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

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Adobe Lightroom Classic CC: The Easy Photo Editing Course

teacher avatar Phil Ebiner, Video | Photo | Design

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

56 Lessons (7h 33m)
    • 1. Course Introduction

    • 2. Download Your Practice Photos

    • 3. Importing Your Photos

    • 4. Organizing Photos

    • 5. Rating, Flagging, and Filtering

    • 6. Face Tagging

    • 7. Crop and Rotate

    • 8. White Balance

    • 9. Exposure

    • 10. Color and Saturation

    • 11. Sharpening & Noise Reduction

    • 12. Vignettes, Grain & Dehaze

    • 13. Exporting Photos

    • 14. Lens Corrections: Chromatic Aberration & Profile Corrections

    • 15. Color Grading Wheels

    • 16. Removing Blemishes with the Healing Brush

    • 17. Graduated, Radial & Brush Filter Adjustments

    • 18. Adjustment Brush Presets

    • 19. Range Masks

    • 20. Using, Creating and Importing Presets

    • 21. Color Profiles

    • 22. Speed Up Workflow with Presets

    • 23. Stitching Together a Panorama

    • 24. Merging an HDR Photo

    • 25. Automatically Fix Exposure & White Balance

    • 26. Enhancing Eye Color & Changing Eye Color

    • 27. Whitening Teeth

    • 28. Smoothing Skin

    • 29. Removing & Smoothing Wrinkles

    • 30. Enhancing Lips & Changing Lipstick Color

    • 31. Enhancing Cheeks & Face Contouring

    • 32. Full Portrait Edit

    • 33. Editing a Portrait of a Woman

    • 34. Editing a Night Photo

    • 35. Editing a Long Exposure Photo

    • 36. Editing a Product Photo

    • 37. Editing a Nature Photo

    • 38. Editing an Action Shot

    • 39. Editing a Landscape Photo

    • 40. Editing a Travel Photo

    • 41. Editing a Couples Portrait

    • 42. Editing an Architecture Photo

    • 43. Editing an Aerial Photo

    • 44. Editing a Street Photo

    • 45. Editing a Macro Photo

    • 46. Editing a Pet Photo

    • 47. Editing a Maternity Photo

    • 48. Editing an Interior Nursery Photo

    • 49. Editing a Portrait of a Man

    • 50. Editing a Sports Photo

    • 51. The Map Module

    • 52. The Book Module

    • 53. The Slideshow Module

    • 54. The Print Module

    • 55. The Web Module

    • 56. Conclusion

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About This Class

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

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

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

Start editing photos in Adobe Lightroom Classic CC (formerly Lightroom CC) today!

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

Key Topics in this Lightroom CC course:

  • Navigating the Adobe Lightroom Classic CC application
  • Importing and organizing photos
  • Fixing white balance, crop and exposure
  • Hue, saturation & luminance adjustments
  • Sharpening and noise reduction
  • Vignettes, grain and dehaze filters
  • Using and creating presets
  • Lens corrections
  • Removing blemishes
  • Gradual, radial and brush adjustments
  • Improving portraits and photos of people
  • Exporting photos and adding watermarks
  • and so much more!

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

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

What do you get?

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

Who is this course for?

Whether you are using Lightroom Classic CC or a previous version of Lightroom, this course will teach you how to use the program to its fullest potential. This course was creating for beginner photographers, and advanced photographers looking to learn a new application.

Our Promise to You!

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

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

Go ahead and click the enroll button, and we'll see you in lesson 1!



Meet Your Teacher

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Phil Ebiner

Video | Photo | Design


Can I help you learn a new skill?

Since 2012 have been teaching people like you everything I know. I create courses that teach you how to creatively share your story through photography, video, design, and marketing.

I pride myself on creating high quality courses from real world experience.


I've always tried to live life presently and to the fullest. Some of the things I love to do in my spare time include mountain biking, nerding out on personal finance, traveling to new places, watching sports (huge baseball fan here!), and sharing meals with friends and family. Most days you can find me spending quality time with my lovely wife, twin boys and a baby girl, and dog Ashby.

In 2011, I graduated with my Bachelor of Arts in Film and Tele... See full profile

