Adobe Lightroom: Developing Your Editing Style | Jay (Trxlation) | Skillshare

Adobe Lightroom: Developing Your Editing Style

Jay (Trxlation), Photographer

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14 Lessons (47m)
    • 1. Introduction

      1:49
    • 2. Class Project

      0:31
    • 3. Basics

      5:30
    • 4. Tone Curve

      4:53
    • 5. Hue, Saturation, And Luminance

      4:31
    • 6. Split Tone

      3:06
    • 7. Effects And More

      12:05
    • 8. Spot Removal, Radial Filter, And More

      14:05
    • 9. Snapshots And More

      3:46
    • 10. Finding Your Editing Style

      4:18
    • 11. Inspiration: Music

      1:47
    • 12. Inspiration: Paintings

      3:04
    • 13. Inspiration: Presets

      4:48
    • 14. Conclusion

      2:03
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About This Class

In this class I'm teaching students how to edit photos in Adobe Lightroom and develop their own unique editing style.

With the extraordinarily large number of photographers today, it's important to develop your own editing style in order to stand out from the competition. This class will discuss sources of inspiration including music, paintings, and more. On top of that, I'm going to break down each tool in Lightroom and show students how they can creatively use them to develop their editing style.

This class is designed for students that are looking to develop their own editing style and already have a rough knowledge of Lightroom.

Although a portion of this class is specific to Lightroom, students can still learn from this class even if they are using a different software.

