color yellow. I can change the hue I am can increase the saturation and I can increase the luminous this one color I wanted to stand out here and the job would be done off course. We need to remember this is really powerful and it allows you to do many different things. So even things like changing the color of the grass, changing the color off the sky. This is the place where it's probably easiest to do so come into the green I can manipulate with greens. I can see Probably the grass has more yellow in it. So I would move there yellow slider and increase the saturation on this. And now our image looks more like it's autumn and not summer. So then I could also on just the sky to this. So I'm going to go with science kind something I really like increased the saturation Here , take the luminous make it very punchy, more drama thing and lively colors. Now I'm going to go to some sensitive images. If you want to work on your sunsets off course, this is another. This is again the place toe work on this because it will allow you to increase. This orange is very precisely so. If I want to go with more red or maybe yellow sunset, I can work with this. I can increase some saturation. And if I want this to be brighter, I will add some light. If I want this to be darker, I will take it away off course. It would give me a little bit on natural results, but as you can see on this works already powerful. So let's have a look one more image. A little beat faded, so I want to make it more crispy. More punch. I want to work on the colors. I would keep the same colors, but I just want to add more light and mawr saturation to the colors that exist here. So what I'm going to do, I'm going to increase the saturation on the warm colors also increased the saturation on the blues because I want this to work very well. Together. You can decrease the light a little bit, and I could work more on the hue. And this is how you work with this colors. I can darken this part for a better balance because, as you can see here, we have oranges. He will have yellows. If I'm going toe, decrease the yellows. This part will look more like a painting. So what you could see first power for panel really allows you to manipulate with the colors to correct the colors. And what's most important is extremely simple in use 17. Split Toning: next panel we're going to talk about. It's also all about the color, and I'm talking about this please during jazz below the color panel. So I'm going toe open this and first explain to you ones going on here. So speaking is really powerful because it allows you to split the toms in tow to different areas. The first area, of course, highlights and the shadows. So if you have two different tones on the image in highlights and shadows, this allows you to work on the mitral very precisely. For example, on the highlights. You have some colder colors. You can apply some blue tones, and in the shadows you have some warmer tones. Then you can apply some orange columns or let's say you work on the sun sets off course sunsets create all warm colors on the image, so you want to apply the same color into two areas. But maybe you want to apply different strength spree. Toning also allows you to do this. So what's going on here? Of course. On the top, we have highlights part and on the bottom. We have shadows part, so in the highlights, work on the color specifically in the highlights and on the shadows were on color specifically on the shadows. We have two sliders with which you should be familiar with the terms, hue and saturation. We talked about this before. Hugh. We are choosing the color here that we want to apply on the image and saturation. We choose the strength off this color the same for the Shadow Street. Choose the color for the shadows and then strength off this color. So simply you can apply any color you want by choosing the hue and then apply the strength . I'm going to recent this right now because there is also other way off applying color. You also have this small square over here. You can just hit this, and instead of manipulating with two separate sliders, you can just use this eye dropper toe. Apply the color whether it's warm color or cold color and was the best about this. You don't have to apply the saturation and hue separately, but you can't just go around and see which color and how strong this color should be for your image. I think it did the pence on the preference some people prefer to use the sliders on one of them. Some people probably prefer to change the color this way. So I'm going to close this the same off course for the shadows. You have the option for the shadows, and once again, on the bottom you can see the hue. And on the right side you can see the amount of the saturation. You could also grab this slider and do this manually, if you wish so. So I'm going to close this recent this and then we have the last slider in the center. So if you would like to increase the wrench off your shadows, you would grant the slider and go to the left side's to increase the wrench off your shadows. You apply some color to the shadows. Increase the wrench. The wrench off the shadows will be big, so the color will catch a little bit wider. It will go to the areas that normally would be counted as highlights. And if you go opposite way to the highlight area off course, your wrench for the highlights will be bigger. Usually keep the balance at zero. Not using really that off this returning, but if so, increasing the balance unless at some an allergic colors like sunsets or something. Can you want to go with one color in the one way? That's OK if you have split cars quite well, like on this image is not something you would really like to do. So now let's see how it works for this image. I can see their class catching a little bit off yellows. Maybe so. I would like to apply some color and that is called. So I will go with blue, and the hue out to 20 will be perfect. And then Alan increased just a little bit off the saturation. Then I will go with the shadows and I can see around the shadows. I have some warm tones, so I'm going to choose the orange colors and at you around 30 27 then increased some saturation. Maybe a little bit more yellow. Have a look before, after simple change, and this is how it works. Maybe we will choose some other image for a little bit better properties. So I'm going more with the landscape image that you have the city. I took it back up in this case I have the night image. So the highlights are actually orange in this case because of the city lights. So what I would do? I would truce the warm color for the highlights. Increase that and more off the coup colas for the shadows. And I think that would be a little bit better balance than original if I will have jazz dissents it, so I have pretty much the same color. I would probably go with similar colors both ways, because I like to have this strong orangey sense. It's over here, so lets me have a look. Also in some different example. May be completely different climate of the image. I have this image and I find on this bridal sort of image that's pleat turning kind of work very well. So I will start with the shadows. I'm going to go with some warm color. Maybe I want to see how it will look if we make the atmosphere a little bit more yellowish , a little bit more mystical. Maybe around this that's a look before and after, and I'm quite happy with this. So what? You really need to remember you don't have to use bump off the ciders for example, if I would like to go off some blue, it's OK. But I like this image from or before, so it's absolutely fine if you just want to work on one part off the image, and this is how the split turning in light from works. 18. Color Calibration: the next panel, I am going to talk about his panel called Calibration, which is located just on the bottom off. Your panels were going to come back to Les correction transform and effects in the next lessons, some going toe open calibration. And the reason why I moved two days right now is because color calibration panel allows you to fix the saturation based on three different channel red, green and blue, which can be really powerful. It allows you to adjust the hue off this channels and allows you to adjust the saturation of this channel. So if overall saturation off your image is a little beat faded, this is the best place to fix it. So I'm going to start with this image and what they usually like to do. I like this kind of image signs that image Toby nicely saturated. So what I would like to do I would start with that channel red, which is their widest, as I mentioned to you before the channels red, green and blue than not close. But the color lights and connected together create the image. So in this case, the Red Channel is the widest. It's located highlights Meet Tom's and Big Part in shadows and shadows. Of course, we always have a little bit less off the color life green. It's many highlights meet tons and blue, many located around highlights, some starting with Fred because I want to increase overall saturation. Let's see if we increase some of the greens. Maybe a little beat too much, so I wouldn't go that far on. It will be class. And let's ive increasing saturation for highlights work? Not really. So the creases here. I would decrease the saturation on both green and blue and increase the saturation on Red Channel. And then off course. We can work a little bit more with the hue if it's needed. I don't think I would like to do it here, because I think the hue off this image is pretty good, especially when it comes to the Hugh off the skin. Several didn't go further than this, and we can see before and after, as you can see some extra work on the saturation. And of course, after I would like to probably at some saturation to the sky using some different panels. But let's move to another image. I'm going to close this. So maybe this image was just highly they saturated and too much. Actually, this image to this will need to other people beat more work. And the calibration panel is for the amazing place to do it. So I will start with the right channel separation off the Red Channel and I can go really, really far here and also blue. But in this case, of course, Green, I'm and in this case I don't want to go too far with the blue because I am just increasing separation on the highlights which is located on the dress. So that's why I went up with the Red Channel and a little bit more with the Green Channel. If I would play with you here, we can have a look. If anything is presented better, we can lower the huge as a little beat toe. Increase this amazing sunset we have here, but not not necessarily on the Red Channel, but to green, because it's closer to the highlights. So I would let myself to go left with green to make this sunset a little bit more mysterious, a little bit more red, and this is result says You can see calibration works really amazing where you need toe, fix some colors, but also when you need toe, have this extra punch to the image. So I'm going to choose one more image. It will be sensitive image, the one that you already so before and this image would be perfect for calibration work, for example, have highlights located here, which would be very easy toe manipulate using Blue Channel. Also, I'm going to change the color it could be. Then I could go with the red primary to work overall on the so I would increase the hue here instead and then also a little bit more off the situation. And of this few simple steps, this sunset can be much more impressive. So this is information about calibration. And don't forget about this panel as it's often skipped but offers really powerful features 19. Sharpening and Noise Reduction: If you want to take her about sharpness of the image or maybe removed the noise from the image, you will go to the panel called detail. So I'm just going to open this. And first of all, we have this small frame here which is zoomed part off the image. But of course, it's way better to zoom this here to see the details you want to work on. So I'm going to zoom this till this level and at first we have the sharpening. So to present you, how does it looks like? I'm just going to drank this amount of sharpening to 100. So of course, it's a little beach too much. It creates some noise. So you don't really want this. But I increase the sharpening toe 150 because I want to present to you. How does it work? So, of course, our image God sharper. But it also got noise. It it's a little bit too much, I believe, for this image. Lucky it works quite well, and I think that affected well visible. So then I'm going to move straight away to masking, which is crucial part. So once you apply Once you're applying the sharpening, it applies everywhere in the image. It's trying to be applied also in these areas out of focus, like Bagram. But then we have the slider called masking, and when you press out corruption, you can see how it looks like it's all white. If the mask it's all white, it means the effort is applied everywhere. When you drag this to the right side, as you can see, it's on Applied in the areas that already sharp the area start are kind of detailed on the image. So if I would trying to steal this level, the sharpening would be applied on Lee to these fine lines. It creates an opportunities, and it creates the problem as well, because from my own experience, I know for many the family images you want toe apply their sharpening equally and non just around the edges. It might look a little between that's why, for the family majors, I usually keep masking on zero to keep it equal, to not create myself more problems. Then we have slider ass radius, and by increasing this, you increase that are areas around which the contrast is built so right Now we'll have this massive, grainy look around the image when you zoom this in. As you can see, we created this huge grain silver here which doesn't even look like sharpening anymore. So lowering their sharpening created this smaller grains. Excuse me, of course. Radios. Then we have also detail increasing the detail. Some out on Corbett. You will be sharpening even the smaller pixels of the image, decreasing the details. You will not be focusing on this small areas. So for me, I don't like to go with rate is very high. Of course, I don't want this massive brains and the details I don't want toe ad too much off the detail because then the image become greatly and act natural. Once you greet the sharpening, you might also create some noise off the image or even if you don't apply sharpening what could happen on the image? When you have dark image, you bring the exporter up. You create some nights so below that we have noise reduction part and we have two kinds of noise reduction we have on eliminates and the color luminous. You already known the time off course as the brightness, so this like general noise. And the color is about the noise and color, this proportion that appeared on the colored areas, which I'm going to present to you. So to reduce the nice I'm going to zoom this in, ask You can see we have some nice on this image. I could just drive the slider to the right side. And this noise is disappearing, though when it's disappearing, it also create, maybe not necessarily dies effort. Then the next sliders come and help. We can move a little, be the detail slider. And as you can see, we are able to recover some details by bringing this up. Not very natural, though Then we also have contrast as you as you see it. Now we have zero contra supplied. So this image turn a little bit into painting, increasing the contrast here. The noise reduction contrast, um, restoring these details. So thanks to this, it does not look much like a painting anymore and give you a legal beat. More natural results. So now let me move toe another image, and I'm going to show you how the noise reduction on color works. Some move into this image. It's it'll be dark in So what I want to do here I just want to increase the exposure to quite unhealthy way. The reason for that IHS Onley the presentation. I want to make sure that you see everything clear and you understand how the two works. And then I'm going to the detail panel. And when it resumed this in you cannot this we already got some noise on the color. I'm going to increase the sharpening to make it even more visible for you. So we have this color slider in the noise reduction. If it would be not applied around this cold. We get a lot of this unpleasant transitions. We have some red color here, some green color and increasing this slider for the color. As you can see, remove this and pleasant color noise. Then, of course, we can restore a little bit off details or take it away if we don't like it. In this case, I don't find it very visible. And on the bottom we have smoothness. So if smoothness is not applied, your column will be a little bit more vivid and sharp. Once you apply this move nous the color transitions become much smoother. So this is it about the details and few things I to mention on this and on the end of this lesson is that the detail is something you would like to work and the very end off your retouching. We didn't get to certain things yet, but sometimes you toe retouch. This came for the image, for example, and it's not really good to retouch the skin. Once the sharpness is supplied, you want to make sure you re touched and clean the image, apply all of the effect. And then at the end, if you need to apply some sharpening and work with the nice reduction, then you will do this on the very and off your retouching. So this is the things that you need to know about the detail sub panel. 20. Lens Correction: next panel. We're going to talk about this last correction, which is the panel very simple in years and allows you to fix this torch in off your image within seconds. So I'm just going toe open this and then we have two options. We have profile and manual. I'm going to start with profile because this is something I usually use. And below that we have removed chromatic aberration. So I'm going to check this. There's does it really matter? But it's not case with my images, and that will be quite hard on my images to find it, because the reason for chromatic aberration toe appear might be some really bad lands. When you get this color aberration, their colors, the channels pleat between themselves, so the image looks kind of ruined. This tool allows you to fix this sort of chromatic aberration, So it's not something that happens very often as lock as your lenses. Okay, as long as you have good legs, chromatic aberration. That's not really happen. Thes data munch and then belonged. That is something I want to talk about more as enable profile corrections, and I'm going to heat that. And as I'm going to heat that it recognize, of course, my alliance profile. And as you can see, the distortion that I had a sort off already fixed. An amount of this torture is 100 venous 100 V meetings, another problem that can appear with the images. Of course, sometimes you have darker corners, so that's where you can fix it. If that's the case, as you can see going up, I'm brightening up the corners if I want to. And when it comes to the distortion, let's have a look. I can increase this and kind off stretch the image so I don't have this unnecessary distortion that I can not in the center when I don't apply this. As you can see, this image has some curve here. So increasing this by default around 100 actually Waas working really well. So usually I just heat the battle, enable profile correction and I'm happy with the result here, so we'll have some order in each toe present you this issue. I'm going to have a look if that will be visible here, but as you can see it, ISS and it's sort off straight and up my buildings they were not really straight. So this is a tool that you always need to remember because it's very powerful. And that is often actually some issues, especially when you should. The landscapes and even this one else you can see I enable done does before. Also, some allied also good. Better So one more image to show you example. Over here. This is before that profile correction, and this is after. So if you have landscapes, if your lens they start the images a little beat this correction, the profile correction will work Absolutely amazing. So let's go to the man. Well, in this case and let's see what we can do it. Of course we can work on the distortion Mannelly out of the amount, or take away the amount which creates this curved, this sort of fish. So we don't really want to do it. But let's get this increase in this way we straighten the image till the certain level. But of course you will get this unpleasant cat on top because we distort the image. So you have to hit constrain crop toe, equalize the image. Just any probate this way so you don't have this unpleasant look. Then off course, if we have something eating appear, this is where you can fix divinity in and said the meat point for your veena T. I'm going to try with some other image right now as well. I'm going to trying to manually fix this a little bit. Constant crop. I think it's a little better now. Do we have unity? Maybe just a little bit so out, Just a little knitting and that would be fixed. So as I mentioned before, I usually go with that profile and I try to enable proper correction. Do it quickly. We found really wasting time on manual corrections. Days mainly do the job in the right way, so there is no need for more things than that. As long as you enable profile correction, your images will look better. Usually better. So remember about this and also last thing I want to mention, which is not really related to this images as well. But when it goes toe manual, we have the things like the fringe, which is something appearing. Verily, when you have located the image, maybe you increase on the shadows, you might get this sort off halo effect. So if you get this halo effect, it usually has this a purple much. So what you can do in this case, if you struggle with this issue, you will just the French, the image. So I don't think it's gonna work on another column. As you can see, we have to have the fringe. So if you have around the buildings, for example, around the trees, well, the mountains, the small purple line, the halo effect, what you will do, you will just drag the slider to the fringe, the amount and this hello effort. This French is going to disappear. So this is also as an addition, because it still will not happen too often. If your image is correct and mainly profile correction. When you will be using the lens correction here, you will be using this fall distortions. And sometimes if you have some back image, maybe for Mother's someone asked you to fix the fringe will solve this halo effect 21. Vignetting: one of the last panels. We're going to talk about a panel called Effect in Here. We have two different option first proscribed Vinnie, teen and grain in this asan. I'm going to talk about post convenient in and in next lesson. I'm going to talk about grain so it comes to the post crop vignette in. You might want to as to your image, some more V eating, for example, to make the object pop out in the center. Or you want to reduce Vigna teen that was created by your lens. In this case, I'm looking at the image that there was something eating created by the lens. It always depend on the lens on the light, and you might and up with the vignette in that you don't really want. So looking at the panel, we have a few different styles. You have highlight priority, which prioritise the highlight. You have color priority, which will prioritize the color over here, and we have paint over, which will mean make the black or white paint applied above your image. So below that we have amount off the VT. I'm going going to stick with highlight priority on first so reducing the amount as you can see you making the object pop out just simply by darkening the corners and increasing the amount we bright and the corner. So in this case, as we have highlight priority, you're tryingto apply the highlights. And in this case, I sort of read us this Wien eating which I didn't really liked you. I'm going to make this stronger just for the presentation. And I'm going to go with the white ones because it will be more visible in this image. Then I'm going to send the meat point, increasing the meat point. As you can see, you can off narrow this wrench and decreasing the meat point. You are increasing the wrench. Then we have roundness. We've sinking maker of eating more rounding or less roundy if you reduce the value. So I want to keep this quiet. No trial for this image. Of course I'm not going to play with roundness, but what's really important for me is that slider below its fender. It will make the soft transition in vanity so I don't want this harsh transition over here . I will increase the feather for the soft one or decrease if I want to have Horace Circle. So in this case I would increase this just a little bit. And once I will find the perfect transitions, I might adjust the amount. So I'm going to see how the color priority in this case works. So not much for the highlights. It looks OK, but it's still not something come looking for. And then paint overlay sinner. Still not something I'm looking for. So I would go with highlights, and I will just try to adjust the highlights for the best results. Off course you can go too far because it will leave you unnatural results. And still just a little bit off. Vigna teen might stay on the image, but this improved this already are locked. So then I'm going to go toe other image and apply the opposite opinion. For example, if I want the object to stands out, I'm going to choose this image. For example, want to apply some big a teen because we want object to stands out? I will dark and this it'll be tried, the crease, the amount, and then I will increase the feather for some soft transition here. So maybe something on this. And as you can see the center off the in age where we have face of the dark and my friend is standing out a little bit more, I find it useful, especially when it comes to the family images where you want the family to stands out. I'm not a huge fan of the meeting. Some people likes it, and some people use it more often than the others. But this is how you use post preventing. Whether you need to correct your images or need toe make the object stands out. 22. Adding Grain: The reason why I decided to make a separate lesson for the grain is because I believe it's not on the important to know how toe apply and use grain. But it's also important to understand why you want to do it and what drained us to your image. So we're going to start with this amazing sunset image, and I'm just going toe. Apply a little bit more grain to make it slightly visible. That's actually quite a lot. Around 50 gives a lot of grain to it because first, let's talk about what's happening here. So amount of the grain is simply how much, often grain you want to add to the image, Then below that you have size of the grain. So if I'm going with size smaller, the grain is less visible. If I will increase that size of the grains, as you can see, it's bigger. It's harsh, so I'm going to decrease this a little bit, and then we have also roughness, so if my grain will be rough, stronger, it will be also more visible. If I will change the roughness, it will be rather smooth. So why people would apply. Granted, the images. Some people thinks it's sort of the straw, that image. Right now it's probably a little bit too much, unless I would like to create the effect that mimic the transitional photography but grain at something very important to the image. When we have some harsh color transitions or we have some harsh light transitions, grain might actually help you a lot smoothing out this transitions. That's why when you look at the fashion images, most of them have supplied grain, some of them off course. We're traditional photography, but some of them has the grain applied in post post production, and the reason for that is to smooth out these transitions. So it all makes the image nicer when printed. The transitions are not harsh. You will not get maybe some unwanted banding. Sometimes the cross between the shadows and highlights will be a little bit better When it would come to this image. Probably in the size of this, I wouldn't apply that much off the grand out. Rather tried to go soft with these Smaller grains may be on 35 size of the grains, maybe around 20 and roughness also 2030. So now the grain would be barely visible, but it would help me to smoke out a little bit. The transitions. So now I'm going to go to different kind of image. I'm going to go toe portrait images. I'm going to devil panel and I'm going toe open. Two portrait image is to have a look how it looks like a few things to mention at first off course, when applying grain it to the portrait image is similar when it comes to the sharpening or noise reduction. You want to do this and the end, especially sharpening and drain because, as you can see, we have some spots that will have to clean up later. So adding the grain might blend them and it'll be better. You will not see this very well. So first you want to clean up and retouch image, and as the last step, you might sharpen this a legal and then add grain to smooth out the transitions. So let apply a little beat grain to this. Maybe around 35 the size. Gonna keep the same the roughness. I want soft grain to this image, maybe more too soft, and I think on this level will be just perfect amount a little bit smaller, and what you can see it's happening would have some transitions between the lights but and in the grain. Smooth out this small transitions as you can see some color light transitions. Here we added grain, and the transition is smooth. It sort of made the image a little bit Matt, and this is the reason why I use on grand why some another People use grain even when we have image out of Fokker's. Adding some grain creates a little bit better visuals, especially. You can see this on this image, adding this a legal beat. Grain, help me because before you can see, it's not really sharp. It's like in something but adding a little bit great. It actually sold out this issue, so I'm not going to work to match with it. I think this amount of grain works ready, Perfect. And as you can see from the distance, you barely can see the grain for bridal photography I wouldn't really recommend, but especially for image like this one. When we have some sand on bond, we have beautiful portrait. The grain creates really nice atmosphere, so this is. Why use green? Not on Lee, how you apply grain. But these are the reasons why you might want to use grain for your photography. 