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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. 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 subtly faded out. Then maybe you would decrease that. So you want to increase the size of your brush and move on to do another cloning. If I increase the size of the brush right now, I still have that old clone sort of selected. So what you have to do is actually click and then adjust the size, and that will allow you to adjust the size of the new cloning. So now let's take this over here and after does its magic. It copies these stars over here to this circle, the clone tool you could use similar to the brush tool healing brush tool to remove blemishes. Let me show you if I zoom in here to Will's face back on this image, let's go back to our brush. Let's select this one and delete it by selecting and impressing the delete key. If we use the clone tool the same way, let's make it a little bit smaller. Click here. It's doing an exact sort of copy. It's not blending in at all, so the healing brush is better because it sort of intelligently blends in whatever your selection is with the place you're trying to heal, but the clone, it's just a direct copy. So let's actually go down toe Will's eyes and again. Actually, let's delete this one. So just press the delete key. Click his I actually, no, if we want to duplicate is I will click here in its forehead and then dragged his I That one looks pretty good, and so that's an exact copy of his eye. And that's different than the healing brush, which would be more out of a blended in image. Tryingto hell, it basically. So the clone tool is a little different than the healing brush because it's a direct copy. It's not trying to blend in and heal it naturally, to remove things like blemishes. If you have any questions about these tools, let me know. Otherwise, we'll see you in another lesson. 17. Graduated, Radial & Brush Filter Adjustments: in this lesson of the light room classic C C section. We're going to be teaching you how to use the graduated filter the radio filter in the brush adjustment. Filter these air really cool advanced features that allow you to just edit parts of an image. So let's start with the graduated filter. And to do that, we're gonna open up this image of the Walt Disney Hall. Click this one right here. It's the rectangle next to this I, which is the red eye removal. We haven't gone over this, but it's basically you. Just click that, and then you click on the eye of the person or whatever that you want to remove the red eye . So click this little rectangle over here, which is the graduated filter. Think of this as a filter that allows you to edit 1/2 of the image or one part of the image I have of the top, the bottom, the left or the right. When you hover over your image. With this tool, you have this little plus sign. Clicking and dragging will create these three lines that will create this filter. So if I do this, it's better if I just show you what's happening and I let go, nothing has happened yet. I can check this box down here. Show selected mask overlay to show me the selection that I will be editing. So basically, when you click and drag, it's going to start, and it's going to apply any effects to the part where where you clicked from. So let me delete this by clicking this dot in the middle and then deleting it on my keyboard. So if I click and drag, it's going to affect everything on the left because that's where I started. If I click and drag this way from right to left, then it's going to slight everything on the right hand side. So let's go do this to the sky, though, because I think that's really what we want to dio and again, this is just to show the selection. This is not actually editing anything. This guy is not pink now, so let me turn that off because now we have all of these adjustments over here, which are basically similar adjustments to what we've done before. But we can adjust just this top part of the image now So if we want to change the the white balance of the sky, we can adjust the white bonds with this slider, making it more blue. For example, If we want to adjust the exposure, we can make it brighter or we could make it darker. With exposure, you can adjust things like the contrast this highlight shadows, whites and blacks, which you learn how to do with the basic adjustment. You can do things like clarity or D hazing specifically for the sky, which is a good option when you're doing landscape photos. Instead of applying the D haze that appears in this effects option, which have would basically apply the D. A's to the entire image. This allows you to d. Hes just a part of the image. You can add sharpness. You can do the D fringing. You can increase or decrease the noise, so these are all specific adjustments that are happening to just part of the image. So let me just make a crazy effect so you can kind of see what's happening. Let's make the exposure darker. So how does this sort of lot these lines work? Well, we can now rotate. This graduated filter by clicking the middle of the lines one of the middle lines on the left or right of the die and rotating, clicking and dragging. Or you can click one of the outer lines and increase or decrease basically the feathering. So if you want sort of a hard edge, you can do like that. To move this middle point, you can click it and drag it up or down and again. If we click, the bottom line is going to increase or decrease the feathering. So this looks pretty intense. I mean, this is kind of unnatural, but if you want sort of that dark sky at the top, maybe something like that might look a little bit better. And this is a way that you can basically do what a polarizer filter does after the fact in post. Okay, so this actually doesn't look that great, but it's a good example of what you can dio to delete a graduated filter. Just select the middle button and press the delete key on your keyboard. These other two adjustments the radial and the brush adjustments work similarly, but I do just want to show you quickly how that would work. So let's select this photo of me. Let's reset it so we don't have those split tones we did before. If we select the radio brush and then click and drag, it creates a circle or no lips. You could make it more oval or more round. If you want it to be a perfect circle, just hold the shift key down on your keyboard, and it will create a perfect circle. But I just wanted to be sort of oval around my face. Now, if we click the show selected mask overlay, you'll see that it has selected everything outside of the circle. If you wanted to select everything in the circle, you can click this invert button down here. So say, we want to just use this sort of oval toe brightened up my face or to apply something like softness to make my skin a little softer. Weaken do that. So let's turn off this selected mask overlay. Let's actually do that a little bit. We can decrease this sharpness just a little bit. We can increase the exposure. Maybe bring down the blacks could make it a little warmer. So this way we're adjusting the white balance of just my face because maybe we like everything being a little bit more green. We can adjust the size of this again by just clicking on the edges, dragging them in her out. We can click the middle to move it around. I say we check the inverted, we can do this, and now everything except for my face has thes settings applied to it. You can increase your decrease the feathering for the oval, which will make the edge of this adjustment harder or softer. I usually leave it around 50 just the standard, so that's how you use the radio filter. Now you'll see these other options, like brush, and there's this range. Mass option will be going over that in the next lesson, when we do a little bit more advanced lessons with these things. But I just want to show you now the brush tool so similar to the other adjustments. The brush adjustment works where wherever you brush on your going to make those address mons. So I have show selected mask overlays on so you can see where I'm brushing, and then there's a couple settings that you want to be aware of down here. So you have the size of the brush. You have the feathering, which is what you've seen before. You also have the flow, which is sort of similar to opacity in the sense that the higher the flow, the more opaque the brush will be lower. The flow is going to be less opaque, um, and kind of blend in with the original, same with the density. Then you also have this auto mask button on watch. What happens when I brush on up here without auto mask on? It just creates a nice brushstroke that we can now adjust the exposure. And if I turned off shows like it mascot, really, you can see what's happening. Aiken, just adjust the exposure of just that part of the brush. Now, let me go back. Turn the mask overlay on. Delete this by selecting them. Start point pressing delete on my keyboard. Now, if I collect click auto mask and brush over here, you can kind of see that it tries to select everything the edges of things except for the sky. So I'm paying over and it just kind of selecting the hills because light rooms pretty smart . And it's saying, Okay, well, I know you might be trying to select just those hills. It did get this guy right here. And if you want to erase a part of a brush that you've brushed on, just click the erase button and then just kind of go up here and erase it. It still has. The autumn actually doesn't have the auto mask on. We'll include that. So it knows that I'm trying to get those hills and let's go back to the brush by clicking the aid on there. All right, so now it has sort of intelligently selected the hills, turn off selected mask, overlay and now free increase the exposure. It's kind of done it in an intelligent way. For us. This doesn't always work, so you might want to try just doing it manually with the auto mask selected off. And so say we want to adjust just these light streaks or the road. It's decreased the brush size and brush over like this. And if you I'm just clicking and dragging. If you stop clicking but you want to add more, just start clicking and dragging again, just like so you can change the size of the brush while you are sort of painting. If you need to get somewhere, that's a little bit smaller. Just getting the road back there. Okay, so this isn't the best job, but it's kind of quick. So now if we want to make any adjustments to that selection, we can just adjust our settings here, decreasing things like that saturation de hazing, which will increase sort of the detail. If if it was a little hazy, which kind of works to with the lights changed the exposure, why bounce all the sort of same things? So all three of these tools kind of work in the same way where you are just making selections and editing that specific part of the image play around with it. That's sort of the best way to learn just to play around with the settings. In the next lesson, we're gonna be showing you some more advanced ways to adjust these settings and also some preset brushes that you can use to make your photos look even better. 18. Adjustment Brush Presets: welcome to this new adobe light room classic CC lesson. We're continuing to learn all the advanced features of our brushes and filters up here, and I mentioned in the last lesson that there are some preset effects. So I have this photo of will up and I have my brush selected. And so if I drop down this effect, you can see that there's a different sort of adjustments. And they have these presets, like softening skin whitening teeth, making the iris of your eyes look better or things like adjusting the day haze, which would be good for it, like the sky or things like that. So if I click softened skin, you'll see that preset adjustments have been made. The clarity has been dropped, the sharpness has been increased. And so now I can just take my brush over brush along will skin, and this quote unquote makes the skin look better. So if I turn this on and off by pressing the backslash button before after you can see that will skin has become a little softer. Another way to turn these effects on and off is with this button down here, and that just turns off the adjustments from this brush or from this panel. You can see all of these adjustments down here have this sort of on off switch on the left hand side. So that's an easy way to see the softening of skin, which, Ah, lot of people like doing some basic adjustments like that. If you don't want it to be so strong, you can just increase the clarity just so it's not as soft for the iris adjustments. Let's go ahead and click new to create a new brush, get our IRS enhancement, make our size of the brash. Let's zoom in with Easy on our keyword, increased the size of our brush just a little bit and click there and you can see what it's doing, its increasing the saturation, the exposure a little bit and the clarity as well to make a little sharper. If you want to change sort of the color of an eye, you can click this color button down here. This is kind of similar to our tone. Adjustment are split tones, and so now we can choose these different colors and give our I sort of a different shade. It's not completely changing the color of the eyes, just giving it sort of a shade. You can increase the saturation and change the temperature of the I to give it even more of a color change. If you want to leave that, though, So those are how those precept effects work and you confined those in any of these the radio filter, the graduated filter or the brush Awesome. In the next lesson, I'm gonna be showing you how to use the range mask, which is a newer feature of light room that is really cool for pinpointing a specific color or exposure within one of these brushes to make your adjustments to. 19. Range Masks: this lesson is all about range masks, which you confined in any of these adjustments that we've been working with. I'm going to use this image to show you what you can do. Let me quickly apply what we did before. Say you want to make the sky even bluer. We're going to create this graduated mask or filter clicking and dragging pretty much over the whole thing. And let's just adjust the temperature, make it super blue. Now I want to show you what we can do to improve this with the range mask. But first, I want to show you another cool trick. If you want to make sort of a copy of your photos so you contest out multiple edits, you can create what's called a virtual copy. Right. Click the photo down here in your photo Trey and choose. Create virtual copy. This is not creating a copy on your computer. It just creating a different version within light room that you can play around with and adjust. So now if I delete this graduated filter, for example, we have these two photos that we could go between and see the edits we like and that might be something you do with your photos. You might, you know, edit it one way and want to try a different edit, but not want to delete your first edits. And that's what a virtual copies for. I'm gonna undo Control Z to get back that graduated filter on both images. So now I have two images that are exactly the same. Same graduated filter. But now, with the 2nd 1 I'm going to turn on drain range mask. You have two options. Color and luminous. You've learned similarly how this works before color allows us to adjust justice specific color Luminant swill. Allow us to adjust just a specific exposure, so I'm gonna choose color. Then I'm going to use my eye dropper up here to click the color in the sky. You can click just once, and it's going to select a specific color. Or you can click and drag Teoh sort of choose a range of colors because of sky goes from sort of dark blue light blue. I am going to pick sort of a range up here, and so it is more intelligent in the colors that it's picking. You might not have noticed exactly what happened. But if I go between these two photos, let me know if you can see the difference. Well, I know you can't tell me, but let's just go back and forth is the 1st 1 Here's the 2nd 1 What changed? Well, a lot of the Walt Disney Hall that is the silver is now not being affected by this graduated filter, which is cool because adding this filter to make the sky look bluer. If it applies it to the buildings in the foreground, it just looks fake. It doesn't look riel, but this one itself looks a lot more real. And I like that is just being applied to the sky now and not as much to the silver below. You can add just sort of that amount of how this is being applied. If I drag to the right, it select s'more of sort of the previous image to the building actually gets more of that adjustment. If I drag all the way to the left than less of sort of. That filter is being applied, we can still see what's happening by train. This on and off was being applied mostly to just the sky. Now let's go to this photo and show you how the luminous range mask works. So with this one, let me turn off the split toning that we've done before. And I don't believe we have any other effect on here right now. So that's good. So let's use our graduated filter and just create graduate waited filter like this. So if I want to select just the sky using Luminess, what I would do is turn on the Luminant range mask. Let's turn ons show selected mask overlay. Now, this is selecting just everything up here. But we have these sliders that is selecting everything in the range of 0 to 100 exposure. So dragging these up or down, it can make a selection of a specific range of exposures. So if we just want to select the darks, we would drag this right part down and it would select see marches, selecting the darker parts down here. So that way, if we want to just bring up the exposure of those dark parts, we can do so by just dragging up the exposure up here, or the shadows which might look a little bit more natural, or if you want to just select the sky this way, you could also use the color for this. But if we want to just select this guy and not the ground below, which is a little bit darker, can drag up this range. Something like that that looks a little bit better. And now we can use this to make the sky even bluer. It looks a little bit more natural. Then, if the range mask was off similar to what we had in the Walt Disney Hall, the range mask prevents this adjustment from completely adjusting the ground below, which might not look too natural. Cool. So now you know how range mask work with both the luminous and color adjustments. Remember, you can use these for both or any of the graduated radio or brush filters. 