Transcripts

1. Introduction: Hey, guys, it's J here also known a circulation and welcome to my class on developing your editing style in this class, I'm going to be breaking down the develop module in light room in detail, and I'm also going to be talking about ways that you can find inspiration for your editing style. Although a portion of this class is going to be specific toe light room, it's also fine if you're using another software. I think everyone can still take away something from this class, even if they're not using the light room. I'm just going to be going through light room in great detail. That way, in case there's anything you don't understand, you can go ahead and get that restriction out of the way. Developing your editing style is very important, and it took me quite a while to find my own maybe almost two years. So in this class, I hope that I can speed up the process for you a bit and give you some advice on how you can find your own style. Today. It's important to have your own editing style as it's kind of your visual signature in a way and It's also nice to have something consistent. So when clients look at your work, they can already have an idea of what they're going to get from you. Now, before we move any farther in this class, I just want to give the quick backgrounds you can know a little bit more about me. I'm a freelance photographer specialising in portrait landscape and product photography. I live in Chattanooga, Tennessee. I started drawing and painting around 2012 and from there I progressed into photography. I'm entirely self taught photography. I've had my work featured in Petah Pixel Vantage, the Fox magazine and some other publications as well. I worked with brands like Coca Cola, Polaroid, Walgreens and more. Now that that's out of the way, let's jump right into this class. 2. Class Project: your project for this class is to go and edit a photo. Using the information that you've worn from this class, I want you to submit two versions of your photo A before and after so we can see where you started and where you ended with your edit. I want you to mention what your source of inspiration was for that edit. Was that music? Was the painting with another picture, or was it something else? Go ahead, submit your project and leave some feedback on the projects of others. I'm really looking forward to seeing what you guys create. 3. Basics: So here we are in white room in the develop module and just make it easier for you guys to see. I'm going to go ahead and collapse this top more and top bar here. I'm just going to click there and their and hopefully they'll make the view a bit better for you guys. So over here on the right side, you can see all of the different sections that we have with tools for anything. It's a lot, so we're just going to break it down one bit at a time. I am going to you collapse all of these, and we're just going to start with the basics. So the basic section is where most people start off in White room. The stuff down here it can. What kind of complicated? If you've ever edited a photo on your phone, you've probably seen some sliders that look somewhere to these. So let's break down what each one does. Starting up at the top, we have where we can control white balance. You can control that by selecting of the type of weather, like I shot this on a cloudy day so I could use cloudy. But that's not the white balance that I want, so I can control it manually by using the sliders right here. This controls the warmth or coolness of your photo, and down here controls the tent, which could make it more green or more pink. If you ever make an adjustment on any slider in light room and you don't like it, you can return to its original state by just double clicking. So obviously this white balance looks pretty horrible. I want to get it back to where originally? Waas. So I'm just gonna double quick here and here, and we're back to where we started moving on down the line. We have exposure this. Adjust the brightness of your photo. There's not a whole lot to it. Pretty simple. You can also come in here and manually enter in stuff. You can also just drag up and down on the number. And also, if you select here, you can use your arrow keys to move up in small increments. Keep in mind that all of the photos I will be editing in here were shot in raw format. This means that there's a lot more information in the file toe work with. That means I can pull my exposure up and bring back the detail that's in this tunnel right here. If these photos were J Peg, you wouldn't have as much information toe work with. So keep in mind if you're shooting J. Peg, which I would not recommend, you're not going to be able to do as many things as Aiken dio. Well, you'll be able to do everything, but it's not going toe. Look as good right here. We have contrast. It's pretty basic. It just either takes away or adds contrast to your photo, not a whole lot to it. Moving down. We have highlights. This is going to detect the hottest or like brightest spots of your photo, and it's going to adjust the brightness there. So like up here in the sky, you can see highlights are being brought up and down by this slider right here we have shadows. It works like highlights, but the complete opposite. It just finds the darker areas and either adds or takes away light from them. You can see right here if I zoom in on this tunnel right here. We have white falling off. This is a shadow, The shadow slider. Make the light fall off a lot quicker here or if I bring it all the way up, it can add more light. Make it brighter back in here. Then we have the white slider, which is in ways kind of similar to highlights. But it really just works on the white tones all across the board, on your image. You can see as I bring this up. Just everywhere is kind of being affected. That has the lighter tones in it, that I could bring it down to make it more muted. Down here we have the black slider, which is just like whites, but again the complete opposite. Just all the blacks across the board are being affected by this slider right here. We have clarity. This is kind of hard to describe, but I guess you could say it plays with the texture of your photo. Bringing it down is gonna make her hood or really smooth and look almost like a painting. And bringing it up is really going to make your photo textured either the vibrance in saturation sliders. I'm going to be talking about them together because a lot of people get the mixed up Vibrance plays with the contrast of the colors in your photos. It does Worf like saturation, but it's going to accentuate some colors more. It's something you'll use the law in darker environments when the cores aren't popping as much you can see here on these tracks, they're actually almost kind of blue. If I bring this all the way up, you can now see that they're really blew. Vibrance can be used to bring out the colors that you don't always see in your photos. Saturation, on the other hand, just plays with saturation of your photos. I can bring it up, make it more saturated, bring it down, make it black and white. Bringing it up here. It didn't really make these tracks. Not much more in blue. Vibrance is what did that. So even though it doesn't always look like it, there is a difference between vibrance and saturation. And speaking of making a photo black and white, you don't have to bring your saturation down. To do that in the light room, you can simply come up here in clicks of black and white button, and it will automatically make your photo black and white 4. Tone Curve: Alright, guys. So we're going to move on to the tone curve section of White Room. This is probably one of my favorite sections. I think this is where you're editing style will really come to life. Take away all the color, you take away the basic stuff. This is where you really can put your own signature on your photos. When most people open up white Room, their tone curve is going to look like this. You can click on here, drag it around to just things. You also have the sliders that really do the exact same thing. That's fine, but it's kind of limiting. Well, I prefer to do is to click this button right down here. When you click that you're presented with this, this gives you full control over your tongue occur. One simple