Adobe Lightroom Classic CC: The Easy Photo Editing Course

1. Course Introduction: welcome to this light room classic CC course. I'm so excited to have you here before we jump into the lessons. I just want to say hello and introduced myself if you haven't taken a course for me. My name is Philip Dinner, and I'm the founder of Video School Online. Since 2012 we've been creating top rated courses that teach people like you amazing creative skills. In this course, I'm going to show you how to edit photos using light room Classic. You're in the correct course, right? It's important to know that this course is for light room, classic CC users and not the cloud based light room C. C. I have another course on that program. If you're interested, we'll be using the latest 2018 version of Light Room Classic CC. If you're using an older version of Light Room Classic or even a previous version of just Light room or Photoshopped light room, you'll be able to follow along. If you're taking this course with a newer version in the future. From when I record this intro, that's fine, too will make sure to update the course with any important changes or additions that adobe ads. We designed this course to take you from absolute beginner with no experience all the way up to advance user feeling comfortable and confident. Using this amazing tool, you can see from the course outline that we start with importing and organizing the photos . We don't spend too much time there as I know you want toe jump right into editing. So the bulk of this course covers all of the different ways you can edit your photos to make them look awesome. Way go over all the tools in the development module and then show you how to export high quality images so you can share them with your family and friends. When I learned light room for the first time, I loved watching tutorials by photographers that show the entire process of editing a photo from scratch. And so that's why later, in this course, I've added several complete photo edits, showing you different styles of editing. That way you can see how you can use the tools that you learned earlier in the class and put them together to edit a complete photo from scratch. Make sure you download the practice photos in the next lesson, which will be using throughout the rest of the course. Also, I want to clarify that if you're in the photography masterclass, you may find some of these lessons are familiar. We've included the basic editing lessons from this class in the photography masterclass, but in this class we've added more advanced lessons in hours of additional full editing demonstrations that really take your skills to the next level. So if you're wondering, should you be in both classes, I would say yes. This light room class will really take your editing skills to the advanced level. And remember, if you ever get stuck, just post a question to the course will respond as fast as we can to help you out. I'm excited to get going, so download the photos in the next lesson. Then let's get going with life Room. 2. Download Your Practice Photos: make sure you download the course project files these their practice photos that you will be working with throughout the rest of the course. So go ahead and click the your project tab and then click this link right here, which will take you to a Google Drive folder that has some ZIP files that you will have to unzip. And in each of those files or folders, you'll find a number of photos that you can work with throughout this course, starting with the Practice Photos folder and then throughout the course, you'll probably see that we switched to some new sort of techniques, going from basic edits to more advanced tips and then to some actual portrait photos and then to some full editing sessions. And you'll use each folder within these project files for those different parts of the course. 3. Importing Your Photos: All right, let's dive right into light room. This lesson is how you import photos, so make sure you download the practice photos that we're going to be working with throughout the rest of this course from the previous lesson. Once you unzip that file, you should have a number of folders like this, and we're going to be using different folders in different sections of this course. The way that light room works in terms of importing photos is that it is actually reading the photos and having the photos on your computer. But it's not actually moving the photo file. It's just reading it from wherever you save it on your computer. So make sure you stay organized in your documents or in your finder. Whether you're using Mac or PC, it doesn't matter. Just make sure you're organized with your photos outside of light room, so that when you get into light room, it's easier as well. So I'm gonna really be showing you how to organize within light room. But I just want toe kind of say that because a lot of photographers asked me, How do I organize my photos? Make sure you're backing up and make sure you're organizing it. I organized by date by year than by month and then by shoot in a folder structure like that . But it's really up to you. Okay, so let's get into light room, and it's pretty easy if you open up light room for the first time. You should see something like this about the top. You have your library, you have your other tabs, which are the different work rooms and spaces that you're going to be able to edit photos in do things like maps and books and slide shows that we'll talk about later. In this course, up at the top left, you have your file menu. And then around here you have all kinds of different things that you don't really necessarily. You know what you're working with yet, But we're going to be covering this in the next lessons. What I want you to do first, though, is look over here to this import button down on the bottom left. If you click that or if you go to file import photos and videos, or if you press the keyboard shortcut shift command, I that would be shift control. I on a PC, you'll open up the import window. All right, so once you have the import window, you'll see that on the left hand side you have the source. This is looking at your computer files and the structure of your folders, or any external hard drives that are plugged into your computer, and you'll see that if you open up these folders, you'll start to see the folder structure of your computer. Now I have these folders saved on my computer. So if I go into those specific folder, which I could find by going into my documents under video school online Underclass his under Lighter, whom under light room classic CC under supplemental resource is. So if I click on one of these folders, it's going to open up all of the photos within this folder. If you don't see the photos right, click and make sure you choose includes sub folders. If you don't see that, that's okay, too. You'll see this option in the middle. That says no photos found include sub folders, or you can just go to the sub folders. So I have this advance editing folder. We have extra photos. We have full editing sessions. And when I do that, we see all of the different photos pop up in this big window in the middle. And this is where we can select the photos that we want to import. Now, I went through all of my document folders to find these supplemental resource is. But whether you you put it on your desktop or it's on external hard drive, you're just gonna find it through this sort of file menu. So I'm just going to include sub folders going to give you this message saying that it's going to include all of the photos. And now this is where you can choose what to import and what not to import. So for us, we're going to import all of these photos. But if you wanted to, you could uncheck photos that you don't want to import. You can also quickly uncheck photos with this button down here, toe uncheck all, or go back and check all you can go through and open up a bigger window with this button down here. Then you can use your arrow keys to go right and left and then at the bottom. You have this including import check box. So this is a better way to maybe see the photos if you're on a photo shoot, or if you went travelling and shot a bunch of photos, you might not necessarily need to import all of your photos. That being said, the way that I typically import photos is all important, all of the photos, and then I'll start to organize later on choosing which photos I actually want to import over. On the right hand side, we have some options just to pay attention to what's automatically checked on is this. Don't import suspected duplicates button. This is important because you actually don't want to be re importing the same photo multiple times in light room because then your organization can get kind of wonky. And if you go out and you open up light room again and you're trying to find the photo that you edited previously, if you have multiple photos of the same photo or multiple versions of the same photo, then it's going to get really confusing. Another option you here have here is called Add to collection now, so a collection is sort of a folder within light room that is a way to organize your photos . Now I'm gonna uncheck that and we'll look at that in a minute because we can actually add photos to collections and organize them that way in the future. You also have some developed settings. If you have automatic sort of presets that you want to add, which if that can be done later on, we'll learn about presets and then some meta data options again, not something to worry about right now, when you've selected all the photos that you want to import, just click the import button down here. Now. Actually, what I want to do is just select one of these folders one at a time to import. So I'm going to start with this folder, which is the advanced Portrait editing folder. So I have selected all of those photos, and now I'm going to click import so you'll see that it imports are five files were now back in this library tab. Now, just to show you what happens if you click on another tab up here we go to different sort of windows. So the developed tab is where we're going to spend most of our time in this course where we're actually editing photos, you have these other ones, and then library is really where you organize your photos. So in this organizational structure you have these different windows. You can make these windows smaller and bigger by dragging them in and out. You have your bar down here with all of your photos that you could also make bigger or smaller. And so when you're in one of these views, for example, we can change the view with these buttons down here as well In the library, you can also select which photo you want to look at from your trade down here. Your photo trade. Now we're gonna talk about rating and ranking and filtering in just a minute. But one other thing I wanted you to notice is your metadata, which is over here. So you have the metadata from the photo. So, for example, if we look at one of these photos, you'll see if you shoot, shoot in raw modes specifically in depending on your camera, you'll see settings like your exposure shutter speed or aperture your eye. So rating the camera lens that was used when it was shot If you have things like your GPS capability on, it will have like place. And that will actually help it appear on the map. And you can also add things like keywords and things up here a little bit more advanced. And the next we're going to look over here on this left hand side, this window, which is where you really start to organize your photos, and we're going to look at that a little bit deeper in the next lesson. 