23. Transform Panel: last panel we have left is transformed panel, and this is my favorite tool when I need to move the image vertically, horizontally when I need to rotate the image or maybe changed the scale off the image, this is the place I go. Many people change those things, using the corruptible when they need to change the scale. But actually, these tool allows you to be much more precise. And that's why it's so important. Toe understand? How does it work? So I'm going to start from the top we have now pressed off, and then we have a few different options. We can choose auto, which will fix your image automatically because, as you can see, it's not straight. So I'm not gonna save the image like this after my editing. But before our do this, I need to feeds that so I could just press auto and usually wanted the re good job. So before you start playing with older sliders and trying to do something different, auto often a offers you really good option, so lets you what else we have. I'm going toe press off again, and the next one is guided, which might be a little bit more complicated, and it's not really that precise, but what we can do. For example, you are choosing the line, and this is armed being straight. And then I would press choose another one, and I need to make sure it's straight. And this is I want to be guided. And as you can see, I make the perfect perspective using this guy that lines. The other option is level, so we are going to fix the image horizontally when I'm going to choose level on, fix in the image horizontally. If your image is having vertical issues, you'll juice the vertical. And then if you choose full, it will fix the image vertically and horizontally, which is really similar toe auto, and all of them will look the same. Same level, well looks like photo and full, so we have three very similar tools. Also, you don't have to choose this out if you want to fix this by yourself or plan your own perspective because auto will fix the image to make it correct. But let's say you don't really have want to have the straight line here, so how I work with this, Let's look at the sliders. You have vertical slider which will move this image in the vertical waste changing its perspective. Horizontal, which will be the same move. But in horizontal ways, you can rotate the image which will move will fix the position off your image. So if I would like it to be straight, I would move this this way. Lets reset. We have aspect which we can squeeze the image or stretch the image scale retread. Zoom in and zoom out something I used to really often, especially when I need to rocket the image to fix this a little bit. Then off course, I need to zoom this in to cover this cut out corners. And in the end, we can't move the image on the sites and move the image up and down, which is also very useful when we will be working with this scale. For example, on Resumed is in and you want some object to be in the center of modeling. But in the center you will work with this to make the right position. So as you can see, it offers really ah, lot off powerful tools. I'm going toe recent all of this right now. I'm just going to use auto to fix this and what I want to do. I would like to change the scale a little bit, so the model would be a little bit more visible. I'm going to do 150 maybe place it a little bit more in center, but not fully. Because first of all, I don't want this place visible. Actually, it's not right. If I want this in the center, if I would like to have something more artistic out, probably move this more to this side. And now I have this view on the scene over here. So this is how you work with this. And now let's work on other image. I'm going with this one. So instead of choosing auto, I will try to do everything by myself. But I would do here. I'm going to go down with this image because I want to make sure I Mannelly will make the straight line. And then I would rotate this image as a vehicle beat to see this If the line on the bottom is straight. And I think I did pretty good job right now, so I'm going back with, why offset? And then I just need to change the scale a little bit. And this image is fixed off course. If want to zoom in or zoom out, we can just do this closer. Other way. I use it sometimes. I don't really need toe move the coroner's rotate the image. But I'm not happy with the perspective of the So then just work with the scale and position image a little bit better with this few single moves the same over here. I would like to position this. It will be better. I can just change the scale off the image any time it's needed. This is how transform panel can help you to fix position off your image. 24. Synchronize Settings: in light from you can synchronize everything when you need to synchronize matter data when you need to synchronize keywords, you can do this, and it's important to know that you can synchronize all settings. Let's say you have the set off 20 images to retouch. It would be quite exhausting process to do each image Mannelly. That's why when you have the images with similar light and that require similar settings because of the same scenery, you can simply synchronize all of your adjustments how to do this. So I look at this image and this is already done, and I have few order images that don't have any adjustments applied. I'm going to make the selection, so I'm prison command or control and heat on other images. Or you can simply also press shift sect first image and then the last image. So we have four similar images Now I'm going to choose days sink synchronize. I didn't have basic tone selected, and here you can add or remove the settings that you don't want to be applied. So, for example, if you don't want to apply basic settings, you will turn it off because basic settings might be a little be different when it comes to the light, so maybe you want to set this up by your own on your own. So maybe you want to set this up by yourself. When everything is done, just hit, synchronize, and let's have a look to have look through different image and, as you can see all of them match to each other. If there will be some small differences with flight, you can just open your settings and you can correct the things that need to be corrected. For example, in it a little bit more exposure. Phil. Free to go to basic panel and increased exposure. You need to do something more in some other panel. Also, maybe some exposure. Feel free to go and increased some exposure. Now let's go to some other images I'm going to. She was the images I took in Cape Town, and here I applied some settings. I'm going to press shift first image to the last image synchronized synchronize settings, and now all of the images have applied the same settings. Three of the images have too much alive compared to the 1st 1 So what I would do I would just take down some exposure and that would fix the issue. So I'm taking down the exposure on the street images. But as I mentioned before, if you feel your basic settings should be different, you can skip this step by choosing which settings needs to be applied. So let's apply something to this image quickly. It would be ready, full edit, But let's go with Spree turning, maybe, and I'm going to apply some warm color stayed because, of course, it's the sunset. So I'm going to change this a little beat, but I'm going to do as well. I'm going to apply a people beat more light to the image and increase, um, shadows. So this is very basic settings. But let's say I don't want to apply settings from this basic panel. I'm going to proceed, select the first image till the last one synchronised settings, and then remember, if you don't want to apply some of the settings, whether it's basic tone tonic, your clarity, color splitting in anything, you can simply turn it off. So in this case, I don't want to apply basic tone, or you can choose just one setting that you don't want to apply. For example, in this case, if I don't want apply exposure or shadows, I don't have to. I'll go with all of them. Synchronize and now all the other settings, like color, were applied. But the settings that were not applied is the basic settings. As you can see, I have different settings for dogs, images and they stay different. And then I can still just do it by myself and unjust them by myself. So whether you will choose applying all of the settings or just part of the settings by synchronized battle, you can do this within seconds. 25. Crop Tool: We finished all of their sub panels that I would consider as some basic adjustments. And now we are going to move toe a little bit more advanced things that allows you to work a legal beat more creatively and do a few more things, and I'm going to start with their crop toe next to it. We also have spot removal. We have some Grady and filters, and we also have a brush. The crop overlay will be very similar to the Transform eight offers. Article beat different tours. Some of the things might be done the same way some of the things cannot be done in the crop . It'll and few of the things can be done that cannot be done in the Transform sub panel. So let's have a look at this and what we have. This we have the aspect on the top. I'm not going toe candidates. At first, we can set the angle, but off course, what's the best? We can also choose auto, which is very similar feature that we could do in the transform panel, and this is what I'm usually starting with. I set up their angle by myself if I want and was really helpful. Here is the lines that we have here, So when we'll be setting dangle and we cannot be very precise doing this manually, we can always see the lines that will help us toe set up everything more precisely. And we can also precisely put the angle by ourself. So, for example, that's around straight. But often the best option is just to heat auto, and you really have the perfect and straight image. After that, I usually go to the aspect to choose the format for me. In most of the cases, I will keep this as an orginal, and I will try to manipulate with the size if I want to change it, or I will try to move the image toe one of the side. So let's have a look. How does it work? If I'm going to grab the top or bottom of the image, I can already change the aspect, and the perspective will be a little bit wider. I'm gonna do step back if I want to change the aspect in a different ways. I can grab the sides and, for example, place my character in the center by changing the aspect off course, I can make the image vertical from horizontal. By doing this, All of this is custom aspect. Once again, I'm gonna do a few stead bags by pressing command or control, and that we can also preserve the original aspect when we're gonna grab the corner. When I'm just gonna grab it and move it, nothing is gonna happen. I can change the aspect from the top. I can change the aspect from the side. But then when we are going toe, press the shift on the keyboard, we are going to block the perspective. So we will be preserving original aspect off the image. You don't have to grab it in case when you gonna check this locker. So he turned this locker. I'm going to show you. Let's just step back. I'm going toe. I love this. And then I don't have to press shift, but we are preserving the original aspect. I'm going toe recent this right now he'd also again and then I'm going to see which aspect we have available in light room. So we have original. We have custom that we're doing. Then we have 1214 to 58.5 to 11 5 to 7 etcetera. Also, we can adjust the size in case we need. So for example, you need tohave the time nail for Let's say you do whatever you need that so you need that I mentioned 1922 10 80 You can just hit this and you have the right I mentioned Then you can just grab it and unjust the perspective off the image Wherever you want your character to be placed wherever you want Tohave the center off the image. I'm going to reset once again and show you a few more options. So want 14 to 5 will be also grateful Instagram want one off course. This is original instagram size 4 to 5 If you have vertical image, this is the full size available on instagram. So if all of these options whatever you want to keep the full size or you want toe change the aspect no matter if you need this for social media or for printing all of this, you can do within seconds in light room using crop toe 26. Spot Removal Tools: in this lesson, I will show you how to clean up the image in light room, which is commonly called retouching, whether it's skin retouching or background retention, or have to mention later, I will do some lessons about retouching in fourth shot because for the shop is properly made for, this light room has less options when it comes to the retouching. Of course, it's possible to do. For some, it may be a little bit more difficult. So I believe for those who look for on deep retouching who need toe retouch a lot off images who need to retouch a lot of skin, the lesson about fourth shop will be very useful. So let's open spot removal toe and first I'm going toe. Explain to you why is going on here? So we have to brash options. One is clone and the order Hilder single difference between them. When it comes to their kill, we will be coping or cloning that texture or life will clone it for us in this case and will unjust this over the spot and then the color from surrounding area from area surrounding the spot will be automatically unjust. It and then when it comes to the clown, it's very similar in the case of texture. But cloning also clone the color and applying the color Mannelly and not automatically and just the color as in case of the hill. It might be difficult to understand first, but you will see this very clearly once we start practicing. So I'm going to zoom in a little bit closer to the image. And first I'm going to show your example of the hill. I keep the federal zero for certain reason, but when it comes to this slider you will know exactly why I did this. So let me just cover Despont is well visible and what happened here we have now these two sports, two circles. So what's going on here? We applied the texture from this area, but the color was adjusted from the area around and this will give you really clear result . You can see this when remove this advocacy. Perfect cover. We can't see anything wrong with this area. But let's go back to this going to heat this. If our Gramp this area, I can choose the area by myself, from which I want toe unjust the skin texture. So, for example, if I adjust the texture from this rough area here, this texture will be adjusted. But what you can see the color is not applied from this area because the color was applied from the surrounding area here. That's why healing brush. It's so powerful when it comes to cleaning up the skin. I'm going to reset this right now and present to you how the Kelowna works. I'm going to do the same. But then I'm going to grab this and let's see the example. But you can not is we copied not only the texture from this area now, but also the color. So plan on stamp might not work so well when it comes to single skin retouching. But there might be some different tasks may be going close to the edge, maybe even out the skin texture. Cranston might be actually quite useful, so I'm going to reset this once again, and we're going to talk about this later. So size, it's obvious, is the size off your brush. We can use short piece, which is available over here. Make something bigger just next to the leader. Backspace keys and once again download the short keys that are available in this course and studied and try to use them as much as possible. And then all of this will become obvious to you. So we got this size, but then we have feather. So why I kept the feather on zero, Working with healing brush for their zero. Make this brush being hard, and once we keep the hard edge, it brush and we trying to clean absence spots. It's really great because we do not blur the edges off our brush, so the skin texture looking as natural as it's supposed to. But when would drive the feather toe 100? It is possible that we might get some blurred edges during cleanup, especially when there is high density off the spots. As you can see, the texture get slightly blurred over here. So when we're using healing brush, we want to avoid those things. The differences with the Koran when it comes to the crown, it might be a little bit risky to use this harsh Edgett brush. That's why when it comes to the Clowney, I would use soft edged brush because I don't want tohave these harsh transitions and especially it will be useful when we want toe on even the skin texture, for example, here. So I would like to cover this area, and, as you can see it called slightly and even we can judge this a legal bid more and eat works not too bad for us. Let's have a look. It's not fully natural, but by the fact that we used soft edged brush cloning with copied buff off the things including color. This area is nicely uneven, and it wouldn't work so well with healing. Once again, we can try the healing good work. Not so perfect. Not too bad for this area. But the more natural results, the nicer transition we can get working with the clone, especially when the tasks are more difficult than this one. This task wasn't too difficult, but when it comes to the natural transition, we can even master this with this last slider called capacity, which you don't want to use when use hill in brash and you just feel the regular spots. So let me clean some of the spots with this regular brush. We want to keep it all us natural as possible. So I do everything as I was doing in the very beginning. I use hard edged brush to clean this once. I'm going to do some of this and I need to sort out this part as I have here. It's an eagle. Be traveled, some skin. I could go with healing brush, but maybe it won't be perfectly adjusted. I will go with the clone. I will make the soft edged brush and then our adjust capacity. I don't want to go with capacity at 100 because I don't want to fully covered. I want to make it smaller, but I want to keep it natural. So I'm going to lower this and also the reason why would not lower capacity with healing brush covering the spots. I don't want to spots be visible at all. So that's why I'm going with healing brush. I'm not going to do this, but when I went to soften the skin pores when I want to soften the wrinkles, this is that great. Think to do some lower in the opacity, making the brush a little bit bigger, changing the size, see? And then I'm going toe Kovar the area here. Justice are equal better and what you cannot iss We not fully removed this wrinkle here. We simply made this a little bit smaller. So thanks. Today's the image. Look really natural. Let me reset this. And I'm going to try to do the same thing with healing. As you can see, that covering is not really that great as we did this with the clams stamp. The reason for these is because we only copied the texture and the red color really stayed here. So in this case, clone was performing a little bit better. This is all information you need to know about cleaning tools or us. It's named in the light room about spot removal tools and differences between Klum brush and healing brush. 27. Graduated Filter: graduated filter radio filter and adjustment brush are other very powerful tools in light room, and they allow you to apply the certain adjustments within selected areas. So we're going to start with graduated filter. And as you can see, I have applied already some adjustments here. And before we start, I would recommend to you toe maybe at a little bit off exporters something to increase the lights just to make sure when you will be applying the effect, you will see the area where it's being applied. It doesn't mean you will have to use it because the values off course can be changed. Send your ire as I have this really nice, Tan said. I want to apply the effect some around this area toe increase the sense that I have. So I'm going to hit here and I'm fly my Grady int in this way and I will end it this somewhere on the edge, off the air. So the transition will be quite soft over here. Maybe when I could go more than that off course, we can manipulate the angle, but in this case, I want to keep the angle rather straight over here. and in different cases, off course, the angle will be somewhere else. So, as I said before, the exporter highlights is not something I would like to keep this way. So if highlights I will go down and with exposure I'm just going to reset this completely. I don't want to have applied really too much of the effects. I don't want to apply any clarity. Saturation, Not yet. And sharpness, of course, not yet. What I want to do here, increase a little beat off the saturation maybe, and at the end, our add some color. But first, let me explain what we have here. So you have this basic sliders like exposure. Contrast highlights shadows, wides and blacks, which is everything the same as we have in the basic humble. We also have clarity and the haste which we explain to each other. So whatever we have some Hayes, we can actually use this and it will make the hes gone and give you the strong contrast effect. Also, if you want to build on the contrast ounce, um, certain pixels also could increase increase That clarity here then would come to sharpness noise, as I mentioned to you before. This is something we apply on the last steps and you don't really want to apply the nose. Maybe just in selected areas, that would be very weird. That would create a weird effect on your image. Of course, I'm not going to tell you what to do. Just that advice. Then we have also more Ray and the fridge, which is the effect that help you to remove certain and please and effects that happen and should not be that mores. Basically some wit color pattern. And I will show you this quickly in some other examples when we moved to the brash, because Mara is not something you would be using using graduated, filter and idea. And we have color so to the wrench off your filter, because I have to increase it here. It wasn't fully covered. I'm going to apply some color so you can and just this saturation and the human grin with rather visible separation. Here, I want to make the effort visible for you. Maybe that's a little too much, actually, let's say around here and then we can just simply check before. But after just small correction to the image of course, not something you have to use. But this filter is extremely powerful when it comes to working with the image and it doesn't have to be censored. So I'm going with few different examples as well. Moving to this image if I want to restore some details here out. Also go with graduated filter. It allows me to work more with the lights, for example, so I would decrease the highlights for sure decreased the exposure. And as you can see, I sort of flattened the image or dolls, increase the contrasts. Namie Just a little bit. As you can see, with this few simple steps, I was ableto restore some more details from this hazy bankrupt. And I also had a problem as I already mentioned the haze I really had some problem with. Hey, so for sure, the hazing this just a little bit Maybe at the cost off contrast with help to this image a lot. And these images from Hong Kong. So hes sometimes appear. We have the smoke and this is how you can deal with this. Maybe some other example. I'm going to treat this sunset image. Normally I wouldn't like to heal this bloke color I hope I have on the top. But if you would like to go with some more pain, Terry effect. Once again, I would go was great. And here and increase in color. So reset the adjustments. First, increase the saturation and at sermonize color to the image. The color you want. Just toe manipulate effect you have. This is how you apply Graduated filter to your images on Justin exposure, color and all their adjustments. 