thing that you're able to accomplish with this is you can adjust your black and white point adjusting. Your black point is going to control how dark the actual black in your picture gets. So, like down here, it's pretty dark over here in these windows. If I drag this up, it's going to make that black a lot lighter. This kind of adds a faded look to your victor's. It could be used to emulate film, and I know a lot of people like that. I always like adjusting this in my pictures, but I usually don't go that far, usually keeping it around 10% or so. You can also adjust your white point, which is the complete opposite of your black point works the same way. It's just how pure your white is. No, by bringing this down, you're not going to get a pure white tone in your picture. You're going to get something more muted. I usually don't play with this too much, but it could give you kind of a cool effect. Where the tone curve really comes to life, though, is when you start adding your own points, you can click anywhere on here toe add widow points, and then you can drag that up and down side to side, and that's going to adjust different parts of your picture over here. This half is going to be adjusting. The darker shadows appear is going to be adjusting the brighter highlights a lot of times in my photos, like the shadows to drop off a bit more. So after adding in a little bit of fade, I can then select this and drag it down. And it's just going to make the shadows to get darker a lot quicker. One thing to keep in mind when doing stuff like this is you can ruin your picture. If I was to drag this all the way down, it really screws up the way this looks you can see down here, it almost looks like these trees or purple. You have to be careful with what you're doing here and just make sure you don't go too far . While I typically do is look to see where this is, which is 9%. And then I just make sure this doesn't go below 9%. If it goes below 9% that's when you're going to start getting those weird looks. So let me just show you how I would typically play with tongue curve on this photo. I'm already gonna have the black point adjusted 9% gonna drag this down to 9.8. They can also drag it out across here to accentuate it a bit more. I'm gonna put it about their then I'll put one right here, drag it up towards the middle. Doing this just makes things look more natural and less dark. And then I can come up here and play with the highlights, maybe pull them back a little bit, so they're more muted. Really. The possibilities are endless. With this, you can really do a lot with the photo. By using tone curve, you'll notice that the channel where in is RGB. You can also single that out and select certain colors to kind of adjust that specific tone in your photo. I rarely do this, but you can do a lot of cool stuff with it and kind of give your photos of look like they're in some really crazy music video or something. One cool thing you can do here is select what type of point curve you're using in white room. You automatically have linear, which is just the simple straight line Here. You can also adjust medium contrast, which will go ahead and naturally add more contrast to your photo. You can also select strong contrast, which adds more contrast. If you have resets in your light room already, you are able to select the tongue curve from that specific preset. This is cool if you have a preset that you like. Anyone automatically just kind of jumped to that point curve to get a starting point. This is the tone curve that I like a lot, and I'll come here sometimes just to save myself time. 5. Hue, Saturation, And Luminance: Alright, guys. So here we are in the hse l or you Saturation and women Inspection of light room. This is one of my favorite sections of white room as it allows you to control each individual color in your photo. Later in this class, we're going to be talking about getting inspiration from paintings. And this right here is kind of where photography ties in with paintings. This tool in light room gives you control over each individual color in your photo. Just a ziff you were painting and choosing the colors that you are using. Now when you open up white room, it's probably going to be displayed like this with the hue, saturation and women. It's all opened up together. But to make it easier to see, I'm going to select this where we can view everything individually. Over here with limits were Abel's control, the brightness of each color in our photo. So here the slider, you can see that I am adjusting the brightness of the orange over here with the yellow slider. You can see that I'm adjusting the brightness of the yellow with this blue slider, the sky and the water. They're getting brighter or darker works this way. For every single color now moving over to saturation, this works the same way you can control the saturation of each individual color. One interesting thing about this is you can kind of bring out colors that you don't even see before. So like, looking at this vitamin water bottle right here, You can see that by lifting this up. Even this is registering as blue and white room. This is a photo that I shop for Vitaminwater. And if I sent this to the him with the bottle being blue, they probably wouldn't like that. So what I did to fix this when I sent it to him is I used the brush tool, which we will go over later. But it was nice to see that this is showing Oppa's blue and I need to make sure I fix that moving over to Hugh now. This allows you to change the hue of each color in your photo. Pretty basic, Um, and this is where really becomes, like painting. Because, really, I'm able to change the color in this photo entirely. You can see this looks nothing like what it was before If you want to see the before and after here, you can actually hit the forward slash key at least on Windows, and it will cycle between door before and after at it. Another way to do that is to come over here and you will see that you have these switches for each section of light room. By just clicking this, you can turn off all your settings here in this specific section. So you would be able to still maintain any changes you made here maybe or down here. But you could just individually turn off the hs l section in light room. From here, you can come over and select color, which works the same way as over here accepted so laid out a little bit differently. This way you select your color, and then from there you are able to change your hue, saturation and women. It's if you want your photo to be black and white, you can hit the black and white button right here. Light room will convert your photo to black and white, and you will be able to control the brightness of the color in your photo. Obviously, you're photo is black and white and doesn't have any color in it. But light room is taking that information from it being power and allowing you to make changes to it in the black and white form. Also, if for some reason it interests you, you were able to set this automatically by just clicking this auto button right here. I personally like to have manual control over all of these settings, but if for some reason you would like to set automatically, you could just cook that auto button right there and one last thing to remember. Here, you can also control the adjustments of colors by clicking this and then you can come over here, you confined your color, hold down on it and then dragged up and down and you were able Teoh, adjust it. This is a pretty cool way to do. It feels a lot more natural, and it's probably a faster workflow for a lot of people. I don't use it too much. I prefer to use the sliders, but this is kind of a nice way to play with the color in your photos. 