20. Using, Creating and Importing Presets: Welcome to this new section of the light room course in this section, I'm going to give you some more advanced tips and workflow practices that will speed up your editing and also make it better. So I'm using these extra photos. I've included them in this section. If you want to follow along, it really doesn't matter what photos you're working with. In this first lesson, I want to talk about presets. Presets are a great way for you to quickly start editing your photos, and especially if you are a professional photographer or you do a photo shoot. For example, if you're doing a wedding or a portrait, shoot and you have dozens or sometimes hundreds of photos in the same location or even throughout the entire day in different locations. But you want the same style or the same colors. You can add presets, so here in light room, if you go and open up this left hand side panel, you'll notice that you have a number of presets and folders of presets. You won't have all of these because some of these air folders that I've actually imported from presets that I've either created or ones that I have downloaded online, but you'll have some of them. And for example, if we go under creative, if you just hover over these presets, you'll see that the image starts to change over here in our editor. So you might find one that you like, for example, this de saturate contrast. And if you click it, you see that the effects already start to be applied over here on the right hand side, and then you can go ahead and at it yourself and adjust it if you need, and this sometimes is necessary. Say you're taking a bunch of photos. Some have different exposures. If you add the same exact filter you might still need to affect fix things like exposure. You can also create your own presets. So say you've made a bunch of edits. You have done it all completely by scratch. You can actually click this plus button next to the presets menu and choose create preset. And now you can select which settings that you've edited that you want to include in this preset so you would go ahead and click all the options, for example, often you might not want to choose things like lens corrections Ah, or different things like sharpening because it depends on really what photo you're using that you might want it. Turn those honor off. Then you can also choose where you want to save it. You can create a new group. For example, Maybe you come up with colorful presets or black and white presets of your own. So you might want to create a new group, or you can just leave it under the sort of default user presets or under one of the other folders that have has been created. So we'll just call this preset test and then choose create. And now, under user presets, we have thes presets so we can go from the Phils wedding preset. That was one of the presets I use for believe editing my own wedding photos and then preset test. All right, you can delete any presets or rename them by right, clicking them, leading them, renaming them etcetera. Now what if you have a preset or find a preset online so sometimes you'll go online to different photographers, websites or a site like this one called free light room presets dot co, and they have lots of different presets and you might want to use them. Sometimes they require you to give them your email address. Sometimes they don't. So, for example, if we want to take this black Mamba preset, you have to download it, and usually you get a file, which is the preset file. So I'm just gonna put this on my desktop. For now, it's a zip file, so I'm going toe. Unzip it. You know when this if I'll we have this file, Which is he? Black Mama template file. So you'll notice that it has the extension L. R Temple. That's basically a light room template file. So this is what we're going to import into light room. So if you go back to light room in the preset folder, you can click the plus button and choose import preset. It's going to open up your finder and you're going to find the preset that you want to import. Find it, choose import, and now it's in the black user presets. So if I click on that, we have that preset that we downloaded online. Everything is edible so we can go ahead and add it. It just like the other presets. We can move it around from folder to folder if you want, or create your own folders specifically for the presets from that website. However you want to organize them. But I do recommend definitely staying as organized as possible. So this is just a really quick way to basically apply the same style to a bunch of photos at once. Basically, just bite going from one foot to the next. Say we go to our next photo down here and we wanna apply Black Mamba. All we have to do is click that button and we're good to go. All right, so that's how you use presets. And the next lesson. We're going to be looking at color profiles, which are somewhat similar in terms of presets, but it's a quick way to adjust the colors of your images in light room 21. Color Profiles: in this lesson, we're going to go over the color profiles in light room Classic CC. Now this is only available in the 2018 versions of Light Room, classic or newer. This was something that before you could edit down below, with some calibration and color effects down at the very bottom of your tools. But now it's right up here, so you'll see first that there's this profile. And then there's a drop down with a few different presets. So the standard is adobe color, and this is basically just choosing the standard colors that are basically coming straight out of your camera. If you change these thes air sort of preset color modes that Adobe has that they think you might like. So you have vivid, which makes everything a little bit more saturated and contrast. E Standard is sort of like a neutral just plain colors. Portrait and landscape will try to enhance colors for both portrait or landscape, and then we also have this button right here this sort of like four boxes. And if we click that, that opens up the profile browser, and if you open that, you'll probably see something like this and here we have all of our different preset color profiles. So at the top we have the adobe raw presets, which we just saw, and then next we have camera matching, so these will depend on the camera that you're using. Each camera has a number of color profiles. A lot of times they are similar to what the adobe raw ones are, such as landscape portrait, neutral, monochrome. And so, if your camera is a modern camera light room, comptel from the metadata from like photos what camera was being used and they'll actually import or not import. But they'll have the preset sort of color styles. If you want to change and use one of those profiles, and you don't have to do this in camera, you also have some legacy sort of preset styles. Ah, that were from the previous versions of light room. And then you have these new artistic black and white modern and vintage ones, and these are the ones I would definitely check out. You have some more creative ones that can really make your colors a little bit more interesting. Like, for example, artistic six looks really cool now to apply them. All you have to do is click on the profile here, and then when you do that, you see a slider up at the top with an amount you can drag it to the left, decrease the amount of it color added or color editing it does and then drag it to the right toe, actually duplicate sort of that effect or increase it. So the standard is at 100. And as always, if we just double click in the slider, it will reset it to what it was before. Now, if you're happy with this, all you'd have to do is click close, and you'll now see that we do still have this amount slider up here. If you want to get rid of that or go back to the original, just click the drop down and choose adobe color. The other thing just to know is that you can favor these. So, for example, say you're always using artistic six. Just click the add to favorites Star Bun and the top right. That's going to make it appear in this Favorites folder, which you can actually edit by a nstar ing and selecting the ones you want to include in your favorites. And then if we close this, we have under the drop down menu right here. We have artistic six, which is now one of our favorites, and you can quickly get to from this drop down menu cool. So these are some additional editing tools that you have in the newer versions of light room. But they're really cool and a great way to start automatically editing your colors and basically, as you can see here, if I scroll down, it's not actually adjusting the color effects that you're applying in the development tab. It's just basically reading the colors and showing you the colors based off of a profile. I know it's a little confusing, but it's basically happening before we add any of these other other effects down here. Let me know if you have any other questions and we'll see you in another tutorial 22. Speed Up Workflow with Presets: in this tutorial, I want to walk through some workflow optimization on how to basically copy and paste edits from one photo to the next. So in the previous lessons, we learned about presets and also the color profiles, which can help to do that. But what if you make a bunch of other changes and you want apply those to all of the photos without really using presets? Well, that can easily be done. We've already learned that. Say you make a bunch of edits and I'm just gonna go crazy with the white balance so that you can really see what I'm doing when I paste them toe other photos. But say you make a bunch of changes to a photo like this, Go crazy with it however you want, and then you want to copy and paste. You can simply press command, see or control. See if you're on a PC and choose the options that you want to copy. I'm just gonna select all of them for the fun of it. Then go to the next photo. You want to paste them to and press command V or basically control the if you're on a PC and that pace all of those settings. Now I undid that because there's an easier way to do this. So say we make all of our changes and we're happy with our photos is amazing. And then we go to our next photo weaken. Simply click this previous button, and that applies all of the changes that we've actually apply to this photo right here and it's applies it to this photo right here. So noticed. This photo now has the blacks at negative 21 same as this one. All of the settings are basically the same. There's another way that we can quickly do this to multiple photos. So say we have an edit. Say we've edited this one the way that we want, and then we want to apply it to these next two options. We can shift click to the last photo, and you have now, instead of this previous button. It's called Sink, so if you clicked sync, then you can choose which settings that you want to sink from the first photo. So you have to select the one that you want to copy from first and then select the rest of them and now click Synchronize. Now, if we go to these next photos, we can see that those same effects and edits have been applied to these ones. All right, so using that sink preset is a great way to apply one type of edit a ton of photos. Another cool tool is the Auto Sync feature, which basically allows you to edit multiple photos at the exact same time. So first you want to select the photo, you want to add it, then select any other number of photos were gonna select these four. Now we have this auto sync options. So if you see the sync button, click this toggle right there to turn it on. The Auto Sync. Now, whatever we do in this basic settings panel will actually apply to the rest of the photos. So if I make it really dark, notice how the rest of these photos are also affected and it will work for all these other panels as well, including contrast tone, curve, Asia, sell you name it. It's all being applied to all these other photos that were selected at once. So keep these in mind when you are really editing your own photos. The one that I use the most is the sink feature and also just the typical copy paste. You can also get to these settings at different way, for example, if you want and you want to. Basically, instead of clicking the previous button. Say you made edits to this photo, and you want to paste it over here to this photo. You can right click it and choose develop settings, and now we have pay settings, and so this could be pasted from what we copied or pay settings from previous, which is the previous edit, so that would paste all the settings we did or edited on this photo. You also have your sink options if you select multiple right click developed settings and now you have your sing settings. But that's basically the same thing as using auto sync down here. All right, that's a quick tip for your workflow. I hope it helps you speed it up and we'll see you in another tutorial 23. Stitching Together a Panorama: In this tutorial, you'll learn how to stitch together a panorama right with in light room. So I've imported these three shots that you have available if we're download in this lesson , if you want to follow along, so this is just three shots individual. If we look at them individually, you can see 123 So we want to stitch these together. So to do that, select all of them. Just shift click one and then the last one click one shift click the last one or command click all three of them, or however many you need or control. Click. If you're on a PC, then right, click them, choose photo, merge and choose Panorama. Now it's going to do all of the magic itself. There are a few different options here on the right hand side that might make the stitch better or not. Depends on the photo depends on how far you're moving, how your photos are overlapping and things like that. Typically, spherical is going to work well. You can see what the photos look like differently if you choose any one of these. Sometimes perspective is going to make everything a little bit flatter spherical. You can see everything is a little bit bowed. So sometimes perspective actually looks kind of cool. And then you also have this option for auto crop. So right now, this is what it's actually stitching together, and this is going to be a good view to see what's actually happening. So see how this first photo it's kind of warped. It's kind of like boat on that left side, and this right one is boat on the right side. But the center photo it's not really actually bowed that much. If we auto crop, it is going to crop into the biggest possible panorama without getting any white border. Anything outside of the edge. You also let's just go to cylindrical and then spherical are very similar. It uses all three of them, and it kind of works them in a way to blend together and again. If we oughta crop, it's going to crop them together. You have another option here for a boundary warp, so this is basically showing how it can warp the edges or the boundary, and it kind of works the actual images to try to include mawr or less in and By adjusting this, it can make some of the warping Maurer or less apparent. When you're done with your settings, there just klick merge, and it's actually going to create another image here that you can add it yourself. So I suggest actually either editing all of the images before, but you want to make sure you use all of the same settings, and so that can be a little tricky or merging them all together and editing it afterwards. Now, since this is a panoramic that's being created with three separate raw images, it's going to be a huge file size. But because it's wrong, we have all the capabilities of before when we had our raw settings for art. Regular photos, individual photos. So is actually probably a good idea to merge beforehand and then at it your all of your rest of your settings from here. We could go back into the crop, for example, and we could make it whiter, make it shorter, make it more narrow. Whatever you want. I'm gonna uncover unlock it so I can zoom in a little bit more, zoom the edges in a little bit more. So say we just want this part of it and then we're done. You can do all of your basic cropping after the fact as well. Cool. So that's how you create a panorama in light room. Hope you enjoy and have fun with it. 24. Merging an HDR Photo: All right. So this next tutorial is how Teoh stitch or overlay a each D R photo so quickly. An HDR photo is one where you take multiple exposures of the same exact frame. It can be slightly off. It's best if you're using a tripod. Here's an example, and the purpose of doing this is so that you can have a general good exposure throughout your entire frame. So here I overexposed this photos so that we can get all of the detail of the rock, this one I slightly under exposed to get more detail of the highlights and the sky and of the trees in the background. Now, because this is a raw photo, it doesn't really make that much sensor. It doesn't really matter because we still have this detail. If it was a more contrast E situation where things were completely in the shadows and things were completely overblown, and then we had two or even three orm or photos at each exposure, it can create a very even exposed photo so similar to a panorama. Select the photos you want, toe overlay or add and merge together as an HDR right click. Go to photo merge and choose HDR again, it's going to build this preview. You have options for it, toe auto align and to automatically adjust the settings. You can do this kind of manually, but I don't know why you would want to actually have to align it yourself unless there's an issue in it. And if there's an issue, you can actually go ahead and make minor adjustments yourself. And then, lastly, that you have this D ghost amount. So depending on if your frame is slightly off, is going to try to blend the photos together. And sometimes if you have multiple layers and it's trying to blend together, you get a little ghosting or where you see some image parts of the image through slightly opaque over the other one. You have these settings right here that will basically have light room. Try to remove that sort of ghosting effect, so if you want, you can play around with that. Ideally, are usually it's going to just look good by itself and all the auto settings will work and then you just click, merge and then it's going to build the HDR photo just like before and then we can go ahead and take that photo and do all of our basic edits to it as well. All right, so here, on the right hand side, you have the HDR version. You see that the overall exposure is a little bit better. You have more detail. You do get a little bit more of that clarity in that contrast, something you usually get with HDR. Now this again isn't the best example, but that's how you do it. It's pretty easy in light room. So if you have any questions, let me know otherwise. Have fun with this cool trick. 25. Automatically Fix Exposure & White Balance: have you ever wanted toe automatically edit your photos? Here's another efficiency tip in light room. If you want to automatically adjust things like exposure and white balance, all you have to do is right. Click. Go to develop settings and choose auto, white balance or auto settings. So auto white balance commit shift command you or shift control You. If you're on a PC, will automatically we fix the white balance. Auto settings will adjust the exposure. You can also do this to multiple photos, so I'm gonna use these photos from the HDR Shoot as an example. If I select both of them, choose auto settings. It's going to do its best to properly expose notice, though, that it's not perfect. So if we go into this one did a decent job. You can see that it brought down the highlights brought up the shadows, brought down the blacks. This one is still a little bit too bright, so as you can see, it's not a way to automatically edit your photos and make them perfect. But it's a great start, so this is a lot better than where it was before. But you can see here and it tried to do pretty good job, but this is a good example where it's not going to be perfect. Thes air to exactly same photos, Just the exposure was off, and you would think that if it was automatically fixing it, that the exposure would be the exact same here. As you can see, it's not perfect, but it is another quick tip that will help you remember it. That's command you for settings and in command, shift you for white balance and you can see it actually warmed it up a bit bit because that's what it thought I should do a cool. Hopefully you enjoy this tip and it makes you a faster and better editor. 