28. Radial Filter: in this lesson, I will show you very similar future to graduated filter, which is rare filter. So let's open this. And at first she's going toe made a circle so you can see how the future looks like it has this around the shape and you can grab it by the edge. You can squeeze it. You can stretch it depending on your needs. Also, as you can see, my effect is applied outside off the circle. So if I'm going to press invert, it will be available visible inside the circle. So I'm just going to remove a some just going to press the lead because this is not where I want to place it. And I would like to place it over here around this already. Nice folks coming from the sun. I'm going to make the size of this a little bit bigger, something like this. And I'm going to press the invert because I want to make sure that the effect is visible over here going toe just the feather a little bit more because I want the transition to be rather soft. Maybe something like this. And then I was start on just in the light. So exposure I'm going to reset. I'm going to lower the highlights just a little bit. I don't want to lower days too much and I'm going to lower the whites as well. So the image overall will get on. It will be darker. It's an addicted image. So the image in general under start would be rather brighter Here also what I want to do. So I want to actually make it more hazy. It creates this really nice Mr its effect no sharpness, no noise. And at the end, I could apply just of equal beat off color. But not too much. Because if you apply the color image like this as you can see, the contrast is too big. A dozen locally where? Well, I see many people experimented this way. But this is not something looking very natural. And I'm always looking for natural result on the bottom. We can also choose the Wrench Mosque. And in this case, I want to work with the mask. We have luminous and a color. So we're talking about the difference off color and luminous before I'm going to start with the luminous and we have two sliders. Over here, we have wrench and smoothness. So wrench increase or decreases the wrench off your effect. That smaller wrench, your if it will be many focused in the center off your effect. If the ranches wide as this one, the effort will be strongly visible in the area off the circle and going actually outside of the circle. Let me show you how it looks like. I'm going to press our direction. Crab the wrench, make it smaller. And as you can see now, the effect visible men in the center. It will increase the wrench Definite, visible, stronger on the sequel. And outside of this I could make it a little bit smaller. If you want to make it automatically, you can always graham this. I drop it and choose the rent by picking up some spot on the image below that we have smoothness. So I'm going to manipulate with this. That's why I'm going to press other option to show you and move the slider if we move their smoothness toe 100. As you can see, transition is very smooth, though when I'm going to decrease this movements to zero dead Transitions are very hard, so I don't really want the hard transitions. I would go on this. If you want to see the mask for it, you can just simply press shoulder means mask. And the mask of the image is some with the color. It would be very similar process, though you will be working with the color mask. And we're talking about the difference between mask off the elements and the color. And very similarly, you can choose their wrench for your color if you need that. So this is how you use radial filter. I could close this. We can see the results before and after a very small difference. I rather prefer something natural. And right now I'm presenting you how to use the certain futures in light room. 29. Adjustement Brush: last tool that we are going to use here is adjustment brush. So I'm going to open this and first of all, before I start doing something, I want to check how my brush looks like. The size is not really important, but what's really important is the feather and the flow off course, the feather. I usually try to make it us off this possible because I want to have smooth transition flow . ISS how strong you want to applied certain effects so I might keep it slightly lower. And then I'm going toe, paint it around the areas where I want to apply death, as you can see because of the flow that that is not really insanely strong. But it's good because it's given us good control later on, when we'll be applying the certain effect a little bit more here and that's it. So then what I want to check as well is the ranch mask. I'm going off luminous and color. I'm gonna try both of them. So al corruption, let's check the wrench, make it a little bit smaller and also smoothness. I want toe increase the smoothness just a little bit that I'm going to check the color. I will check the wrench and what I want. You don't want to do rather big wrench of it once again because I want to have smooth transitions. Once it said I'm good back to my adjustments and go in recent exposure highlights. And then I can eventually add a little bit of the saturation. And when I want to do in this case, I want to work with the color. So I'm going toe open color, and I will apply some color to this image. Maybe something a specific something getting even in tow purple, just to make sure that this effort is visible enough and this is how you do it. So I'm going to close this right now, and I'm going to move to other image because I want to show you some other example. So we are at this image right now. I'm going to zoom in out of that part off the clothes and we have some weird colors over here. We have some weird patterns, and working with the adjustment brush will help you to fix it really easy. So I'm going toe paint on this area. I'm going to choose a brush. And of course I did. In this case, I will make floor at 100 I will just paint around this area. You can clearly see this discoloration. First of all, I want to reset the other adjustments. I know where I applied this. We could also go with the mask so it would make it visible for us when we paint. But I prefer to have some setting supplied. And then we have this more red. Let me zoom even more, but I'm going to increase this more. But you can see this happening here. This weird discolorations and patterns disappear when with decreasing this it's visible again. So I'm going to the point where it gives me quite natural effect. And we don't have this with patterns, maybe around this level. And this is how it works so more a very useful for a certain things. Of course, we are not going to use this all the time. And for me the best way is to use it. ISS with adjustment brush 30. Creating Panorama: one of the most important subject for landscape photographers will be creating panorama from few images and night room makes it really single. So I imported five images toe my light room. We are right now in the library. Let's have a look how they looks like in December 1 toe 34 and five, giving me 180 degree view at the city off Hong Kong, so on to merge them right now in the white image. And as you can see, my images are vertical. Want to have one big wide horizontal image? I can do this within library or I can move to the develop. What's important, We need to sell like them. Oh, so I'm going to press shift first images selected. Then I'm going to heat the last one. You can do this on the bottom. A swell. If you are in devil panel, then you click right of your mouth. Or if you use tablet press control, heat on the tablet and then we need to choose photo marriage that I'm going to choose Panorama. It will take a while because it needs to create that panorama view, and we have a few different options to choose already had selected auto crop. But without auto crop and auto settings, you will have pretty much a raw image how it was merged into the one so we can have a spherical projection or cylindrical projection that will be your choice, what you're going to do. You can also go with the perspective, as you can see in this case, unable to merge the photos. So I have option to go off spherical or cylindrical. I think I will go with cylindrical aside, don't really want to have such a white image. Then we can apply auto settings and auto crop. I'm going to start with auto Crop and also sightings I can do later or I can do now. It doesn't really matter, but if I do it now, I can already see how my image looks like. Then we can also work with bond Iraq. So if I'm going to move this as you can see, my image is changing a little bit. So when my bandera rap is and zero, I don't feel my whole right horizon is really straight, so I will go with this slider a little bit more, probably not 100 because I feel the image flicking in the other side. So somewhere in between, I will have just the right perspective that they want. Once I said everything the way I really like, then I can heat match. So right now it's merging in a light room. It will take just three seconds, and once it's done, I have the image number six, which is our panorama. We can heat Devil a panel right now and what we did. We applied some auto settings without here. If you don't like the other settings, of course, you can hit reset, and you will have exactly that settings without anything applied. So I'm just going to do a step back and stick with my auto settings, and eventually I'm going to work a little beat on this basic panel toe. Make the lights and colors, and it will be better. This is how simple it is to create a panorama in night room 31. Exporting Images: when it comes to the basic panels and informations were slowly finishing, and now I will show you how toe export your images in light room. So in latam, you can export whether it's one image. Or maybe you want to export the set off the images. You can do this at once. One thing you need to do. You just need to select the images you want to export and few advices before we are going to do this. I always like to keep their separate folders for my images. So, for example, if I have folder in which I want to keep all my J pic images, I will create the folder specifically for J picks. If I want to export in different format, for example, TIF files, I will create a separate folder for the tea files. If I want to keep separate, for example, sunsets, landscapes and portrait, I will create the separate folders for those images. Right now, I'm going to make the selection off three simple images. I don't really want to export everything just yet, but want to show you how to export the images, so I'm going to select this one and to this I press shift. I selected this three images and then I'm going to file and I'm going to choose export. When will be exporting. We have few different things to choose. First of all, we countries the hard drive or email or whatever you need. You can export it. Here on the top will have information. How many files were exporting? I'm exporting on the three files at the moment. Then we need to choose the location. By default. You will have same folder US original photo. I don't really like to meet all of this. That's why I like to to specific folder. And then I'm going to choose the folder toe, which I want to export it all. Some finding its on my computer going toe where my images are and I'm choosing exported J books. I will be putting their J picks from this course to this folder. I'm going to hit yours and the location is chosen. We also can create the sum folder. So I will check the box, put in the same folder, and then I'm going to rename this ass sunsets. So then this tree images will be put in the exported J picks in the same folder sunsets. We can also rename the file. I like to keep the files with the original naming. Then I go down to the file settings, and I will choose the four month. So if you are retouch er, for example, and if you need to do some more job with the image is the best way will be to choose the format TIF file. So then you preserve all of the information. You have a lot of the details, and you can move to photo shop to do some work. For example, if you exported images to publish them, maybe in the social media already you go with the J pecs, and that's what I'm going to do in this case, the color space off course as RGB for the Web quality. I keep this asked, maximum, then image sizing. I'm going to skip this. I don't want to resize the images. I want to keep the original size. I want to have the metadata I put before, and now I'm ready to export. So I'm going to hit export, and now my images are being exported. I need to wait a little bit feel the process will be finished. And once it's done, the images I just exported will be available. As you can see, I created a sub folder. I can open this and I have tree exported jape Xia. 32. How to Open Image in Photoshop (non-destructive): If you're also photo shop user, you probably know that there's some people don't like to start editing in light room and then move to photo shop toe, do some final touch ups and what's really best about light room. It allows you easily open image in a photo shop. So if you look at this image, we can simply move this image toe photo shop and continue editing. What's even better? It allows you to open image as the smart object, in fact, a shop which allows you for nondestructive editing. So what? I'm going to do what I'm going to show you, and let's say we finished editing with this image. So then I'm going to press control and hit on my tablet or just click right and choose. Option ended in will have few different possibilities headed in other before the Shop CC 2019 which is my current version, and it in other application or open a smart object in further ship. I'm going to choose edit in other before the shops easy 2019 at first, and now the image will be opened in photo shop. So as we can see this image right now is open, but as the flat in it So we can add up some off the layers. We can edit days, but we cannot go back to the stage we handed in light room. So I'm going to close it and what I'm going to choose instead, once again, heat right and it in and then open a smart object in for show. And this was the Ansari question why you should always open image as the smart object. What you can see, it's not the flat image. What does this mean? If you are already here and you want to change something that was done in the developed model, you can just double hit on this image and it will send you right in camera raw filter, which is exactly the same thing as develop module in light room. You can see by looking at the settings that they're all the same as they were in light room . Once you fix this once you correct this, you can heat okay, and you can keep editing this in fourth shop by adding layers by retouching the skin background or working on color and lights 33. Things to Know Before Creating Presets - Part 1: in this section. I want to talk about everything related toe presets and profiles in right room. So in this section, at first we'll talk about important informations that you need to know before creating presets or profiles. Then we will move in tow, creating presets for light room, and after that we will be creating profiles for light room. But first you need to know some of the informations that will help you to create really impressive presets in Nitra. Um, so maybe in the future you will be able to sell in your own presets for light room and make some extra money. So when we will be creating whether it's preset or profile, you will be manipulating with the lines you will be setting up. The contrast highlights shadows and of course, colors. But there's few things that will help you to be good at this, because you don't want to really create something that will not have any sense. I'm going to change the image at first. Maybe we will have a look into this image. Let me reset everything because it will be way easier toe. Explain the information. I always start with the basic panel. And when you will be creating your preset, of course you don't want to manipulate white balance. The reason why Because every image is different and white balance is something that is strictly related toe each image. It's not something universal, so I want to exclude the things that are not universal. Then going below, you go to the tone and the first thing that you will see here with the exposure Do you want to work with exposure or not? Off course. You don't really want to manipulate too much with exposure because some images on this start are under exposed and some images on this start might be overexposed. So you don't want to manipulate with the image to make it brighter or darker. But you only want to use the things that will be very universal for the images. So in this case, you might want to create the present that were half stronger contrast that will not have strong highlights. You want to bring our maybes and shadows, maybe take them some whites and bring, uh, some blacks, so that would be the first step. Even though this image looks dark, you you can't really go of exposure off course you can, but after that, your precept will not be universal for all of your images. When it comes to the saturation and vibrance off course, that's absolutely OK to use this liner. Maybe you want some present that is a little bit more saturated. Then you will increase the saturation or vibrance. If you want to have it a little bit less saturated off course, you will decrease those things. So those are the things that are very important to remember clarity in the haste. It's not something you would like like to use. At least I don't like it. I prefer to keep. The presents are as clean as possible, with the best possible colors going down. We have tongue cured, and again we need to pay attention to a few things like we don't really want to make the image too bright. You don't want to bring up completely the shadows or highlights you want to create. Maybe some universal contrast. So maybe you would like to create, washed out the shadows a little bit, faded shadows and will be fade that highlights maybe just a little beat Writer increase the highlights and decrease the shadows. Something like this. Maybe on this faded effect over here, off course, you are free to use red, green and blue channel curve because it's not related to the line, so you can manipulate with the colors off course. You will need to know some basic information about the colors, and we'll talk about this just in the common lesson. Split winning free to use. Also, you need to know some informations about how colors works, and then the thing I really like to use is hue, saturation, ruminants and the color. So I don't try to go very extreme here because people don't really like to use some extreme effects, but they want to have something that will make the images look good. So whether I want to have maybe saturated blues, I might go a little bit with the blue. I might make their different hue as well. I might work. Maybe I want to create the huge that will be having slightly this scientific. Then I can go of this. I don't really move luminous that match because imagine that you will drag down the luminous and then you have some other image that will have dark sky and you will end up with very dark sky. Or imagine the image will have sky that this very bright and then you will end up with some weird halo effect. So those things you would prefer to be careful with the luminous values when it comes to the hue and saturation on this is rather okay to use it on. There was very low chance that you will destroy the image so you can manipulate with the colors. But be careful off changing the line values. So this are very basic informations that I always need to remember when I create the presence. And this are the information that you need to remember if you want to create really good and universal presents for your work and for others people, in case you would like to give it away or sell it 34. Things to Know Before Creating Presets - Part 2: When it comes to creating color presents, you need to understand how the colors work. You cannot just create their color presents with some experimental colors because your images will not blue good. And in this case you need to learn how the color harmonies works. Some colors complement each other and those that are on the opposite spectrum off the color will. Some colors go together very well. For example, if you have all image that is in the warm tones, more likely it's going to look well. For example, if you have image that has some object that needs to stands out. If the object haas opposite color to the color in the background, the image will look well as well. That's why portrait's always good on the blue background because blue color and skin tones , which are orange, always complement each other. That's why sunsets we good, because in the sunsets we have analogic color harmonies. So we have colors that are very similar to each other, and with the help toe understanding the colors, I always recommend to people to go to the website and check colors. King Designer. If you can't find this, just Google color skin designer and check the page Over here, you will have different examples off color. Will the mentioned complementary colors, which are on the opposite spectrum? So, for example, when we have portrait each skin tone always as you can see Q. Between 30 40 every human being has single our skin tone, so it will be always in our value. No matter if the person has darker skin or brighter skin, the tone always will be in the same or in skin tone. And if you have blue background, it could be the sky. It could be some background in the studio. The portrait will stand out. If you have person were in red dress you want to place the person against the greenery, for example, could be forested to be some field. It could be some green Bagram off course. It's not the rule, but it does help. Understanding those things helps a lot. Then we could have Triaminic color harmonies that are very similar to complementary color harmonies. You still have their primary color, and then you have some secondary colors. So if you have the orange dawn, they still gonna look good with their dark blue and green color, so the green color still looks quite good with the orange. You need to remember about this, and then if you have some red, dominant color. If you have some blue collar and yellows, then these colors will also sort off complement each other. There are still on the Mary opposite spectrum off the color will than other popular theory . Other popular color harmony are an allergic colors, and in the sunset you have often some reds, oranges and yellows. Such an image will look good. So then, going back to the light room, you need to remember when you will be creating this, what color harmony suits to the image and what you want to create in the prison. Off course. When it comes to the light, you already know the things you don't want to manipulate with the brightness with exporter to match, but more with the contrast highlights and shadows. When it will come to the color, you want to make sure that this color will look good on the image. So, for example, looking at this image, I have some sky that is not very visible here. I have some greenery that I could go more in the article Autumn colors, as I did before. So have some oranges, and we have this against the blue background, which is the sky. That's why it looks so good. So I'm going with this image. If I would do something here, what I want to do, I would work a little beat on the yellows. I would change it. More in the orange is the same I would do with the green school more in tow, yellow tones. So I want to create this autumn colors, for example, and it will be also similar if I would be creating the present. If I want this sort of preset where I have some of their oranges, I would go similar away. I wouldn't go too much with the ruminants. I want to stay careful of this. I would increase the contrast. Same with the blow out, increased a little bit off the saturation off course. Not contrast, but just a little bit of the saturation. Manipulate a little bit of the color. Once it's said, you can do maybe a little bit more, but we can close it. We can use split turning and using the split turning. I could go with the highlights that will have blue collar, which will go very well on this kind of images. But then, for the shadows, I would like to have opposite color, which will be more off the oranges. And then, as you can see days, image looks really good because we have some of these blue colder tones in the highlights and nice orange tones as the shadows. Then let's have a look in some other image that will have similar colors. In this case, already was mentioning to you governor of similar colors, because an allergic color harmony will work also very well. So spree turning ISS one off many matters you produce over here. We could also increase a little bit more off the saturation if we want for the oranges. Yellows, depending everyone's tohave image more saturated or less saturated. So one thing you need to remember is color harmonies. Google it. What is color harmony? See different examples off your harmonies in movies, posters or may be in for the magazines and then also remember the rules when it comes to the lights 35. Creating Orange & Tale Preset: in this lesson, we're going to create our first precept that will be orange and tail preset, warm tones in the shadows and colder tones in the highlights. Complementary color harmony goes great with many images, so I already applied some basic and adjustments here, and I will be focused on working on the colors so I will start with you saturation, luminous as before. And I want to, of course, change the greens a little bit and change the yellows a little bit for creating this great color harmony when it comes to the oranges, I don't want to go too far with days because oranges might change the skin tones, so we want to make this universal. I'm increasing the saturation on a few, not really deeply on the greens, dough, just many oranges and yellows here, but of course not to match when it comes to increasing saturation. Where I like to do it is in the calibration. I think this is the great place to do it, for creating preset. Just do it a little bit in the calibration and what I want to do as well. I want to change the hue for the blues a little bit for the Blue Channel not necessary for the blues, which is mainly in the highlights. After this, I will try to work a little beat with the curve, the curve. It's not something I use that much for orange entail. I find it quite confusing sometimes, but I will go with some yellow for the shadows and some colder toe colder tone for the highlights. Here you can see it might be a little too much of the stage. I can see the skin tone got a little beet red, but we'll see how it goes after we will use speak to himself for in split turning. I want to apply some of the blue collar off course and now everything gets this right balance and for the shadows off course, some off the warmer tones, something like this. So this is the first try and will be ready to save it, though we will need toe check it a few times, probably because you want to make sure that your preset is good and work well with most of the images. So once we are ready to save it, you need to choose this plus next to the presets, So I'm going to hit this and choose create preset, preset name. I will name this orange and pale, and then we can choose the group or create a new group. I'm going to create a new group and name this light room course presets create. When it comes to the basic tone, I turn off exposure because once again, every image is different. I don't really want to set up too much of the exposure here, and then I'm going to juice create. So my first preset is created. Now it's time to test it. If it works well, I'm going to choose this image and she's the preset. And here I think it looks quite good on this image, but it's still lacking a few things. It's a little bit it'll, so I would open the tone curve rgb and trying to work a little bit with the RGB curves to make it a little bit more punchy here. So just brighter in the shadows and crunchy her leads. So look has slightly more contrast now with this curve. Maybe a little bit too much also don't want to make this image to dark of course. And then, as my exposure wasn't applied, of course I could add some of the exporter by myself here. So maybe deal this level plus 10 if I want to make this course not that much. 0.10 it meant to be. And now this image looks exactly as something I want. I could probably work a little bit more with a calibration and treat, even add a little bit more off the saturation to the Red Channel and maybe to their green channel. Not too much when it comes. Maybe to the blue first. Don't want to get too far with the highlights. I want to saturate many on the shadows when I will separate. The highlights can go a little. Be too far in the wrong direction. So once I did some AM dates here, I'm going to heat right on my owner orange and tail, and then ab date with Karen settings. So if you did something that it's not necessary, right, you can abdicate your preset with this extra adjustments. Abd eight And now this is updated. We can actually do one more test on some more image. Not sure if it works. Actually, here that you can see it works just perfect. We tested on three images include good on three images may be small differences with light that sometimes you always have to correct. But this is how you create on good precept. 