6. Split Tone: So here we are with split toning. This is a way that you can kind of add artificial color to your photo. You are able to add a color in your highlights as well as your shadows. You can see here that we have, like, complete darkness right here. Now, just to make the stand up a bit more, I'm going to change the background that I'm editing this photo on Teoh Black. You can change that by right, clicking on the background and selecting one of these colors. I'm going to make it black to just make it easier for me to demonstrate this to you. So now that this is black, you can see that this almost blends in perfectly the black in the photo and the blacks on the background. If I come over here and pull up the saturation, you can see that red starts to appear in this black over here as well as all over here. This is just detecting where the shadows are in its throwing a red color in there. This is more of a subtle edit that you can do to your photos if done lightly. It doesn't stand out, but It's just a little tiny detail that, when added, makes a difference. You are able to control the color that you add by moving the slider. You will see that when we bring this up, so it's easier to see by moving it through here it goes through all these different colors . And another way you can select it is by clicking this right here. And then you were able to use this dropper and drag it all over through here to select the cover that you want and the saturation. Now, if we cause that we can come over and do the same thing to our highlights, I'm going to use the dropper in selecting color, and I can select one of these pink highlights. This doesn't look natural, but it can look interesting depending on the photo. This might not be the best photo to do it with, but you can look interesting again. You can also come over here and just adjust it with the sliders right here. Now you also see we have this balance slider right here. This plays with the balance between your highlights and shadows in the color that you've added. So right Now we have green shadows with blue highlights. If I wanted there to be more green visible than blue, I can just play with this and you can kind of see that it alters between the green and blue . You still have both colors in the photo, but it's just plain with the intensity of them and how strongly they play together. One area that you see stuff like this used a lot is in like music videos in movies. It's used a lot in film. It's kind of a nice thing to do when you are editing multiple photos. It kind of in a way and makes them all look somewhere. They all have that one feature that kind of ties them together. 7. Effects And More: Alright, guys. So now we've pretty much covered everything in white room that really plays a part in your editing style. We're now moving on to detail. This doesn't really affect her editing style that much. It's just really a smaller detail. That doesn't matter as much. But I still want to cover everything here in the White Room just in case you guys don't know about all of this. So let me just run through all this stuff really quickly. Detail right here allows you to adjust your sharpening and noise reduction. This is something I rarely play with. I don't sharpen my photos because sharpening doesn't really sharpened photos. If photos out of focus, it's out of focus. Sharpening just kind of adds a grain to it. That can look weird, in my opinion. But of course it's entirely up to you. If you want to use that, you can add how much you want to do. I am automatically adds 25. I wouldn't go below that cause then your foot. It will actually get kind of soft, but I usually don't go above that. If you do, you can also adjust the radius of the grain that it's adding. You can also adjust the level of detail. It's just kind of adding more detail there in a way. And there's also masking, which is trying Teoh mask that noise reduction. But using this will actually make the image kind of soft again. So be careful on how much masking you use down here. Noise reduction. This is going to help remove all that noise that you get from shooting at high. I Esso's now. This photo was shot at 12. 50. I s O not very high, but you can see right here it does kind of take away some of the noise. The problem is, if you go up really high, you start to actually lose detail in your picture, and it will make it look a little soft. So be careful about noise reduction. I personally don't use it. But, you know, just don't go too far with it. Also, when you do that just like appear, you were able to adjust your detail, which can kind of help bring back some or if you're going higher with it. And you also have contrasts as well, which doesn't really do that much. I'm looking up here. I'm seen really no difference between what that does there. You also have color right here, which will try to control that color of your noise some more, as well as the detail in the smoothness. This stuff I don't really use. But I know some people use it and it works for them. So it's entirely up to you. And also, while you're here, this you can quick to zoom out, zoom in works just like over here. You can also hit this and then select where it goes. This is just so you can get a really tight crop in and see what you're doing when you're adjusting, sharpening and stuff. Now from here, I'm going to go ahead and move on to the next section of White Room, which is lens corrections. I'm kind of cramming all of these last sections into one lesson here because they don't actually play a part in your editing style. So Lens corrections right here are going to fix all the issues that your winds gives your picture. I shot this photo with my rockin on 14 millimeter 2.8, and when you're shooting with the lens that wide. You were going to get distortion in your pictures. You can see here that these lines are actually bent slightly there at the extreme corners of the photo, so they're definitely messed up from distortion. What you could do is just click enable profile corrections, and a lot of the time, if you're using like name brand wins is by room will automatically detected what lens was on your camera, and it will go ahead and apply the profile. If it doesn't know in this case, you can go right here. You can select the manufacturer of your lens in this case. For me, it's broken on from there. It will figure out what ones you have and go ahead and apply that correction. In this correction, it fixed distortion and been getting. You can play with that and put it back to where it was normally. And you can see there is a massive difference in the distortion that it fix here. And also vignette ing. The vignette ing is something that your eye doesn't really catch all the time. But when you see the difference, it really is noticeable. Also in this section right here you were able to remove chromatic aberration. You are getting some of that right here in this photo. If you click that, it will kind of try to renew that. It doesn't always do the best job, though. When it doesn't do a good job, you can come over to manual, and from here you are able to fix it right here. You can manually adjust distortion as well. If that's something that you need to do for right here is where you will adjust a chromatic aberration right here. You can adjust the amount and you can see right up in here in this detail, it's getting rid of it. When I bring it up higher, you can also adjust the color of the fringing that you're getting. If you have green friending on, you know your lens. You can calibrate this to match your friend Gene and remove it for you. Also, if you have the aberration and it's not working too well, you can grab this dropper and then hover over where you're getting it. Select that section and it will automatically remove that color for you in calibrate all of this. That feature works really well, and I will use it a lot when I'm editing my photos. Now, moving down from here, we have been getting If you like adding vignette into your photos, you can do that. It kind of does a nice job drawing your eye in. And in a photo like this, where the focus is really in the center, I would consider using it. So you can either take that away or add it here. And then you're midpoint just kind of plays around with the position you know of it. And where it hits your photo moving down that farther to transform. This is where you can reposition your photo. If your composition was off in this photo specifically, you can see that my lines aren't straight. I don't think I was even standing in the center of the bridge when I took this photo. You can see that right here. This is not match up over here, so we're not centered. You want to fix that? You can just grab this and you can move things around to fix it. You can see here In the case of this photo, I need to adjust it horizontally. So I am able. Teoh drag was over and