4. Organizing Photos: Now I know what you want to do is jump into editing our photos to make them look amazing. But organizing in light room is a huge aspect of what light room is capable of doing. And learning these things right now will really help you become a better photo editor in the long run, saving you lots and lots of time. So I mentioned this is what we're going to be looking at. In this lesson. You have different ways to find the photos that you've previously imported into light room . You have your catalog folders and then collections catalogue. Think of that as a quick sort of way to that light room has preset options for finding photos. You can click the all photos button and that will open up all the photos that you've ever imported into light room. You have all sink photographs, which is, if you are using sort of the sink light room aspect of their cloud based service, you have some quick collections and then previous import. So with previous import, if you imported your photos say you closed light room and then you come back and you want to get quickly to the photos you just imported the last time. This is a great place to do it. That being said catalog is probably my least favorite way of finding photos because Fuller's can quickly get lost and photos you imported a month or a week or a year ago can quickly be lost. Folders is the next option, and this is good. If you understand and have a really good organized hard drive, this structure will show you folders that you've imported based off of where they are on your computer Now, since I reset light room before he started teaching this course, I've only imported this one folder from last lesson so far, and so this is the only folder I've seen. But if you've imported lots and lots of Fuller's, you'll see them all over here, and this is just based off of what it's named and where it's at on your documents. Collections is the way that within light room you can create folders for your photos and organize them that way, and that's what we're going to be doing. So to create folder, just click this plus bite button and choose create collection, and I want you to set this up similar to me so you can find the photos later on in the course. So this one I'm going to call Advanced Portrait, editing all these other settings. Just leave out one thing to note, though. You see that it says includes selected photos. If you have photos selected in your library, it will add them to this collection that we create. I only have one photo selected, and so if I click, create what happens is now this new folder basically that appears here on Lee has that one photo. So how do I go back to that folder that has all eight of those previous photos? I can either click right here in the folders or go to previous import, and you can see all of them. Now, if I want to move all of these photos into that new collection that I created, I can select all of them by just command A. That's select all or Aiken, select one and then shift. Click the next, the last one to select all. Or you could command or control click. If you're on a PC, specific ones that you want to add, and then just simply click to drag and drop them into this folder. So now if I go to this advanced portrait editing folder, they're all right there. All right, so I want to show you now, quickly, what happens if we want to import our next folder? So if I click import, it opens up our folder structure to the previous sort of place that we imported from, which is nice. And so, if I want to import this extra photos folder, we can either import them and then go back and create a new collection, or we can choose add to collection. You see, now we have the collection we just created over here, or we can create a new one. So I'm going to do that by hitting the plus button and call this extra photos and then choose, create and then import. So now we have these two folders right here with in our collections. You also knows that we have those two folders right here within our folder structure. And we also now if we click previous import, we only see the photos from the extras photos folder that we just imported. If we click all photographs we can see all of them now. I'm quickly going to import the rest of the folders of photos that are for this course, and I want you to do the same and then we'll meet up after. So if you followed the instructions, you should have five folders right now like this. Advanced portrait editing, extra photos full adding sessions, panorama photos and practice photos. You'll also see them all right here. So you might be wondering Fill, this is cool. But why would we create our own collections when we can easily find them right here? And the reason is because you can better organize the photos right here. We can actually create master folders and put all of these sub folders within it, which makes it really, really easy and much easier than in the folders category right here, because I believe me. After years of editing and importing literally hundreds of folders of photos, it's much harder to find those folders within this structure. Then, under collections, for example, I could have a collection for wedding photography or travel photography, or I could do it. However I want, I could do 2018 2019 and then by month. But with collections you have much more flexibility. So to create sort of a master folder, choose the plus button right here and choose create collection set. So this is going to be a set of collections. I'm going to call this light room classic CC course, then shoes created. Now this is has a little drop down option. Now, there are any photos in it now. But if I select all of these folders and dragged them into the light room classic Succeed course Master folder Now I have them all within their and I can easily open up all the photos from this course or go into specific ones, which is gonna be easy moving forward with this class now, by simply tangling this up and down, we can more quickly and easily find the photos were looking for. All right, So we still have some amazing options for organizing, filtering and raiding our photos in light room. And we're going to be going over those options next. But now you know a big tool and a big skill in how you create collections to stay organized in light room 5. Rating, Flagging, and Filtering: in this video, you're going to learn how to filter and rate your photos so that you can easily find the photos. You want to add it now or in the future. So I've opened up this folder of practice photos, just the general practice photos. These they're the ones we're going to start working with in the next lessons on actually editing a couple quick things that really quick for making your experience better. You can easily open and close thes windows in light room to expand your workspace. Make it easier to see the photos by clicking these little arrows right here so I can turn off the photo trade down there. I can turn off our menu up there so we have a better full screen view and then just hovering over one of the men use on the top bottom or the sides will actually open it up. Or just clicking that arrow will reopen it up and kind of lock it in place. So once we're done sort of going through an opening up our collection, we don't necessarily need that. Another thing is by clicking the green button up here on a Mac or there should be a similar sort of full screen view button up at the top. You can get rid of your file menu, which you don't necessarily need right now. All right, so in light room, you have different options for rating photos. First off, why would you want to sort of rate or flag your photos? The main reason is to choose the best photos that you've shot toe actually move forward with with editing. Ah, lot of times you'll import an entire folder of photos from a shoot. You might shoot hundreds of photos at a portrait session session or a wedding or something like that, and you might need to go through and pick your best ones. There's different ways to rate. There's a star rating than there's also a flag raiding. And then there's also a color label labeling sort of option. I use the star rating system to add a star rating to a photo. All you have to do is to go to that photo and click one of these star ratings right here. Or you can use the keyboard shortcut, which is the number 1234 or five on your keyboard. and that's a great shortcut, so I can literally go through just with my hands on the keyboard. Press the right arrow button to go to the next photo. Say Yep, I like that photo. Go to the next one and you decide what these ratings mean For me. Five stars. Means is a great photo. Definitely going to add it. Four stars means it's a pretty good photo. I'm still going to edit it, but it's not my favorite photo. So if I'm like posting on social media or something all know ahead of time that only five star photos are really the ones that I should pay close attention to with editing three stars can be whatever that could be for you. Yes, I'm gonna edit it, but it's not a great photo. And then one and two stars might be photos that you're just not even going to edit. So if I press one for example, set that one is one will set. This one is too will set. This one is three. This one is too. And this one is one. Now, with these all have star ratings. If we go through them, you can see that it changes right here at the same time, you could also use the flag rating. So you have these flag or unflagging basically this pic or reject. So the keyboard shortcuts R, p or X. So instead of using a rating system, you want to just pick or reject. You can do that. So say we do This is pick. This is a picture. This is X reject. Reject. This one is a pick. This is a reject, and then this one is a reject as well. You'll notice that has the little flag symbol up here and the ones that are rejects. They're kind of faded out down here in our little trade down here, your photo trade the other way you can label is by giving it a color. So if you right click and choose set label, you can set a label to a different color. Now this again, it's up to you how you use these colors, you could say, Oh, red are my great photos or yellow are my great photos that I want to add it and then green are my not so great photos. So it really is up to you to determine why you want to choose a color label or what you want your rating to mean. Ah, but that's up to you. Let me just set this one to red so that we'll see that later on and you'll see down here. It kind of the background is red. Well said this one right click color label, Blue. So that's all good and everything that we can actually rate our photos. But how do we filter them? Well, we have these filtering options down here in the bottom, right? Right now the filters are off. If you just click one of these filters, it will turn it on. So, for example, we have the accepted and reject filter right here. So if we click the filter for flagged photos on Lee, the flag photos appear. If we click the unflagging photo as well, this means we're now selecting photos that have been flagged and ones that haven't beginning given a flag rating. If I check the flag, but and again, it will turn that off. So you see, you have to kind of double click it to turn them on and then off so I can also just go unflagging or rejects right there. And so maybe you need to go through these again and say, Oh, actually, this one right here is going to be a pick. So if we actually press that button and automatically filters that, it moves it to our flag photos and now it won't appear in our reject bin. Okay, so does that make sense for our flags? Next, we have our star rating. So here we can set our star rating. If we click a star, it will automatically defer to photos that have been giving a rating of three stars or greater. If we click four stars, it will be four stars or greater five stars, five stars or greater or a one star or greater. Or you can click the little equals sign down here and choose what you want it to be. It could be less than or equal to or equal to. Maybe we just want to see three star photos. So you said that to equal to three stars clicking the rating again will turn that off and then let's just turn off. Rating is greater than or equal to, and now it will show all of our photos again. And then, lastly, you can filter by color. So we marked one as red, and we also marked. One is blue so clicking those will open those photos up. These buttons right here are based off of if you've edited the photos or not, so we have unedited photos or edited photos. So since we haven't edited any, if we click on edited filter than all of those will disappear, and you can combine these weaken, say, we want unedited photos that are three stars or higher and red filters so you can combine those types of ratings to however you want at the core, though, what I do is basically using the star rating to say that these are photos I'm going to edit and these ones I'm not, and you can do the same thing with the flag or the not flag. I just like having the stars so that I can also tell myself at the same time that these are the best best photos, these air Good. I'm still going to edit them, and these are just not so great photos. So that's how you filter Photos were also going to look at face tagging in the next lesson and a couple other minor things 6. Face Tagging: The last thing I want to show you is that you can actually face tag people. So that's