36. Warming Preset: to get a little bit more practice, we're going to create another preset. This time I'm going to create some warm preset on this image. As you can see, we have seen our colors. So I believe creating something warm will work really great on this image. I'm going to start with the town cure for increased a little bit of the contrast. And we can go a little bit more with the Red Channel off course with some more control over here, a little bit off red, maybe a little bit off yellow, just like this. I'm not doing anything more here. I don't want I want to create simple, warm, preset. Remember, simple things are the best. Then I will go to speak, turning and what I'm going to do. I'm going toe and some of the warm terms for the shadows and some warm tones for the highlights. It's not too much for the highlights. That's important. It will be time might have a chance to Hugh on. It'll be more here. I want to do something more. We can also go to calibration and in the calibration. As you can see, we can increase the saturation maybe four Read Channel or for Blue Channel, which is more located in the highlights this time. So this time I can let myself to do it. I will increase the saturation in the Red Channel and the Blue Channel. After that, we can work a little bit more with Hue saturation Luminous. So we have oranges, yellows that the dominant color that we have on the image we already did a little bit more . Actually, when it comes to that, calibration will increase that I don't want to go too far. So I think this will be enough. I'm going to save this preset right now, So I'm going to hit the plus create the preset. I'm going to name this Warm and the group I'm going to save. This is light from course, preset, create. And now off course. We could taste it. Tested, Not tasted. Of course, On some other images, we could see if it works. Maybe on some sunset images. Why not to try? And it works pretty good off course. We did not apply much often exposure. He and exposure stayed the same as it was before, and we would have some order settings to do. Probably toe a just a little bit off here, but it works good. Let's try on some more images on this one. I wouldn't I assume that it will go well, but it works. Actually, in a really nice way, I think maybe gets a little B to read. I don't feel it goes till the direction that I would have to correct this. I want to try on some other image. As you can see, I'm really happy with how it looks. I'm really happy with the adjustments I have here. So this is my warm preset. And before we created a wrench and tail preset. 37. Locating Lightroom Presets: with this course, I'm giving to you eight different light room presents. So it's very important to know how to install them to your light room. I'm going to show you this, but also as you already know how to create your own presets, you might want to sell them one day. So it's important to know how to locate them in case you need to put them somewhere online . So first of all, simple way off locating the presets. You just need to press control, heat on your tablet or heat, right, and then choose show and finder. If your mind book, that will be super easy. And as you can see, here is the presets I made Here is the folder with my presets. So you can simply copy the folder and save it somewhere else in case you want to make it available for others. And also, I can see all of the history off where it is to be available in life to mass. You can see this is in camera raw folder. So going from the beginning, library application support adobe camera settings. And then here is the folder with my presets all their way. I can go toe light from hit the light from on the top, choose preferences, then show all other light room presets. I'm going to choose this and it sent me toe light room. I'm going to go toe camera instead, then choose settings. And here are all of my presets. So it's very important to know that right now you're presets are not stored in the light from folder, but in camera folder as they have Camero extension, I'm going to close this and we can also choose show light when devil a presets. And as you can see, it will send you straight away toe Camero. So to show you the difference right now, to locate your presets show light from developed presets. If you could show all all their life in presets, you will end up in light room. But important to know once again your lightning presets are stored in camera and this is where humans to save them. If you want to install them, tow your life from. So this is how you do it. Whether you want to safe presets, whether you want to put them somewhere else to sell. This is how you do it 38. Creating Profile: before I mentioned to you the color profiles in light room that are located in your profile panel and I have created a lot of them for myself, and now I'm going to show you how you can create the muscle. There's one trick to it. You cannot create them in light room. You can only create them in camera, so we need to go to the camera. The good thing is, if you have light from cc off course, you also have camera. Some move into the camera, and once again I'm going to mention that in camera. All of the panels that you have here are exactly the same panels that you have in the devil a panel. So even if you want to transform your preset in tow, the profile it's easy because simply you can kit this small icon here, go to the load settings and you need to find your eggs. MP file, which is your present, loved to the camera, and then you will be able to transform this into the proper, so I'm using this image. This image before this is after I applied some settings because I want to create the color profile. So I'm going to use the settings that I did over here. I'm not going to do to manage. This is just then a lesson to show how to do it. And I'm going toe one of the last panel, which is called Presets, and I have the presets that they're available here. And of course, I will have also hear some profiles, if I would create them and how to do it. We have this small icon on the bottom, which has new prison, because, of course, you don't need to create your presets in Landrum, you can also create this in camera, but in Landrum you cannot create the prophet in Camero when you press out or option key. Remember, this will change, and instead of creating preset, you will be able tow. Create a profile. So this is important. Press out or option key heat on this, and this is the box for creating new profile. If you don't press out corruption and just hit this, you will be creating a new preset. So the view you need to see are the option key new profile. So let's do something. Let's do some best and named this profile. I don't have any idea for the name. Let's name this clean or and I'm going to name this mood. I might rename this after all, and we have the adjustments that we did over here. So we did some basic adjustments. We did the point. You're a few saturation ruminants, and we did as well This pleat tune in This are the adjustments that you can apply as the color profile. Also, he contained it off. If you don't like something, but I want to apply everything we have tone, map strength. Keep it as the normal. It always used to be normal in the previous version. Now's camera allows you to turn, said stronger tone mobsters in case you need to recover more or the details from highlights shadows. And that would be all of the information's If you need to create the profile in your camera . So so group User group. I'm going to create a new group, and I'm going to name this light room course profiles, and that will be my first profile that I'm going to create. So I'm going to hit okay and let's have a look. Let's have a look if we have something. If I'm going to choose the profiles in camera, the same us in light room profile, I'm going to choose the profiles in the group light on course profiles. I have my profit off course. I already applied some adjustments, so that would be like double to it. I would have to reset everything. Press, be, go to profiles. I actually like this double and I countries the profile. And this is exactly what I did before. You can choose the strength. So if I want to have it stronger, I can choose their strength. 200 or lower district. So this is our first simple profile. This is how you create this. And in the next life summer, we are going to create a profile from the very beginning. 39. Creating Profile From Scratch: in this asana. We are going to create the profile from the very beginning. So I'm going toe open the file and now I'm in the camera. So exposure, not something that I want to use too much here. So I'm just going to reduce the highlights but not too much and increase the shadows to flatten the image. And, of course, increase the contrasts in a quite a decent way. Also, I'm bringing back on. It'll beat off blacks and whites. I don't really want to reduce too much. So these simple steps at the start, a little bit more of the saturation and a little bit more off the vibrance to bring back more of the color in the background. Then I will move to the tonic Europe, which is once again all the same thing as you have available in the light room. And I'm going to work a little bit on the contrasts, but not really too much. Maybe because I already did a little bit off work at the start over here to actually reduce some of the saturation. I feel it's going on. It will be too far. We're going to hue, saturation ruminants and here I'm going to do a little bit off work on the background on the grass and all of these details unsaturated background and are unsightly, darker, this background when it comes to the also saturation of the grass greenery. I want this all to be separated and I'm going to change a little. Beat the hue off the grass as well. I will go to the street turning as well, and I will apply some colder color for their highlights and warm for the shutters. And that will be my color profile. That's about being done. Let's see, What else could we do when it comes to the calibration? Pretty sure I cannot include this in creating this. As you can see Post Corbyn meeting we don't really have included the calibration over here . So this is not something that you actually can do for your image. You calibrate their RGB channels, but you can't use it for profiles. Of course. So I want to I want to create this. I want to give more texture to it. I still feel could be done a little bit more over here, so I'm going to increase the contrast a little bit more and let myself make the bride grass . So this is the profile. And let's see how we can do. Maybe a little bit off eliminates because, as you remember, we need to be careful with those things. We really need to be careful, especially when it comes to the oranges. And I'm going to save the profile light room course presents. It's all here. I'm going to press our corruption and I'm going to save it. I'm going to say this and I'm gonna name this Sunday. It makes me think of family, this kind off image and this kind of style. That's why I put the name user profiles. Of course, I'm going to choose the group Light room course profiles. After all, Look, table on checked and he's okay and the profile will be done again. Let's have a look. We have two profiles now available, so I'm gonna use the Sunday again. Of course, it will be very, very strong. So better be careful if it and I was crispy and then this profile can see work much better . So you have to profess already. Of course, once again, you can make it stronger we can make it weaker depending on what we like. In the next lesson, I'm going to show you how to convert. Look up, table into the profile. 40. Converting LUTs into Profiles: and now I want to talk about something special. I want to talk about Carl. Look up tables and converting them into color provides color. Look up tables Kamani cold lance where before usually used in the videos over the time some people start to using them in photography. In fact, in the recent year I made the loot pack for photography as the first person who ever released there lots for fashion photography and sees then large, becoming more and more popular in photography. In fact, the color profiles that you so before created my classic profiles and my fashion profiles. All of them were made based on my lance the same way that we are going toe. Create the profile now. So first I have created latte, and then I converted this into the color. Profess So, for example, if you know how to create the lance. If you watch my videos on how to create the lots, maybe you create your own lads. Maybe you have few color look up tables that you download it from the web and you want to convert them in the profiles. I'm going to show you how to do it so once again we need to go to the free said panel and I'm going to press out corruption toe open. This I am going to name this October because the image and the effort that I want to create remind me of this month I will turn off. Look, table. That group will be a light from course profiles. And then I need to load color, look of table. So if you downloaded some color, look up table from the weapon have been on your computer. Or maybe if you know how to create them and you have them, you just need to find them in your files, select load and then just hit. Okay. And now this lad that I chose Waas converted to the profile and it's under the name October , As you can see, before and after and once again, when she chews it, you can change the strength in tow or something stronger or lower district. This is how you convert the lots in tow profiles 41. Location of Presets & Profiles: last. Think about profiles. Where are they located? When you save the profiles, where are they saved? How to install them and how to make them available in light room. So I have all of the profiles that are available with this course. It's eight profiles, as you can see. Light room course prophecy. I created them that already saved. But if you create them in camera and you keep using a light room, they will not be visible here. So, first of all, to make them visible here, you need to close your right room, quit and then open it again. I'm going to do this and then we're going to see if everything is OK here. So restarted the light room. I opened it again. Some goingto basic now and see if the profiles are available in light of mouth. And as you can see exactly the same profiles that I created in camera and they were available here now, I restarted the light room and light from course profiles are available here. So I'm going toe open them and we can see how they looks like. As you can see, there was some adjustments already applied to the image, so the result is quite strong. But all of the profiles are available here. So then we're are the inn located on the computer and how to install them. Simply It is the same location as your presets. So I'm going to hit light room preferences. And then I'm going to choose, show light room, develop presets. I'm going to open this. So I mean settings off course full would be camera settings. I'm going toe open. This and I have light room course presets and light from course profiles that I made. So presets were made before profiles were made. After When we create profiles, there are will be created over here outside off this folder. But then I created the folder. So once you have them saved over here, you can create the folder. We condemn this father for profiles when he created. And then you can move your profiles to the folder. There will not disappear from the light room or camera. But then you will have everything in order here. So I'm going to remove this. Just wanted to show you how to do this. I'm going to move it to trash and the profiles that I had that inside this folder they were saved outside of this folder, I created folder. I moved in here. So we have all of the profiles. Important thing to know. You want to make a duplicate, whether it's your presets or profile. So I recommend to you select them both. Copy this two items and save them somewhere else on your computer, on the hard drive in the cloud, wherever you can, just to make sure you will not lose your work. So once it's here, it will be available in the light room and off course. When you download the profiles and presets that are with this course, what you need to do you down on the folders, you copy lighting course presets and light from course profiles that will be available off course. You will get this tour. So then what you need to do you copied in both and then you move them. Tow this location that I just showed you. So you copy them in the settings over here and then reset your light room recent your photo shop, whatever you need. And then once you open this next time, all of the profiles will be available in light room. So that's how you work with it. 42. Landscape Editing 1: this section make me really excited because now finally, we will start practicing our knowledge. So once we know how that tools work in the light on, once we know all of the panels that we will be using, we created some presets. We have some color profiles. We can jump eat of the images and start editing them. I'm going to start with some landscape images. We will move inter sensitive images will do some family images and few others, so we will be sure that you feel comfortable with the software as the first landscape images. I'm going to choose this one and will do some basic editing. So what I like to do at the very beginning, I'm going to heat the autumn as the tone that should brighten up the image, and it's pretty good. I usually adjust their settings after all, but this is very good start and we need this good start once we have image which is under exposed or something to test our profiles. And after this first step, I am going to see how my profiles looks like the ones we created before, and I will be constantly using the profiles that we created or profiles that are already in light room. So looking on them, I really like that profile that is called Taipei, which was based on the image I took in Taipei. And I like Sheriff, which is slightly warmer, but I'm not sure if it really suit to this image is. Then I'm going to check camera matching. I feel this one's more natural, but a little too dark. Give us really good start. So I think on this very start I might go with something that, like from offers, I don't want to jump straight away into something I did. But let's go with the things that actually alive from offers to us. It's a little bit darker. So what I'm going to do, I'm going to increase exposure even a little bit more. But I'm also going to increase the contrast by auto light from offer. Decrease the contrast and I don't really like it. I like a little bit more contrast image so looking. Now we have a good start. This is something we begin with, and this is where we are. No. So move to the next step. After these basic adjustments, I want to go to the conch. You're so I like to work with it, but just very small adjustment. If I need toe do a little bit faded shadows This is something I like to do I like toe fade the Chandos and faded highlights, but doesn't mean I want to make it flat. That's why I'm going to grab the curve and increase the contrast just a little bit something like this. See, before and after this Some think I like way more hue, saturation. Ruminants cannot forget about this and for sure. I want to start with greens and yellows and the reason for that s I have a lot of greens and yellows here, so I want to image to be saturated. I'm going to increase the saturation on these two colors and let's see if we can make it even more green or more yellow. What suits more, depending on one what you're looking for, we could go probably even with this sort of tons and make it sort off bottom Look, But there Hong Kong doesn't really half of them. So I'm not going to that because it will just going to look very owned what I want to do. Increase off course. The saturation for the blue will give me real beautiful results. And just a just a little bit of the human for the blue. After that, I need to see Do I preferred brighter Off course. I want toe days to be bright. That was actually aqua, So not that much. And now we have blue. So that will be there, Major step aqua maybe actually, a little bit more blue. As you can see, this is very fast at it, but I already like where this image is going. I'm going to increase the saturation for orange just to make sure that this detail over here is a little bit more visible and I think that would be eat when it comes to Hue. Saturation ruminants, I think with it. Really amazing job. Let's have a look before and after. This image has this amazing lively colors right now. Then I would go to the calibration and I will try to Donegal bit more with Carlos. What? I mostly carrots, of course, the saturation. So I'm going to increase the saturation a little beat saturation as well on the highlights and I think it's doing amazing way here. We can manipulate a little bit with the hue if we want, but I don't think I will go too far with this. So just will stick with saturation and I think it's giving me really amazing results, though, so I'm going to test it. How does it looks like? So all of the channels increased the saturation to start a little bit and I think it does help and it's especially visible on this blues. I really enjoy to have this very deep below colors and this is it. When it comes to these very basic adjustments, I can try toe, remove a legal beat off the spot on people beat off this street would be very difficult to get rid off all of that. So I'm just trying to get this small corner because it does not really look as natural as I wanted to, so I'm going to make the size of the brush a little bit smaller. I'm going to change the fact that and then paint a little picture and that see if we can make it as natural as possible. It wasn't the best one now, so I'm going to have another try. Jackson on this and now we really nailed this. So this is tidy. We have some tree over here. It absolutely can stay. It's fine. And at the end I could come back to basics and increase a little beat off the clarity. It will give this extra sharpness when I will be posting in some social media. So sometimes you probably notice when you posted the social media, the image looks a little bit flat. So what I like to do, I like to add a legal beat on the clarity on the very end. 43. Landscape Editing 2: Now we will add this image that I took in Cape Town, South Africa, and I will try to be a little bit more creative this time. We will turn this image to be a little bit more dramatic. So just let's start. I'm not going to use auto adjustment this time just because I don't want you to think I'm lazy. So what I'm going to do, I want to lower the highlights. I want to have dark highlights and I want to bring up some Sandoz. It doesn't work that much because this image has really good right over here. So I'm going to increase their contrast just to make sure the contrast are well visible, that we have some drama on this image also, why it's a little bit lower, blacks up and a little bit more off the contrast. Here also what I want to do. I want to add a little bit more off the saturation and at this stage I want to test how that profile it's work and I had something in my head. I was thinking off er but it might be a little bit tour, so in this case I will go probably with Taipei. But I will change this a little bit. I will change some of the atmosphere. I want to check how the camera magic works. Maybe it would be better for my own needs. I think I will try something creative. So I will go with Taipei, even though probably standard camera standard matching works any better for what I want to do. But I want to add to you add to discourse on a little bit more diversity, so I will lower some of the saturation in this case and also lower some contrast here. So that would be about right. Then I'm going to move to some other step, which is tonic. Your I want to add a little bit more contrast here, but this time I don't want to really wash out the shadows and the next step. I want to work a lot with Hue saturation eliminations. I don't really like the color that I have on this guy. That's why I'm going to start from the blue and I'm going to change the blue color that exists on the image. What I want to do. I want to decrease the separation as I said to you before, I want to add some drama, so I'm also lowering, luminous. And now this image completely changed atmosphere. I'm going to increase the luminous on the Ark widow so we'll have some of the brightness here and a little bit off the here. But in general, we will keep ah, lot off drama on the sky or so maybe a little bit of the saturation on the aqua, and I'm gonna decrease more saturation from the blues, and this is something I really like. Then when it comes to the greens, I'm going to increase luminous. And I'm going to do the same on the yellows just to make sure that the contrast between the grass and the sky is really huge. So this is something exactly I was looking for. Or so let's see how the oranges works. I'm going to decrease some saturation here. I don't want this image to be too saturated, but I will increase the yellows. So this is exactly something. I want him and a little bit more off the oranges. This is the drama I was looking for. Of course, I'm not going super extreme. I don't really like extreme effect. It doesn't look well for me. I will test this three turning right now, even though it's not something I like to use a lot. But I want to see how and in some blue color and some warm tones to the shadows looks like I feel it goes a little bit on natural way. So I'll try opposite and I feel this one looks unnatural as well. So I'm not going to go with the sleet tuning in this case. When it comes to the drama off course, I will have to add some off the sharpening and also to sharpen. This is going to be more maybe work with the radius, just a little bit owls, um, in to see more over the details here. Then I think this is the perfect amount also, what I want to do us. We want to make it more clear. I'm going toe add a little bit off the clarity and this is result that I really want. This is the result I enjoy. I see just a little beat off to yellow color being here. So instead of increasing the saturation of yellows, I will decide to go back to the natural level and this is the final is up. So let's have a look. This is before and this is after. 