26. Enhancing Eye Color & Changing Eye Color: welcome to a new section of the light room editing course in this section. We're looking at some specific ways you can enhance your portrait so some of these techniques and styles you've probably learned in the basic sections. But I just wanted to break them down once more and kind of dive a little bit deeper. So you fully understand how to use these tools. I am using a new folder of practice photos that I've included in this section for download . It is a sort of a full range of photos, and for each sort of example, I have a different photo I'm going to use. So for this photo were are enhancing eyes and so go ahead and follow along with the eyes J . Peg photo. All right, so if you go to your brushes over here IQ clicking the adjustment brush and then you click the effect, you actually have an iris enhance brush. Now that's one of the brushes we're going to be using to enhance the color. We can also use a brush to basically change the color of someone's eyes, and then we can also bright in the whites of someone's eyes. So Let's go in here and first zoom in with the easy button. Now, if you zoom in and you have a brush tool open, you would have to press the space bar to click and drag. If I just start clicking, it's going to actually enable and start brushing. So make sure that you press the space bar to click and move around so we can see both eyes , All right. So before we do any brushing for this example, I want to click the show mask overlay button down here, or just press O on your keyboard to bring up that effect. I'm also going to leave auto Mask on because I'm hoping that's going to help me select just the iris and not the whites of his eyes. We can play around with the brush size as well. But first, let's just make our selections. So we do have let's choose the iris enhance, and so that's what we're going to start with. And so I'm just going to paint around the iris like so if it doesn't select the whole iris , just keep painting around. It does a pretty good job as I get closer to the edges at not selecting the whites just pretty good. So that's looking pretty good. Now I'm just going to do the other eye as well. Now you do. You have this eye light in his eyes, which is that white sort of reflection. And that's actually a technique and photography that helps make eyes actually pop and look better. So when you are shooting your own photos, try to have some sort of I light. It could be the sun. It could be a light and artificial light. And that actually helps make his I stand out All right, so we can't really see what we did. So I'm gonna press oh, to turn off our mask overlay. And if I just turn on and off this brush with this button down here, you can start to see that the eyes and the irises start to get a little bit quote unquote enhanced. Basically, all that was being done was the exposure was increased that clarity and increased in the than the saturation increased. Now, to make this even more extreme or more enhanced, we can adjust any of these so we can increase the saturation. We can increase the clarity. We can increase the exposure. But if you go, especially with exposure depending on the eye color, more so with brown or darker eye colors, it starts to look really weird really fast. Now that is a good sort of basic enhancement. If we want to make his eyes bluer, we can just take the temperature slider and dragged to the left. Now it looks pretty blue right here, so you might want to zoom in or out. Pressing the Z key while we're using the brush tool is a good would do that, and now we can kind of play with his eye color here. Now that is how you enhance blue eyes. If you had brown eyes, you could just warm up the temperature. I've found that toe work pretty well. If you want to change his eye colors, let's get rid of that temperature adjustment. Click the color down here, which basically changes the hue, and then you can just pick really any sort of color if we want to make his eyes more green . If we want to make him more brown weaken, take something like a red orange and then when we go in there, we can actually go back up to temperature and make it warmer and then drop the exposure. So that's how you can make someone's eyes go from blue to brown, just with the temperature, slider and the color. Now, I don't want to do that because I want to enhance his eye color so you could, instead of using the temperature, just used the color picker down there. But I find that the temperature slider does a good job for blue eyes because we basically do just want to add some blue, but you can see here pretty cool just to quickly and easily enhance eyes. Actually, I'm just gonna leave as green to make this really pop, so that's the first way to how to enhance the eyes and also change the eye color. The next thing we're going to do is play with the whites of the eye. So I'm gonna click new and then I'm going toe DoubleClick effect To get rid of any of these settings, I'm also going to leave auto mask on and press Oh, to bring up our show selected mask, overlay and then just start painting onto the whites of the eye. Now, this is one way you can get rid of sort of red eye. If someone has a lot of red, this in their eye or in the veins, if you see a lot of veins, I got a little bit of his iris right there. Something to take my eraser. A race right there. Okay, cool. So that's pretty good pressing. Oh, to get rid of that now, to make the whites of the eye whiter. What we can do is decrease saturation just a little bit, then also bring up exposure. Now, this is something to be a little bit careful about. If you go too much, it starts to look really, really kind of just weird and off over here, we have some shadows. We might want to bring up thes shadows just a little bit. Maybe you and the blacks. Now, depending on how much you want to go, you can play with the saturation again. Going all the way to the left is gonna look weird. It's not getting rid of all the saturation. And you're probably like Philae isn't getting rid of all that saturation. And that's because the brush didn't select all of that red right there. So if you want to add more, just click a turn off auto mask. Let's make it really small. Publishes paint over those veins right there. I don't want to move it. If you click on the original point and then drag, you can actually move this whole thing. And I want to make sure my density is up all the way. So that's another reason why that was probably not affecting overall. But this is actually a good example of where you want the density to be. A little bit lower. It's all balanced. So if you're density was up higher, you might not have needed to increase the exposure as much. Okay, cool. So that's looking pretty good. So if we go out here right now, you can see if we turn it on and off how it changes now, doing this, you might see Wow, that's a little bit too much. So then you might want to come back here, bring back the exposure, bring back the blacks just a little bit toe, have some of that natural fade over here on his left side of his face. But something like that looking pretty good. And as we know, the eyes are the window to the soul, and they're really the focus of most portrait's. Oftentimes, unless it's a very creative portrait where you're focusing on something else like that knows her the lips or something like that. You want the eyes to be the thing that stands out. So again we can see the before and after with the backslash button before, after before after. We can also go to this before after shot right here. Pretty darn cool, huh? Awesome. So that's how you in the hands, eyes and change the eye color. Let me know if you need any help or have any more questions, but I hope this inspires you and helps you become a better photo editor. See in the next lesson. 27. Whitening Teeth: Here's a quick tip for how you white in teeth in adobe Light room Classic CC. We're using a brush adjustment. If you want to follow along, go ahead and open up the yellow teeth folder or file. Gonna zoom in here on the teeth, move around and then click the brush. I am going to turn auto mask on, and I'm going to turn density all the way up, making sure the size of my brush is a little bit bigger. And now we actually have a preset effect or a preset brush that we can use under effect. Click our options and choose teeth whitening. Basically, all it's doing is increasing exposure and decrease in saturation, so you could do that on your own. But then I'm just going to turn, show, select a mask, overlays on paint over our teeth now because I clicked in the teeth first and then I started painting. I'm still clicking. Light Room knows mostly anyways to select that color in that exposure. It did kind of select a little bit of the tongue right here, so I'm going to actually take my eraser race in there, turn on auto mask and the racing here cause I do just want my teeth to be selected. Now if you are a little bit worried about the edges right there, we could go back to our brush, turn off auto mask and just kind of really suddenly maybe turned down the density. Turned up the feathering. Just paint over the edge is just a little bit Turn up the density. So we have everything selected around the edges, so there's no sort of, like weird edges to this effect. Cool. Okay, so that's pretty good. We can take a little bit more time to make that selection if we want. But if we turn off our mask overlay with the Oban, and you can already see that this makes the teeth really white now, depending on how white you want to make them, sometimes it's a little bit better toe. Have a little bit of natural yellow nous, and so I might bring up my saturation just a little bit. And also the exposure also can help. So maybe bringing that down back down, especially if you're starting to lose information because it makes it over exposed. Maybe bring that down looks a little bit more natural. You don't want it to look completely fake. And that's what you see on those, you know, dental advertisements for a teeth whitening. Ah, tool medication or whatever. You don't want it to look like that. You want it to look natural, But a subtle trains like this can make your teeth whiter and look better. No need to go to the dentist to do so. Okay, Awesome. Hopefully this tipped help and we'll see you in another one. 28. Smoothing Skin: welcome to this quick tutorial on smoothing skin. So this is great for Portrait. It's more of a stylistic edit, more than sort of advertising style of Edit four Portrait's follow along with this wrinkles J peg image. So what we're going to use is the adjustment brush. So go ahead and open your brush. We do have an effect for this already set up, which is soften skin. So I'm gonna zoom in here with the Z Key and I'll show you what's happening. If I just brush over really quickly, we'll show you pay attention, pay attention. Things start to get a little bit softer, and that's because we're decreasing. The clarity, in contrast, were increasing the sharpness because if we don't increase the sharp as it gets a little bit too like as if you are painting over it with sort of an overlay rather than just smoothing with increasing the sharpness you get, you keep a little bit of the detail. So when you're doing this, you want to pay attention to where you're painting. You might want to make sure you have your overlay selected so we can actually see what we're painting before and Of course, this depends on who you're editing your portrait of down here. This can help a little bit with this acne. Just pretty good, something like so cool. So that's pretty much it, for this lesson is just a quick one. The last thing, though to note, is that if you want to adjust how strong this is, all you have to do is play with the clarity. So if I turn this on and off, you can see just has a little bit of smoothness, softens of the skin, which is definitely a style that a lot of people like four Portrait's. Make sure you're only doing this, though. If the person you're taking the photo of approved and want you to a lot of the times, I just I want people to look a little bit more natural, and I don't want to have a lot of edits, but this is a quick tip for smoothing skin. All right, there you have it. The after before, after it's a little bit more softer, makes the lighting look a little bit softer as well. And cool. That's a quick tip. We'll see in the next one 29. Removing & Smoothing Wrinkles: All right. Here's another quick light room tutorial for editing portrait. This time we're removing wrinkles, and this also works for some of the lines or the sort of raccoon darkness that you get underneath people's eyes. So this is a follow up to the skin softening that we already did. So I'm gonna leave that on there, actually, so we can see how these improvements kind of add on to each other. So the first thing we want to do is actually used the healing brush. So that's this spot removal brush with the heel option. So we want to make sure that this is feathered up as much as possible. We're gonna turn opacity all the way up, and we're going to create the size, make the size pretty big, especially when we're zoomed in on this image. So we're going to start with this one on the left. So we're just going to paint over like so now it selects this part of her chin down here. We might want to move this selection up to her cheek. Or maybe her cheek over here somewhere that has a big soft spot, maybe even her forehead forehead trying to find somewhere. That's not completely a different exposure. Our texture. All right, so that looks pretty good. We can make these a little bit better in just a minute. But let's just start with this. I over here and again. We're just gonna move this up to the forehead. So we have sort of a similar. So the style. Now, let's go ahead and move on to these sort of widow's peaks on the side. All right, so now let's move on to these crows feet as we calm that are coming out from the side of the eye. So I'm just gonna do one at a time, finding somewhere that looks a little bit more natural. It's pretty good. Okay, So light room does a pretty good job making selections, and then we're just gonna move over here with size, even smaller. Okay, so that's pretty pretty good. Okay. So, automatically using the's brushes, we can get rid of some of those wrinkles. So if we turn on and off his brush, it starts to look pretty good. Now, you know, as we do have a little bit of darkness down here under the eyes. Still, And that might look a little bit unnatural. So what we can do is go and use a brush. Lets reset all of our settings, so just double clicking effect. Now. First, let's make sure we're selecting our area properly. So I'm going to turn on my mask overlay auto mask off, density all the way up, feathering all the way up. Aziz. Well, make the size a little bit bigger. All right, So let's just paint over right here and right here. Even appear a little bit. Can help. All right, so that's pretty good selection. Now, I was bringing up the shadows just a little bit. Now you don't want to go too far because it starts to look like I don't know, you got like, sunburn everywhere else. So just ever so subtly, maybe the overall exposure just a little bit. And now for the edges, you might want to bring down the density and just brush over the edge is just a little bit . So it kind of blends in just a little bit more. You can also bring down clarity to smooth even more kind of what we did before with the smoothing skin technique. All right, So let's see the before and after. Pretty good, actually, and this was a quick one. Now I would probably spend a little bit more time making sure the selection was exactly where I want. I might play in here, right? Right in that sort of nook ins high. Just bring in that area up just a little bit as well. But that's a quick way to remove wrinkles to get rid of any sort of sleep in your eyes. The raccoon eyes that you get after a long night, using the healing spot removal brush and the adjustment brush with some basic adjustments like clarity and exposure. Awesome. So I hope you enjoyed this tip and we'll see you in another tutorial. 30. Enhancing Lips & Changing Lipstick Color: The next thing you might want to do, especially for woman, is to enhance their lip color. So if they don't have a lot of lipstick, sometimes you might want to add a little color to their lips. So we're going to use a new brush for this. So I'm going to just make sure we have a new brush with no settings selected. I am going to turn auto mask on and select overlay on so I can see what I'm working with. So I'm just gonna paint on, try to get the selection, turned up the density, actually, and just paint over lips. Now don't get confused because I'm actually not painting on right now. That's just the mask overlay, and that's like I'm pretty good now. That's not necessarily the lipstick color that this lady wants. She's not going to clown school, so let's be a little bit more subtle. Let's turn off our mask overlay. One thing you can do is just play with the tent. We're dragging over to the right, can add a little bit more color and more magenta. You also just increase the saturation. You can play with exposure to make it darker or brighter. Now, Brighter doesn't work that good, but making a little bit darker can make it pop. Clarity. Make it soft, Soften it up just a little bit. You might even want to change the color completely. So if you click color, you can go in and pick color may get something a little bit more dramatic. Now. That's not necessarily my style of lipstick for editing photos, but it's a technique that you can use to change the color lipsticks. Now you want to go in here and make sure it looks pretty good. So I'm gonna go in with really small brush. Lower the density to make sure that the edges look pretty good in this area over on the left hand side looks a little awkward, so I'm gonna actually erase some of that. Especially like in her mouth on the edge. I'm not a makeup artist, so someone might tell me that I'm adding lipstick completely wrong, but I think it looks pretty good again. I'll go in here. He's just a little bit, especially on the top of her teeth and her gums. We don't want that. I think the color is a little bit too much. So I'm gonna drop down that saturation I buy. We do the before and after you can see that her lips do start to pop a lot more cool. So that's just kind of one of the next steps you can do to adding color and making lips. Fuller, more colorful, even for guys you want might want to add a little bit of pinkness, a little bit of saturation to make it a little bit more pronounced as well. Cool. Thanks for watching. 