this little button down here. So first thing you have to do is click this button right here, which will enable sort of a face box. And so, if you have a photo of multiple people, people or one person, you have this little cross hairs and just click and drag a rectangle over their face. I'm gonna type and will because this is my body will. And now it has saved this as will now if I go to the next photo, for example, it will automatically recognize this as a face. But it also recognized that this isn't from will. So I'm going to type in Phil because that's me. But notice if I go to the next one. It already guess is that this is will because it does have some facial recognition and I can just click the check mark if it's not well, for some reason, you can click the Deny and then type in your custom name, but I'm just going to say yes, this is will. So that's how you automatically tagged these photos with faces, but there's another way you can do it. Click this button right here to turn on the people view. And so, if you want, you can ask light room toe automatically look through all the faces in the entire catalog and start tagging or choose only find faces as needed. And you can do that manually. I'm going to say, start finding faces. And if it finds an end named person, you just have to type in their name Sam. And now we have all of our photos that we've imported into this collection that have been recognized, and you can go to the photos with those people. So by double clicking someone's name or the photo, you can open up their specific photos. That's another cool trick in light room Classic CC to do facial recognition. It's not something I do a lot of, but I find some people who take a lot of photos of their family. It's a great way to organize their photos. You can turn off this facial people mode by clicking that button there or pressing O on your keyboard. So those are a lot of the ways to rate flag label and filter your photos and tag them with faces. If you have any questions, please let me know. Otherwise, we're going to move into the editing aspect of light room. So go ahead and open this folder or this collection that you've created of photos, the practice photos, and then head over to the development tab to start editing, seeing that next lesson. 7. Crop and Rotate: in this lesson, we're going to learn how to crop and rotate in adobe light room Classic CC. So select the photo that you want to edit, then click the develop module tab of at the top. Now you have your adjustment options over on the right, with lots of different menus that some are open because I've used those recently. But you can just open these different windows by clicking the arrow or the triangle on the right hand side of the title. And there's also some presets over here on the left hand side to adjust the size of your windows. Sometimes I'm just not using this stuff over here right now, something that click this little arrow on the left hand side and then say, I want even more room at the top and I don't need this menu up here. I can click this arrow. Then if I just hover over it, I can click on it up there, which allows me to have a bigger canvas for editing. Same here. I can click down to get rid of that tap, that sort of tray at the bottom with all our photos. Okay, so to crop you want to click this little box that has, like, the dotted line around the edge, Click that, and that brings up our crop options. You'll also notice that sort of an overlay with corners that look like you might be able to do something with them by hovering over them. Ah, and also this grid, which allows us to use things like the rule of thirds and to strain and horizons and things like that in an easier way. So this photo it's a nice photo. It's a lovely background. Whoever that guy is looks kind of funny, but it's kind of centered and awkward lease to the left of the frame. So I want to use more of the rule of thirds with this photo. So the easiest way to crop of the quickest is just to click and drag one of the size or the corner and sort of drag in her out. You'll notice that right now the aspect ratio is locked to the original. So here's this little lock icon. If I unlock that, I can drag this anywhere I could make a super skinny photo. I could make it super lot wide. And if I finish that? All right, So say I drag it, That kind of ends the cropping, and then I could move my photo around in that crop. This way, when you're done, you just click the done button at the bottom or press the return key on your keyboard. But I'm not done, because that's a really awkward photo and crop. You see now that this aspect is custom, because that's what I create just by clicking and dragging. But if I click this custom menu, you can see that there are different preset options for aspect ratio as shot, which is usually what I leave. And then I just zoom in her out. Or it's kind of like zooming in by dragging in and out and moving around. Or I use one of these other presets like 1 to 1, which is a good aspect ratio for instagram or 8.5 by 11 which is good for prints or five by seven, which is another common print size. You could even enter custom ones like I've done here with 1920 by 10 80 which is perfect for TV screens or mobile device screens so you can create your own custom ones. I'm gonna leave it as shot. But it was gonna drag in slightly and try to put my face sort of mawr on that last line. Or maybe because I'm actually facing I'm turned the other way. I might move myself over here just a little bit. Something like that. Try to get my eyes close to that intersection of these lines so that I'm following the rule of thirds. You can also rotate by hovering over the corner and dragging to the left or right if you want. Try to make my eyes mawr aligned or more parallel along the lines. You also have this angle, which is cool, Cool, quick way to adjust the rotation of an image as well. So say we're happy with that. Gonna press return on my keyboard and now we have cropped it. Let me go find another image and I'll show you. You really quote trick. Let's say this one of Sam in the background. Okay, so in general, you want to make sure that your horizons are are flat. This one's kind of tricky cause there's mountains, so I'm going to stick with this one. Even though there's not a horizon, this is a good example. If we go into our crop, click this sort of ruler tool, this level next to angle. What we can do now is drag along any straight line, which typically would be your horizon. And then light room will automatically rotate the image, so that's perfectly straight across your image. So that's a quick way to actually level any photos that have a horizon in it. Good trick to now. Okay, so let's go back to this photo and we are looking good with our crop. And then the next lessons were going, Teoh, start editing it, fixing things like exposure, white balance and that kind of stuff, too. 8. White Balance: after I crop a photo. The first thing that I tend to do is fix the white balance of an image in first. Really, the reason why I cropped first is so that I don't have to worry about anything that ends up being outside of my crop in terms of editing and making look better. For example, maybe there was a big red ball over on the side that I cropped out, and I would have had to play around with to make look good while editing. But since I cropped it out first, I don't have to worry about it. Okay, so in terms of white balance, the easiest way to do that is under our basic options. And so there you have in this first sort of block right here are white balance options, depending on if you shoot in raw or J. Peg and you're editing a rock or J peg, you'll have different options sort of presets up here in the top, right? I believe that Sam mentioned something about how if you are shooting and raw things like editing color or applying color filters or styles or presets while shooting in camera doesn't matter as much because you can adjust everything later, and that's true. And this is an example of where we can use the as shot white balance or we can choose one. This was kind of in the shade, so let's see what that looks like. It makes everything a little bit too warm, so that's not right. Daylight might look a little bit more natural compared to what was as shot as shot looks a little bit cool. So maybe daylight or you can use an auto selection. That light room has that tries to make it look proper. Sometimes these don't look good, and there are a couple more keyboard shortcuts that I want to teach you right now that will help you out. One is the back slash button. It's the backslash, not the forward slash. A lot of people get confused in the email me and say, Fill, This doesn't work. It's the backslash where you see the before and after before after before. While I'm pressing it down, the other is L, which allows you to get sort of a simple view of your photo without any distraction. So if I do that then before and after with the by slash. That's an easy way to see more clearly. You can also use these buttons at the bottom of this window to do comparisons of actually this one. Let's Dio before and after and then you can kind of just click through and you can change the view split screen or side to side going back here to see the full screen. Okay, so those are the presets now, None of those were really working that well for me. So I conduce a custom white balance with these sliders. The way that sliders work in light room is you can either click and drag to the left or right to adjust them. You double click to set it to what it originally was. Or you can hover your mouse over the slider and use your arrow keys going up or down to jump the slider up or down. And this is a good way to make kind of fine tune your adjustments. So that's how the sliders work. Or you can actually click within the number and type in a specific numbers. Say you know that. Okay, we want this to be at 3200 or whatever. Then that's going to give you put the white balance temperature, the light saying that this light was 3200. Obviously it wasn't because that looks to blue is probably more around 5600 or something like that, and that looks better. So this first lighter is with the temperature. And so what does that make you think of? Well, you're lighting scale, your warmth, your coolness, your kellan temperature. And so if you go to the left, it's gonna make it more cool. Go to the right. It's gonna make it more orange and warm. So let me undo that. You also have this tent which goes from green to magenta. So sometimes depending on the light source that you're using or even in this example, where we were surrounded by green trees and green leaves, it gave sort of a green tent, which you might like, but it might not look so natural, so you might have to combat that by adding some magenta. Or maybe you're under some sort of weird fluorescent light gives that green tint know that the tint slider is where you can fix that. Okay, so if I was doing this myself on this photo. I would probably slide to the right just a little bit to get back some of that warmth and then maybe play with the tent just a little bit going from right to left. Sometimes I like going extreme and then dialing it back so that I can really see what I'm doing and then say, Oh, that's way too much. Let's go back. I don't even know where it started. It started at 19 so just a little bit might help. And again, we can go do the backslash before after it. That looks more natural to me. The other option for selecting your white balance is with the white balance eye dropper right here. If you click this, what you're supposed to do is then find something that is white or neutral, without colors in your image, something that is like a gray that has no color. Because then you're telling light room that what I'm clicking on is supposed to be white, and then all of the other colors around it adjust to that white balance or that white point that you set. Now, this isn't going to work in this image because there's nothing really white. If I click on the green trees, for example, what's gonna happen is everything gets really pink and magenta ish. Because what we've told light room was that this green trees should be white. It should be neutral. It should be de saturated, and so it makes everything else pink. Accordingly, it drags it up that tint slider. I'm gonna under that with Command Z. If I click, say, I think my teeth are perfectly white. It z close, but everything gets a little bit too cool. So this is not a good example for this photo. Let's see if