44. Sunset Editing 1: next, type off the images sunsets, and as you remember from the very beginning, I was creating the keywords. When they have, ah, lot off images, the keywords help you to find the images you want to work on. So I'm going to work on the sunset now choosing the keyword sunset, and I'm going to move on. And now I have purely selected just the sunset images in light room. I will move to the devil panel and I will start working on the first sound said. Let's try with this city, even. Just I think that quite interesting and I'm going to choose this one. I like the colors that are here. We already applied some of the adjustments before. So what I'm going to do, I'm going to recent the image and I will start from the very beginning. What I want to check is how the profile stop. I made looks here, and I think they look really interesting. They create this really moody, mysterious FX here, as you can see, especially the soft one really great effect and suits for this image. A lot. Also, Taipei. Really nice as you can see, a little bit more saturation. This is something I really like, but I will try to use the regular one now. Regular profile. Add a piccolo and I will try to do some and Jasmine's at first. And at the end, I will see if adding some color profile can help to this image even more. I'm not going to use auto this time because it doesn't work that match. As you can see, I need to work on this manually for some images. The auto will not work that great. So what I'm going to do, I'm going to bring up some off the shadows and I'm going to Brighton. This image just that it'll be. But what's important when brightens up, take down a little beat off the highlights and I'm going to bring absent off the blacks. We made this image a little flat now. So what I need to do off course, I need to increase some off the contrast as the next step, we could work a little bit with the saturation or vibrant. So if increased the vibrant, I will increase the blue tons on the image, which looks truly amazing. And if I'm going to increase the saturation. Mainly it will be visible around the orangey tones, so I will let myself to increase just a little bit of vibrance. But I will keep this because I want to work a little bit more with you. Saturation ruminants. I think this is the place where we can achieve exactly the result we want. Want to go with more orangey colors and yellow stern in tall, more off our and oranges and I don't see we have much off the other colors. If I'm going to work with blows are purples, it's not that Imagine it doesn't create really great result over here. So I'm going to give up on this, and after this I can go back to basic and increase a little bit more off the vibrance. Just around this, I'm going to close this now and as the next step what I want to do. I want to go to the calibration and increase the saturation on some channels, and I think that could even help me a little bit more. And the saturation increased in this way will be much more natural than the saturation. Of course, I would be increasing in the basic panel. Let's have a look before and after. They need to be more here once again, I'm going to see before. And after that, it'll be class. Don't want to overdo it for sure. Okay. And then tonic your I want to work with your right now. 1,000,000 Devereaux end, just toe polish. This nice shadows made about this before and after, Slightly flatter, even a little bit more of the contrast. I think we'll do just good before and after. Now I would like it. Let's close this and what I want to do at the end. It's a little bit off the crop. I'm not really sure about this bottom part. I don't necessarily like it. So I will try to crop this image or even the best better option could be transform over here as this is rather simple image. So what I would do here, I'm going to work with the scale, just a little beat and then try to adjust the position off the image to this level and eat looks really good. So the position of the image I'm really happy with this now. I have some off the ferry here. I have some of the details, but I'm not going more up here, but what I'm going to try to do, I will try to remove these details by using healing brush. So let's paint it and cover it. We have some more. We have a little bit more here. Let's paint it and cover it just a little bit better. Maybe on this let's have a look and this is sorted. So that's how I added sunsets. And as I said at the very beginning, I will go back to basics, going to increase a little bit of the clarity. And this time I want to see if the profiles would help on their very and so we could choose whether it's f really insanely beautiful sunset. With this profile, I really countries it's using and very different atmosphere using the dry. So I really love it. How it looks like I would love to know your opinion about editing, because you need to know that often editing is something very personal. It's often very personal opinion, Western work really great as well, dry something I would like. This reminds me of this old American movie sunsets and have just very punchy and impressive colors. So I'm not going to use it because, of course, I will leave imprint interpretation, open toe, whatever people like. I don't want to split the community. Some people would prefer probably one professed. Some people prefer order, but you can see profiles, whether use them and very beginning, depending on the image. Sometimes maybe at the end it can help. But they're already extremely helpful, no matter what are you doing? 45. Sunset Editing 2: next sunset. Example is this image I took in Cape Town, and this is one of my favorite images, one of my favorite sunset images I took, especially because of the colors. But you need to know this image of the start. We already saw it. It wasn't that great. It's all about adjustments and all of that just mons we're done from describe. So there were no auto button, not anything. All of it is just unjust meant that we apply in the light room. So I'm going to reset this, and we are going to edit this image from the very beginning. So I'm going to press reset and, as you can see understand, this image is very dark because that what happened when you should descend set off in the images are dark and not that impressive. So now we are going to make it impressive. The reason why I do not go with Auto button is simple auto button with the sense it doesn't work that well. A so you can see it's bringing in up too much. It's too bright. It doesn't create this special atmosphere that I want. That's why I'm not governor of it and I will start doing everything manually by myself. So the first thing, the shadows are really dark. I'm going to lower the highlights just a little bit. And also when it comes to the blacks, I'm going toe right in this. And for now I could Brighton a little bit of the winds as well. So I'm going to day stage and I don't really want to touch the exposure too much. Maybe just a little bit off the contrast and literally a few points of the explosions. So it's brighter. But it's not as much as we do off water settings. I still want to feel this son said. Atmosphere on this image off course. Then I want to increase the vibrance because I want to have a lot of colors in this image. So vibrance class saturation. Of course, we want to increased this to, and as you can see, especially saturation, help me a lot with getting a lot off this orange color on the rock, and this is something I was looking for. Once we're done with basic, I'm going to close this and I'm moving to the tonic. You're still we have a lot off lights that we need to work on. And for this image, I found myself feeling best when I wash out the shadows. So when I did this fated shadows and highlights and I'm going quite far with this and I will do the same with the highlights skylights, that will be a little bit less off course. And then let's increase the contrast here. So on this stage, I feel really comfortable with the contrast on this image. As you can see, we have this fated shadows. It creates this beautiful result. It creates this beautiful affect on this image. It's flat, but it's not really fun because we apply the contrast. It just doesn't go to the very deep darks and to the very deep highlights. So let's close the curve now. I'm moving to hue, saturation ruminants. I want to increase the saturation on the wrench a little bit, and also I'm going toe change the hue because I want this a little beat more right so around this will see we might change this orange on equal beat later and it comes to the Reds. I want to change the US well and rents want to be more orange and orange is I want to be more red when it comes to the yellows. Also, we can go a little beat feather. But then we want to keep this nice transition from oranges to yellows. Then when it comes to the blue, I want strong, visible sky. I'm going to change. The hues are legal, beating toe science maybe a little bit more off the saturation. And I want to have a look if taking down some of the luminosity helps. And now I love the I love the sky. I love the balance. It creates this oranges with this blue color. It's just the perfect complementary harmony. We have the sea, we have the sky and they both work great with this oranges on the image. So I'm going to close this. It's nearly finished. I can have a look into the calibration if working off the calibration work. But I think we did enough work. So in here, I don't feel I can get this any better, So I'm not going with the calibration too much here. But the last thing I want to do on this image I was testing and this is using my profile off course. Don't forget that the profiles are available within this course. So the profiles I created as well as presence has them because down Great. So I'm changing the profile again on the very end this time, and I'm choosing this profile. Earth. So this is the result I was looking for is very saturated, so there's few things that will correct after applying this profile. We could actually go with this and very first. So then we would not have to correct this and usually and go at the very beginning. But of course it's up to you, and sometimes it's better to manage it at the end. Sometimes it better to check this at the very beginning. So few things I will want to check over here. It's adding a little bit more of the contrast, for sure, So I'm on in just a little bit more contrast here I will go to hue saturation color. I will take down some of the saturation here, but I will add a little bit more often orange. The reason for this is because this profile turned the oranges more into yellow tones, and now it's absolutely perfect. Also change this till this level. I think it will work perfect. Or maybe oranges. Yellows even more, actually. And blues also and it will be class. And this is the perfect balance I find on this image what else we could do apply just a little bit off the clarity because I think maybe if this image will be more punchy to on this level, As you can see, this is absolutely amazing sunset. So don't forget to test the profiles because they help to your images a lot. 46. Family Image Editing 1: we are moving toe another type off the image and this category. I called family images, and I put a lot off images to this category. Off course Children Family portrait. It's images with your loved ones. It could be your pets or anything on this is quite brought piggery and very important. But lucky editing is rather quick, because often in this kind of editing, people use presets. They use profiles. There's some different filters. So let's jump to it and see what we can do on this image. I'm going to start with basic and on this kind of image. I usually like to press auto and I so before it solves really all of the issues that I think now it's really perfect when we have day image present. OTA is really great idea. Sometimes you just maybe need toe unjust some or more of the sliders if you want. But in most of the cases that will face will sort out your image really well. Let's see the profiles that we have. I will go with the standard profiles I have here, and I want to go with standard for any kind of portrait. Siew don't really want to go as extreme. Some other profiles, some color profiles, some extreme preset. You don't want to do it, but you rather need to go off something more. No trial. And that's why I believe going of camera standard. It's really great idea here. I feel maybe we need to bring up just a little bit more shadow and that will help to the image a lot. One more thing I want to do. I just want to take down litter two points off the saturation for still looks OK, so after I'm done with basic, I will move toe on other things and I will go to Hue saturation ruminants because for this image here will be their main part of the work. So it comes to the greens and yellows, Of course, what I want to do, I want to go with this autumn feeling. I want to make this kind of orangey warm tones. I checked before, and of course, we all checked. And you know how good this looks on this image when it comes to the oranges. Of course. Be careful. Don't go too far with this because you don't want to make people look weird. You don't want to make people look like that after sunburn. So this is pretty much enough. One thing more. I want to work with this guy. I want to make this kind more dramatic. So I'm gonna take eliminates a little bit down, and I will add in this case just that it will be more saturation. So we trained to create really happy atmosphere. And then also I'm going toe unjust the hue off this guy. I like this kind of science color soft, blue. It really works great on this kind of image. After that, I would just speak turning. We were checking this before on this image, and it really worked well. So I want to remove this yellow Thanh from the highlights from the faces off course we're going toe and just a little bit off the blue. And for the shadows we might try toe aren't just a deep off the little beet off orange and I think it doesn't really do the job. Let's hollow before and after. I think it looks absolutely amazing. We might want toe unjust after all, just a little bit more off the blow because my change a little bit, so I'm going to change the hue a little bit more at some more saturation, and that would bait. That works really great for my image. So I want to make sure over here everything is good. Until this stage. The image looks really perfect when it comes to the detail, so sharpening and staff of this. Let's wait with days and then I'm going to try to clean up this in just a little bit. There will be probably few responds. It's not very detailed image, but there was quite a troublesome skin, so I would try to zoom as much as possible and tried to remove just few off this part. So I will start with hell feather, of course, and see Rome because I want to keep the results rather natural capacity at 100 I will try to remove few off this parts. Remember to check the extra bonus lessons on how do clean in fourth shop, which is much easier, much more precise And what's more important? Also, it's much faster. So here we actually do in just the majors parts. Find this when we have some scar or something trying to remove this A few more spots and we have some scars here. Something on the reaps and on the neck. We have few scars were just quite common when you retouch male portrait. This is the area where you will see some of the spots so I can see in the previous spot. Wasn't really something grabbed looking for. So we need to adjust if, as you can see, some spots just get locations in weird area. So these things you really want to avoid sometimes it doesn't do the right matches. So okay, I'm gonna have a look now. Leads them out. We removed some of the spots, but I can see there's a few more things that we need to address around here. So go back to it and let's see on this area, all right. And now should be sorted. So once it's done, probably I could do, and it will be more of the work. This image likely it's not very detailed and not gonna lie when you don't really have much details. And when it comes to this kind of family majors, when it's a male, you don't really want to make it too soft. Uring move Johnston major spots and, um, injured image because, as you can see on this is very different type off the image at the end. I want to change the perspective. All equal beat. So what I'm going to do, I'm going to change the aspect of the image. Oh, too different. 12 to tree. I believe this works best for this. Probably want one. Also, it's not bad, but I want to see how it works for this image and what I tried to do. I tried to put the person and the pet in this case around the center of the image, as you can see what you want, toe plays the person really on the perfect position so that I'm going to hit them. And I think we really nailed this there. Background is not re straight, but the reason for this is of course, we are in their area. That wasn't necessarily straight and accept that everything here looks re perfect and I'm fully satisfied with this image. So what I'm going to do, I have other image, which is very similar. So when we have the same set of the images What you want to do? Some, like the previous one. Go to another one and synchronize settings. So off course I'm not synchronizing crop because it said it will be different. Let me have a look at this image and it's a little bit darker. So what I'm going to do, I'm gonna press auto as before and I'm going to Brighton. This so as you can see, we need to make sure, Dad, Brightness. The lights are different. We did not reapply the exporter, which was different, and other image needs a little bit more off the exporter. What you could see over here and saturation. Apparently I did not apply the same saturation as well, so there was few things, but it'll be different. So probably didn't pay enough off the attention to what mean to be synchronized. I'm going to do this small changes. And now the image looks really perfect. A few more things, maybe a little bit more contrast to this image. And of course I want to crop this. So what I'm going to do so I'm just going on just the crop. But if we have the image straight like this, we don't have to change the aspect what we can do, we can close it and we can use off course transform instead of this I'm just going to zoom in, change the scale and move this just a little b and this waas much easier way to do this last comparison mint. If the images are similar, if they look the same like that from the same set, they look similar. But a few more things I want to do when it comes to split turning unequal, bit more saturation on the blue the images were slightly different. So those small things I want, I'm just a little bit more and come to hue, saturation ruminants I want to take down more luminous from the background because background on the other image was more visible. So here I want to create similar car money on the image. This is how you can work with family images. Of course, this one off the example and we are going to show you another example so you can feel much more comfortable no matter which kind of images you do 47. Family Image Editing 2: another type off family photography will be Children. Extremely popular genre. Very profitable myself. I know quite a few family photographers who have very good, very profitable business. And this is the reason why so many photographers Tuesday's as a career doing family photography because there's a lot of money and there is still a lot off regions that there's not, Not many for me photographers. So if you in one off this region's, you might think of this mass your career. So I'm going to start with this image. And once again, I'm not really going to chew some special color profiles. But at first I want to do all of the settings choose in, probably matching. I just want to have a look. How does it looks like? It's slightly better, but I'm not really sure if it's going toe work well on this image. So I'm going to keep it close, and I will start with under be color. So, first of all, some adjustments, of course, I'm going to check the auto, and it doesn't really work on this image because it was already evening again, as I was mentioned to you before, when it's already evening when it Sun said, the auto adjustments doesn't necessarily work that great. That's why I'm not going with it and what I'm going to do. Of course, we need to bring up some of the shadows and black. This is the first step and take them some highlights for sure, because we have some really nice details on the highlight. So we cannot really keep this on, but we need to make it slightly small. So this will be my first step and that would be eat when it comes to the basic adjustments and I'm going to close it and I will go straight away to Hue saturation, luminous because here will be on a lot of work and I think we can get really great things done here. Major color will be color blue. That's why I want to increase the saturation. I want to decrease some of the ruminants like this effort. But remember, don't go too far. Be very careful of it, because if you have blue background, if you want to have this dramatic and you go down with Luminess tu minus 100 you might create this weird hello effect. You don't want this. So if you want to make this punchy, if you want to make this darker, do it but have some control on it. Off course, when it comes the greens and yellows, I want to try to give it a little bit more off the saturation as well. And when it comes to the oranges, I would be careful, so not really going with it too far. Then I'm going to close this and I will go with us. Pleat tuning. I think it might work really great here on. I want to choose the warm color for the shadows. Not that warm. Not this kind of warm. That was a little bit to read maybe around here, because when I want to do it was sunset. It waas around October, so we already get in the autumn. So I would like to make this slightly warmer. Let's see if we can actually do it So we don't have few off the tests. What suits to this image? I cannot not too much off the orange because as you can see my sky turn sort off pink. Also, when I go too far with the yellow, their model face turns yellow, so it's not very pleasant. So I'm going to do just add in a little bit off the warm tone to the shadows. In this case, if we go far, it's also not too bad. But we really need to be careful at this stage. So something on this I feel it looks really good. So I'm going to close returning. I want to do a little bit off the calibration. I think this image require just a little bit more off the saturation. Once again, I always pay attention to the face because the face might change tones. So if it will happen, remember about Hue saturation. Luminous Because this is the place where you can fix this. If you need to manipulate with oranges, just do it. Don't forget this because you don't want to leave the storms and published like this. You don't want to give this sort of terms to your customers. So ready. Be careful with this and we're getting close to something I really like. Now the tonic, your if I want to do a little bit more work when it comes to the contrast something on this . But I will. I will make a little bit soft shadows. It will work really great on this image. So beat up back to hue. Saturation. Increasing days also make the sky more saturated. So I'm being careful with it and I will change the tone and you could be doctors. So I always pay attention. You see, whenever you increase the contrast to increase the saturation. If you decide to do it, make sure it all image has the balance. So sometimes you might keep between the panels. If I you go to the tunnel proof increase the contrast, you might want to go back to Hue. Saturation. Luminous. I'm going to zoom on this image just a little bit because still, we will have a few spots to clean. And for days I'm going to use getting brush. Let's do it. Make sure the spots are correct. Go down just a little beat until beetle dirt here. Yeah, so just a few spots. I feel the light from today. It's a little bit crazy with picking up spots to clean sometimes, but that would be it likely on the Children. You don't really want to do too much work when it comes to the king. There was quite a few on a few spots. Now what I want to do, I want to do a little beat off retouching on the head. It's also very important. Sometimes they might bring some confusion to the image. We have some of this white hat, and I feel it's way better for the imagery. If we could remove this quickly, just this very small spots a little bit here and yet and this one, then this is the one hand over here. So for sure on to remove this earlier as well, it was done. My small mistake. We're going to do a step back just here, and I treat this a separate spot. Okay, that would be it. When it comes to the cleaning up lets him out. The image is really nice. Really punch I love. I love the colors that we got. So as the one of the last steps, I actually want toe crop this image on just a little bit. I feel the change of the perspective will be really amazing. So let's have a look what we can do, maybe square as well, but maybe, actually not so let's see defend 4 to 5. I think it's perfect for this image. Just have a look how our model fits perfectly. But of course we want to center this and it'll be better. I want to make sure that the face the smile goes in the center. It's the major focal point suggests on here kind of go