kind of reposition the photo in a way where I can fix my composition . This is the feature that comes in really handy when you're shooting architecture. Sometimes they could just be so hard to get your line straight. Being able to come back here and fix it is always helpful. Now you'll notice that when you do this, you get white bars here that's obviously needed by light room to reposition your photo and to get rid of it, you can simply click and string crop, and it will go ahead and crop in enough to remove that. So you can see from just this adjustment here. Photo is almost nice and symmetrical now, and if you hold over, it will pop up a grid which you could look at and see that I'm almost perfect with my symmetry. Now you can do this for all different areas of the photo. You contain your aspect, rotate it. You can change the scale of X offset and why offset and also here with this photo, you can see I shot it on the ground kind of looking up a little bit. And these lines are not upright. If you want to fix that, you can play with the stuff over here, and it will change the perspective. For example, if I just hit full, you can see that it does some pretty crazy stuff to the photo and tries to make it all straight and symmetrical. Now, this is not look good at all. I would not use this, but depending on the photo if it's just slightly off in a perspective, this is something that can fix. It is obviously different. Ah, ways of doing this. You can do level, which will just make your photo level. You could do auto, which will kind of do the same thing is what it did with full. They're just automatically detects on, decides what it thinks is best. I also have vertical, which vertically will get your photo right. I usually don't use this stuff. I'm always going with the manual transforms, but it's just nice to know that you do have these options to fix your photo when your composition is off and continuing to move on down here. Getting towards the very bottom we have effects. This is your post crop vignette ing. It will affect your photo with been getting even after you have cropped it. So this simply you know, adds or takes a wave and yet ing you also have your midpoint, which you can adjust. There's the roundness, and you also have your feather this adjust how it fades into the photo. You can see with the feather at zero. There's a very defined line of where the vignette ing shows up. You can take that away by adding more feather. So you just get the kind of shoes the softness of your been getting and then known here you have highlights, which will lights that are was in war than yet. So you can kind of fix it in a way and make it look more even moving down here. We have grain. You can add this to your photo. If you like that film, look and want to make your photo grainy. You can see this kind of does a pretty good job of emulating that film. Look with grain. I personally don't use this. I prefer my photos to be nice and clean and grain free. But if you like this look, you can use it. We were also able to adjust the size of the grain when you are doing this and the roughness . So like this right here would be obviously the most extreme grain. This looks crazy. I'll go ahead and get rid of that and moving down here we have the D. Hey, slider. This will simply remove where Add Hayes to your photo. So if you're shooting in a room that has hazing it, you can kind of remove that by plane with this slider. This photo wasn't really hazy to begin with, but you can see what it's doing and how it works. Also, if you go the other way, it makes the photo look like there is a haze. So I'll go ahead and get rid of that. And down here at the very bottom, we have camera calibration. This is something that I have never used, and I don't think you would ever really need to use it. But this will go ahead and kind of calibrate things to your camera. You can choose profile right here and now I have some stuff that's preloaded in as I have presets. But for you guys, if you don't have preset, it's going, Teoh, have some stuff like this. Pretty voted. So if you're shooting like a landscape photo, you can go ahead and select this and it will automatically shoes just a profile or that image. I guess it's kind of an interesting place. Do you start with before you go ahead and do your edits? Personally, I've never used it before. I don't really see use for it. 8. Spot Removal, Radial Filter, And More: Alright, guys. So let's go over all these tools right here. We'll go ahead and start with the crop tool. This is pretty simple. Think most people know how to crop a photo? You can just drag this to meet the aspect that you like and you could drag it around like this to find that composition. If you look over here, you'll see that there is this icon right here that is locked. If you click, it will unlock, and that will allow you to freely move your crop. Um, what I do a lot of the times, though, because I want to maintain my two by three aspect ratio is I will crop it that way. It doesn't move, and I can drag it around without changing my aspect. So I'm going to go ahead and reset this. I can just click the reset button right here. And if my lines weren't straight in this photo, I can change the angle by using this right here. Or I can hold my mouse out here kind of by the corner, hold down and drag to change the angle as well. Now, this is a nature shot, so we don't really have any straight lines in this photo. But if we wanted to base our angle off of a straight line, we consider we come over here and cook this angle tool right here and let's go ahead and pretend that this tree is a straight line. What I could do is create a line from the start and endpoint, and that will automatically set up your angle. Teoh match straight with that line now. Obviously, that's not actually straight. My lines are straight to begin with, but that's just a tool that comes in really handy when you're doing architecture shots. If you wanted to crop this to a specific aspect, you can just come over here and under this menu, you can select all these different aspects. You can also enter in your own, just like so they'll go ahead and cropped 16 by nine right there. Now from here, let's go ahead and move over to the spot removal tool. This tool right here is an absolute lifesaver. I use this all the time. It comes in so handy when you have extra garbage in your photo that you need to remove what I'm gonna go ahead and do is try to remove these camera bags right here. My friend and I were out here shooting and we left our camera bags here. I came up here, got the shot, the bags were in it. I want to take them out. Something to zoom in. We're gonna open up spot removal. And what we're gonna do is choose the size of her brush right here. Should be good then, feather. We're going to give it just a little bit of a feather. What that's going to do is adjust the softness of the edges on your brush and then opacity . We're gonna put out 100. We'll talk about that in just a second. So what I'm going to do is draw around this bag right here. So I'm gonna make this a little bit smaller, and then I'm just going to come and draw around this, okay? After that, it's automatically going to pick another part of the picture in Recreate that on top of here in order to mask that bag. White room doesn't automatically, and usually it does a pretty good job. But if it doesn't do a good job, you can just click on this and drag it around to a different position. So I don't know. I think what they did automatically looked pretty good. So I'm going to go ahead and go back over there. You can also right click here tends click Select new source that will pick a new place. Um, actually really like that spot, so I'll probably leave it right there now also, when you right click, you have the option to select between clone and he'll. You also have the option over here by selecting cologne. It makes an exact copy of this right here. That usually doesn't work. Take that away. You can see there's a line right here of where it created that. But if I come in here selected again and change it to heal, it will automatically apply shading and stuff to make it match. And you can see that it blends in really nice by zooming in there. I think most people wouldn't even know that there was something taken out