there's another photo with something that is more white. This one, I mean the color. The problem is that the white balance auto setting was really good for all of these photos . So you don't really need. I mean, this might be the best option if I click the eyedropper, click somewhere on the street right here. And that looks better. So if I do before, after and the reason why I clicked down here on the street rather than somewhere in the light right here, which is pure white, and you can see when I click that it says cannot set the white balance here. Please click on a darker, neutral area because if your images over exposed that's not necessarily white. That's just overexposed. And there's not really any information in that part of the image. Four. Light room to see and to use similar to down here on this photo if I click up here. Nope. It's too bright. It's over exposed. So you need something that is well exposed, white or gray to use this color picker if you are, you know, holding up a white piece of paper even here. Actually, this is a good example. This wall is white behind us, and because of the vignette and the lighting, it looks great. But if I click here, it'll make everything look better a little. Make the background look quite actually neutral gray and then all the other colors kind of fall in line, and that's a perfect example of where this looks a little bit too green and a little bit too blue. But using the white bounds picker and picking the blank neutral wall behind will looks a lot better. So that's how you adjust and fix your white balance. In the next lesson will be looking more at adjusting and fixing exposure 9. Exposure: in this lesson, we're going to learn about adjusting exposure. So I've brought open this long exposure night shot, which I think will be a fun, creative one to play around with. In most editing applications, there will be multiple ways to adjust the exposure of an image, sometimes with sliders, sometimes with curved tool, sometimes with what's called levels with light room. The easiest way is under these basic adjustments. With this group of adjustments for tone, you've got exposure contrast, and then you have these other sliders down here which adjust individual parts of an image. So let's go through them so I can show you what's actually happening. Exposure Now, you know, Or you should know if you've taken this class is the overall brightness of your image. So by dragging to the right, you're going to make all areas of the image brighter. Dragging to the left will make all images darker. So everything from the darks to the highlights and I love light room because there's this great hissed, a gram at the top that you can see. Remember when we learned about history rams on the left, you have the blacks going into the shadows into the mids. Over on the right, you have your highlights and then pure whites. So you're blacks are your pure dark. Sure, whites are your pure whites, and those are over exposure and under exposure. And sometimes it's OK if you have some of that. Here we have a little bit of complete white over exposure. That's where the the headlights of this light where So if we adjust the entire exposure, everything moves to the left or to the right, double clicking to get reset, that I'm gonna skip contrast for now, with highlights, shadows, whites and blacks, we can adjust individual parts of our image. So if we just want to adjust the highlights, so this area up here, we can use this slider to bring down, and you can see in our image that it's bringing down and bringing back some of the information of the road down. Below are light streak. If we want to adjust the shadow, maybe bring up some of the shadows so that we get more information in these trees than we can bring that up. Blacks are the darker parts, even darker than the shadows, and whites are the pure whites brighter than the highlights. And that might be some of these stars, and you can bring those up or bring those down. Contrast is something we probably covered in this class before, too. But basically what that is is the ratio between the darks and the bright. So a very contrast E image will have very dark darks and very bright bright. So if I increase the contrast slider you can see and looking at the history Ram is a good option. You can see that the darks and the darks kind of spread out, whereas if we drag this to the left, everything comes into the middle becoming less contrast. Everything is more along the mid range of exposure. So that's what contrast is. And generally when you're editing raw photos that come in sort of flat and not contrast E, you want to add contrast. We've already done that though a little bit by blink, bringing down the blacks and bringing up the whites, we added contrast. If we want to make it even more crazy, we'd actually bring down the shadows and bring up the highlights. This is super duper, extremely crazy. Contrast e and you can see here in the history Ram. It's all blacks and all whites, basically. So let's go back to resetting everything. And with this image, what would we actually want to dio? Well, I think basically what we did, we want to bring down the highlights so we get more of that information down under the street. I don't necessarily need to bring up the shadows. I might actually bring down the shadows a little bit, make the sky a little bit more punchy. The blacks. I might bring down a little bit as well. The whites might bring down a little bit as well, so I'm actually bring everything down quite a bit. When I do that, maybe I'll bring up The shadow is just a little bit. That's looking like a better exposure for the style and going for this. This photo. Well, let me bring in this photo right here, which was one of the examples, not the greatest portrait in terms of composition, because we got this big, bright background that super distracting this line going through Will's head. It's not that good of a composition or framing, but with editing, we can fix some of these things make it a little less intense. So this is the highlight up here. So what would we adjust? Either the highlights or the whites You gotta sort of play around. Some of it might be the highlights, and if I drive us to the left, you can see I get some of that information back. Let's try the whites and yeah, dragging the whites all the way down does help you get some of that brown of the ground and is not completely pure. White now are hissed. A gram is relatively better, a big hill in the middle rather than having things over on the right hand side. That's pretty good. And you can see that Watch the hissed a gram watching the top right as I dragged us to the right. See the triangle on the top, right? Go from yellowed, Read the white. When it says red, it's like warning you like, Hey, you're about to get too overexposed part of your image. If it's in the white, it just means that there's a lot that's already over exposed, so generally you don't necessarily want it hitting the white, maybe part of the red But for this image, we want that part to be exposed a little bit more properly. And so that's why I would bring down the whites there. So that's how you adjust the exposure in light room Classic CC. We're going to continue with the next lessons on some of the other adjustments, like color and saturation at the end of this section or after the saving. Saving an export lesson. We're gonna walk through some complete edits, and I'll show you more of what I would actually do. While I added an entire photo, which might be good, these lessons are more for you to just learn. Here's how you do it and then later on will put it into practice in one whole demonstration . 10. Color and Saturation: The next skill I want to teach you is how to adjust colors and saturation. So we're gonna be looking at overall saturation and then also diving into the H S L panel down here where you can actually adjust individual colors and we're gonna be able to change things like the color of flower, the color of the sky and lots of cool stuff there. Let's go to this image of our night sky and let's drag up here. I'm gonna close down the HSE L panel for now had the bottom of our basic options. We have this presence. We have clarity, vibrance and saturation starting at the bottom. Let's look at saturation Dragging that to the right will make everything all parts of your image more colorful, more vibrant colors drying into the left will get rid of the colors. All the way to the left will make it black and white. So that's a quick way to add more color to your photo. And that looks cool for this image because it's kind of hard to tell what should be natural or not. Having actually more color looks better if we go to this photo of will, and we dragged the saturation up, though pretty quickly it starts to look a little unnatural, right? For faces and skin tones, the saturation slider is not the best one to use. That's what the vibrance one is good for. Vibrance is similar to saturation in that when you drag to the right, colors do become a little bit more vibrant. But it does so intelligently by increasing the saturation of all colors, except for the range around most skin tones. So, dragging this up, you can see that colors like the greens, the reds of will shirt get more vibrant. But wills skin stays a little bit more natural. You can really see with my face, because I know that I have a lot of red in my skin. If I drag up the saturation, it's like, Wow, my skin looks crazy. I mean, the background of this photo looks really crazy, too, but dragging up the vibrance looks a lot better. It's a lot more natural if you want to add color for a portrait, Stick with vibrance. Clarity is not related to really color, so I'll just mention it really quickly, though it basically adds a little bit of sharpness and detail to an image. If I go extreme, you can see what happens. You can see all the details of the my hair of my five oclock shadow, my freckles, my moles, everything. And I go all the way. The left. It gets super sort of dreamy, soft. And so, typically, if I'm doing like landscape photography or nature, all add a little bit of clarity. You can see for this image you might want that to look kind of like a grungy style, and then maybe for Portrait's I'll drop it down just a little bit. But that's not really related to saturation and color, so we're gonna kind of leave it at that. Okay, so that's basic saturation and color again. If you want to make it quickly into a black and white image, just dropped the saturation all the way down. Undo that. Now, let's look at the H s L panel. Okay, so here you might see all of them lined up like this, Or you can click the individual ones hue, saturation, luminant or all. What are these, Hugh? And if you remember the color section of this course, Hugh is basically where the color is in the color wheel on color spectrum, and so we can pick specific colors and change what it looks like. Let's actually go to our flower here so we can pick the yellow slider and adjust if we want this color to beam or green or more orange. If we want this background green blue. I would probably pick this like aqua, and we can adjust that as well. So that's actually changing in the individual colors color. You can also make an individual color look brighter or darker. So that's what or not brighter or darker, more saturated or less saturated. And that's with saturation. And so we can take the yellow and drop the saturation there. You also can make it brighter and darker, and that's what luminant is. So luminous is the brightness or darkness, basically the exposure of an individual color. So if we want all the yellow to be a little bit darker, weaken, drop down the yellow slider brighter and we can bring it up. So this is a cool example. Let's go to this photo because this one has multiple colors where we could say we want to make the background de saturated this green, but the red pop a little bit more. Let's go to our saturation and bring down the green. And then for the red, let's bring the red, maybe more like the magenta up just a little bit. So that's kind of a way toe blindly. Go about it. We can do this a better way in each of these tabs, you see this little dot right here. That's sort of like an eye dropper. It's a tool that allows you to adjust a specific color in your image by clicking on it. So for saturation, if I click this and then I clicked the green in the image and then drag up or down, it adjusted. So if I want to add more saturation, it brings it up, and you can notice that it's also bringing up some