even close there. Let's crop it. Let's have a look and I feed this. And as you can see, it looks just absolutely amazing. One more think I'm going to do this. Here is something we're not doing before. So you remember that we have this brash over here, and this is very powerful tool when it comes to increase in some contrasts. So what I'm going to do, I'm going to make the size of the brush smaller. And before you start painting, you want to make sure that your brush settings are all good, so flow could be a little lower. Make sure you have some density here. If you have dancing down zero, your effect will not be visible. I will increase exposure and then I will paint inside the eye. But be very careful. I know it's very strong at this moment. But don't worry about this. We're going to We're going toe on justice. This is now just to make sure we see it. If you go over that Truc race, make the brush and slower and do the edges suffer Just like this. I don't want to go too high. You want to effect to have the effect natural. I'm going to decrease the exposure so high, just a little bit of the exporter and it'll beat off the saturation for the perfect national results. And I'm going to lower temperature and that's it. That's how Look what we can do at the very end. So development for this kind of image, I could test the profiles and I want to test my own profiles. I feel the dry and golden leaves would work really well here because they were created, especially for family images. I'm going to choose one of days. Of course, it's very strong, so I'm going toe lower the amount and if it's not right, the sky or anything, you can go back to hue, saturation ruminants, and I just this and it'll beat more, depending on your needs. So not too far with this. Be careful. Make sure everything is natural. I can go slightly over with the highlights here, and that would be it. This is how I edit this sort of family images. Off course. We are able to make it warmer. We are able to make it colder. Those things are rather personal, but I really like to make images worm, especially when it comes to family images. They have to be happy. They have to be warm. 48. Night Image Editing 1: and now I want to move into something completely different. I'm going to talk about night photography. I live in the city which is very popular for night photography. And the reason for that is a lot of very tall buildings and amazing neon knight. I like to wonder at night and take some night photography and then off course, I need to add it. This So we are going to do this right now. As you can see, this image is really dark. The reason for this I rather trying to keep my eye so very low even if I don't have the try . But I still try to keep it low. And then Rick, over the lights from the shadows, recovered the details from the shadows a little bit later in the post production. When it comes to the image like this, what I like to do I like toe check all thought first and see if I will be ableto recover anything and look at this image and the very start. I'm not really happy with the result for sure. I want to get a little bit more contrast for sure. I want to get more lights from the shadows and I wanted to recover. Some of the blacks could also test how the highlights works. For sure. I don't really want to decrease the highlights that much as also did. But in general, I think the pretty good job I would increase some of the saturation here as well, because it's the night. So by default it decreased the saturation and trying to keep image as natural as possible. But off course for us at this moment, when it comes to the night photography, I want to see the colors that night has to offer. So that's why actually not into the Christian days, but I do want to have saturation rather visible. Then I can jazz decreased a little bit off the vibrance. Maybe a little bit more off the exposure, just to make sure that details I want to see our visible here. Maybe even till this level, I think it looks really good at this moment, and then I can let myself to increase a little bit more off the contrast, and now I'm a very good stage and what I want to do. I want to test our profiles once again so I will try tariff, which gives me really amazing yellowish effect, and the first I think it's that's really good. That's something I'm happy about. I want to see more. So looking at the profiles, I have to off my favorite for this image, for sure. And now even three off my favorite Taipei pinky. Very different climate and the air of which offer something cruelly amazing us well on to compare them to Taipei to Earth on this night image. Very similar results. I can see Taipei. It's a little bit brighter, I told me on equal beat more no troll and thinking something completely different, which I also really like. But for this course I don't. We want to go too far with extreme results, so I will choose the air because it suits for this image and it makes it most natural. What I see in this effort casts quite a lot off yellow colors, So I would like to go to hue, saturation, ruminants and manipulate a little bit with the yellows and oranges just to make sure that the image will not be too yellow. But we'll get good balance between the colors then of course, I would like to increase saturation for the purple and magenta, which is located over here. And also I want to increase the light so they signed for sure has to have strong visibility . It's the night, it's the colors we want to seat. I want to increase also on the same. We have some greens lights, the same for Aquila's. We want them very visible. That's how the night works. And also I want to see how the red color we have some of the drum here. We have some of the signs. So for the red colors, I also want to make it very visible and then yellows. Oranges also rather rather prefer them to stand out. So this is something I truly like at this moment. I could try a little bit with the calibration. I can try a little bit with the splitting, and I want to see if applying just a little bit off the blue color will work well over here . So I'm to cool down the shadows. Just that equal beat. Not too much, because I don't really want to kill the yellow colors I have in the highlights. So just a legal beat off this blue toe. Decrease the yellow in the shadows. But then, to recover this, I was trying to add just a little bit off the yellow to the highlights, but not too much because we have a lot of details here and we don't want to lose them. So we don't want to make the greens yellow. We don't want to make the Red Sea. Also, be careful with this would be even okay, not going with this and then going back to hue, saturation ruminants and just increasing the saturation for those color that you didn't want to lose details from, and then everything would be sorted. So let's have a look. That image before completely dark, barely visible, and the image after great result. I think maybe I could try it. Try a little bit more below for the shadows, and then after that, I also want to increase the light for the strong colors for the punchy. And this is something I'm looking for really strong, like crispy, a lot off lights, and you can see this big city history alive 49. Night Image Editing 2: for this image. I already checked. It looked absolutely amazing off some of the profiles. But it will be not for if every time I go with the profile. So this time I'm actually going with under be collar and everything. Once again, I'm going to do manually. So first of all, recovering the shadows and recovering the blacks. So now we got really a lot of details Over here, we see what's going on the background. We probably don't want that many details, but it's a good start then, going over the contrast because we need to increase the contrast and automatically what is happening. We increase in this nice colors you can not is that some of the highlights are too bright. So at this stage I'm going to take down some of the highlights. But I might add a little beat off the exposure. I want to have it brighter, but then I pay attention. What's happening with the highlands as I want this image, Toby truly saturated, Then I will start with the vibrance to make sure that I will bring everything else than the yellows before, because I have a lot off orange tones here so going of saturation might be a little too much. That's why I decided to go with the vibrance for this image. Then I might actually decrease some of the white as well and give it back a little beat off the highlights. So this is the good start. Now I'm going to close this basic panel and I will go to Hue saturation ruminants in here. I will be trying to work with many these colors that we do not have too many. So blue parable magenta. I want to increase them. I want to increase the lights on them because I want these small details to be visible. I want them to play the part of this image. Aqua also visible, More saturation and some green. We still have some green, some green windows. They will compose really nicely here. And when it comes to their yellows Oranges rather careful with yellows. Okay, but the oranges Now they said just a little bit and just a little bit off Redd's. So this is really nice. I truly like it. If you want to go a little beat more extreme. So look at this image. We have some of their reds and yellows. Think how you can make it in tow. More complementary colors. I could grant this yellows and move the slider. I could also grab this greens, move the slider and for oranges. I can also move the slider a little bit. So this small, simple thinks what I was able to do. Bring some greens to the yellows. And right now we get much more off this cyberpunk effect, as you can see, and the colors complement each other much better so you can manipulate a little beat with red. A swell, Let's have a look. How does it work? I really like the effort. I'm going to increase the saturation for yellows a little bit, and this is something I like. So don't be afraid. Toe manipulate with the colors to make this a little bit more complimentary, especially when it comes to the night images. I often choose really natural results, but when it comes to the night images and playing with neon lights or something like days, I let myself a little bit further and I'm playing with colors as I really like. And I tried to think which colors complement each other really well. So we have some greens that not very strong. We could push it a little feather, and now it would be even better. It would be even more so. Think of it what you can do. We can turn this color, this magenta, a little bit more interests as well, if that there would be possibility. Toe, give it a little bit more red. But I don't want to lose too much of the purple, so rather careful with it. And that would be. I can also see how this pre tuning will work. But spit turning could actually change a little bit off the outcome, so I would see the shadows as we don't have much of the shadows. Yeah, I want to see what works better if it's red for the shadows or it's rather cold colors. So I rather stay careful once again with it because I don't want to lose this reds. The Reds are also very important for me. Over here, I can see the balance on it will be better. So once I adjust the balance, I think it goes quite well. So now we have standing out color that reds are legal, our legal beat too small. I think the other colors dominate a little beat too much. So I would like to get probably a little bit more red. I will see if it's possible to do this by increasing the highlights, but it also affect some off, then yellows or rather, greens that we have right now. So also very careful with it, just a little bit. And that would be so. Now I get this cyberpunk effect. As you can see, once again, the green is dominating. But what I'm going to do, I'm going to transform this a little bit toe. Decrease the wrench. I will see if person auto can fix this image a little bit. I don't feel it straight as it's supposed to be, So I would rather do it by myself. I'm going to rotate this image just a little bit. Probably plus 0.2 will be good for this image. And then I'm going to change the scale till this wrench move it just a little bit. And this is something I would look for, So this quite centered on That's about it. So now these greens do not really this greens. Yellows do not really dominate that much over the image because we change the wrench just a little bit and this is how I usually work when it comes to the night images. When it comes to the Neons, we can try to do a little bit more contrast over here with curves. I think it will work really well and we can also think that shadows are really nice. But maybe just flattening them just a little bit could give us really interesting result. So let's have a look at the image before and after the difference is really impressive. 50. Bridal Image Editing - Part 1: another kind of image I want to do. If you is this bridal type, photography might be some other creative type of photography. As you can see, we have forest. We have the models, we have some flowers. We have really beautiful dresses, so this is really perfect image to do some editing, and I'm going to start simple. But I'm not going to press auto in this case because what you can see once again in the image where we have dark shadows, it would take away all of the mood. So the fight that these images are a little bit darker, that's the point of them. Dance the mood. So you want to create the mood on the image. So I'm starting from the profile. You find the profile off course, I'm going to use the profile that you have within this course, and I was already checking before they all look great on this type of image. As you can see, drying this washed out shadows, something I truly love. We have some warmer effect this off. All of them go already well on this image, but I decided to go with the if I like the warm tones we have here, and this brings something really new to the image. So this is why I'm going to start with this. I'm going to close this and then off course, I'm going toe unjust the lines because to me, they got and it will be too bright. So I want to take care of this. I don't want this image to be too bright. So what I'm going to do, I'm going to darken the blacks over here, So I'm actually doing ah, little step back and also why it's just a little bit down and let's have a look to shadows . I'm not going to dark and the shadows too much, probably. Or actually, it's not such a bad idea. Bringing this back once again. It takes away some of the mood. So amongst you going too dark and just a little bit of the shadows. So something very different than I used to do. And this is why I wanted toe show you this. But the reason for days is once again we have very bright center. We have the center that needs to stand out. And this is the reason for this actions. We are doing here what I can do, I can and bring. I'm just a little bit off the contrast. But if some areas become too highlighted, we can slightly take them down. But I think that would be maybe a little too much. So a little bit of contrast, not too much once again and how I'd just a little bit down. Let's have a look where we got. I want to see before and after the difference in highlights. It's not very big at the moment, so I'm really happy with what I got and now we can move on. So I'm going to close this basics at this moment and I will go to the town cure. I want to work a little beat on this and mysterious shadows over here. So trying to grab, just make it a little bit faded and also increase the dogs here. So I want this. You can see clearly. I want this more faded here, but it comes there highlights just a little bit as well, but I want to make sure it's not too strong. It's really easy to go too far, so I'm being really careful with the lights um, actually going to bring up exposure. Just It'll be to make sure I'm not losing the details from the highlights. 0.1. I think it works well. So let me adjust some of the other elements, and it'll be better now. As the shadows got slightly darker, I can bring them back. So I'm being careful here. And also I'm going toe on a little bit off vibrance. But what I want to don't want to take away some exposure. Excuse me. Not exposure, but of course, saturation. I feel the oranges were too saturated. So this is the reason why I need to bring them down just a little bit like this. So let's close this. And then off course, we have the hue, saturation, ruminants, and in here I want to work a little bit more on the greens than I have in the background. So I want to make them saturate it. Let them stand out over here. It will give this really amazing effect when it comes to the yellows. I want to see where are they located? Also similar. Going to increase the lights on the yellows. I want to see where the oranges are so increasing oranges. It's very difficult here because of the skin. So I'm not going to go with this. The skin has to stay natural. Remember about this. Don't go over the board. We can maybe just reduce a little beat off the eliminates on here in case if it would be getting to to write, not the yellows. Of course, we want the good lights. So not much actually. Do what I find myself. I like the most when it's staying natural. So that would be them checking if there's any other color here that I would like to take care of. I feel the greens not much more than this. We have some red here can make it a little bit. Stand out by increasing the luminous. It could be actually magenta as well, Even more so. Let's impress this across a little bit more saturation on the flowers, and I think this look truly perfect now. So let's close this the next step I want to do, I want to transform this image just a little beat, some choosing transform, and I will change the scale just any to be still on this level. The images will be better centered. And I had some details that I didn't really like. So this is why I'm going with transform. And at the end, I want to work as a little bit more with the lights. I'm going to zoom in just a little bit here. We need to check first. If the image has some spots that we need to clean and possibly we have just a few elements . So first step will be cleaning. I'm going with hell. Capacity 100. Make the size smaller, smaller. And in this few spots that we have here, I'm not very strong. So you don't really have to be worried too much about this. A little bit of the rink. Okay. Can we sort it out? I think we're doing well with this kind of image. We could already go to the father shop, but we will have better example to test in 40 shop. And I think it will be absolutely OK to do this basic cleaning up within light from on this image is amount. I want to see the arm down is up. So define goingto our another model. And we don't have spots here. It's absolutely. OK, so what I want to do work a little bit more with the light, as I mentioned and this is a little bit more difficult process. I will go to the adjustment brush and I will increase a little beat off the exposure. Right now, it can stay strong because we want to see the effect feather soft, of course, flow smaller in this case. So what I'm going to do, I'm going to paint on this arm, just people to brighten this up. So this is obviously way too strong, so I'm going to make it suffer. That was before we had this dark spot here. So I decided to bright in this just a little bit to this stage, so it will look slightly better go down. You can also go a little bit with this small shadows over here, and it's difficult to do it in light room. But it's possible to fix this small shadows and frequency. We can actually sort this out just a little. Just a few more details. I would like to take care off, so let's zoom in. Not many people retyped such details. I'd prefer to do it just at the moment and it's always good to show something more so that would be lets him out. I'm really happy with this image. I really like it. I have to say So let's close it. Let's look at this image before and after really fantastic job and we didn't even spend too much time doing it. What I would like to do and the very enter, I would like to synchronize the settings. We have similar images, so I'm going toe selling them all. I hold command and heat on all of the images from same set from the same location. I just synchronize and make sure we check here. Everything is good, so we do not really applied transform. We don't apply sport removal and nothing extra that we're doing you guys she, she's exposure will receive will have to change something. As you can see, colors are exactly the same. Every good, perfect, including skin. So I think we really nailed this adjustments off course On the end. Very last step would be Onley adjusting the crop, so choosing the transform or on other images and transforming the images for the better perspective and for the better frame 51. Bridal Image Editing - Part 2: in this lesson, we are going to work on another example and this one is a little bit special because at some point we will move to photo shop. So we're going to do on the very basic and just mints in light room. And after that we will move toe for the shop to clean up the image. As I promised to you our show how to retouch skin in for the shop as well. And after that we will be able to do our final adjustments. So let's start and we will be starting from the basics. As I said, we will not be doing too much. I'm going to test how the auto looks like and in this case, it will pretty well. There's a few more things are want to do. Maybe doing a little bit with you saturation ruminants over here. So I will go to Hue saturation, luminous, and I will see if I can just get a little bit No, the texture and it just a little bit more details around the background. So this is what I want to do. Just this very small adjustments and this would be around it. I don't want to do much more. Maybe a little beat more with the green, someone to increase some of the saturation here and on a little bit more light. So I'm just taking care off these very tiny details. And the one more thing, of course, the light. But the lights are in the basics. I want to make sure that the highlights are not really blown. So whether you're going to use auto on the image or whether you're going to do your work, Mannelly, make sure your highlights are right. Because right now we want to make sure it's OK to clean up the skin so you don't necessarily have to use auto because on some images it doesn't work. But for this one, it was just perfect on. The vibrance is good here. The saturation is good. Here, I was thinking, Should I leave it and zero r Keep it like this, but I'm happy with how this image looks like. So this will be the stack when I will be moving toe father shop. What I'm going to do now is I'm going to press control and heat on this image as I was showing you before then I'm going to choose the option ended in and we have editing under before the shop CC 2009 19 or open a smart object in photo shop. Off course, we always work non destructively. I'm going toe open. This a smart object in for the shop. So now my photo shop is being open and we will move. Tow this order software. Let us move to the next lesson and I'm going to show you how to clean up the image in photo shop. 52. Bridal Image Editing - Part 3: we opened our file as the smart object. So in case you wouldn't like anything, you can adjust your settings non destructively, simply by double hitting this layer. I'm quite happy with my adjustments. I have nothing to change over here, but maybe you would like to work a little bit more with the profile. In this case, I keep the profile adobe color for purpose because I will be unjust in colors, more on the very end. And I'm really happy with how it looks on this moment. So I'm just going to hit, okay, I have nothing to change and will move to cleaning up this image. Let MSM in just a little bit so I can see everything clear. So I'm moving this not too close. I just want to see all of the spots and we don't have to get as close as in light room because in 40 shop cleaning is very single. What you want to do at first is create empty layer. The first reason is we cannot clean on their smart object. And also, if you have regular layer, you want work, not distractive e. So you always want to create an empty layer on the top. I'm going to name this clean up and we'll be working on this layer. So once again, cleaning on empty layer allows you to retouch image non distractedly. We will be using their same tools down to using. The latter will be using healing brush tool and we also have clone stamp tool which is not to come on. Probably we are not going to use too much of this. And the theory is the same. Just one thing Before you start, make sure you work with heart Edgett brushed. And make sure your sample is Karen below because we work on the empty layer. You want to affect the empty layer and everything was below. With healing brush, you are copping the texture and from the area and next to the spot and then applying the texture on the spot and the color is adjusted automatically. So how the healing brush works. We have few different things we have. The usage of this will be a little bit different. First of all, when you want to remove the spot, you have to took that sample the copy from area next to this. Remember in a light room there area was suggested automatic E. So if regular here in brash healing brush tool you will press other option next to the spot Heat on this on the image and then apply and the color is supplied automatically. He will have more of the same hit next to it. Hit next to it. Apply he next to it, apply and here heat next to it apply. As you can see, we can be very precise, something that in light room will be not able to do so now I can go even faster if you don't want toe hit all the time you can use put a spot removal toe We which weren't very similar as the light from because now I can just cover it and it will more likely unjust everything to the area around right now, there's something probably not necessarily correct. So sometimes when something doesn't work, make sure you check on the top. If everything is okay. Of course. We were meeting sample all layers. So again it works exactly as the one in Landrum, but a little bit better. We can cover the sport and automatically Photoshopped do all of the job for us. So as you can see what we can be very precise, we can be very fast. And this is what's most important about four to shop. It allows us toe retouch images ready fast without wasting the time. When it comes to my personal preference, I usually go with the regular healing brush, but it's not a big difference off course here, and Brush allows you to have a little bit more control. But for a simple image as this one spot hitting brash Tal is absolutely okay. So now within a few minutes, we cleaned out the image way better that we would ever do it in my bedroom. I have some more spots, so I'm going to zoom in and thinking, What can I do with this ever here? I want to keep it natural bad. Also, I don't want to keep it as this, and I think healing brush works quite well. Not too bad. Other option would be using crown stamps. So if you don't really want toe remove these