31. Enhancing Cheeks & Face Contouring: welcome to this new light room editing lesson. This one is about face contouring, basically enhancing different parts of a person's face such as their cheek bones. To make them a little bit more pronounced, we're going to be doing what's typically called dodging and burning. Basically, you would use that sort of technique in photo shop. But we can also do it here in light room to basically enhance the highlights and these shadows that naturally occur in someone's face. So let me just show you what I'm actually going to be doing and what I'm actually talking about. So I'm really quickly going to drop my exposure just to show you see how in this image, if you want to follow along, this is one of the ones that you have. You can see that there are some highlights right there. So these air sort of the highlights of someone's face right here and then you also I'll make that a highlight so you can see that. Then you also have some shadows. So we got some natural shadows There, there, a little bit right there as well, right there a little bit over here. And these are things that we can kind of in the hands to make someone's face a little bit, I guess a little bit better. Some people might say This is definitely more of like a model style type of edit, not something that I often do with my photos. But I want to teach you Mawr sort of that stylistic type editing so that you know how to do it. So first, let's do go ahead with the shadows. So I'm going to go ahead, create a new brush. We're going to make the exposure not that low, but we're gonna just drop the overall exposure just a little bit, drop the shadows just a little bit like so we're also going to decrease the clarity just a little bit just to soften it up. Now for this brush, we're going to turn our flow down really low, because with flow, it basically allows us to paint over and over and strokes to make it darker and darker as we go on. And so we wanted to be very feathered to make sure the feathering is up, and now we can kind of just paint on so you can see that not much happens. But if I continue to paint on especially to these shadows over time is going to start to work. You know, we're here. This chick is the is really the big one that I'm working with now. You want to go back and forth, adjusting the size of your brush over time to get a little bit bigger, A little bit bigger to kind of add on this fact, going from small to big. Now, what was that? Don't want to do that. All right, So now we have our sort of brush selected. Looking pretty good. We can also go down here on the neck as well. Women turn off my mask overlay. Turn this on and off. Very, very subtle. You can boost this a little bit more, bringing down our shadows bring down our blacks, bring down our overall exposure. Subtlety is the key here. Turn up flow just a little bit. Just making those cheeks a little bit more pronounced. Okay, so if I turn this on and off, you can probably start to see what's actually happening. Now we're going to do basically the same thing with the highlights. I'm going to click new too great. A new brush. I'm going to actually increase the highlights. Clarity is going to still be down. I'm going to decrease the flow again. And I'm just gonna paint over the highlights again, changing brushstrokes. So we start with something a little bit smaller, then we move up a little bit. Okay? So if we turn this on and off, might be able to see a little bit happening again. We might need toe play with our settings. Just a little bit boosting the exposure. All right. So you can start to see things getting a little bit more of that style turn on and off on off a little bit more defined. So the cool thing is, now we can actually save these brushes as presets. So you have all your settings that you like. We've got our exposure. Are clarity's dropped down so we can go down and create this new brush. So if we click effect, save current settings as new preset, we can call his face highlights. Then we can go to the other brush, and we can call it face shadows, whatever you want. Because now we can go back and find that specific 11 thing you might also play around with doing is with the shadows. You might want to drop the temperature just a little bit, because in shadows things are a little bit bluer in highlights. Things are typically a little bit warmer if you want the effect to be doubled. If, say, you're like, OK, I like this, but we want to take it Teoh Extreme. One thing you can do with these brushes or these adjustments is just right click and actually duplicated. Now, when we duplicate, it gets a little bit too extreme. So I'm actually gonna bring up the exposure and the shadows of that duplicate. Let's do the same thing for the highlights. When we do that again, it's a little bit extreme. So I'm gonna bring back down our exposure of this 2nd 1 All right, But now, if we turn on and off, you can start to see that the contour of her face is getting really, really defined. Now. The last thing I'm going to say about cheeks is, if you want to give her a little bit of blush or a little color, I'm going to create a new brush. We're gonna make it really soft, but really big. We're going to add some color. So starting with just sort of a rosy magenta just gonna paint over just overly kind of like the top of the cheekbone, I think so. We can also give more color this way by picking color over here, something like a pink, a little less saturated. And again the key is to be subtle. And that's what your flowed down. So if we turn this all on and off, you can see that we've given a little bit more color to her cheeks. Let's zoom in here so you can really see on off. But with the flow being so far down, we're not completely manipulating her cheek or the shadows. It still looks natural, especially when you zoom in, Are you? So here's the before and after of just a little bit of face contouring with our brushes looks a lot different. Definitely more of that sort of model style, something that you might or might not like for your own portrait. But I wanted to show you this because this is something that the pros are doing when they're editing photos that especially ended up on magazine covers and things like that. Awesome. I hope you have a great day. Enjoyed this tutorial and we'll see you in another one. 32. Full Portrait Edit: All right, So now I'm going to continue working with this portrait just to show you sort of a full edit of what I would do with this portrait using just the techniques that we've learned in this section of the course, not really playing with any of the other settings. So we've already had this face contouring that I've added. So next things next, I'm going to get rid of this scar right there. Now, this is something that you might want to leave. The person might want to leave this scar if it's a big if it's a birthmark or something like that. So you definitely want to ask them to see if it's something they want to get rid of. Same with thes moles or any pimples or things like that. Now, some of these moles, um, you might want to get rid of if they're distracting. If the person doesn't like them, that's one of the beauties of photo editing. You can get rid of things like that, but sometimes you might want toe leave them. So again, this is kind of up to you as the photo editor and up to whoever you are taking photos of, so make sure you get there sort of opinion of what they want you to dio. Maybe they want, you know, a beauty mark or something like that left. So I'm not going to get rid of all of them. But I'm gonna leave it like that. It's actually get rid of some of these ones on her neck. Okay, so that's looking pretty good. Okay, So the next thing we're going to do is just do some enhancement to the eyes of Zoom in here . We're going to create another brush. So go to our adjustment layer, click new, make sure our settings are reset, or if you want to start with Iris, enhance weaken, start with iris and hands gonna turn on mask, overlay, auto mask. And we're just gonna paint over. I make sure that we have our flow all the way up. Density all the way up as well. Okay, good. That iris. Now this one. All right, press Oh, to turn off mask overlay. Now, that was a good sort of initial enhancement. I'm gonna make him more blue dropping our slider this way. It's looking pretty good. Cool. Now I'm going to create a new brush. We're going to reset all of our settings, going to increase the exposure just a little bit. Decreased the saturation. And I'm just going to go right in here to the whites of the eyes. I feel confident that I can do this myself without really any sort of a mask overlay guiding me. Maybe you feel the same way. Cool. That looks pretty good. Now, we don't really see her teeth, so I'm not worried about whitening your teeth, but I'm going to create a new brush to enhance the color of her lips. This is one where I will start with the auto mask on and I will turn on our mask overlay so I can really see what I'm actually selecting. So first we make our selection, and then we're gonna add some color. That's pretty good. Okay. Turn off our mask overlay. You can go straight into the tent if that's the color you want, or you can go into color and kind of pick the color you want. I want something a little more like purple Lima Route maroon or something like that. He might need a combo, so you might need to start there, but then play with the color temperature up here, going back over to make sure my selection is good. All right, that's looking pretty good. Just drop the saturation of this color. See the before and after. Definitely a pretty dramatic change. I would say nice, but I like it. Another thing I'm going to do is just create a new brush and I'm gonna go over her hair. I'm just going to increase the clarity of her hair that maybe booth exposure dress a little bit just to get her hair to be a little bit more defined. A little bit more contrast, he basically so we could also play with the whites shadows and also increase the contrast itself. Maybe you want to make it softer. You could decrease clarity as well, but I want to boost clarity just a little bit. A little bit more detail. All right, so we're looking pretty good. Let's see the before and after before and after their foreign. After before and after. You can tell that the whites of the eyes air definitely brighter. The use of her eyes are enhanced. Her lips are a different color definitely more colorful. Her hair is a little bit bigger. Evermore defined last thing. I am going to just add a quick softening of skin brush. Let's go ahead overall, creating new brush go down to soften skin. This one, we're gonna turn off auto Mass. We're gonna turn down the flow just a little bit where it's going to go over all our skin really quickly. Just a quick softening of everything. It's looking pretty good. All right, so one more time of the before and after definitely a little bit more stylized, but definitely that commercial style of editing over here on the right hand side. And that's what you can do, Putting together all of the skills that you have. One thing I'm going to do is actually enhance this beauty mark right there. So I'm gonna take a new brush. I'm actually going to Let's reset everything. I think it really small we're gonna drop the exposure there. All right. That might be a little bit too much cool. Yeah, that's better. Awesome. So that is what I'm going to do. That is the before and after. I hope you enjoyed this process. If you have any questions, let me know. I would also love to see your edits of this photo or any of the other photos in this folder . Fuel free to go through them, play around with them and post them to the course. Post them to social media. Tag me at Philemon or or at video school online, depending on what platform Your at and I'll check it out. Thanks so much for watching and we'll see you in another tutorial. 33. Editing a Portrait of a Woman: welcome to this new full editing session in this one. We're going to be editing this portrait of a woman right here, and it's going to look something like this on the right. After we're all said and done, go ahead and open up this file. It's just called Portrait of a Woman, and it's in your full editing sessions downloads that you downloaded earlier on in this section of the course. All right, so let's get going into this. We're going to be using a lot of the techniques that we learned in the section on advanced sort of portrait enhancements. And so first, let's go to the unedited version. The way that I've done that is I've created a new copy. So if you haven't learned is yet just right. Click any photo and choose create virtual copy. This doesn't create a new copy on your computer, just one right within light room that you can actually edit differently. And then I've reset it. So first things first. I always like to crop my photos. I'm going to take my crop tool up here. I'm going to bring it in, holding the shift button to make sure it locks this aspect ratio. I just want to cut out some of that head room and just get a little bit closer to this woman just so that we are more focused on her and we can see more detail. Her head is going to be more or less centered, not using really the rule of thirds. Other than having her head and her eyes in the sort of upper third, I could go in here. Even Mawr. Something like this might be a more ideal portrait, Sort of framing something like that feels a little off balance, though, the way that she is actually leaning over this rail. So I'm gonna leave it like something like this. I do want to get her whole hand in here, and so something like that looks pretty good. Next, I'm going to adjust the exposure with these sliders right now, the white balance looks pretty good. I might warm it up later on, but for now I just want to play with the exposure, typically with raw photos, which most of these photos you're editing on, that you have for download our raw photos. It's going to come and sort of like a flatter, Not as contrast to look. And I personally like to add a bit of contrast. I'm gonna bring down these blacks down here. Negative. 30 or so the whites. I am losing a little bit of detail on her face. I don't think that's the whites as much as the highlight. So I'm going to just leave the whites, as is shadows. I'm just gonna bring down a tidbit just to get a little bit more contrast in her hair and then the highlights. I'm actually gonna bring down just a little bit, too, to get back some of that information in her face. If I zoom in here and I bring the highlights backup, just notice on her cheeks. We still have that information, but bringing down the highlights just a little bit. Gets a little bit more of that information back with a portrait. I'm not going to increase the saturation. I do want to see about just increasing the vibrance just a little bit, just to get a little bit more color. There's not too many colors in this photo. In its raw form, you have her red lips, but aside from that, it's really just some grays and browns, some really neutral colors, and that's completely fine. But I think adding a little bit of virus helps Portrait's. I never really add clarity or D haze that tends to make things a little bit messy for me. And so I leave those blank tone curve I save for the end personally, maybe you'd start with the tone curve to get your contrast, but I'm gonna just leave it as is now with this portrait, I'm not really going to dive into any of these other options right this second, I'm gonna dive into using my brushes to really dive in and start editing some of the details on her face. So what I'm going to do is take our brush right here. I am going to zoom in. I just use the keyboard shortcut to zoom in Z, and now I'm just going to start with softening her skin. So softening your skin, I'm going to use the brush that we learned how to use previously called soften skin. What I did tell you last time when we learned about this is this might be a little extreme . I'm going to see how it looks, and then I'm going to tone it down or leave it as is. I also wanna turn off auto Mask that sometimes works. But for this purpose, I'm not going to want that on. I'm going to increase my brush size just a little bit. And to see my mask overlay Aiken, just press O on the keyboard or check this box down there. So just notice what happens when I brush on. And it might be actually better toe turn off mask overlay so that I can really see what this brush is doing as I do it. So see what doing It's kind of looks like it's in some parts, darkening a little bit. But really, what it's doing is just smoothing out some of those details. And it just creates sort of a nice, soft or looking skin. Now, of course, this is a preference may be the person that you're photographing doesn't want this, And I always say that you know, I'm not here to change household looks. I just want to enhance whatever they think they might want. In this example, I am going a little bit more extreme than I typically would on my own, So this is definitely a style more of a commercial style edit. But it's definitely something that a lot of people are interested in doing. So just by using this brush right here, we get rid of a lot of the sort of details, the small pimples and things that might be appearing on her skin. Gonna bring my brush size down and you can notice that I'm still using the same brush. I'm just using a smaller version of the brush to get in here and really in between her eyes and her eyebrows to lose some of these details. Cool. So that's looking pretty good. So let's zoom out and we can look at the before and after with the back slash button. And that was actually this is the end at it. I didn't realize that that was going to do that, So let's actually turn this on and off with this, but in down here, see, you lose some of those details, but it looks a lot softer and definitely more of that sort of portrait fashion, Um, style. So that's a key. No, if you have created a virtual copy and you were doing the before and after with the backslash button that actually reverts to the virtual copy settings that I had already done . So make sure that if you're going to do multiple copies, you might want to create a copy before you start editing. All right, so next, I'm just going to get rid of this blemish up here with my healing brush tool up here with the spot removal brush. So I'm just going to select on that. My size looks good right now, so I'm going to click there Looks pretty good. I'm actually going to take this sort of spot that it chose and move it up here to blunt use that part to blend. Now, just gonna click done looks pretty good to me. All right, so there's a couple more things that I want to do with brushes. First, let's focus on her eyes. So let's take a brush. We're going toe, reset the brush just by double clicking effect. You have an iris and enhance brush. And what this does is it increases the saturation and clarity and exposure just a little bit. So I think when I did this myself, I actually, um did a custom brush myself, but you can just use this iris, enhance. Now I'm gonna press Oh, to see the selected mask overlay and see what is actually selected, and that's looking pretty good. This also might be an area actually where you would have wanted to turn the auto mask on. So let me actually erase this and show you what auto mask on would look like. Let's do auto mask on. We choose our brush. So see how when I use the auto mosque, it doesn't pick up as much of her pupil or this reflection. And that's actually what I want, because I don't want that part to be enhanced by this brush. Now, if you want it, Teoh, go a little bit more to the extreme. You can increase the exposure. I might also warm up the eyes just a little bit. Make them a little bit more brown. If you want, you can completely change them to something like blue if you want. Just with the temperature. I don't want to get completely changed her eye color, so I'm going to just warm it up just like that. Next, I'm going to do another brush for her, the whites of her eyes. So this one, we don't have a brush yet. We do have teeth whitening, which is kind of similar, but I'm just going to click new brush DoubleClick effect it basically get rid of any of these settings and then I'm going to turn auto mask on, make sure my brush size is small. Just start right within the eyes and again I'm gonna turn on my overlays pressing Oh, to see what I'm working with. And this is where sometimes people have, like, more red veins in their eyes. And that's something that you might want to get rid of. So pressing. Oh, and a couple things that we can do to get rid of that D. Hayes is actually one. You can go left on the D. Hayes. Now, if you go to the extreme, it starts to look really fake. But just just a little bit kind of blurring out Any details by D hate decreasing de Hayes And then also saturation, we're gonna decrease now if I go too far with saturation, it starts to look a little weird because there is some color and eyes. It's actually a little bit blue right now, and you also have that read. But we're trying to get rid of the red as much as possible, but something like that looks pretty good. We could turn these on off and you can see just pay attention to the eyes, Starts to look a little bit better. Now you can go to an extreme, bring up the exposure, even Mawr. And also, by doing this, you're helping the eyes to pop out. And the eyes are the window to the soul. There the main focus of most portrait and so making sure that the eyes pop. This is one way you can do it. Cool. So this is looking really good. The next thing we're going to do is move down to her teeth just a little bit yellow. So I'm going to click new brush. We are just going to use the teeth whitening brush. I still have mask overlay on. And so I'm going to turn on my masks overlay right. We have our auto mask on. That is what I meant. Now, if I just brush over this, the reason why I wanna have the mosque auto mask on and the mask overlays on for this brush is so that I can make sure that it's just selecting the teeth. Cool. Okay, so that's looking pretty good. Now, if I turned that off, you can notice that what it did it decrease the saturation here boosted the exposure, so that tends to do pretty good. I'm actually going to increase the saturation just a little bit. We don't want to go too crazy with it. Cool. So that is looking pretty darn good. That's really all the brushes that I'm going to use right now in the other version of the portrait. If we go back to that version, I did boost the reds in her lips. And the way that I did that in this