of the aqua because there's some aqua tones or Hughes in there. Bring it down all the way. Keep dragging. It's gonna drag. Everything, including the aqua, is down, so we want to decrease that. I can keep this tool on and then click the red and drag up. You might need to do a couple of different parts just toe get the entire image. Short colors. Something like that really makes his shirt pop out. And this actually looks better, because then the background doesn't look as saturated. Gonna bring down some of the yellows as well. You've got to be careful, though, because if you bring some colors like yellow is down all the way, you get rid of the color in Will's face and he looks like a zombie, Which may be what you want. So you might want to combat it by going back and bringing up the saturation of his face just a little bit, which will bring back some of the color up here. But it's okay. You want people's faces to look natural so we can do the same thing with the sky. Let's do the hue. Take this color picker. Now select the sky and adjust it to pink, and you see it's getting a lot of the building as well this Walt Disney Hall, because there's a lot of reflection in their of this guy, So that's why you see it. But I think it looks I mean, it doesn't look natural that the sky is pink, but it looks natural that the building is pink. If the sky is pink as well. If we don't want it to be pink weaken, try to go to saturation and go in here. Ah, that's gonna get all the pink in the sky as well. This one's gonna be harder. You could create masks and do different things, which is a little bit more advanced, and we'll be looking at some of those tools in a second. But for now, that's the HSE L panel. We also have these other two tabs down here. Color and black and white color basically does the same thing, but it's going one color at a time so you can select. Let's go to this flower, select yellow and now you can adjust the hue saturation the luminant all in one sort of window rather than going from one to the next. OK, black and white. If we go here, it turns everything into a black and white image. And this is really where you can get creative with your black and white image, because by playing with different color mixes, it can create a cool black and white image. So say we want the yellows to be a little bit darker and take those down. I don't know if there was much orange, how we can bring up the orange read. There wasn't really much of green in the background. Yeah, aqua in the background so you can see that you can come up with a cool style playing with the black and white mix using this BMW tab. Awesome. So that's a deep dive into saturation and color in a dhobi light room classic CC and in the next lesson will move on to sharpening and noise reduction. 11. Sharpening & Noise Reduction: in this lesson, we're going to learn about detail and sharpening and noise reduction. So in light room, I'm opening up this image at night, which is a good option so that we can see the low light performance of this camera. And that's usually when you would have to do a little bit of noise reduction. So I closed the color tab and bring open our detail panel. Okay, so let's scroll down now. It gives you sort of a preview area. If you want to move that, you can kind of move that around my clicking that little box in the top left and choosing a spot that you want to look at. I think somewhere like in the Sky is pretty good. Or you can just hover over the image in Click to zoom in and then dragged around by moving . You can also press the space bar to zoom in or out, and you can see. I don't know if you can see that well, but on my screen I can see lots of digital noise in the sky. It's made up of all these little pixels, and you can almost kind of see them here it looks like little bits of sand. Light room automatically applies, some sharpening to an image when you're are editing a raw image. And that's good because when you're shooting a raw image, it actually needs to be processed a little bit to have the right amount of sharpening. And that's why this is set to 25 1 25 These numbers right here under sharpening. If you want to make it sharper, you can increase the amount. But let's go. Actually, skip that and look at noise reduction first for this image. So if we want to get rid of some of that digital noise, drag up luminant noise reduction and you can see as I do that everything gets a little bit softer and you start to not see as much of that grain. If I go crazy with it, it gets rid of most of it. But things start to become not so sharp. It almost looks like when you're zoomed in some things painted with like water color. It's not sharp at all, so you don't want to go too crazy, and then you could make adjustments to the style of noise reduction. With this detail, in contrast, and basically this is light room, looking at the edges of things, trying to preserve some of the detail, or if it's okay to get rid of some of the detail toe increase the noise reduction and then the contrast. It's looking at the edges of things. It's really hard to see in this image, but if we drag up here, you might be able to see if I decrease the contrast all the way, then increase the contrast. It brings back some of that detail. It makes the contrast between two colors between the edges of things a little bit more sharp, which actually increases sort of the noise in the image. That's with the luminous noise. And that's the black and white, non saturated noise you get from an under exposed image. You also might have color noise, and if I drag us all the way to the left, you might be able to see a little bit. You see all this little splotches of reds and blues and greens, and so automatically it's getting rid of some of that because this is set to 25. If we want to get rid of even more of that, you could increase it. But in this image, I don't see too much of that color noise at all with the luminous up like this. So I don't have to worry about that. But if you do see a lot of that sort of splotchy nous the reds and yellows and blues, this is the slider that would help you get rid of it. All right, so that's noise reduction. And depending on the image, you might want to add a little bit of that. It also just depends on your settings if you shot at a high rise, So you're gonna get more digital noise that you might need to apply more noise reduction to , And that brings up a cool trick is that you can actually see the different information either by going to your library and going to the metadata. And here you can see if we scroll down, you can see the exposure time you can see the I S o the camera model. But you can also have a little overlay by going up to view view options, which is command J on a Mac control J on a PC click show in front overlay and you can adjust what you see. Click this top one and I'm going to use just common photo settings. And this is going to show your shutter Speed your eyes so and your f stop. For some reason, the Sony wasn't giving me that information. It might have been the lens that he Sam was using. Let's see if we go to this next photo. Yeah, there we go. We have the shutter speed, the F stop, the I s o. And then the lens, which is cool information to have. So here you can see that we did have somewhat of a higher I s So you get a little bit of noise and green and so doing a little bit of noise reduction can be good for Portrait's. And it's okay to get a little bit softer on some portraitists as well. Losing some of that detail is is perfectly fine with me. What about sharpening? Sharpening basically does what it sounds like. It makes photos sharper. Let's go back to this photo. Let's reset it by clicking the reset button down here, which gets rid of all of our adjustments from before and Let's zoom in. If we increase our sharpening, I actually odds digital noise to make things appear sharper by adding grain, it makes the edges of things look a little bit more contrast e and sharp. You can adjust the amount of Scharping Ning and how it's applied with the radius and detail increasing the radius increases sort of the size that is affected. And then the detail also adjusted as well, making it more contrast, e or less contrast e making you see more detail or less detail. OK for landscapes. I would recommend increasing the sharpening just a little bit. Gonna drop that down again. And for nature shots and things like that, you might want to apply a little bit of sharpening as well. Sharpening is not going to make an out of focus photo in focus, but if something slightly out of focus very slightly, it might make it look a little bit better, especially for group photos of people of their farther away. And the focus is just slightly off and can help quite a bit cool. So that's the detail panel. That's your sharpening in your noise reduction and the next lessons we're gonna look at some of the more advanced features. In terms of these basic ad, it's like your effects, which include been yet ing adding grain and D hazing. 12. Vignettes, Grain & Dehaze: in this lesson, we're going to look at these effects and talk about adding style. Tear image. The first is with a vignette, which you are probably familiar with. And at the top of this vignette, you can choose to add a white vignette or a dark vignette by sliding the slider to the right or left so that kind of darkens the edges or makes them sort of white. And what a vignette does is it focuses the attention of the viewer more towards the center of the image, which is great. When you're subject appears in the middle of your frame. You can adjust how the vignette looks. Let me go all the way to the left to show you how crazy this is. And then by addressing the midpoint, it makes it a smaller circle in the middle or a bigger one. So a bigger vignette or a smaller one, let's go all the way to the left and then adjust the roundness more circular or more like a rectangle to make it a circle and then fathering, so fathering Smoothes it out or makes it more of a hard circle. So that's a very stylistic approach I'll I like more of smoothing it out. Highlights will let some of the highlight colors appear to come through the vignette, which makes it look a little bit more natural. Now this vignette looks crappy. To be honest, those looks terrible. This is too much of a vignette, so I would not do that. Let me actually reset. All right, so I've reset my vignette settings. Usually I try to be a little bit more subtle about it, going somewhere around negative 50 increasing the feathering quite a bit and depending on if I wanted smaller, bigger all adjust the midpoint and usually with the roundness. I just leave it as is, which is more of a natural look for the image so we can see the before and after. With our backslash button, you can see how that vignette does look quite natural and nice. Vignettes are natural, depending on the lens that you're using. Some lenses actually have more of a vignette than others, so you can use them. But I would be just careful about using them all the time. Some people like to add vignettes, toe every single photo that they edit. I used to do it when I was starting out, and now I look back at those photos and I face Paul myself because I don't know why I added vignettes to everything it looks to stylistic. So be careful when you're adding a vignette and be subtle about it. So that's been yet. What about grain? Why would you want to add grain to your image? Well, it's purely sort of a stylistic approach back when we shot on film, especially with black and white images, adding grain or green was just naturally part of the film. And so if we want to make this a black and white image, for example, just by clicking black and white, that's a quick way to do it and then increasing the grain that gives it sort of that old time you feel you can adjust. The size of the grain may get bigger or smaller, and the round is making it more round, sort of more choppy, more blocking, more square like. And that's just more of a stylistic approach. If you want to make it sort of that old timey feel. What if you want to add some sort of sea Peotone tow it a quick way to do that? Just go back to our color to make it in color. What we're gonna do is drop the saturation up under our basic just around, like negative 50 or so and then drag up the warmth. This is just a very quick way to do it. There's other ways to do it, but that creates sort of a cool stylistic choice. Let's make the then yet amount more. We're gonna decrease the roundness, decrease the feathering bring in, you know, giving it more of a stylistic look. Now, I don't personally like this, but it's a style. What about D. Hayes De Hayes is good for if you're shooting the sky and if you're shooting on us Hazy day , let me reset this and show you what D. Hayes will dio if I increase this. It actually brings out more of the color and detail in the sky. Now, this isn't the best example. Let me try to find a quick photo that will be more easy to see what d Hayes does. Now You you have this photo under your I believe this is in the Mac photos folder. So if you want to play around with this one. You can. This is of Dodger Stadium. If I increase D. Hayes all the way, look out. Much information is in the clouds. It becomes a little bit more contrast. E a little bit more saturated, and that looks too much. But just doing a little bit helps quite a bit for this photo if we go to the left and makes things more hazy again, a stylistic approach that you might like. I don't personally like it. Usually, though, for landscapes. I do add a little bit of D. Hayes to the image to bring that information back when shooting wide open landscapes, especially in Los Angeles, where we get a lot of smog. And when you're looking out at a big open city or landscape, things are just they just tend to be a little hazy. So those are the effects here in light room. In the next lesson, we're going to learn how to export and save photos, and then following that, we're gonna look at some of these other tools and options that we didn't go over to show you more of the features and capabilities of light room and following that, we're gonna be doing full light room at its to show you the complete process thought a pro editor would use when editing a photo. 