bad, you want to make it smaller. You can go with the class system you, said Karen below. That's very important. The same about human brush. You want to work with the current below. Of course, when we have the layer above, does the settings then next to it and just covered this a little bit if I want to make it smaller, but keep it natural, I think for this image here and brush will be absolutely OK, so I'm going to remove this fully. Now. I can have a look to other image and retouch this. I'm going to remove this because it's quite a specific point, so we don't remove something. My days we just want to remove the pimples that sports that are not naturally there. If you want to smooth out the skin, I recommend you to go with Klum Stamp. But it's only when you have tablet and you can take the sample with very soft edged brush and slightly trying to break down the harsh course. Pay attention to the fact I'm I've been working for the shop long time, so I feel quite comfortable with it. But if you don't feel comfortable doing it, don't do it because you might actually destroyed the image. So once you have tablet once you a little bit more experienced with retouching. That's absolutely OK to do it. But if you begin, if you don't feel very comfortable, be careful of this, too. So I think we cleaned up the image quite well. Course. Don't forget to check the arms if you have something. If you have some spots that meant do not supposed to not be there sad, it'll be here. And I think it's pretty good. A little bit on the knees. We have some spots. I'm going to remove this and also in the next lesson. I want to show you order really fantastic technique. This time it will be advanced level technique, but it's very useful once you will be doing a lot of images once you progress. Once you progress with your photography skill and want to do a little bit more advance portrait 53. Bridal Image Editing - Part 4: so I like to do my final steps in the camera. What I'm going to do, I'm going to create a stamp on the top here because right now it's pointless to save the image and open this once again in light room. It would cost a lot of cows. So what I'm doing, I'm pressing command, other option shift and E. And by present, all of these keys you will create a stamp on the top. I'm going to name this final after it's created. You want toe work, not destructively, and you want to have control on all of the fix as you my apply. That's why you're going to press right or just press control heat on this or hit right convert toe smart objects. As you know, smart objects allows you to work non destructively, same as in case when we're opening this file before and there will be few small differences . So right now let's go to filter and camera or filter. So right now we go toe Camero, not as the rope processes software, not in the light one, but we use this as the filter, and it also means that the profiles you have created the profiles that are safe are not visible for this type of files and also that presets don't really work. Hopefully, in the future updates there, Adobe team will solve this and we will be able to use it flexibly. The one hope is when you will be creating your own profiles and you will be converting the lads, you might actually find some of the profits here. That's why some of my profiles are still visible here. For me, it's not a problem because I like to do just small adjustments and the very end. So I want to increase a legal beat off the contrast, and I want to work a little bit more with their highlights and shadows. Just something like this. Bring up some blacks. And I think maybe I would need a little bit more off the contrast here as well. So just adding a little bit off clarity what else I like to do. I like to work with you saturation ruminants. I want to make this sky stand out a little bit more. I can work on the hue of this, but going over the side, and I think it's losing itself a little bit on the models. That's why I'm not going to change this a little bit now. And I want to work a little bit more on the oranges. I feel the models are maybe two yellow. So I'm going with oranges and the reds more to this one. So been impressed. P. As you can see, your only half a little bit more contrast, and it'll beat more texture, going to make it slightly brighter. A swell, because they image needs to be bright, especially when the subject of the images like this. So that looks quiet. Good to me. I want to work a little bit more on the contrast. So I want to make it slightly faded, so I will go to the curve and work like this one. I will make shadows slightly faded, increase the highlights. Something like this. That's how Look, before and after I'm still a little too warm. So what I'm going to do, I'm going to take down the saturation from the oranges and actually also change this just a little bit more. That's how I look now, and I feel now I'm satisfied with the result. I have here what I like to do at the end sometimes, especially when it comes to the portrait, is handing some noise to the image. So I will go to the effects and I will on a little bit of grain. I always tried to look how much grain is being applied. So I add the amount that I feel it's OK for this image. Then I try to check the size of the grain So this is off course to be come going down this amount and size, I usually keep very similar and rather low. If you want the raft grain, you will go up of this. If you're under some soft grand, you go down. I feel the salt grain gives a little bit weird feel trait that results. So I'm not going usually below 40 with this I'm also going to keep this as it waas. Then I'm just going to hit okay? And now my image would be ready. So this is how are you Slight room and then fourth shop If I need to do a little bit deeper cleaning off the image 54. Bridal Image Editing - Part 5: so I like to do my final steps in the camera. What I'm going to do, I'm going to create a stamp on the top here because right now it's pointless to save the image and open this once again in light room. It would cost a lot of cows. So what I'm doing, I'm pressing command, other option shift and E. And by present, all of these keys you will create a stamp on the top. I'm going to name this final after it's created. You want toe work, not destructively, and you want to have control on all of the fix as you my apply. That's why you're going to press right or just press control heat on this or hit right convert toe smart objects. As you know, smart objects allows you to work non destructively, same as in case when we're opening this file before and there will be few small differences . So right now let's go to filter and camera or filter. So right now we go toe Camero, not as the rope processes software, not in the light one, but we use this as the filter, and it also means that the profiles you have created the profiles that are safe are not visible for this type of files and also that presets don't really work. Hopefully, in the future updates there, Adobe team will solve this and we will be able to use it flexibly. The one hope is when you will be creating your own profiles and you will be converting the lads, you might actually find some of the profits here. That's why some of my profiles are still visible here. For me, it's not a problem because I like to do just small adjustments and the very end. So I want to increase a legal beat off the contrast, and I want to work a little bit more with their highlights and shadows. Just something like this. Bring up some blacks. And I think maybe I would need a little bit more off the contrast here as well. So just adding a little bit off clarity what else I like to do. I like to work with you saturation ruminants. I want to make this sky stand out a little bit more. I can work on the hue of this, but going over the side, and I think it's losing itself a little bit on the models. That's why I'm not going to change this a little bit now. And I want to work a little bit more on the oranges. I feel the models are maybe two yellow. So I'm going with oranges and the reds more to this one. So been impressed. P. As you can see, your only half a little bit more contrast, and it'll beat more texture, going to make it slightly brighter. A swell, because they image needs to be bright, especially when the subject of the images like this. So that looks quiet. Good to me. I want to work a little bit more on the contrast. So I want to make it slightly faded, so I will go to the curve and work like this one. I will make shadows slightly faded, increase the highlights. Something like this. That's how Look, before and after I'm still a little too warm. So what I'm going to do, I'm going to take down the saturation from the oranges and actually also change this just a little bit more. That's how I look now, and I feel now I'm satisfied with the result. I have here what I like to do at the end sometimes, especially when it comes to the portrait, is handing some noise to the image. So I will go to the effects and I will on a little bit of grain. I always tried to look how much grain is being applied. So I add the amount that I feel it's OK for this image. Then I try to check the size of the grain So this is off course to be come going down this amount and size, I usually keep very similar and rather low. If you want the raft grain, you will go up of this. If you're under some soft grand, you go down. I feel the salt grain gives a little bit weird feel trait that results. So I'm not going usually below 40 with this I'm also going to keep this as it waas. Then I'm just going to hit okay? And now my image would be ready. So this is how are you Slight room and then fourth shop If I need to do a little bit deeper cleaning off the image 55. Map Module: at the very end off our adventure with flight room. I want to talk just a little bit more about some other panels. And this panels off course are just after Devil Panel map book, slideshow, print and wept. It's worth to mention that these panels are not a part off your editing, and most of the people don't even use them in. They work. There's something more when you are really passionate photographer and you do a lot of images you want to create the slide shows you want to create the book on. Maybe you do something more professional in this matter. Maybe you want to lock it your images Well, because you post a lot of images and this sort of stuff, and for this very helpful will be the first panel cold map. So I have taken quite a few images, some off them in different locations, and my GPS is never really and May enabled in my camera. But I'm going to show you how you can move around this panel map. So first of all, I need to, of course, remember where I have taken this image that the crucial part. So let's move to the devil panel just for a second. I have this image of this image that we just beautifully I didn. And all of them actually are from the same locations, even though maybe this hard to say, But this is exactly the same location. So I would like to make a mark where I have taken this image. I would move to their math final, and I need to try to find the location so you can locate this on the map. If you are good with the maps, you will not have the issues with locating this. In my case, I know. Where's the Cape Town? I could locate this around here. So what I could do here is just zoom in in this direction. So let's go down. As you can see, just straight from me is the Cape Town, and this image is in the cape done bad. It was more around this area near how they actually I had some information here before us. Well, so I will try to locate this a little bit better. I'm going to trample heat ism in even a little bit more if possible, and even more, and we get in the Chapman's peak drive. This is our dislocation. So I will try to get closer to this place. We can double hit and you should get some information hidden on this camera or zooming. Does it? Chapman peaks drive. But the image I have taken wasn't necessarily here. So actually need toe look a little bit more for this. There was sort off. Look out and here on me here, I might. This is the lookout that I wanted to do. So look out. One Chapman's peak drive. How big This is the location that those images will take him. So once we on the month, check the location and my photo when I opened this doesn't have the location or the location is wrong because I synchronized meta data before with the wrong location. So there's no information at all about this. So how you can enable the location for the image that you have taken? I'm just gonna grab this image and move this tow this exact location. So that would be around here. I'm just gonna drop it and we will have this mark. No. So let's have a look. Cape Alicia, Cape Town, Western Cape, South Africa, and we also have very precise GPS altitude around 90 meters, which also seems sound about right when you look at this image were just about the ground. So we pretty much nailed this location and there's not many more informations that really would be useful for this year. You need to know about meta data. It's exactly the same thing. You just are able to precisely put de location in this case as we're doing this under very beginning. So now I would like to synchronize the images with the same location. I'm going to select them all Course, this will be my major image. All of the images from location selected. Then I'm going to hit sink matter data and let's have a look at the information. As you can see, Cameron for GPS, we have over here altitude, 90 meters. But of course I want this information to be included. I'm going to check it, then hit, synchronize. And as you can see over here on the mark, I got number seven, which means we have seven different images taken at this location. So right now I'm going to do this just for a protest with a few different images. I'm going to go to these four images that I took in Hong Kong. So I have four images taken at the same location. I'm going to choose this four. Let's go to the map. Let's lock it this search map Hong Kong. We'll see if we can move to Hong Kong a little bit. I'm going to rename this location. This location is much more difficult actually, to find it's quite a he didn't spot on the Hong Kong Island. So I'm going to find this man early near Jardines Lookout Read Burn old Sam it. That's what I'm looking for. I know the name of the location. But once again, as I said, we have read incense burner, son. So luckily I knew about this. I'm just going toe. Move the image here to have all of the details, and once again, I'm going to do same thing aside it before. But the image selected month synchronize meta data of this tree images I'm going to synchronize and once again, all of the information. We have four images taken at this spot and all informations are applied, so there's no point for me to show you How does it work? In the different cases? Off course, you will have a few more options as safe locations. You can, for example, saved the location. So, off course, this place over here would be way smaller. Just move it a little bit more around. This is Justice Smith Small locations. So there is no reason for us to keep this circle very big. And as you can see, we have location saved. So these are the basics on the maps. As I mentioned to you before, This is not the part off the editing, but this is more off the part related to metadata and the informations about your images. 56. Slideshow Module: in this lesson. I want to talk about the module called slideshow, and likely this is really simple module, nothing to specific in this area. So what we are going to do, we will just going to look through this sub panels that we have over here and few words to start wants this land show model simply. It's all about slasher. So let's say you prepare some presentation off your photography skill. You want toe. Offer something to the customer, whether your wedding photographer or some life self photographer and you have some samples off the work, you want to go to them and show. Look, this is what I offer, and this is what you can expect from my work. The other usage off slideshow will be the usage that we will have over if you're I was traveling to Africa precisely South Africa last summer, and I wanted to make myself some small album, so I did some editing. This is not all of the images, and with my girlfriend, I want to seat and have a look fruit to check if this could do something in our album, so there's many usages off the slide show and I think it might be quite useful at some occasions. So this is the starting image will keep it as this, and we'll start with the options. So once you open the options, you have a few things like Zoom to feel the frame. What will It will dust to your image. You can simply see it will feel the frame. I'm going to keep it as it is right now. Those things are not really important. As I said, it's just the presentation so you can apply the stroke, which will simply create something at the edge. So if you want to have something fancy, maybe for wedding photographers you might go with the strokes or this sort of things. Maybe, maybe even in some cases, you will want to answer shadows bad personally, when it comes to the good, say taste. This kind of things, like shadows and special effects, are not always necessary, and sometimes it might create the effect off your presentation being cheap. So I'm rather trying to avoid the shadows and the strokes. But this what options gives you the stroke? It's actually not that bad. If you want to feel the frame that's absolutely useful. Also here, off course, you have angle for the shadows and all of the other things red use related to the shadows and the location off the shadow. Then we will have the layout. So with the payout, you can manipulate the location off your image or maybe on to make it smaller or bigger. So right now we have the biggest possible layout We have left, right, top bottom, which is basically the limes and that all closed. So if I'm going to choose one, as you can see image gonna change the size proportionally. Because all of this is think what? I'm going to take it down. And as you can see, I turn off the links. I will work separately on each. So, for example, if I'm gonna change layout to the left, my image move to the left. If I'm gonna change to the right, my image will move to the right off course, changing the size proportionally moving to the top. It will change size to the top bottom. Similar, But opposite We can, of course, close similar link to different ones. For example, you want to place it on the right and bottom. You will do this. It might look like a top. That's why I got confused. But it's about this line. So it's okay we have right And on bottom, if we link top and left will get the opposite. So you get the idea how the show guides work in this case, and I'm gonna leave this all and keep has all supposed to be. We have some overlays as well. So in the overlay, you might want to include your identity plate. So, for example, if I will keep identity plate, that could be my name because I want to make sure that it wouldn't be stolen. I want to make sure that people will know my name. I don't like to put too much off the soup titles or the text on the image because I believe in destroy a little bit off the effect. And, of course, you can adjust the opacity. You can adjust the scale depending on your needs and also on just some color. You can also add some water mark, which I actually believe might be useful in this case. So I'm gonna add watermark. It could be this one and as the water mike, especially if you share your work online. Eso It's not something for the presentation, but the presentation goes online and your work could be stolen. Maybe it's not such a bad idea toe. Add some water mark, so make sure you water mark your images, your slide show in the cases that it could be missed all in the cases to build the brand awareness when it comes to the rating start. This image didn't have the rating, but remember, on the very beginning off our lessons, we're adding some writing. So if you want to see it, for example, you take the images for cast. Um, mainly, probably for some very valuable customer. Let's say that would be wedding photography and you took a lot off images. You did the right in between the five stars or one star anyone to show in the slideshow to discuss tumors. You're right. And how you write that the image so you can cancel. That would be also the case when you could want to have it. So, of course, some text overlays where we can apply something when we go with it. I don't have a text over here to show you and then also shadow off all of this. So, like some extra things you could have over here, then backdrop. We have some color Wash around there on the edges. So right now, as you can see, if I go with it, the color washes from one area to another. Going to show you this once. I'm gonna make the frame a little bit slow, smaller. So I'm gonna change the layout a little beat to show you. Let's say you keep there, lay out smaller, then to close this and then want to have this backdrop so you can choose the color if you want to do some fancy transition between the colors Once again, I would say it's a matter of the taste, but I would prefer to be careful because it would look a little bit like a school work. And you really want toe? Avoid those things, then. Background image. If you have some background image once again on the image might be a little bit off a school titles. If you will want to apply some titles, damage, identity played, ending screen. This is what you're gonna do it in this case, It just my name. It probably found because I put it as the auteur name. That was my name over here so you could scale it and get a little bit bigger and in screen . Also, you could put some subtitle Stewart ending screen explanation. Credit the team, anything you like Here you do this in the titles for Intro and the Outro, which is an in scream music. If you have some music, if you want to make the presentation with music you can. Actually, at this I'm never really never was adding this then ofcourse the music so we can just turn on the music and we can sell like this. So simply if you need to find this on your computer, you heat this plaice and you can find the music on your computer. Once again, the music might be maybe distraction for the images. So be careful days, but sometimes maybe some relaxing music. It's not such a bad idea. Some background music toe help the focus attention on the specific details and at the very , very end playbook. So how you want your slide shows to be shown you on the automatic way which will be moving by its own or manual where you have to actually press it to move your slideshow. If you select repeat slide show, it will be going on and on. If not after ending, it will finish the quality standard. High Draft. Not sure what will be the difference here, so keep it standard. There is not really such a beacon. Meaningful differences between the qualities you could choose. But I wouldn't go with the draft, of course, standard or high quality. Let's close it and let's see, I kept it as simple as possible. I don't really like to complicate the things, and I don't think anyone should do it. So I'm just going to play it and we'll see. I want to make sure I want this money. Well, I want to move it by myself. It's preparing and we have the slide show off my African holidays, and this is how it looks like. I don't really like the quality, so probably should choose the high quality. I can actually see some banding. I didn't expect that this will drag down the quality as much, so that's why I went with the stand of quality. So maybe if you want your images to have preserved the image product, team go actually with high quality. And remember, in case you are a little big, lazy and want to use some templates light from always overs you sometime plates. Just go to the left hand side, open light and templates, and you can see a few different templates. They're not perfect. But whether you want to go with something simple, for example, crop to feel, you go with the template crop to feel you want to go with some simple template with just few basic informations. You can eat this and then just edit some extra information on the right hand side, and that would bait. 57. Print Module: in this lesson, we are going to talk about print in your image. And of course, this is for people who have printer who wants to print the image on their own. And it's quite important to pay attention to a few different settings for this because, of course, you don't want to ruin this process. If you will, you will have to do this once again. And I will start simple from the left hand side when we have light room templates. So, of course, you can have a look for the templates you have preview over here. How it is going to looks like so 8 to 10 as you can see, one for three image. If you have different templates, they might feed more images depending on your needs. What I really like. I like to have one image per page when I print for my album. Of course, I want to keep the beak. I want to keep them clear. I don't really want to squeeze them into small cells. What's important before you start is to check Preet settings, and also Page said that so you choose the four month for any printer and you choose the paper size. So by default I have here a four off course I can check two a three, a five tow US letter and anything that I have in my printer. Also, what's really important when, depending on what you're going to truth, you will have toe adjust on their layout by yourself. So, for example, if I'm going to go with a four, the layout my bad little different if I'm going to change the toe aid free, for example. As you can see, layout is different. So then I have to adjust the settings, so I'm going to change it back to a four. This is what I want to have and then print settings What you can see here. No printer selected the reason for this because I don't have a printer. So I'm going toe cancel days and what I want to do with this image. I want to create my own layout. I don't want to use the template, so we are going to have walk through this settings and quickly. I'm going to explain to you what's going on here. So let's start from the very top. We have a few options off the layout style. We have single image, which is what we can see. Right now. We have picture package, which will be layout off few pictures, same kind, and we will have Kasten packets so we can plan this as we like. We can move the images as we like, for example, image here. I can also move some other image toe, other self. So let's do it just as the show off. And that's how it would look, of course, would have to adjust. This probably to be better. We have some settings here. That's why we have this stroke. But as I said, when I want to go is single image. So I'm going with this below. We have image settings, and we have a few different options here. I'm going toe and check them so the image is shown in the horizontal way and start. But I have option, like zoom to feel, rotted two feet and repeat on photo per page. So I'm going to start with them to feel and what is happening. It just simply zooming the image to feel the