edit is with the HSE l tool down here. I just boosted the saturation of the Reds. Now what I could do, actually, and I'm gonna show you a different way of doing that in this version is actually I'm going to use another brush, so I'm going to take my brush tool, click new for all of these. The density has basically been at 100. I'm going to decrease this to 50. Now I'm going to increase the saturation exposure. Just leave, as is. And now I'm going to make a little bit bigger and just brush over the lips right here. Maybe auto mask is a good idea with mask overlays so I can see what is being selected. So I'm not giving her this hot pink lipstick. This is just a mask overlay. And the thing with the density is that with the density not being at 100% you can brush over multiple times. Okay, so now I'm going to turn off the that overlay and let's see what happened. If I turned the saturation back as it was now, I increase it very subtle, but it makes those lips pop. We can also adjust the tint, adding more magenta. So if we delete this brush now we undo it. You can kind of see that we've added a little bit more of a pop of color. And the reason I like that a little bit better than using the HSE cell panel is that when I use the hse l panel, we actually increased the reds that were in her hand right here. If we go back to the photo that I edited. Now if I zoom and you can kind of see that her hand has become really, really pink and red versus the new photo still pretty pink. But it's not. It doesn't have the added pink that we added with the increase in saturation of the Reds in the HSE l panel because we focus our brush just to her lips. Cool. So that's looking pretty good. There's just a couple sort of global changes I'm going to do. One is I am going to warm up this photo. So I'm back in my basic edits. I'm gonna drag my temperature slider up, making it just a little bit warmer if you like that kind of cool tone than that could be something you want to go for. But I'm gonna warm it up just a bit. I'm also going to add a little bit of blur, so I'm going to use this radial filter technique. So clicking the radio filter, I'm going to click and drag an oval around our face actually had a previous setting sets. I'm gonna undo that saturation, just pressing Oh, to make sure that the outside of the face is selected. Looks good. Press again and I'm going to drop the sharpness all the way. Negative 100 then clarity as well. Something like negative 33. Now this again draws our attention to her face. The issue is that sometimes this technique can look a little bit off because naturally, mawr of this portrait would be in focus. So I'm actually going to use the eraser brush to erase some of this mask that I just added . So with this radio mass selected, click the brush button up here in the top of the mass settings. Think like a race down here. And now I'm going to just a race. I can make this a little bit smaller, gonna erase parts of her hair, and you can really see what I'm doing. If I show the mask overlay and I'm gonna raise part of her jacket up here, maybe even like her hand right here, top of her head and again just making sure that her entire face isn't focus. Now, in some of the other edits I've shown you, I've got a little bit more creative with this technique where just literally the eyes Aaron Focus or parts of the nose are in focus, and the rest is a little bit blurred. But for this one, I do want to make sure that, like her jacket front, is in focus. Because this is such a cool sort of texture that adds to this picture, and having it blurred out doesn't look as good to me. The last thing I'm going to do our two last things is to adjust the contrast if I want. I can use the tone curve. Just I'm using the linear curve. If you want to see the points down here, you can click this point curve option. Or you can just do a custom however you want. And I'm just gonna add a little bit more contrast, definitely going for a little bit more of a fashion photo type edit something like that. And then this is really the last thing I'm going to do, which is a post crop in yet again trying to focus the attention on her. So I'm gonna bring up the feather all the way to hunt 100. That's my personal style. I don't like hard vignettes. The midpoint I'm going to bring in, but the amount I'm actually going to drop back down the mountain is around negative 25 or so midpoint around 30 2025 30. And that's looking pretty good. Let's see how I did with comparing it to what I had edited previously. So the one on the right is the one that I'm currently editing. The one on the left is what it looked like, um, before, or the previous edit that I practiced on now for kicks and giggles. Let's just go ahead and reset. Wow, so we went from that to that. That to that pretty good right? We can also do this comparison right here to see the before and after with the crop that we added. So a big change, definitely more of a fashion at it, just a recap of what we did. We soften the skin, we enhanced the eyes. We also added a little bit of color to her lips. One thing I didn't do, actually, I had done in the edit practice. At it was a little bit of contouring to her cheeks, which I used the contour brush that we had created or something similar. This face contour. So what I had done was enhanced her cheeks just a little bit, just a little with a little line like that. And then I also created a new brush like this. I increased the tent in the size and we added a little bit more color to her cheeks. Something like that, and even a little bit more color. So again, just adding a little bit more style to this. Definitely. Let's go see the before and after again. So a lot of things we did. So we did that face contouring. We enhanced the lips color. We widened in the teeth. We added a little bit of blur toe everything except for her face and some of the details. We added that vignette. And of course, we played around with the basic exposure and white balance setting toe. Warm it up. Awesome. Thanks so much for watching. If you have any questions, please let me know. Otherwise we'll see you in another lesson. 34. Editing a Night Photo: Welcome to this new full editing session in this session. I'm going to take this night photo and turn it into something like this on the right again . In these videos, we are doing a little bit more creative at it, showing you the power of light room to create some sort of visually appealing image. This is another photo that was from we saturate dot com, a great place where you can find full raw images for practice editing. Awesome. So let's go ahead and dive into this actual photo. We are editing a virtual copy now. The first thing I always do with landscape photos in with most photos, his crop him specifically with landscape photos, though I want to make sure that the horizons are level now. I can do that myself by rotating it, or I can use the angle sort of level tool. And if I click that level tool and I just click and drag across the horizon, it's going to automatically level for me. And I'm also going to crop in just because I feel like the balance of this photo is heavier on this right hand side with this Joshua tree. This silhouetted Joshua tree. So I'm going to just crop in just a little bit. And I'm also going to put that horizon down lower on the ground so that we have more negative space and we see more of these beautiful stars. I actually might change this to 16 by nine because I think having a whiter shot like this is gonna look even better. You do see kind of the Milky Way right here, and we're definitely going to try to enhance that through editing, pressing return. We have our photo. Now it might feel a little bit not well, perfectly levels. I'm just gonna go in looks a little bit better to me. I think there's something about the balance of the trees being taller on the right hand side that's throwing it off just a little bit. But this is looking great automatically. It's a better photo, in my opinion, because the composition is better. Next, What I'm going to do is try to make the sky a little bit punch here. And to do that, we're going to play with our exposure. So I'm gonna start by bringing down the shadows. Bring down the blacks one thing I do want to do is just completely silhouette these plants in the foreground. Now the power of shooting on rise that you can bring up this information and you can start to see details in the ground even at night. But it's super super greeny. Super got a lot of digital noise, and so I want, actually fully silhouette them like something like that. Now bringing down the darks and the blacks isn't bringing out a lot of information in the sky. Weaken. Try the highlights, which does help a little bit. At the same time, I might bring up the whites just a little bit to make sure that we're not losing any stars . If I bring down the highlights too much, you might start to lose some of the stars, the smaller ones. I am gonna bring up the whites just to get more contrast. E. Another thing we can do is increase the clarity and also D haze, which will bring in more detail in the sky. Since the foreground elements, we're not really caring. If we're applying the D Hayes filter to them, then I think using the overall D. Hayes tool is fine I typically would use d. Hes more with one of these adjustment filters up here. But since we're really are applying, the D. Hayes filtered everything using the global adjustment is fine now. The next thing I want to do if we see the edit that I had previously ton, which now when I look at it, looks a little bit almost who edited. And that's one thing. It's always good to go back and look at your photos after a while because this looks a little bit too edited to me. But I do want to add some color to the sky. Right now. This guy is the sort of gray block color. Now what I could do is take the white balance right here, drag it all the way to the left. Great got a blue sky. What happens, though? And the issue is that we lose this information in the sort of horizon skyline we used lose that sort of warmth that was created by probably the sunset or maybe some lights from cities over there beyond the horizon. And I don't want to lose that. I actually like how there's some warmth of the bottom and then there's going to be some blues up top, creating some sort of Grady in. So I am going to use this graduated filter right here. So I'm going to click that reset everything by double clicking effect. And then I'm just going to click and drag down so that the top of this Grady Int her graduated filter is what is going to be affected. Pressing. Oh, or clicking these show selected mask overlay lets me be assured that this is what's being selected now. What I might want to do is actually get rid of selecting this Joshua tree in the foreground . It is completely black, but if we add a lot of color changes, it might start to appear on this Joshua tree. So I am going to test out range masks. So I'm going to turn the range mass to Luminant, which is going to allow us to see pick a specific exposure. And then I'm going to increase this range the bottom of the range, which will get rid of the silhouetted plants as much as possible. So if I go to an extra dream, you can see that well, we aren't selecting the plants but we are not also selecting the entire sky. So there's a bounce through the range and then also through the smoothness that will get as a batter selection. Something around there looks good for this photo. Now I'm gonna turn off show selected mask over late on my keyboard so I can see what happens when I actually do something. There's two ways to add blue. One is by the temperature just dropping the temperature, which looks pretty good or by adding color with this color tool down here. Where you can do is just pick a color here or click one of these preset colors up here. And this adds a more natural sort of color to your sky so we can play around if we want a more light blue sky or more dark blue sky with a little bit of purple in it. I think a darker blue with a tiny bit of purple is better. Maybe dropping this saturation just a little bit down here. Actually, that's pretty cool. I'm gonna bring it back up 100% saturation. That's looking good. If you want more blue, now is a chance to change the temperature helps a little bit. Another thing that I might actually do is turn back on my Moscow overlay and I'm gonna turn the range down because I don't want to select the stars. I don't want the stars. Tau have this sort of blue sort of filter over them, so something like that might look good. Actually, this might be a case where I'd want to do this with out the Moscow overlay on, so I can really see. So if I drag this down, you can see that the center of this image, which is a little bit brighter, isn't being selected, So I don't want to get rid of that too much, But notice that if this is all the way to the right, the stars start to just be blue. And I don't want that. This also helps pop the Milky Way in the center of this image, looking pretty good. Another thing we can do to make the stars pop mawr right here is play with things like D Hayes and Clarity. So you can go to the extreme if you want something super contrast e I don't necessarily like that style you can play with clarity, Aziz. Well, to bring out some of those details, although what I've found is sometimes with these nytimages bringing down the clarity, bringing down the sharpness can create some kind of cool looks where the sky is a little bit softer, but you still have, you know, the details of the stars himself. Now, that's just a preferential thing for this one. I'm going to leave my sharpness as is. I just want to see that clarity down with the sharpness up. That looks pretty good. But I think for this photo, I'm going to go with this style of more stars, more detail. So that's looking pretty durn good. All right, So one thing you see that in the middle of this image, we have all these stars. It's little bit cloudy, so I might use a brush. Something to take my brush. All the settings air set, gonna turn off auto mask. I'm just gonna brush in the middle of this image just so I can edit this part of it. My density actually could be up at 100%. We're going to use another brush or another graduated filter to edit the skyline down here . is well, so something like that looks pretty good. And let's just go ahead and play with our exposure. So I still have this selected just turned off the mosque overlay. Now let's play with exposure just a little bit. No, definitely not. That may bring down the shadows for this area itself, Maybe boost the D. Hes just a tiny bit now. It depends on what you want. You can get really creative with this. You make this part a little bit bluer because it has a lot of sort of magenta in it. And maybe we wanted to be a little bit more blue. That's starting to look a little cool. Now I'm gonna turn down my identity and just brush over the edge is just so it blends in a little bit more something like that. Let's delete this so you can see what happened. There it is and then undo. It's a lot of processing that the computer has to do with all these brushes, but I like that. It brings out some of these details in the stars in the middle. All right, so let's go ahead and click new to create a new brush and I'm just going to brush over again, bringing up our density, actually brush over the skyline right here, and we're going to warm it up just a bit. Even more to get more color to create even stronger Grady in Not for this area. Let's see what happens if I bring down the d. Hes not the D. A's the clarity. Interesting, Interesting. I'm just trying to see what some of the details you get. A lot of noise. We could do some noise reduction overall, which might look good because we're starting to get a lot of grain and they're I mean, we've had that grain the whole time. But if we go back to our basic settings, go down to noise reduction. One thing I've done with night photos like this in the past is just bring up the noise reduction like crazy and see what that did. That's actually pretty during cool. It makes it's kind of what I was doing before with the Clarity slider dropping the clarity . It makes the parts of the sky without clouds or without stars smooth but were still able to see this guy. Now, if I drag us all the way to the right. You can see that it starts to get a little bit blurry, especially the edges of things like, Ah, here in the plants. I don't like that, but bringing it up quite a bit helps. And you can see in the detail panel how much is actually being affected. So if I take this down, see how much green there is now if I bring it up, gets rid of a lot of that grain, and I think it looks a little bit cleaner, so I kind of skimmed over. But basically I like that brush. I added to add a little bit of warmth. That's all I needed. Now let's go ahead and back to the edit that I had done previously. Here's the previous edit. Here's the new at it It's pretty similar. I think the main change that I did was that Ah, that noise removal or noise reduction, and I like that better in this version. And I'm pretty happy with this one thing that I would also play around with. If you don't like this vignette ing, I actually liked. Even getting what you might want to do is check your lens corrections, we can enable profile corrections just to see what that does. That's pretty extreme, but you might want your entire sky to be a little bit brighter if you want that sort of effect. But not so much. We can take down the vignette ing slider down here to bring back some of the vignette ing from the camera itself. Now this is from the lens itself. It's not the post crop vignette ing. If we wanted to get rid of the vignette ing, we could not do this with the vignette tool, because what happens is if we added, and yet or a white vignette right here it creates sort of like a white blur or white than yet it's not getting rid of the dark. And yet to get rid of a dark vignette, you would enable the profile corrections and then play around with a vignette ing setting here or just go to the manual setting and then dragged the vignette ing slider left or right to increase or decrease the lens vignette itself. All right, so I'm liking this at it. If you have any questions, please let me know. But I think I'm done with this one. Happy with it. Love that, Grady in the night sky Beautiful stars You still have the sunset in the background Got the silhouettes much more well bounced level horizons. And that's really what I was going for. Thanks so much for watching and we'll see you in another lesson. 