13. Exporting Photos: this lesson is about how you save and export your photos from Adobe Light Room Classic CC. So once you have done you're editing either in the developed tab or in the library, you can select the photos you want to export. You can control or command click, depending on if you're a Mac or PC to select multiple photos at random. Or you can select one and then shift click to select a series of photos. You can also go into your library. Might be easier to select photos this way in this view, and you can increase your decrease. The size of the thumbnail is to be able to see them, so I have a few photos selected. Then we're going to go up to file export. Or you can click the keyboard shortcut shift Command E, or you can click this export button down here, right? So let's go through all of these options. Starting at the top first is where you are going to export. Typically, you're just going to do hard drive unless you want to email it or burn it to a CD or DVD. Nowadays, hard drive is really where you're going to export it, and then you do whatever you want, like posting it online or burning it or whatever. Next, you choose your location. So if you want to export to us specific folder, they have some sort of quick hit options like your desktop, your home folder, your pictures folder, the same fuller as the original photo. What I'm going to do is a specific folder and then down below. You choose the folder by clicking Choose, It's going to open up your finder or, if you're on a PC, your documents. Now let's go into light room Classic CC. I'm going to create a new folder by clicking the new folder button and calling edits Click , Create, Click Choose. All right, so the next thing you can do is you could put it into a sub folder in that folder. So you might be like this is round one or whatever, but I'm just gonna leave it as that. And then let's just skip to find naming. It gives you all kinds of custom options for naming Could name as the file name, which is saves it as whatever the name of the foul was, except in the format that you're saving it to, which could be like J Peg or as a raw photo will get that down here. Or you can do some sort of sequencing. And that's what I love about light room. It makes it easy to create a sequence of images, so I'm going to choose custom name sequins and I'll call this light room classic Sisi at it , and then you start the sequence at a number you can do a one you can do. It started at 10. You can do it at really whatever, and it will export them and do it. Name it this and then one than this than to all right, so video we're going to skip because we're not exporting video for file settings right now . It's on original, which is it would save it as the raw file format that it came in. We're going to choose JPEG. They also have PSD, which is a Photoshopped filed tiff and DMG. Those air more advanced files, but you really don't have to worry about those options unless there's a case for someone. Ask you, Do you have a tiff image? Usually, J Peg is perfectly fine for exporting and saving online or using an any sort of graphic or printing. Even once you select J. Peggy of the quality, leave it at 100 unless you want to decrease the quality to save space. To make the file size a little bit smaller, you can either do that by decreasing the slider here. Or if you have a specific file size, check this limit foul sized to and then put in the number of I believe that's kilobytes, that you save it, too. So 1000 kilobytes or one megabyte might be the limit that you have for uploading a video online or if you're posting your photos to your own website or portfolio to make sure that you're your Web page loads fast enough, you might want to limit to a specific size like 1000 K for space or color space. Just leave it as S RGB down below. You can resize the image, so notice that there's two different things. File settings and limit. Foul size is about the size of the file. The image size is the dimensions and the pixels of your image. So if you have a specific pixel length or sought with or height that you wanted at. You can check resize to fit, and then you would pick either or both with and height that you have a max of so say for your website. You only want to upload images that are 500 pixels wide, and you can change from pixels two inches or centimeters. Usually, we're working with pixels on a computer, so the with will be a max at 500. And then, if you leave the height blink, it will end up being whatever it is, depending on the aspect ratio. So if it's a portrait, the with the height will probably be taller than or greater than the with. If it's a landscape or a horizontal photo, the height will be shorter than 500. So let me just put this at 1000 to show you as an example, or I always recommend choosing this. Don't enlarge so that it doesn't actually enlarge your image. If you're working with an image that is too small or something, which generally doesn't happen in terms of resolution, this is pixels per inch. That's usually what I would use, um, here in the States of you works in another country, you might be more used to pixels per centimeter. 1 50 is a general good rule for images that you're posting online. You could go up to 300. If you are printing 75 is generally pretty good as well. And changing this will make the file size bigger or smaller, so I generally just leave it at 1 50 They have this option for output sharpening, which is sort of an automatic sharpening that they add, which might be good for printing. So if you are printing, I would test it out to see if you like it or not. If you've already added sharpening in the development and editing, you don't need this necessarily. But if you haven't added any sharpening, you might want to just add a little bit of sharpening for Matt paper or glossy paper, depending on how you're printing, we talk about printing later on in this course. If you're interested in more of that, I generally don't add sharpening for the screen, though if you want to make your foul size a little bit smaller, you can decrease the metadata that is included. This is off the camera information that copyright information. And so you could just choose copyright only if you want or contact information. We're almost done, everyone. So hopefully your was still with me. We have a watermark. It's super easy to create a watermark. Just check on that box. Goto edit watermarks that's going to open up a new window here at the bottom left, you can add your name and then over on the right. You have all your options for the font size, the opacity. You can have effects, making it less opaque or more opaque. You can also adjust the size over here. You can put it to a specific position if you want to centered. If you want it completely over, you know the middle. You can do that so you want are just sending a test. You could make it like that. You can also increase the size by clicking and dragging right here on the images. Well, okay, so usually you'll just put something down in the bottom left corner. Something like that. You can also add an image by going up to image options and clicking shoes. Say you have a logo or something like that, you can add a logo overlay as a watermark, then you can save it. If you go up to here, click save current setting as a new preset, and then that will be a preset that you can use. So let's go ahead and cancel. Let me just show you. If I add the VSO logo, let's go toe edit watermark, it adds. This is my old videos con logo to the bottom left. So that's something that I've saved in the past. I don't generally add watermarks, but it's a good way if you're posting online and you want to make sure that no one is stealing your images, or if they do, at least they have a watermark of your image or of your information on it to do that. Lastly, post processing This is just what happens after you're done exporting. Do you want it to show in your finder or your documents? Do you want to continue editing and photo shop, or do you want to do no? Nothing. Usually I just say show and finder so that I'm I know it will pop up when it's done. Click export. Once you're happy with all your settings, and after it goes, you'll see a window pop up. And now we have have all my edits. I can see here the size so all of them are 1000 wide. This one's 3000. And because the aspect ratio for all of these images was the same, the with is this. The height is the same to 6 67 j peg. The size of each image is a little bit different. That just has to do with some of the editing, the colors and things that adjust that change. How much information is in an image? Now we can take these photos, share them with world, post them on instagram, post them online sharing with your family printed out, and that's how you export with Adobe Light Room. If you have any questions, let me know otherwise will seem another lesson 14. Lens Corrections: Chromatic Aberration & Profile Corrections: Now you know the basic way to edit a photo to save it, to export it. So you should be able to take a lot of your photos that you're taking, make them look better, fix things like exposure and white balance and save them and share them with the world. But I want to continue to teach you some of the awesome features that Adobe Light Room C. C has to offer. So I'm gonna go through some of these other editing options now that we haven't gone through. In this lesson, I'm talking about lens corrections. It's really quick technique or trick that will quote unquote correct the way that your lens sees. So there's two options, and if you select a photo, you'll see that you none of these air are checked initially, so you have two options. Remove chromatic aberration and enable profile corrections. Chromatic aberration is a color sort of distortion. That may happen, and you may see along the edges of things in your photo, like purple lines or red or green lines or some just sort of color distortion. So if you see that in an image, you can check that on and it will try to remove it. There's not really any showing up in my photos right now, but I just wanted to make that note enable profile corrections. Though this will definitely change something watch wouldn't what happens when I check this . See how this image this wide shot gets a little bit. Well, to me, it looked warped. UNB ends, and then the vignette around the edge becomes a lot lighter. And that's basically what this profile corrections does. If there's a vignette ing that naturally comes from your lens, it will try to remove that so that there's no actual vignette and it looks more natural, as if you were just there in the moment. Looking at this scene, you'll notice that it has the lens profile from the camera and lens we were using. This was Sam with his Sony, his 16 to 35. If this doesn't show up, if you're using an older camera that doesn't include