page. I don't want tohave this perspective, actually, for these images, not too bad. But if I would want to have image of this perspective, I would do this before. During the development, I would do this kind of crop. So I also want to rotate to feel. And now I will have the perspective that I said before in the image settings. We also have this option called stroke Border. So it's for those who want to apply some stroke on the edges. I don't really like it. I like to keep my images printed, asking us possible later on, I would possibly even count the image toe unjust. These better below that. I'm going to close this too. We have layout, so in the layout we can set up the margins, which I usually keep a small as possible because I want to feed the image as well as possible Have also their page Greek. That we can adjust once again will be moving the image and below we have the cell size, which I'm going to increase to maximum because, as I said before, I want to feed the image as well as possible. Also have the option that you can check, which is keep square, and it will change the image into the square. So for people who would want to print this way, this could be the option they looking for. If they have the small crops that needs to be done for the square, you can do this just before printing. Good to close the layout, and also we have some extra guides. So we have rulers, page bleed margins and gutters, image cells and dimensions. So I'm going to uncheck them all and we'll see what will be happening. So first rules. As you can see, we can get them on the top as the first off our guides. Punch BLEEP, as you can see on the background here, margins and gathers another guide. I don't really like to use them that much image cells and dimensions on the end, so the one information are usually pay attention here. It could be margins and gathers. I can see how the margins are located and other information I pay attention to on this moment is dimensions. I want to see the dimensions of the image and the PP I off the image because it's quite important for the printing. I'm going to turn this off at the moment. I just have to have a quick look at this. Also, you can said the page by ground color, So if you need other background, you can change it in tow. Different One off course. In this case, we feed the image to feel so we can't really see the background. Here. We can choose the identity plate, which, of course, don't want and identity plate when I print the images, especially if I make this for my own album. So this is not something you have water miking and also page options if you need some page numbers, if you need the paging for and if you need crop marks. So for the painting for not bad do you want to include some patient for um, that's actually for some this play for anything that would be quite useful for personal usage? Not really. Then for, of course, text and 14 for If you want to include this, you can also change the phone size. You can choose different things off the 14 for, so you could choose the caption. If you have, you can choose the cast, Um, text. If you want to time something. If you want to write down something which could be quite useful here. So we have custom text. You could time something I could time, bridal. And that would change. But you can name the out or or anything you really want and, of course, change the font size. So I'm going to close this. I press something before I just need to make sure if my cell size is all okay and at the end, we have print job. So this is important part when it comes to the printing. I'm going toe turn off this draft mode printed because I will want to do this by myself. So then we have print resolution and it's 240 p p. I and you. So before when we were checking the guides, our image has bigger resolution. So you don't really want to downgrade this. So you're not going toe print to print Resolution 240 Prince sharpening standard sharpening . Some people like to go with high sharpening because saving, doing printing you might lose it a little bit. And of course, media type. I go with mutt. I don't like glossy One thing you need to know mud require a little bit more in and 16 beat output So all of the raw files are 16 beat when we convert them toe J pigs, there would be eight beats so as the output, I want tohave bigger deaf. So I keep 16 beat output on Andy Variant We have color management. I have the profile which is by default, managed by printer. If you want to change it, you just need to go to other and make sure you sell it. Include display profiles, my working space I should keep us our adobe rgb so if I would change it, I would go with nwr job. You have all of the profiles that are available in your system. Where other be osiobe We have Adobe RGB and of course, would have, um, a little beat Bigger one pro photo rgb A for those work with pro photo RGB color space. I want to keep this color space during printing, so I'm going to hit okay and also you have print adjustments like brightness and contrast. It's not something I would really change here. You would have to print one image first and see if it comes out correctly if maybe images a little be too dark, too bright or if it's lacking off contrast. If anything off this happened, you check print adjustment and you might want to make this a little bit brighter and add up a little bit off contrast, and then you're ready to print. 58. Web Module: on the variant. We are going to talk about the Web module, which allows you to create photo gallery for your website, and it's very important that you will choose the set off the images you want for a website . Of course, you don't really want to mess around with all of the images. That's why, in this case I chose images with the keywords Africa. I could create the separate gallery for days, so that will be my main focus for the website. What's really important is that you will have the look through are different templates Dad here, light from has to offer. So I'm going to start with Classic Gallery and I would say the galleries that templates that light from house, that really good And if I would go with them if I wouldn't have the website if I would want to create the website for my travel images. The light from offers really great things, especially, I like this dark pop. Is it one? And of course we have much more templates. We have great gallery templates as well, which I really like. I think they greet templates are one of my favorites that clean I like to keep everything clean. Especially is like one light one or dark, depending on the mood off your photography, we have square, which will be very similar. Simple galleries try gallery, which will be all in this lions also really nice and then user templates in case we have something. If you don't want to use templates, you, of course, can do everything by yourself by choosing a layout style. And as I said before, I really like this great gallery. And if you need to find more galleries, you can hit this small sign here. Find more galleries online and it will direct you to under be page with more off the galleries. Someone going toe, go back. And I said, I like this grid gallery So this is what I'm going to truce as the next one. You can put some side info. So as the gallery title, I would name this Africa Got older will be my name Marching and Miko's and also gallery Auto. Ural, that would be my website so I can put this. And as you can see, it appeared here Africa by March. Nichols. So I'm going to close the side inform, then color palette. We simply can choose the color background. Maybe I would go with something darker. I think for this kind of images, I really like when and the website would be a little did dark. So I want to get maybe some gray color, something more than that. I would go with this dark gray color. It's also just for show right now how to do this. Also, you can choose the text color which I could change in tow. Something brighter, Toby more visible. And the icon color. You can choose the time my boulder. So we see the border here. I don't really like this. I would probably go with something darker in this case because for this background, it stands out way too much bad for sure. I wouldn't go with the borders. I like the clean looks. So we are going to change this. Then we have appearance and you will have Tom in a size. So of course you can change it too large. It will loved and will have on the two images per page medium which we have or small. Some going of the medium seems the light from by default. Change the color palette straightaway assigned Manipulate with this can see it got me this bright palette once again and changed the come they border as well. So I'm going to go back. I hope it won't change again. The fiqh nous off the border. So as I said to you before, I don't really like the border. So I would choose on zero. I want to keep it clean. Tam. Nay, shadows. You can set up the shadow off your tom nails, so choosing the light will be visible here. As I said before, once again, I don't like the shadows. I will keep my page, my settings really simple. And then we can also choose the pagination style. So you can keep all of the images on one page and you can scroll down or you can change it into multiple pages. And then, as you can see on the top, you can switch between pages once again, the light from got my color back. I'm not going to fight with this. What I want to do, I want to chance. Make sure I don't have the border at this moment. So I'm going to change into single page and items per page off course not available now. And Heather, you can make the header visible, or you can make the header invisible. You have also the option, like floating headed. If you're gonna check this and move down your website, your header will stay visible over here and go down as you scroll in the page going to close this. Maybe I can get by this appearance again and as the next step here I have image info. So I'm going to close appearance, open image info and I have to labels here. I have title and caption. We can't really see it right now, but once I would heat on the image. As you can see, I play some custom text over here, which is named Safari Sunset so you can choose your custom text. You can choose the date that you want to put here, and it will create the date off the image taken as long as it's in your metadata off course , so you can choose any title you want. Also, you can keep any capture anyone. So it could be also the date if you want, or any custom caption that you want to have gonna turn it off, close it and close the image. Beautiful. Then we have output settings, and here I like to keep everything simple. So when it comes to the quality, you don't want to keep it lower than 80. I keep this a maximum off course and meta data. I'm not really bothered, and I keep copyright on Lee. I want to turn off water marking because I want to keep it simple. And then we also have sharpening. You need to know, As the information says, sharpening us is applied on output. So it's not that we sharpen any images right now. On the end, we have some upload setting. So if you want to upload this straight to your website, you can choose the custom settings added days for your FTP server. Put the server user name, password, server path, and you would be more likely sort than you just hit. Okay, when everything is addict here, now need to choose, and it's helpful that and once it's so you can also see how it's going to look in the browser. I'm afraid my time there's will be a little too small because Of course, the browser is bigger than what I see over here. But to preview it, you can just hit preview in the browser. So you will see how it looks in the browser. I could hit this. It's going to take a few seconds to show me how it's gonna look. And here is the preview in browser, as I taught the timeless. A little too small. So I would probably go with large. In this case, I'm gonna close it last informations to know we have this upload battle. So if you have an upload settings, that's what you could choose. Or if you want to export this on your computer Heat export, save us Africa by mm I could name this where to desktop, and then we can just save this. So once I press this already, safeties before I can replace this and once again it's being saved. As you can see safe Web photo gallery on my computer, where I will have HD a male foul. And also I will have all of them. Other details or off the resource is needed for the website. So if I need to put this later to the website. I can simply use the informations that are being saved in the location chosen by me. If you like this template that you just create, remember, you can always hit this small class. Yeah, and saved your new temple so I would leave this Africa folder user templates and create, and this is it. 59. Book Module: book module is the one that will require a little bit more often a tension between all of this extra modules that we have here in a light room. And when we will be starting with the book module, I want you to go back to the library because you need to sort out your images first. Before you process to the book model, you want to keep everything in order. So for this I want to have the set of the images. Of course, I would not be creating the book out off the cows, so I have chosen the images with the keyword Africa. And my favorite way of working is with the key work, not necessarily with catalogs. I like to solve them out by the keywords and move to the images. I have 24 images with the keywords Africa. I'm going to press the arrow, and as you can see, all images are selected here. So now let's say I want to create the book out off those images. I will move straight away to the book funnel and what is going to happen? As you can see, it's automatically applied to the book and We got this very basic book view right now, as you can see, and once you process from the library to book, you will see this a swell. If you can't see it, it will come as the auto layout. You can just press all the layout and that will be applied over here. So right now, let's have a look at our books. I things, and this is where we are going to start. So first you need to choose the book. So what you want to have blurb for the book Blurred magazine blurb, Trade book, PDF or J Pick Most of the people somehow Hey, stressing blood book, which is online publishing service, I believe book publishing service. So depending on what you're going to, just we are just going with blurb for the book. You could choose PdF or you could choose J Pick as well. It will be after you, but we are going with a blurb for the book, and we will use this online service for customizing our book. Next one. You can choose the size so you have few options with the dimensions of them, so we have standard landscape. If we go with the portrait would go with the standard portrait. Let's have a look how it would look like. As you can see, the layout here is slightly changing as we work with the landscapes. We would rather choose the landscapes, so I'm gonna with standard landscape, and it will get us back where we started. Kovar. You can choose if you want soft cover, hardcover image or hardcover does jacket. I will go with hardcover dust jacket over him, paper time and one thing that I care here. I don't really want to have this shiny paper, so I'll go with Premium eight or premium last paper local page. You can choose the longer page on pre price, discounted or known, and then the price is a little bit higher and the price is all about blurb Company off course. If you choose no longer page, there will not. There wouldn't be a logo on the last page, and let's turn it on as you can see price off creating your book. It's lower, though. On the last page you will have this logo visible over here. Let's have a look blurb logo and, as you can see, designed using adobe Photoshopped light room, so if you don't want to see it, you hit none. But the price off creating your book is increased. So this is about the basic books that things if you really care about the price, one think you can also change. You can change that book cover to soft cover, which come at much lower price and then also choose in the logo on the last page gives you nearly half off the money saved. Next sub panel Just below. We have photo layout and just to show you, how does it works? Like all of this was filled by Auto Leo, which we can clear straightaway and to show you once again. As I said before, if it want appear, you just hit auto layout. And as you can see, all of the images are field over here. If you want to cast demise, your layout, you are able to create your own precept. One thing you need to do just open your preset. You have few other options here. I probably created some prison before, which is now an title preset number one and what we can also do we can edit all toe layout preset. I'm going toe open This So we have option for the left page. And for the right pitch, I'm gonna keep left page as the blank and on the right page, we have fixed layout or random from favorites. I'm gonna keep fixed layout and below You can choose if you want to have one photo per page . If you have one to have 234 or even more photos per page. I like to keep one photo per page, especially that it's preserve all of the details. I want to show my work us well as I can in the best quality. And you can also choose the layout from these presets that you have over here. I'm going to choose something simple. Just toe feel the page and zoom photos to feed that page. You have other option to feel the page as well. I'm gonna much long edges well as well. And if you want to add for protects, you can do this. So if you want to do a little bit more, use textile precepts, we can change this and the textile present we are going to juice as the caption sans serif or serif n Iffy, you would think off. You can take test, actually all of them on your own, so I'm going to save prison because I don't want to replace present. I have some going to save this as the new preset, and I'm going to name this marching light from course I'm going to create. Let's have a look the preset WAAS created as the marching light room course safe one to use this one. Right now, we can simply clear layout and then use auto layout, and it will be filled with the preset we just created. Next think we have here is the page and the guides. Let's start with the page, and this one is really simple. Basically, you can on the page numbers if you want and customize them or not. I'm going to select page numbers, and I'm gonna choose the location first. So the best location to me is bottom corner and also where you want your page numbers to be displayed. So if you have left and right, every single page that you have will have a number and you can see this small number appeared over Hume. We can change the few. As you can see, there's page two page tree. The next one will be four, etcetera. I don't really want to have filled black pages with the number. So what I'm going to do the display and the right on Lee I want on the right page is to have numbers right now. If you want toe at some page what you can do, you can choose the page. So in this case, I would choose exactly the same page that I had before, which was this one, and then choose our page. When we're at this, it will choose the location that it was selected. So I had selected this image over here. That's why this page appeared over here. As I have all off the images already selected, I don't really need to arm the page. I'm just gonna press command Cincy to do a step back. Let's close the paper now and move to the guides, Which meant to show you a little bit with your page view over here. So activated the guides and what you can see. I'm gonna check this few pages over here. Let's do it quickly. And yep, if I will choose the page blend. As you can see, I get this small shadows text and safe area. It will show me once the safe area over the page photo souls, feeler, text page greet and guide lines, as you can see. And now we have fully guided pages. I don't really like to keep the guided pages. It more likely make me a little bit confused, so I don't really like to use it. If I need, I just go back here and see was the safe area, just to make sure that their text and everything is intact. So I'm going toe close this at this moment and close the guides. Next. We have cell here, so I'm going to open and have a look on departing off course. When we have everything linked, their image will be the Christian or increasing in size. If we're unlinked all of this, we can move the image toe one of the sites or moving top or bottom. When it comes to the image itself, it's more as the curiosity, but when it comes to the pardon, it can be actually quite useful when it comes to the text because you might want to move the text, Not necessarily the image. So first looking at this, maybe sometimes it doesn't look very useful. But when you change their cell to the text, maybe you have text one. This manipulation with the padding can be quite useful. Then we have, of course, photo border color. So if you want some border, you can apply it. I don't like it. So I'm not gonna keep any border color. So as we are at the self subject, let's open the text us well and what I'm going to do, I'm going to change the view because I want to see it clear. Maybe even more so. We have text option and we have to text option first is for the text, which will be the text off our image. It can be done over the image, as you can see somewhere here, which would not be really great idea to cover this photo with the text we can't choose below, which will be located below or above, which will be located above the image. So this is the first text option and the other text option is our page text, which will be just on the bottom, off our page, below the image or on the top off our page. So depending what the purpose off your book, you might want to place it there. I'm going toe start with the focal text. So I'm going to select the page and show you how you can work with this. So when it comes with the photo text, I'm going to do this and just below. Here we are. I'm going to make their location slightly different. Maybe. Oh, yeah. And what I can do now I can just heat on this and do some signs so I could write Safari Sunset. Just some think random, of course, it doesn't mean this takes would mean to be this way. Just wanted to show you how does it actually work here? And then we can manipulate a little bit with the planning. So, for example, I want to move this to the center. And as you can see, I could move this takes somewhere in between. Then I can change the offset just a little bit below this and it comes to their page text. I will switched it. I will go to the page text. We have this selected on the top. So on the top, I could use maybe Africa. If I want to do some page text on the bottom, I actually can't go way. Why there with it. So what I could do here? I'm gonna go up a little beat here, and I could write the date. I could write the information, or I could even place some sort off poem for myself. But this text is a little beat smaller. So you have even more options when it come to the text. And we could edit this page and change this article. Beat to change this in tall, maybe text pages. But we have just normal one. Let's see, Favorites, One photo and this page which is very similar to our page that we hunt him. We are able toe apply something allow. So I'm going toe just padding a little bit here. And at this moment we could type some sort of poem, some text, anything you want, just the way I'm doing it. And by adjusting padding off course, you can place the location where you want to have it. So what I'm going to do just south said a little bit higher. I'm trying to grab this other cell. Seems I'm unable not re greater crime. Okay, I'm gonna move this a little bit. Glower. So now, as you can see, pounding once again might help us a little bit more. I had a little bit more possibility to do something here. Want to decrease this on the other side and plays the son just in the very center off this image off course. Don't treat these text over here. Very serious. I'm not a huge fan off the text over the image. That's why they're so unplanned. But for many users, text will be something important. And the next panel, titled Type is also all about our text. So, for example, when I go back to my random text created over here, I'm going to select this or and open their type panel. It wouldn't be visible once you don't have text. But if you have text, of course, your type panel is visible. And simply you can edit here your fund size of the font and capacity off the fund. So let's have a look what we have him and I would probably want to choose something very nice. So Helvetica is some really nice fund I really like. I would go off this also when it comes to my order text, which is page text. I want to make sure it's selected. And also I will go of hell that he come in this case, some shoes in Helvetica And I want this to be a little bit seeker, maybe more visible, but still simple. And then, of course, we are able to adjust the size a little bit more. But as you can see, we don't really have too much spaces in here, so I'm going to zoom this in. I want to have closer Look, select this first. And of course, I want to change a little bit our panting over here, half more space for it. And then we can increase the sign off course. Once we have a little bit more of the parting, I'm a change the format a little B, maybe we're able toe drive this down just a little bit. And now I think it looks just as I wanted was I'm going to select this once again. We are able to change a pass ity off our text off course, just in case you want this and color off our text. So now, as it's all sorted, I'm just going toe, Turn this off. I'm gonna zoom out, check my cell, and we can apply this off course to our mothers house Toe added The text applied the takes . That would be a little bit off work. And the last thing we can do here, of course, is the Bagram. You can apply some graphing graphic as your background. I'm not a huge fan of this or you can change the column. I really like the white color in here. Unless you want to go with some other color you can do this year. I think the best colors to use for the book, of course, is classic white. In some other cases, it would be some other simple colors, like gray or black. Make sure off course and you go with some other color that your text will be visible. Us. The book should be classic. I'm keeping this as the color white and at the end, what I want to do. I mentioned to you before I'm not into a text. I would like to keep my book as the photo book for myself, for the memory off the holiday. So I'm going to edit the page and keep it classic as it was before, and go back to my view and keep the book as simple as possible. Let's close it all, and once it's ready, we are able to send book toe blurb. If you are light from user possible, you already half account indication on Have account. Just sign in and your process will be ready. So I'm going toe. Cancel this. I'm not really print in this now, and this is the basic informations that you need to know about creating your book in light room.