there. We can also do the same thing over here. Gonna just throw around it again, P. And it's going to go ahead and clone. That looks all right, But this stick is kind of coming out of nowhere, So I'm just going to click. So, like any source that still isn't looking super great, drag it over here to see what that looks like. This is definitely a harder one. It's not as easy to find a match. But if I do this and then I come over here and get rid of this stick could see what that does. Probably position is here we do it right there. I think that looks pretty good. I mean, if you zoomed in a time, you would probably notice that something has happened here. But for the most part, it does a great job of masking that now, going back to capacity. This just changes the opacity of the mass that you've applied. So by lowering this to one, you see basically what it was originally by bringing it up slightly. It will start to like ghosts. It will start to go away. And of course, by the time you get 200 completely gone, spot removal is a great tool to use. When cleaning that portrait, Smaby, someone has a blemish on their face. You can take that out. Really? easily with spot removal. Also, if there was, say, like some trash down here on the trail like that right, there is actually a soda can. I could just come right here. Select it. It'll clone it out, and boom, it's gone. We're saving the environment digitally. All right, so we're gonna move on. Teoh the red eye correction tool. Um, this You should be able to figure it out on your own. There's obviously not red eyes to use here, but you simply select it. Select your eye and it's gonna fix it from there. Really simple. I never really use it because I never have photos with red eyes in them. But if you ever need that, it is there. Let's move on to you that graduated filter graduated filter works. Kind of like the filters that you would use on your lens. You can basically choose all the settings for it. I'm just going Teoh make a darker exposure. And what I want to do here is darken this area of the picture because I feel like it's kind of distracting in your I would be more drawn to hear this was darker. So what? I'm gonna do is just start dragging out here and you will see that as I keep dragging, this gets bigger or smaller, and I can also rotate it. Now, you have these three lines here. This one right here is where your mask will be at 100%. By the time it reaches this line, it will be down to 50%. And by the time it reaches this line, it will be down to 0%. So anything past this line is not getting affected at all. So by clicking here, you can choose how fast it falls off. So I wanted to fall off really fast. I'm just gonna set it right there, drag it out and you can see the angle might need to be changed. If you hover over the center line, these arrows will pop up and you can twist it. Teoh, adjust your angle, so I'm probably gonna go right there. That seems pretty good, but you can see that it's definitely too dark. Come back here, select it and we can make it a little brighter where it works. Better so that right there you can come here here. Subtle, but it does make a difference. Just another example of doing that is you could do it over here. You wanted to really just try to draw the eye. And right here you just do this, maybe drag it out a little bit more brighter there and right there, that kind of naturally, just is going to make her. I fall right here. However, if you were trying to make someone's, I fall right here. There's a better way you could do that. I'm going to go ahead and reset this in. Let's move on to the radio filter. This works a lot like the other filter, except it works in an oval so you can come around here and select your shape. I'm going to go with this, rotated a little bit, maybe squished us in a little bit more here, levitated a little bit more, and you can see it's making this start, and this is maintaining its exposure. But you can come down here uncheck, invert mask, and then it's going to work like this. So now it's affecting everything outside of it, so obviously this is a bit extreme, but I could do this right here and boom that looks even better than when we had done. Graduated filter. It looks a lot smoother here. And the shape that's this a lot better. We can come back here and really I mean, you can change anything in here. We could make it more saturated on the outside. We could like, make it black and white out here in the cooler, and they're that kind of weird. But you did that make the outside more contrast e whatever you need to dio. So let's move on over to the adjustment brush. I use this all the time. It comes in so handy. It's great to just come in and make more detailed adjustments. But I'm going to do for this photo here is try to bring back more detail in the trees. If we zoom in here, you can see that. You know, you're kind of losing detail up here. I could probably dark in this, but if I was to dark in the overall image than this stuff would become too dark so I could zoom in here, open this up, make my brush guard, and then if you come down here, you can adjust your size, your feather and flow flow is how quickly it applies at 100%. If I drag across here, it's going to apply the brush at 100%. Whereas if I put it at 50% I would have to drag across here to times to make it reach 100% . So it kind of works like shading with a pencil. If you want it to work more naturally, you can bring your float down a little bit. I'm going to put it around 83 now, and I want a bigger brush size, you know, one a little bit more other. So I'm going to come back up here, just the exposure. And then we're just gonna paint some dust in here and you can see that we're starting to get more detail back in the trees a little bit. And what say I went too far with it, made a mistake. Say I didn't want to do that. I can come down here, select, erase, make this a big brush, and I can erase everything. But I just did. Now you come back out here, you can see the difference we've made. I think I might have applied some of it here. I'm not sure what I can actually do is hover my mouse over here after I click on it and it will highlight inbred everywhere that it has been applied. So right here, I want to remove some of it, going to come down here in the race again and just erase it from there. Now I feel like that's a bad job of erasing. It doesn't look too good. So I'm going to apply on a much larger feather, probably around 60. There. Come in and just smooth that out a little bit. Now it fades in really nicely. Looks a lot more. Even another great thing you could do with the address mint brush is why saturation to certain areas. Let's say that this moss over here, I wanted to make it really stand out. I can come down here. I can bring the saturation way up going to use a smaller brush for this. And then I could just apply it right here, and I could make the color right here. Stand out a ton. Supply this, but more And there we just made that stand out so much more 9. Snapshots And More: Alright guys, So real quick. I just wanted to go over the stuff that you see here in the left column and white room. Right here we have the navigator. This allows us to zoom in and just look around their picture. You can also do that out here, but some people like to do it up here. Sometimes. It's also nice just to see a small version of the picture that you're working with up here . You can also adjust your zoom. Here's a 1 to 1 zoom. Here's a 120 And of course, you have many other options that you can choose. This is just slightly extreme. And, uh, my camera definitely does not hold up the zoom in this type, but there's a zipper on that shoe moving down here. We have the presets tab. This is where White room stores all of your presets. I will be talking about this stuff later. So stating for that moving on down, we have snapshots. This is something that comes in really handy. Especially when I can't decide on how to edit a photo. Let me show you how you can use that. This is a photo a shop for creative recreation. Let's say I had Aton of contrast in the photo. Now that doesn't look good, but just for demonstration purposes, I'll have it like that. So let's say I wanted to make a copy of this. I can simply click snapshot there. It's going to create a new snapshot. I can