35. Editing a Long Exposure Photo: welcome to this full editing session. We are editing this long exposure photos. So if you want to follow along, make sure you open up the long exposure photo. This is one of the edits where I just look at it and I'm like, Wow, this is the power of light room Classic to the extreme. I love playing around with this edit. This is another great photo from we saturate dot com Again, I'm not someone who is sponsored by weeks ahead trade or anything like that. It's just a great site for practicing edits. So we're taking this photo from the left, which is a pretty cool photo turning it into the photo on the right. Here is the full photo, so you can check it out and then the original pretty amazing what you can do in light room . So let's dive into it. So the first thing we're going to do, as always, is to crop and rotate. So I want to make sure that our her rising the straight I'm using the level tool just gonna click and drag over our horizon. And then I'm going to punch in just a little bit because I do think that coming in on these rocks really using the rule of thirds so that this first rock is at this intersection of the rule of thirds and then also cropping out this little part of the landscape over on the left hand side to me creates a more balanced photo. Something like this. We can also play around with crop a little bit more. We're gonna put this her rise and right at that top of the thirds line. Cool. So this is looking pretty good. Next, let's play around with exposure. So I'm going to automatically bring up the shadows quite a bit, bring up the blacks just a little bit and then we're gonna play with individual parts of this photo in just a minute. One thing I liked about this photo is to create this sort of HDR style look where everything is exposed and one tool that you can use is the clarity Toolan. So bringing up the clarity brings up a lot of detail in these rocks, which I think is going to be really cool. So we're getting a little bit closer in terms of the overall exposure. We still have a little bit of a bit to do, but the next thing is to really play with The colors were not playing with a lot of these other settings down here in the development tool. We're playing with specific parts of an image, so we're going to first use. He graduated filters to edit the sky and the water down below. So first, let's edit the sky. So I'm gonna select the graduated filter, make sure everything is set to zero. I'm gonna turn on mask overlay, and I'm just going to click and drag down. So we are selecting the sky right now now. Typically, what I would do with this is just go ahead and add some D. Hayes. Now this would add a lot of detail to the clouds. We can play with the colors and things like that, but I'm actually going to do something a little bit more advanced. I want to select different parts of the sky to add it. So first I'm going to edit the clouds, so I want to choose a range mask, so I'm going to set the color. Let's try the color, and I'm going to select the clouds themselves. now turning on mask overlays. See what is selected. That looks pretty good. We can change the amount slider so we get less of the sky and just the clouds itself. That's looking pretty good. And now I'm going to turn on the D. Hayes filter to get details in just the clouds. Not so much in the sky. Let's play around with the color of the cloud. So if we bring down the temperature up the temperature now, I don't. I want this guy to be warmer, but I don't want the clouds to be warmer. So that's another reason why I'm actually going to use to graduated filters, one where I'm just affecting the clouds, one where I'm just affecting the sky without the cloud. So for this one, since we're just affecting the clouds, I'm going to make actually this the clouds a little bit bluer. I'm also going to boost the clarity just a little bit, so that's starting to look pretty good. Let's go ahead and click the graduated brush again, or just click the new brush, and we're going to create a new filter that is basically the same thing. But this time we're going to pick Luminant, and we're going to select just the highlights. So with my mask overlay on, we're going to click the range, bring the range up until we just have mostly the sky now smoothness. We might want to turn down. Something like that is looking pretty good. Now let's play with the color. So we're going to actually increase the temperature play with bringing down the exposure. We bring down the exposure. We get a lot of details back into those clouds into the sky. Now we don't want to go too far, especially with the whites, because when you bring down the whites, things start to look a little bit awkward. It's almost as if you have a negative. And because you are making the brights and the whites darker, that's what could happen. Let's go to our edited version and see where we're at so far. So this is the one we're working on. Here is the edited one. We're looking pretty darn good. The next thing we want to do is actually boost the orange in just this part of the sky. So what I'm going to do is use a brush. Someone take this brush filter. Drag it down just a little bit. I am going to turn auto mask on because I want to choose just the white parts and not the clouds and just gonna brush over this way like so Now I could use the auto mask. I could use the range mascots well, or I could use both. So let's go ahead and brush over this. I'm sure we get all these parts of the clouds or of the sky without the clouds. Something like that's pretty good. I'm also going to turn on range mass color and choose just the background. Let's blend it a little bit more, so I'm gonna choose them. Increase the amount. That's pretty good now for this part. What I'm going to do is really crank up that temperature. Make it a lot warmer. That's pretty good. Or we can add some color with this color picker. Something like that. Maybe decrease the saturation, make it a little bit more red and pink. Something like That's pretty good. Now I might want to brush over the clouds just a little bit, so we get it looks a little bit more natural right now. It's very sharp lines where the sky has color than the clouds don't. So I'm gonna turn off auto mask. I'm going to decrease the density. Something really low. Turn off my range. Mass color selector and knowledge is P over everything. Now it's really sad a lot. I could do this a couple times, and if I turn on my mask overlays, you'll start to see that the sky is selected. But also, some of the cloud is selected as well. Now, if I delete this, you'll see what's actually happening. So I mean, delete it, so it's very subtle, but that's good. We don't want it to be too extreme, but it definitely adds a lot of warmth in there. We could make it even warmer, maybe awesome. That's looking pretty good. Now. I think the most dramatic thing I did to this photo that really takes it to the next level was completely changes. The changing the color of the water here, and the reason why I did that was I wanted to blend the orange of the sky more into the water. So I did that with a graduated filter, so I took her graduated filter I said it to just the bottom half of this image just to the water, something like that. And then I chose to use a color range mask. I picked the color pick the blue, make sure I could see what I'm doing with my mask overlays on. Then I included a little bit more so I can get some of this blue down here. But I don't really want any of the rock as much so that something like that looks pretty good. And then what I did was just cranked up the temperature, trying to make it match the sky. And then I also added some saturation. He added. Some color me drop down the exposure of the saturation of the color just a little bit, and that's starting to look pretty good. We can also play around with the exposure. In contrast, sometimes bring down exposure will add more color, which is pretty cool. So let's click done. Let's see our previous edit and this at it. No, I actually like how this edit is going because I like that the rocks aren't getting as warm as in the previous at it. But we also still have some of those blue down here, which I actually don't mind. I don't mind having some of this blue in this version of the edit. Now, if I didn't want this to be blue, what I could do is I could go back into this setting right here, make sure I see my mask overlay. And maybe I would need to or not. That one. It was go into believe it was this one. No, this one. All right, so sometimes you get mixed up with which filters air using. So now I want to make sure that this more of this is selected. So I would probably increase the amount here. And that would add more warmth to the water down here. So it's kind of your style what you're going for. I kind of like the greedy in that goes from blue to orange, back to sort of a more blue ari. So next thing I want to do is with the brush tool, enhance the rocks themselves. I am going to turn on auto mask, turn on my mask overlay so I can see what's happening. And I'm just gonna paint over these rocks. Density. I'm gonna have all the way up. That's one thing I actually always forget to do. I want density to be all the way up. Something like this. This rock down here, this rock down here that's starting to look pretty good. Awesome. So let's turn off our mask overlay. We want to increase sort of the exposure of this, so I'm gonna boost exposure just a little bit. Using the keyboard narrows also clarity. I'm gonna boost as well. So we're adding more of that HDR effect. Who? The rocks in the foreground, perhaps bringing up the shadows just a little bit. Don't want to go too much, but something like that starting to look really, really good in my mind anyways. And yeah, that's pretty good. We might want to drop the tint down, make things a little bit more green. This is also something we can do back in our basic tab. We might want to go down to R. H s L panel and just increase the saturation of green just to give it up that pop of color . All right, I'm actually pretty happy with this at it. Let's go ahead and see the before and after again. So this is the edit we did previously on the right. This is the edit we did together right here on the left. I'll let you decide which one you like. I think what I added a little bit, too, with that other edit as well was warmth overall to the entire image. So if we go into this photo and we add some warmth over all, we'll get some nice warm tones, a little bit blending everything to gather a little bit more. Now when I do that, the water might becoming get beginning a little bit too warm. So we might want to go back into our adjustment layers or graduated filters and toned down that saturation of this part of the water. But I'm actually liking it a lot. And so if I press the backslash key, you can see here is the other edit. Here's this at it. Oh, there is one thing that I did. I see that I noticed that I fixed the lens. So on this at it, let's go down to lens corrections. Let's choose enable profile corrections. If you were using a typical modern camera with a lens that is native to that camera light room will know which lens you're using and by taking on enable ends corrections. It will get rid of any distortion or vignette ing that naturally occurs when using that lens. And that's kind of a personal preference. You might not have noticed anything, but it does get rid of a little bit of that warp. And it kind of straightens out things in the rising as well. Awesome. Thank you so much for watching. If you have any questions, please let me know. I would love to see your edit of this photo. So if you have a chance, make sure you added it posted to the course or post it to the video school online Facebook group or really anywhere, so that we can check it out. Thanks so much for watching and have a great day. 36. Editing a Product Photo: welcome to this new full editing demonstration of this product photo. What? I'm calling a product photo of this car Really amazing shot from we saturate dot com. So this photo is something that is a little bit different in my goal was to edit it in a style that would be four, some sort of advertisement commercial, something like that to give it a little bit more of a fashion style. So we're not just going for a traditional edit with punchier contrast, we're really going for some cool. Interesting. I'd catching colors. So if you want to follow along, make sure that you open up the product photo shot and let's dive right in. So here's the photo we're going to be editing. The first thing I'm going to do is crop in just a little bit, just so we can get a little bit closer to this car. I am still choosing to use the aspect ratio of the original photo. If you are choosing something, maybe you want it to be like for the background of mobile phone or mobile device, something like 16 by nine might be kind of cool. I think that is a little bit who skinny for myself. So I'm just gonna choose as shot, bring in just a little bit. Something like that. I am still centering the car if you want. You know, this might be a cool option, actually, for this at it, since I've already done it the centering way, I'm going to edit like this in case it was some more advertisement where you have some text up here on the top and maybe a little bit of text on the bottom. Next, I'm going to play around with the exposure, so I'm gonna bring down the blacks. I definitely want the blacks of the car to pop a little bit more. Same thing with the shadows. I'm going to bring down the shadows a little bit more. Overall exposure looks pretty good. So I'm gonna leave that as is. But I am gonna boost the highlights and the whites just a little bit creating a little bit more contrast. All right, so the next thing I want to do really is play with the color. That's what's most interesting in this photo to me, in the way that I'm going to do that is with split toning now, Just a refresher. The way split toning works is that you are actually adding color to either the highlights or the shadows. So to do that first you need Teoh ad saturation by dragging these sliders up, and you can add more or less saturation however you want, and then choosing a color by dragging the hue to the left or right for either the highlights or the shadows. You can also open up the color picker, and here you can drag up and down or around the colors themselves for the highlights. Um, and when you dragged down you decrease. The saturation is lighter. When you drag up, you increase and you can drag left or right to pick a specific you. So, for example, maybe you have a color palette in mind. Maybe you want something that is this bright cherry pink color, and then the shadows. You want something blue, so you might have a certain color palette in mind, and this is one way to quickly and easily find those colors. Now, looking at this, I'm already confused at what colors I picked. I believe in this original one. I was going for some sort of like Miami style coloring with some purples and yellows. And so for the shadows, I'm gonna leave the shadows right there and then for the highlights. I'm going to start with the yellow that they have right there. But then drag it up just a little bit up there. Now, notice though I have my yellow up here. I have my purple down here, but it doesn't look like this shot. And maybe my yellow was a little bit more orange. Something like that. But it still doesn't look the same as in this shop. Why is that? The reason is because of the balance is off between the highlights and the shadows. You have this balance, slider. If we drag to the left, what happens is these shadows get more power, get mawr of the color and the power of this effect. If I drag us all the way to the left, basically the highlights don't get met. Much color added. If I drag it to the right, the opposite happens. The highlights get most of this effect and the shadows get a little bit, but not so much. And so dragging this to the left, playing with the saturation. These are what I'm going to do to get colors that were similar to what I had in the original at it over here. Now you'll notice that these colors are much more punchy here. So what I can do overall is add some vibrance or saturation. So I'm gonna boost the vibrance and saturation up here to get more actual color. You could play around with the saturation of the split toning as well. But I think in this instance, I think just using overall saturation is good. Now, if you don't want overall saturation or vibrance, you can also pinpoint colors that you want to add saturation to. So we can add saturation to the oranges, the yellows, the reds and maybe the purples. And the reason why you might want to do that, instead is so that you don't add too much vibrance or saturation to the color of the car itself. And then maybe just boosting just a little bit looks good. Now, a couple of things that I want to do, I want to focus our attention on the car a little bit more, so I'm going to add a sort of blur radio filter. So selecting radio filter making sure everything's set to zero and then just clicking and dragging around this car something like that pressing, Oh, to see what my selection is. Something like that turning off with oh, and then just dropping the sharpness that also dropping the clarity. Now you can make it even super blurry or a little bit not as blurry with that clarity, slider. And you can also hear might be something cool to play around with exposure as well, if you want more of a vignette or just making it lighter. And this is actually a little bit of a different edit than I did previously. But I like this because this gives you the chance to add text up at the bottom that stands out a little bit more. So that was the radio filter. Next, I'm going to use a brush filter to brush the car and really pop, make the car pop a little bit more. So I am going to leave auto mask on, and I'm just going to basically draw over our car, turning on oh, or are selected mask over laid down there. That check box right there so that I am selecting. Seeing what? I'm selecting the auto mask feature right here. It just helps you to not select outside of the edges of the car. It can detect the edges pretty well. Now, if there's parts of the car that you definitely want to include that weren't being include with the mask, you might want to just paint over them without that selected. But when you get close to the edge like I just did right there, whips, I selected past the edge. So I'm gonna redo that, letting go when I am happy with the selection. I made something like that. Cool. So now turning off the mask overlay so I can see what I'm doing. I'm going to drop the blacks, really increasing the contrast of this again. Maybe increasing the d hes can add some more detail to the car. Increasingly clarity. Just a little bit Now when I do that, it actually odds More contrast. So might bring the blacks up a little bit. But notice if I turn off clarity, then I turn it on the same thing with the haze turning off. Turn on it makes it pop it makes it stand out just a little bit more. If you don't want to add contrast like that, you can just add contrast with this contrast slider. Now I don't want to go too far, so I'm going to turn that off. But really, I'm pretty happy with that. Might de saturate just a little bit something like so cool. So now we can turn this off on and off, and you can see what happens. It just makes it pop even more so. This is looking pretty good. Let's look at our original edit, which is a little bit different. Definitely got some more purple. Definitely got some more orange in there as well. We can add some more of these. This kind of look like that if we want by using a brush. So let's go ahead and create a new brush. We're going to turn off Auto mask. We're going to make it pretty big. We're just gonna brush in this V right here, pressing Oh, to turn that on so I can see what I'm looking at. That's looking pretty good. No, Maybe I want to add a little bit of warmth up there. A little bit of saturation, maybe tone down both of those. And then I'm going to turn down the density and just brush the edges just a little bit more to have it blend in. Maybe just brush a little bit down here just to add some of that color. It's looking pretty good. And then we could continue to do the same thing with brushes, to add more purple. Or we could just go back and see with our split toning again. Sometimes it's good to take a second look at it and see what's put toning might look like if we increase the shadows there. Now notice one thing when I'm playing with split toning now, it's not really affecting the background. It's mostly affecting the car, which is maybe a stallion like, But the reason is because we increased the exposure of the outside area using this radio filter. So if we go into this radial filter and we bring back down the exposure, you'll notice that as we do that, the background starts to get a lot more of that color from our split toning. So that's something they keep in mind when you play around with the exposure itself that you might actually be hurting what you've done before with the split toning. So make sure that you're just aware of that. So if you do want the background toe, have a specific or parts of the image to have a specific split toning effect to it, make sure that you do. You balance that with how you adjust your exposure. All right, so this is just a fun way to edit this photo. We could go completely different with these colors, and it could be something really cool off the opposite. This is sort of again, another sort of Miami color combination. Orange and teal or orange and light blue, A different style of edit. But this is where you can have fun with it. So I'm gonna undo that because I don't like those color combinations. Let's go back to where we were. But for now, I'm just gonna let you go. I'm gonna let you play with this color combination in this edit. This is really a good example of where you can use Bleidt toning to play around and get some really, really creative images. Thank you so much for watching. Let me know if you have any other questions. Otherwise we'll see you in another lesson. 