the metadata that's for the lens being used. You can go through and choose specific lens. It has pretty much any lens that you're using, and depending on which lens you choose, it will try to fix it but you want to make sure that you're using the same lens that you're actually using. You can also go forward and do some manual adjustments down here. Teoh fix the distortion or the vignette ing even more so. If I do this distortion, you can kind of see what's happening. It's kind of stretching it. It's flattening it out. It looks like it's treading, stretching it, but it's actually flattening out the image. And then same with the vignette ing. It's gonna keep the vignette, the natural vignette or it's going to remove it, so that could be kind of a stylistic thing. I'll just show you one more image. This is the macro photo. So here, if we check on enable profile corrections, you can see it's very subtle, but it basically flat in South image. No one's really gonna notice. Unless you're using a very wide lens like a fish islands. It will be more pronounced if you just click the manual buttoned up at the top. You can adjust things like the distortion, and this is kind of extreme. You can get kind of cool effects if you want. If you check on the constraint crop When you do that, it will increase the size of your photos so it doesn't have those white edges on the sides . When you are doing a distortion adjustment, then you have the D fringe, which is what the what is happening with the chromatic aberration. You have this fringing on the edges of things, and you can kind of see in this image. There's this green sort of edge to this pedal right here. So if we take our eye dropper and we go to the edge, pick a fringe color, which is this green, and then we do the before and after. It's so subtle. It's so hard for you to see. But I can actually see it with it before you see the green after without the green, so that can help slightly and you can adjust the Hughes and the amount that you're selecting. It has the purple or the magenta amount and then the green amount. That's basically the colors you get from chromatic aberration, and you could increase sort of the amount of colors you're trying to de fringe. If I do that, you can see the edges become sort of like highlighted like glowing, so I don't want that necessarily. So I'm gonna undo that. Go back to where it was, so that can help fix the colors on edge. And, yeah, that's pretty much all you have to know about the lens Corrections profile. If you have any questions, let me know. But play around with it, these air again, things that are a more advanced level. But it's something that you might be interested in if you're getting very particular with your photos. Thanks a lot for watching and we'll see you in another lesson. 15. Color Grading Wheels: In this Lightroom classic tutorial, I'm going to show you how to use the color grading wheels, which can turn a photo that looks something like this to something like this. This is an update that swapped the split toning tab for this new color grading tab. Here's another example of what you can do. You can really go wild with it if you are used to split toning. Basically what this allows us to do, instead of just adding a color tint to the shadows versus the highlights, we now have a mid tones option. So I'm going to walk through everything you need to know to understand how to use this and also what the process of when you should apply this to your photos. You really want to have a base at it first, meaning you want to adjust your basic sliders. You want to adjust your even your HSL color sliders if necessary. I've made some basic adjustments to the white balance and the exposure. But the color grading option really gives us the ability to give it a style. So let me walk through how this panel works. So the first tab and these are buttons up here, will show all three color wheels, shadows, mid tones, and highlights. If you click on these other buttons, it opens up each color wheel larger so that you have more control. And then the last button is a global adjustment. And if I just click in the center of this wheel and dragged around to the edge of the circle, you can see what's happening. You're giving a tint to your photo. And with the global adjustment, it's applying it to all tones, shadows, mid tones, and highlights. The further out to the edge of the circle, you're going to add more saturation. Another thing to know is this drop-down right here, where you can fine tune a specific hue saturation. If you have a certain style and you're always trying to add a 222 blue hue, then you can dial that in right there. You have your specific saturation slider here, as you can see, this moving in and out, which just gives you more fine tuning. The luminance slider is just that. It's luminance. It's the brightness of this tone which were on global. So this is going to make the whole image brighter or darker. I wouldn't recommend making your general exposure adjustments here in color grading, this is sort of a last chance or a follow-up option for just fine tuning the brightness of your different tones. But you definitely want to start with your basic slider or your tone curve for your exposure. So let me jump in and show you how this would actually work. You probably noticed I skipped blending and balance, which I'll get to in just a second. So here for this photo, for example, I might want to add a little bit of more of a deeper blue to my shadow. So here I'm on my shadows. I'm going to take this dot in the middle and drag out. And if you want to reset anything, just double-click inside the wheel. So I'm going to drag this out a little bit, goes a long way so you gotta be careful with it. So I'm just going to drag it out here to start with the luminance. I think I'm also going to bring just down a little bit to make those stars pop even more. Now I'm going to move to my mid tones. And right now I, just, from my eye, I'm not exactly sure what my mid-tones are, so I'm just going to drag out all the way and just sort of swing it around and see what might look good. Now I could go and do something super creative like this. Add some pink magenta to those mid tones, which really highlights this long exposure and the red light of the brake lights going around this curve. So I think something like that works. Maybe bringing down the luminance, just a touch. And lastly, highlights. For the highlights, I am thinking I'm probably going to want to add a little bit more warmth. Although if you want to, you know, around blue, that looks kinda cool too. I don't want to double up with some magenta with the highlights and the midtones because that looks a little bit too much. Maybe backing over to the blue is nice because we have this sort of magenta red and then the blue highlight of the lights had lights of the car. That's kinda neat. So this could be a starting point. If I go back to my overall view, you can see all of the adjustments I've made. You see the luminance slider down below. You can even turn toggle these on or off just by clicking and holding it down to preview it. The two sliders at the bottom that we didn't cover our blending and balance. Balance is, if you remember, split toning is similar to that. It's going to balance the strength of. What's happening to the highlights first, the shadows. So if I drag to the left from 0, it's going to make what's happening in the shadows and the lower mid tones more powerful. So we're adding more blue and magenta right? Now if I swap this over to the right, it's going to make what we did to the highlights more powerful and the shadows less powerful as we can see with the highlights which we added this sort of teal cyan color. So this is sort of another place where you can decide, okay, well, do I want to change that balance? And then blending, sort of blends what we're doing to all these different tones together. So the higher the blending, everything we're applying gets sort of blended to all of the tones. Versus if you want very specific sort of lines or ends of when shadows star and when mid-tones begin. That's what blending is. So increasing the blending, we'll make the color sort of overall look. I think look just like that, more blended and that can look very much more natural than a and an blended at it. But it all depends on the photo you're working with and the style you're going for. I think blending it just a little bit. And then here we just have two completely different styles. If I balance it to the highlights, it looks not natural at all. If I go a little bit down to the shadows, balance or making those more powerful at negative 24, I think this looks pretty good. We can always look at the before and after of the entire photo with the back slash button. So here's the unedited raw photo, here's the edited photo. Or just for this one, color grading, you can turn this view on with this little slider up here. I think that adds a lot more nice color to this photo, makes it a lot more unique. Let me just show you another photo just to show you what you can do. Let me actually quickly show you this photo of the Walt Disney Concert Hall. I'm just going to show you what I did. I added a little bit of coolness to the shadows. I added a little bit of warmth to the midtones and then also even more warmth to the highlight. Now if I go back to the global, you can see if I take off some of these adjustments, you can see what it's actually doing. And it really is bringing out sort of this warm as if it was like Sunrise beating down on this metal, metallic building, which is pretty cool, but it's also bringing out the blues and the sky. And I actually brought down the luminance of that just a little bit. Balance and blending I left the same. But if I blended it more, you can kinda see what's happening because I've added gold or cold or yellow warmth to the mid tones and highlights when I blend more, the entire image gets a little bit more warm. But also you're starting to see a little bit of blue added to those highlights and midtones when I blend it more. If I do the balance all the way to the right, we're just getting all of that and that warmth versus to the left, it's all that blue. So I think here we're just going with sort of right in the middle. If you have a portrait, this is another way to give a nice style. So this is our portrait of Will. Basic edits done. You can see the before, after just a little bit of adjustment to the exposure and the color white balance. Here, you might want to give a style to our shadows, maybe a little bit of coolness to our shadows are mid-tones as well. And then our highlights, we're going to warm up. This is a very sort of comment edit where you add blue to your shadows and mid tones and then add a little bit of warmth. Maybe you want to add a little bit of green or teal to your highlights that gives it sort of that Miami Vice feel. And let's just play around with our balance if we want to warmer, cooler. And here we can go on, off. Now that's sort of messing with our white balance, right? Because now it's not perfectly white balanced the way that we adjusted it before. But that's what color grading is. You're giving it a style and you're not necessarily wanting your colors to be exactly what they should look like because you want it to have a style. I'm adding a little contrast here. Again, I think the overall exposure adjustments you should be doing with your tone curve or your exposure sliders. Now you can go completely crazy with it there. Something like that looks pretty good. And then I might go back here for this actual edit. Dropped down our saturation overall. It's kind of a cool look. Alright, so hopefully now you know what the Color Grading panel is and does how to use it. If you have questions, let me know. And hopefully you're as excited as I am about the new possibilities that you have with this new feature in Lightroom Classic. Thanks so much for watching and we'll see you in another tutorial. 