name it. I will name this. By contrast, it creates, and over here you will see a high contrast snapshot just created. Now let's say I wanted to get rid of that contrast there. E what say we darken the picture a lot, like right there, I can create a snapshot of that. Call this dark, create that, and over here, you know, have a snapshot of that. So what you can do is just cycled between these different snapshots that you've created. So if you're editing a photo and there's different versions that you want to do, you can just create snapshots and then you can look through them later. If at some point you decide. OK, let's get rid of this snapshot in. Let's also get rid of this snapshot and you just have one snapshot left. If you make another change, and then you want to update the snapshot, you don't have to create a new one. You can just right click here and hit update with current settings that will go ahead and update that snapshot to your new changes. So moving down here to history, this shows you the history of all your edits. So recently I just made some changes to this photo that I don't like none, right to go back to where I had it by scrolling down here. I can see all the changes that were made to the photo. We can come back up here and it waas right here would bring me back to yeah, right here would bring them back to where I had it originally. Think Look there and boom. We're back to where the photo was before and moving down a bit more. We have collections here. This is just another way. That light room allows you to sort through photos. You can just grab one. Come over here, you could drop it in any of these. They just work like folders for organization. They come in kind of handy, but there's not a whole lot to them. 10. Finding Your Editing Style: All right. So you know how to edit now? Software shouldn't be an issue. There should be nothing between you and your editing style. Now it should just be up to you finding it. So how do you find it? You have to ask yourself some questions. What Zeer photography mean? Why are you doing this? Why are you taking pictures? What are you taking your pictures for? For me, photography doesn't exactly have a really meaning to me. It's just something that I love, and it makes me happy. And that's why you do it. Let's say you're a photojournalist. Photography is going to mean something different to you. It's not going to be so much about the art and style of the photo, although that is still part of the photo. What it's going to be about is what's in the photo. It's going to be about the people, the places and the things in the photo. Those are what matter. If you find yourself in a position like that, maybe black and white is the route to go. Doing so would remove color, which could in ways be a distraction. When you shoot black and white, it's really just going to be the subject of the photo that shines through. You have to understand where you want to go with your photography. Of course, this is entirely up to you, and photography is an art. So it is all up to you. But from a professional standpoint, you have to understand what you're trying to do. For me, photography is my art. It's my hoppy, but it's also my job, and I have to find a balance between that doing photography. Professionally, you have to think about your editing style a lot. You have to think about your clients and the kind of work they're going to be interested in . Just because I like an editing style doesn't mean other people are going to like it. And if my editing style is a really crazy, it could affect the work that I get. If you're trying to shoot product photography, you're gonna want a very, very, very realistic heading style. When you're shooting product photography, you don't have a lot of room to go crazy with the edits. Things have to look realistic. They have to match the true colors of things, so think about where you're going. It's different for everyone. But if to you photography is an art and it's about self expression, maybe go to your mood for inspiration. I think about you know how you're feeling. You're feeling happy. Maybe you're gonna have a brighter, more colorful editing style. If you're in more of a darker mood, maybe you'll have darker photos with more muted colors. I know for me, my editing style at one point was pretty bright and colorful. And then there was time in my life that was a bit darker, and that influenced my editing style a lot. I mean, that doesn't necessarily mean a mike and a bad mood all the time when I'm editing my photos or something. But it was something that really influenced me and really brought my editing style toe. Where is today practice? All the time? I think this is one of the most important things when it comes to finding your editing style. Sure, you can get inspiration from here. You can get inspiration from there, but what it really comes down to you is just spending time editing and figuring out what you like. Inspiration will always give you ideas and stuff, but you're not really going to find your troop editing style unless you just spend lots and lots and lots of time playing around. Just figuring now how you like things to look. If you're looking for visual inspiration, I recommend going to mediums other than photography. I know for me personally, a ton of my inspiration comes from music. I associate sounds with colors, and certain songs just really match my editing style. I don't think it's bad to go to photography for inspiration, like looking at other people's photos, But I feel like it's best to just go to a different form of art for your inspiration. Doing so kind of brings the art world together, and it keeps things fresh and evolving. If all photographers got inspiration from other photographers, things would start looking the same eventually. So would that mean said, Let's take a look at some sources of inspiration 11. Inspiration: Music: For me, music is my biggest inspiration. I know not everyone can understand how I match music with my photos, but I think some people could find a connection. Listen to your music and think about the higher notes as like brighter tones in your photo and you know, the lower notes, darker tones in your photo. I think sounds like that can easily be associate ID with brighter and darker towers. I think everyone can kind of agree on that to think about the mood of your music. I think everyone has an idea of what a sad or angry kind of song sounds like. And everyone kind of understands what a happy, more excited song sounds like. You could possibly try reflecting to that mood in your photo. Think of your photos and music as if they go together like a music video. The visuals and music videos always match the song really well. Matching music and photos might come more natural to other people, but I think if you think about it, you can understand where there is a connection. Feel the energy from the music and match it to your edit. You know, if you listen to more upbeat music. Maybe that means your photo will be brighter or more colorful. Maybe if you listen, Teoh darker, slower music. Maybe That means your photo will be darker, maybe less saturated. It just comes down to you in your taste in music. Listen to some of your favorite music while you edit photos. And maybe it will give you some inspiration. I know it does for me. 12. Inspiration: Paintings: so paintings. I've always thought these were a great source of inspiration. When it comes to editing, paintings have a unique color palette. You know, painters when they're choosing colors for their paintings, they don't have to be accurate at all. The color choice is entirely up to the artist and in light ring. You kind of have that option with the H and Seau sliders like we went over. I mean, think about it, really. Your photos don't have to have accurate colors. It's entirely up to you what you do now because of copyright issues. It was kind of hard for me to find paintings that I could easily put in here for us to look at. But here's a few that I found that I was able to put in here. You know, looking to the one on the far left, you have muted colors and the sky is almost purple. You know, you could obviously recreate that shade of blue with the agent self sliders, and you could bring down the vibrance in the photo. To achieve that more de saturated