37. Editing a Nature Photo: Welcome to this new full editing lesson. We're going to be editing this landscape slash aerial shot some beautiful colors in here. Another photo from we saturate dot com A great place to practice your photo edits. So we're doing a couple really quick things to make this image on the left turn into this image on the right. We've got this tilt shift effect that we created right with in after effects that something that you see Ah, lot on instagram photos because there's a quick filter for that. And also, if you're using an actual tilt shift lens, especially when you're shooting from up above, it looks like makes things look super tiny and kind of like miniatures. So let's dive into this edit. You can follow along by opening up the nature photo shot and let's get to it. So the first things first we're gonna crap. Actually, I'm not gonna crop. That was another trick question because this photo is perfectly cropped alleys. In my opinion, you might want to get in here cop it a little bit If these plans down here are bugging you a little bit, Okay, just for the heck of it I'm going to crop in because I always do some sort of cropping. I'm gonna cropping just like that. Get rid of some of those branches at the end. A little bit more balanced. Okay, cool. Awesome. I really did not mean to do that. I wasn't planning on it, but just for the fun of it. Now I'm going to play with the exposure over all the exposure looks a little bit bright to me. The shadows, the blacks, they're not too dark. And so I'm going to first bring down my blacks as I do that you can automatically start to see a little bit more detail. Comes a little bit punch here, seeing with my shadows. With my highlights, I'm actually going to bring my highlights down to with my whites. All bring them back up a little bit just to bring back some of that contrast. Sometimes with nature shots boosting clarity is one of your favorite friends something like that, as a lot of detail as a lot of fun to it. And it's looking good. Typically with the nature shot, I would start adding vibrance or saturation. But with this one, I'm gonna go straight down past the tone curve to R. H s L options. The reason is because I want to pinpoint the colors that I want to increase the saturation for specifically these greens and these Thiel's or the blue of the water. If I just brought up the overall saturation, everything gets more saturated. So I'm going to actually start by clicking on this button. I'm going to go into this pool and bring up. That's this aqua color, which I could if I just wanted to drag this slider up, and that's sometimes what I do. I click to see what color it is. And then when I know that it's Aqua, then I'll play around with the slider itself might even bring up the blues just a little bit. One of the reasons specifically why I don't want to bring up all the saturation is because of the yellows. I like bring up the Reds. I like bring up the orange. It really makes some of these leaves pop, but by bringing up the yellows, it starts to make everything a little bit too yellow, in my opinion, So I'm really only going to boost that. Just a little bit Now the rest. These colors don't really need much saturation adjustments. So I'm just gonna leave those as is split, toning Gonna leave everything else. I'm gonna pretty much leave. Except for Arvin. Yet I think this is a nice photo toe. Add a little bit of a vignette. So this is a post crop vignette underneath effects gonna drop down our vignette amount. We're gonna increase the fathering. I always increased 100. It's personal preference. I'm also going to bring in the mid point something like that. And maybe when I bring in the end point midpoint, I might drag up the amount just a little bit. So my goal is for you to be focused on sort of the center of this photo because there is so much going on. But there are some subject pieces in this photo. We've got the waterfall. We've got the people down here. There's specific little ponds or lakes or lagoons, whatever you want to call this. And so that's the focus. So one way that you can add even more focus is with blur. Now, you can do this in photography by using a shallow depth of field when you have something like a portrait of a subject where you don't want the background to be competing with your subject. But in this photo, where everything is basically about the same distance away from the camera, you can't really get that shell it up the field and have that effect. What we can do is add some sort of tilt shift effect. Now, I'm going to do that with the graduated filter. So I have a new graduated filter, and I'm going to kind of try to create a sliver across the frame kind of skinny. That includes some of these people and this waterfall right here. So I'm going to start at the top something right about like that. I might change this, move these around in the second, but I am going to just go ahead and drop my sharpness all the way and then drop my clarity a little bit. If I drop my clarity too much, it starts to look not like it's out of focus, but like it has like a frosty mist over it. So the clarity isn't really the best way to add sort of blurriness. That would be like a natural camera. The cool thing now is that with these settings, if I don't click new and I just click to add another blur or another graduated filter, it keeps thes settings for us. So if I click down here and start clicking up, everything starts to get blurry beneath this graduated filter. Now, if I want this to get human blurrier because we can't, we don't have settings that will make it more blurry. We can just add another graduate waited filter on top of it. So let me add another one like that, and then same down here. So these ones, I'm making a little bit longer just to try to blend it in just a little bit. Now the more you go, the blurry it's gonna get. But it starts to look a little bit too fake, in my opinion, So I'm gonna leave it like that in terms of the Blur. In terms of the Blur angle looks pretty good. I might actually try to flatten these out just a little bit, something like so this one down here, the tilt shift effect works better when there's, like more of a small sliver in focus, something like this, but because I want those people, you know, it depends on what you want. Do you want these people in the frame and focus? I think I do. So I'm gonna actually go ahead and keep this sliver of focus pretty wide. But I do like it being a little bit more horizontal like this. So I'm gonna click done, see the before After four. After, the last thing I might do is just go into the tone curve. I had a little bit more contrast. Oh, yeah, that's looking good. If you really want to get this tilt shift effect the tiny people effect boosting your saturation is your friend. I'm not going to boost saturation but vibrance because that boosts all the colors except for those yellows. Which is kind of what we did with the HSE l slider and again, pretty stylistic, but getting pretty darn cool. And that's pretty much all I did with this photo to make it look how I did before. Let's go ahead and open that one up so we can see the before after of what we were working on. So this is the before one. This is the after that, we just did together pretty much the same except for the crop. Honestly, I kind of like the crop from me for so what I'm gonna do is go ahead back as shot and we're gonna leave it like that. Now, when you do that, you might want to go in and check your graduated filters again to see if they're in the right spot. But I think I like it. The only thing now is I'm noticing that this waterfall up here is not early and focus, and I want it to be If you want more things out of focus of, say, you're here and you want like this, these trees out of focus, I can then go in with my brush density all the way up and just brush over this like so So it's not a perfect line, but we are getting some of that still blurriness over there. And now that is looking pretty good. Awesome. I would love to see photos of yours that you've played around with, Maybe something you've added this sort of tilt shift technique to so please post them to the course, post them to social media's tag me at Philemon or or at video school online. I would love to check it out. Thanks so much for watching. I hope you have a great day and we'll see you in another lesson. 38. Editing an Action Shot: Welcome to this new light room editing session. This is the action photo. So if you want to follow Long, make sure you've downloaded that photo. Import it. And here's this photo that I shot down at a just stage race that happens in local downtown here in Sandy, Miss. And it was one of my favorite shots from the day using this technique to capture moving objects, but with a very blurry background and a sharp subject. So anyways, let's dive into it. We're going to be two ng some cool techniques to make sure that our subject stands out as much as possible. Awesome. So starting with this photo, the first thing we're going to do is crop it. And I'm just going to leave the original ah aspect ratio gonna bring it in quite a bit. Try align our subject on that intersection of the rule of thirds. Whenever you have an action shot, it feels much more balanced. Toe have the negative space in front of the motion rather than behind. And this goes for shooting photos as well. So when you're shooting them, not just cropping them in post, you want to make sure that the action or whoever's moving or whatever is moving. It's going towards the negative space side of your photo, so hopefully that makes sense. So I'm gonna crop and right about there I wish I had tilted down just a little bit. So there was a little bit more room beneath the bike tires in this shot so I could get some room down there. But since I don't, I'm trying to crop in as much as possible with without feeling too crunched. If I cropped something like this, I to me, I feel like this feels a little bit too crunched in there and not enough headspace head room. So I'm gonna leave it something like that with overall exposure. It's actually exposed pretty well, I think. But I am going to increase the contrast just with the blacks. Bring those down, going to bring up the shadows just a little bit. Highlights. I'm going to bring up whites, just bring down just a little bit clarity. I'm gonna boost just a little bit. This is one situation where boosting clarity for a person looks pretty good. At least I think with vibrance and saturation I'm not playing around with overall, I'm going to go down to R H s L panel. Use the saturation selector and click on this green right here and really just boost this green. It has a little bit of aqua in there as well. Gonna go down to this red boost as well. This blue boost that really just trying to make those colors pop on our cyclists. And since he's wearing the green jersey, which is the leader in the sprints category, if you're a cyclist, you'll get that. Ah, if not, basically this guy is really fast, and so that's why he's wearing that green jersey. And so I really want to make sure that looks good. Here's another example of where using a hue adjustment could be cool. We could make this guy not the green jersey where but the yellow jersey. Where and that means he's actually the best writer in the race, and he is going for gold and there's not really a aqua jersey. That just means he's riding for a normal team and he's not winning. Any prizes were gonna leave it as was with the green jersey, which looks pretty good. Next, I'm going to use a brush adjustment, just subtle brush adjustment for his face. His face is the part that is really most in focus, but because there's so much motion, I don't even know what the settings were for this photo. Let's go back to the library. I haven't done this for most of these photos, but we were shooting at 1 1/100 of a second, so still not too slow, but because they were moving so fast, you get that nice motion blur F 10 which is still pretty deep as well. So, um, it looks actually pretty good for for the settings. Um, and there's it's amazing that there's still some motion blur right there on his face with that fast shutter speed. But again, they're moving so fast. All right, so with this brush, we are just going toe, move and paint over his face. Let's click or brush. Make sure our mask overlays on that's O on your keyboard. If you don't know that by now than means, you haven't been paying attention to the videos. Shame on you. And so we're just gonna paint over this now Notice I clicked on his cheek, and that's what selected. And so when I started painting over his glasses, light room was like, Wait a second. That's not what you want me to select, so it didn't select it. So I'm going to click again on the glasses now. And because the glasses are multiple colors, I might have to do this a couple times. The good thing is that it does a pretty decent job at selecting the edges and not selecting like the sky in the background or even his arm right there, which I don't necessarily want. That's pretty good. So let's turn off our mask overly o on the keyboard were going to increase the sharpness here. Quite a bit. Notice if I increase it. Crazy amount. You get a lot of noise and grain right there. A digital grain right there. So we're not gonna go that crazy. We're also going to boost the clarity just a little bit. Now I'm zoomed in. If I zoom out and I turn this on and off, you can see it's super subtle. I can make it a little bit more intense. The blacks down, shadows down highlights. Maybe, actually, the shadows should come up Just a little bit, and I definitely don't want to add a war. If they're cool, it is to his face. So turning that on and off, you can see what's happening. It just makes his face a little bit more detailed, and that's what we're going for, making sure he is the center of attention. Now this photo is pretty close. The last thing I'm going to do is sure you had to create sort of a custom white or highlight vignette using the radio filter. So if I take this radio filter, click in the middle of the cyclist and just initially have a circle, you can move it around in a second and then press Oh to see the edge or what's being selected to make sure you're not selecting everything. This is a case where I'm gonna turn the feathering down just a little bit because I can tell that it's actually selecting parts of the cyclists right there. We can also brush inner out, but I'm gonna leave it like that. Actually, I will go take our brush now with this radial filter, press a race, make it a little big turn off auto mask and just erase the part where the cyclist is down here. Cool. All right, so let's turn off this like the mask overlay. I'm going to do two things. One, I'm going to drop clarity just a little bit, which increases the blur in the background. I'm also going to decrease the sharpness, which also increases the Blur again, focusing our attention on the cyclists. Turning this on and off, you can see, just does a little bit. And the last thing I'm going to do is actually increase the overall exposure. Now, you can go as much as you want. If you want to go a little bit more extreme and abstract, something like that could be pretty cool. I'm just gonna go a little bit. But now if we see the before and after, you can really tell that your attention isn't drawn to these darker areas up here, we can even boost the shadows. But then that starts to look a little about. So I'm not going to do that, actually. So leaving the shadows, as is but the overall exposure boost I actually like in this style. So this is the after, So let's reset it. So here's the before and the after way. Better. In my opinion, attention is on the cyclist colors. Pop. Really well. And we've got this nice highlights. Sort of in yet That looks pretty good. Awesome. If you have any questions, let me know. Otherwise we'll see you in another tutorial by 39. Editing a Landscape Photo: Welcome to a new photo edit in the light room cores. This one is on this landscape photo. We're taking this photo on the left, turning it into something like this on the right. Let me show you sort of the full screen so you can kind of get the full effect. So this is the end result. And then this is the original photo again. This photos from we saturate dot com. It's also available in the downloads earlier in this section of the course. So a lot of things going on, but really playing with color to make this more magical and almost a little bit more realistic, in a sense, because when you're out here shooting and seeing these the ocean in the sky, there's a lot more blue, probably. And when you're shooting and raw, you lose a lot of that color. So let's go ahead and dive into it. So the first thing we do is crop and actually just for fun. I'm going to give this a 16 by nine crops so that this is would be a little bit better for , like, a desktop screensaver. Something like that. Cool. So that's looking good One thing I am going to play around with is the overall exposure. So I'm gonna bring up the shadows just a little bit to get some more information on the rocks themselves. Also bringing down the blacks just a tiny bit just to bring back some of that contrast, bringing the highlights down a little bit and the whites overall just down a little bit as well. Next, we're going to boost clarity just a little bit for landscape photos. I find that adding some clarity can help make the things you're looking at more defined. For D. Hayes. I'm not really going to add De Hayes to the whole picture. When you do that, it starts to look a little wonky. So I'm going to wait and do that to specific areas and then same for vibrance and saturation and really the rest of these basic settings. I'm just going to leave them as is for now. My goal is to make this guy a little bit more colorful. Blue magenta. You do see some natural magenta and sort of pink orange in the sky, so I'm going to try to enhance that the ocean I want to definitely make more blue. And in these hills they're actually a little bit too warm to me. And so I'm going to try to cool those down to make them look a little bit more as if there wasn't actually golden hour sunlight shining on them. To me, I just feel like it's a little too red. So let's start with the sky. So I'm going to take the graduated filter click here and create sort of a mask just like that along the edge of the horizon. And then I'm going to turn the range mask on. Let's try luminess first, and I'm going to press Oh to bring up my mask overlay and let's just increase the range so that we aren't getting as much of this hillside over here. We can decrease the smoothness just a little bit, so we have a little bit of a sharper edge, which I don't mind for this photo. All right, pressing Oh, to turn that off. So for the sky, I am going to add some d hes. So I'm going to go up around 34 35 something like that. We're going to make it a little bit actually cooler to add some more blue, so I don't want to make it warmer. I want to make it a little cooler to add more blue, and then we're going to add a little bit more pink as well. All right, so this might seem seem a little weird, but I'm also going toe had a little bit of orange to it as well, using the color tool. So I'm just going to start with this yellow moving around over to something more orange and then dropped the saturation a ton. So that's adding lots of color to the sky to make it a little bit more saturated. Aiken just boost the saturation here and then also something that's a little bit more interesting. I'm going to drop the clarity to make the cl