16. Lightroom Calibration Tutorial: In this tutorial, you're going to learn how to use the calibration tools in Lightroom. Here's a quick before and after to see what you can do with just this tool. I think the best thing to do first is to understand what is actually going on. So calibration is actually changing how Lightroom processes colors. Different camera manufacturers actually read and process colors differently. So that's why you might say that's Fujifilm has great skin tones and canon as well. And maybe Sony has great bold contrast, the colors or the sky is really pop in XYZ type of camera. And it really is how colors shot on different cameras are processed and viewed. With the calibration tool. We can actually go in and change how the reds, greens, and blues are process both via the hue and saturation sliders. And this is going to be different than what we see in the general saturation and hue adjustments or the HSL panel. And I'll show you in just a second. If I take the hue of the reds, for example, let me change this. Notice what happens to this color wheel. All the colors change. And you might be wondering, well, why are all the colors changing? I thought we were talking about red. Well, all colors are made up of reds, greens, and blues. And when we are changing the hue of the red part of red for example, well that's going to change, but there's red and yellow. And if we change how red is processed, that yellow is also going to change. Similar to the greens, the blues. And same with the saturation D saturate, make it more saturated. This is different than HSL, where if we want to change just the hue of red, what happens is it just changes the hue of what's actually seen in the photo. Not the underlying color balance or mixture of every single pixel, but just what you see in your photo that's read it, changing the hue of same with the saturation here. If we want to drop down the blue saturation, It's just dropping what Lightroom sees in the photo as blue. I hope that makes sense. I know it is a little bit confusing. Now let's look at this photo for example, to show you again, say we want to get rid of red while you would go to the saturation and drop the red slider here in the HSL panel or take the eyedropper, select that and it's going to get rid of, rid of the red and orange saturation there. That's different than the calibration. If we get rid of the saturation of the red primary, it's decreasing the red color that's within all colors. Or it's changing the hue of red in all the colors. And it's a more balanced, natural process to make minute adjustments to colors. So hopefully now you understand how it's working. Basically, calibration applies to the whole picture because it's changing every single pixel. And HSL is just looking at the individual colors that are represented visually that you're seeing. Why would we use this? So the first is to make some minor adjustments to things like skin tone or white balance. So here I have a picture of myself. One thing I find that with my Fuji Camera, I often find that the reds in my skin or a little bit too red. So I can come in here and drop the red saturation of red primary and get a more natural looking skin tone that I think I have the natural state. Now, that's good for my skin. It's a little bit under saturated and maybe I want my blues to pop a little bit more. So I can go in here and boost the saturation and my blues in here. If we turn the before and after, It's a very subtle adjustment. I can push it just a little bit so you can see more of what's happening. But my skin isn't as splotchy as before. Now, if I did that with HSL, Let's take this again and I drop the red. Notice, especially my lips. What happens when I drop the red? It starts to look. And if I push it far, I started to look more like a Walking Dead zombie. And that's just because it's looking for red in the image. So it might find some here and here and here on the shirt and it's removing or reducing the saturation there. Whereas with calibration, my entire face has some red in it. And it's decreasing the saturation of that red in every single pixel. Hopefully that makes sense. So, so for skin tones, this is great. Now on a different example, here's a photo. This was from unsplash.com, David Iraq query. So for this example it has this sort of like muted green tone to it. So the skin tone doesn't look too natural to me. I will add some red here, add red saturation, and maybe make some minor adjustments to not the red primary hue, but maybe to the Green Primary Hue. Boost that just a little bit more towards blue compared to yellow. And even adding a little bit of saturation to the blue helps, in my opinion. So you can see the before and the after, before and after there. Okay. So skin tones is a great use for this. Now there's another reason you might use this and that's more for style. So here we have this photo, a sunset. This is also from Unsplash Tim bug Deneuve. Here. We can use the red primary. It's great for sunsets and boosting the warmth in a sunset so we can increase the saturation there. Here. Then if we want to change the hue of all the reds, we can make it a little bit more yellowy, pushing it this way, or a little bit more red. I'm just going to push it a little bit more yellowy there. And then I'm also going to increase the saturation of the blue. Play a little bit around with the hue as well. So here we can see the before and after. And so when developing a style of yours and your photos, you might want your blues to be super-rich and saturated. And so coming here to the calibration panel initially when you're editing photos and boosting the saturation of blue primary might be the way to do that. I'll show you one more. So here is another landscape photo I shot. Here's the after as you saw, here's the before and you can see what I've done. I've boosted the saturation of the red primary. I also made it more orange compared to sort of magenta that was naturally had. Then with the blue primary, I also boost the saturation, but then I dropped the hue to more of a cyan. And that's because I wanted that more gold blue look compared to what? This is a little bit more of a muted magenta and grayish blue look. When I do that, it not only changes the colors of the blues and the water and the sky, but also because we're adjusting the entire photo, it adjusts the yellow and these trees, the green in these trees, and the entire image, and the colors, our process differently. Now, you might get a similar thing if you just go into our saturation adjustments and we adjust the saturation, maybe we try to warm it up. Not really. It's not as simple as just changing the white balance or the tint. Here in our basic settings. Now we might be able to do something a little bit better with HSL where we are. Let's go ahead and pinpoint the saturation of our sky. Blue. And then maybe we play around with the hue of the purple and these mountains. You can see that for that sort of quick adjustment, it's not really working as well as the calibration panel. And this is just focused on these specific areas and it can start to look a little bit splotchy when you push it too far. The HSL panel, as we've learned in my other tutorials and the course, It's a great panel to use for different things. But in terms of basic colors science, and how colors are processed in your photos, it's a great panel to start with, to one, fix some minor changes to things like skin tone. But also, as we've seen, to come up with more of a style in your photography. And that's up to you to decide what your style is going to look like. Maybe you want your reds, you don't like yellows. You want your reds to be a little bit more pink or magenta. All that is up to you to decide and come up with a style unnecessarily. But hopefully now you know how to use the calibration tool, how it works, and potentially how it can make you a better photo editor. Please let me know if you have any questions and I'll see you in another tutorial. Have a beautiful day. 17. Removing Blemishes with the Healing Brush: in this lesson, we're going to learn how to remove blemishes within light room. Classic CC. So here I have this photo of will beautiful shot, nice, shallow depth of field by Zoom in here will. I'm not sure if this is a mole or a pimple that's growing. And again I usually try toe leave any sort of blemish. I don't do a lot of retouching, but I want to show you how to do it if you want. And this is the perfect example. So see this tool right here next to the crop button. Just click that, and that's our sort of blemish removal. If you hover over your image, you'll see sort of two circles. One is the main selection, and then it feathers out the edge. So if you see here, we can change the size. It's a little bit hard to see. Let me make it super big, and then the feathering will make the feathering bigger or smaller and have a harder edge. I like to increase the felling quite a bit, and then you could also adjust the opacity of this brush, which will basically adjust the strength. But try leaving it at 100. You also have two different types of brushes. Hell and clone were using the hell brush, which is what I would suggest for removing things like pimples or blemishes. I'll show you a good example of using the clue in just a second. So if you find the blemish that you want to get rid of, just click on it or click and drag over it and then you'll see that light room automatically tries to get rid of it. And what it does is it tries to take another part of the image that's similar in terms of color and exposure and blend it with the part that you tried to get rid of. And you can see that this second circle appears and that's the circle that it's taking from . And if we click done so that we can see it without the circles, you can see that it looks pretty good. I mean, it's basically gone away before after before. After this does have, ah, white balance adjustment. So you're seeing that. But that little pimple or whatever it is, goes away. Let's go back to our brush and to go back to that adjustment we made. You'll see this little dot where we created it. Click on that one to edit that part. Or, if you want, you can click anywhere else to create a new adjustment, but say it doesn't work properly and say it's pulling information from a part of the image that's not good for blending. What if I put this over here? And I can do so just by clicking and dragging? Look at what's happening. I'm telling light room that I wanna replace this part that I clicked with this part of Will's eyebrow. Well, obviously, that doesn't look that good. So you want to make sure that you're putting this circle somewhere near that looks similar to the spot that you want to remove, and so you might have to make some subtle adjustments after the fact. Usually, light room is pretty darn good at this. Here's a good image, actually, Just speaking of chromatic aberration in the past couple lesson or two lessons ago, I think if we click on this mm, the automatic one doesn't work that well. But if we got a manual, see this green edge? If we take our color dropper and we find it, you've got to be particular about it. Sometimes if you don't get the green perfectly, it's gonna say, Oh, we can't use that. So we till the eyedropper shows green Ah, trying to find the exact spot. It's gotta be Yeah, there we go. So with that one, we can get rid of that sort of green chromatic aberration. Maybe make it a little bit bigger. Yep, there we go. That's getting rid of that aberration. Anyway. Sorry, that was sort of a distraction. I apologize. I try not to do that. So let's go back to our blemish brush, and I'll just show you one more time. What? This conduce. Oh, just click there. It takes the information from over here. We might want to move it to just above here, and that looks pretty good. Okay, so let's zoom out. And I'm just zooming out and in by pressing the Z key on my keyboard. Zoom out, zoom in, zoom out. Let's go to another picture. Let's go to Let's go to this photo of art night sky. Say we want Teoh. Add mawr stars to the sky. We can actually use that brush to clone things rather than to remove things. So if we left this on hell and we clicked on these stars, it would get rid of it. But we won't don't want to do that. We want to add more stars. So let's click the clone brush, zoom in so we can see a little bit better. And then I'm just holding the space bar down and clicking and dragging with the move tool. To be able to do that the way that you use the clone brushes a little bit opposite. So first you want to click where you want the cloned object to eventually appear. So let's click somewhere where there aren't any stars here, for example, and then it's going to pop up with Circle, saying that we're gonna copy this circle to that place where you just clicked. So if I dragged us over to this star, then it adds it there. If I drop the opacity, you'll kind of see what happens. It it gets rid of that star star that we copied. It makes it less opaque, so typically, if you want a exact clone, you'll keep this at 100. If you want it to be sort of