work or muted colors, you could make the photo little bit warmer. You know, I'm just looking at these and imagining how you would recreate that. Look to a photo in life room looking at the one in the middle. These colors are obviously very vibrant, and you can also see that the blue sky and water it tends to be a bit more purple. And also, I mean, let's just assume that this is something that you would see in real life. These colors are all going to this, but you could add them in by getting creative with the adjustment brush. It's really up to you. At that point, you might be getting close to the line of what I would call digital art and not photography . But still, it's just it's part. It's whatever you want to create. It's all up to you in working at the one here on the far right. This is a painting of the ocean, and it looks like a lot of the colors are kind of green and a muted blue. This could easily be created with the blue and awkward sliders by sliding them more to green and making playing with white balance. It also looks like this is a bit darker than what you would see usually, you know, I'm just I'm just throwing ideas out there of what kind of styles you can create. It's really the options are endless. You just have to get out there and play around. I know that at some point it might be getting a bit far away from photography and more towards digital art. But you have to remember there's no rules. You can do anything you want to, as long as you think it looks cool. It's like totally up to you. You know, pointillism or oppression is, um those styles of painting were in no way realistic. So why does photography have to be realistic? It doesn't. It's seriously, entirely up to the artist and what they want to do. So just get out there, treat your photos like paintings, maybe and see what you come up with. 13. Inspiration: Presets: so another source of inspiration preset. Some people love them. Some people hate them. Me, I'm not sure how I feel about them. I think they have their pros and cons, and I just wanted to discuss how you can use them for inspiration, but also why you might want to stay away from them. I own two packs of Visco film presets. You have to pay for these, although they do have one pack that's free. And they're pretty good there, based off a lot of old film styles, and they do a great job of recreating that they could be fun to play around with. And sometimes if you're viewing just a lack of inspiration and you don't know where you want to go with the photo, playing around with presets could be great to just get an idea of where you might want to go with that photo. It can be really easy to just scroll through here and select different presets and see what they look like with your photo. I know that while back I was lacking inspiration, so I actually bought this pack of presets just to play around with and see what it was doing and this one preset right here I fell in love with, and it really influenced my editing style and kind of helped bring me to where I am today. When I found this preset, I would use it, edit every single one of my photos. I would always come in here, selected preset from there. Come over here and start making adjustments to make my own. I don't think there's anything wrong with doing that as long as you apply additional edits to make it your own. I think it's fine. Teoh use presets as a starting place. They can be a great source for inspiration, and they condemn, definitely help you get out of a rut. Sometimes, however, using presets also put me in a rut. It got me out of a rut, but it put me right back into right down the road. Later reason being is I would always use this preset after a while. I mean, this is just what I would always go to, and it wasn't allowing my editing style to evolve. When you use a preset, you're always coming back in starting out with the same settings, and that means you're skipping a lot of key elements of plane with the picture that usually means I was skipping this area and also skipping the tone curve and the tongue curve. And this area is really where photos come to life. Because I never played with this. I was never exploring other options. I was never exploring maybe darkening this some more. Maybe playing with this by bringing it down here. There were so many things that I was missing out on, and I never just played around with because I was always just going straight to that preset . Yeah, it could be great to go back to a pre set. It definitely gives your work a very consistent style. It will all fall under the same style. It will have the same look, and that could be nice. You know, it's always good to have consistent work, but you're editing style needs to be continuously evolving. As a photographer, you should always be evolving. You should always be changing things and trying to improve. When I was using this preset, that just wasn't happening for probably, I don't know, a few weeks things were going great. It definitely got me out of my rut. I was feeling more inspired, shooting more. I was happy with the edits I was producing, but over time I began to feel uninspired, and I was happy with the edits anymore. I felt like they were lacking when that happened. I just stopped using the preset. I just started from scratch, hit the reset button. All settings went back to normal, and I just started playing around trying to create something that I thought looks good. I just started playing around the tone curve, playing around with the HSE l sliders, doing all of that stuff, trying to develop my own style, and it took me a long time to find something that I like. It was hard, but I finally did find something that I liked. And that's kind of what my editing style is today. Of course, it's always evolving. My tastes are always changing, and because of that, I try to stay away from these presets. Whenever I edit a photo. I always want to start from scratch. This allows me to have that room to play around, and every time I'm editing a photo, I might discover something new and that can lead me down a new path of progression with my editing style. So when you're using presets, just be careful. If you're really lacking inspiration, sure, go ahead and use them. But just remember that down the road they might hurt you and they might limit your creativity. 14. Conclusion: Well, guys, that's it. Thank you so much for taking part in my class. I really appreciate it, and I hope you all learn something. Be sure to practice editing photos all the time. Getting out there and just practicing is really what's going to help you find your own style when your software so you're not being held back. If you're using light roomed, go back over all the videos I provided and make sure you understand each tool in white room what it does, how it works. It took me a long time to figure out what room on my own, and it's probably one of the things that really held me back from finding my style. Play around the different ideas. Remember, if you're using presets or anything like that, you always need to be switching things up in keeping it fresh. You need to be out there trying out do things, new ideas and seeing what works for you. Your style is always going to be evolving, and you need to give it room to evolved. Look toe other mediums for inspiration. Photography is a great source of inspiration, but I think everyone should try to look to some other sources as well. Go to an art gallery, look at some paintings, listen to new music. Go and try to find something other than photography that you could go to for inspiration. And, of course, the biggest thing here is be patient. Finding your editing style is going to take a while. I hope that with this class, I can speed up the process for you and you can find your own style sooner. But still, it's going to take time. This is not something that's going to happen overnight. So with that all being said, thank you so much for watching. If you have any questions or anything, be sure to reach out. I will get back to you as soon as possible to remember to follow me on here, as I will be putting out more classes on different topics in the future. And don't forget to submit your class project. I can't wait to see what kind of edit you guys come up with. This is Jake, also known as translation. I'll see you next time