Adobe Lightroom cc - The Photo Editing class for Landscape Photography | Ian Worth | Skillshare

Adobe Lightroom cc - The Photo Editing class for Landscape Photography

Ian Worth

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25 Lessons (1h 38m)
    • 1. 1 LETS EDIT LANDSCAPE PHOTOS

      1:25
    • 2. 02 THE LIBRARY & DEVELOP MODULE

      2:04
    • 3. 03 CLASS PROJECT

      0:37
    • 4. 04 IMPORTING YOUR PHOTOS

      4:52
    • 5. 04.1 FOLLOW ALONG IMPORT EXERCISE

      4:23
    • 6. 05 SORTING & CULLING PHOTOS

      2:27
    • 7. 06 GLOBAL & LOCAL ADJUSTMENTS

      0:57
    • 8. 07 KEYBOARD SHORTCUTS

      1:58
    • 9. 08 THE BASICS TAB

      6:21
    • 10. 09 WORKING WITH THE TONE CURVE

      2:53
    • 11. 10 USING THE HSL

      2:50
    • 12. 11 SPLIT TONING

      1:13
    • 13. 12 SHARPENING YOUR PHOTOS

      2:12
    • 14. 13 TRANSFORM & LENS CORRECTION

      1:24
    • 15. 14 LOCAL TOOLS

      5:19
    • 16. 14.1 FOLLOW ALONG EDITING

      15:57
    • 17. 15 SYNCING & PRESETS

      1:40
    • 18. 16 HDR & PANOS

      2:41
    • 19. 16.1 FOLLOW ALONG HDR EDITING

      8:27
    • 20. 16.2 FOLLOW ALONG PANORAMA EDITING

      8:00
    • 21. 17 SMART COLLECTIONS

      1:24
    • 22. 18 EXPORTING YOUR PHOTOS

      1:59
    • 23. 18.1 FOLLOW ALONG EXPORT EXERCISE

      5:18
    • 24. 19 Editing tricky photos demo

      10:49
    • 25. 20 OUTRO

      0:45

About This Class

In this photo editing class, I will teach you how to edit great-looking photos in Adobe Lightroom CC. I cover many aspects of Lightroom, from importing and managing your photos to complex editing techniques.

This class includes downloadable raw files to work on during the course

I have designed this class to suit all abilities, from someone just starting out in photo editing to the more advanced photographer looking to learn new techniques to improve their landscape photography. 

Below are some of the things we will work on during the Adobe Lightroom photo editing class for landscape photography.

Intro to the library and develop modules
Importing your photos
Sorting/culling your photos / removing photos
The difference between global and local adjustments
Useful shortcuts
The basics tab, including white balance and profiles
The tone curve
Using HSL
Split toning
Sharpening and noise reduction
Lens correction, Transform and effects
Local adjustment Tools - crop - spot removal - graduated filter - radial tool - adjustment brush and masks
Making presets and syncing edits
HDR, Panos and HDR Panos
Smart collections
Exporting your photos
Live editing demonstrations

By the end of the course, you will have learnt some amazing skills to edit great looking landscape photographs in Adobe Lightroom cc.

Take this class to make your own lightroom presets Lightroom presets class

Transcripts

1. 1 LETS EDIT LANDSCAPE PHOTOS: Hi there. I'm in Worth. Professional filmmaker and photographer based in the UK This class is all about getting your photos in a day. Beat a light room cc specifically with the landscape photographers and outdoor photographers in mind. I hope that by completing this class, you will learn to feel confident importing, developing on exporting your landscape. Photos in a day. Be like room C. C. I also believe this class will help you improve as a photographer in general, it will help you step by step. Improve your landscape photography. Help your composition generally help you in previous photographer. Take your photos to the next level. Give him that wild factor. Included in this class are a number off. Raw files will be using these raw files for many demonstrations along the way will be able to create some amazing edits. Will be using these images to create an HD. Our image and also panoramic image will be using these to follow, along with importing and exporting images to and also a number off global and local adjustment exercises. I think this course will suit all abilities from somebody just starting out photography through to submit. That's more experience that would perhaps like to learn different editing technique or would like to refresh their skill set. There are so many tools integrated within light room for this class, I really want to concentrate on steps to create great looking landscape photographer, yet it's, I hope you enjoy the class. 2. 02 THE LIBRARY & DEVELOP MODULE: this class will be focusing on two of the main modules in a debut light room CC, the library module on the develop module. So the library module is where you view sort of manage and organize your photos. Essentially, your home base for working with photos after importing them into light room here in your photos in the library module is much quicker than in the develop module, as the previews are a lot lower in quality, meaning they render a lot quicker. This is great for sorting and killing your photographs. At the top left, you will see your navigator. Essentially, you can choose hell you would like to zoom into an image here can choose housing. Didn't you'd like to go when you click the zoom button to view your photos. I usually check Oneto one here. Further down. You will see your hard drives in the folders that you have imported into light room. To find the source file on your hard drive right, click the folder and choose show in Explorer. This is really useful if you can't find your original photos on your hard drive. At the bottom, you'll see the import export buttons This is where you will import more photos along the bottom. There are a few useful tools. The grid view the full view on the comparison view. We will cover these soon along the bottom. You'll see your film strip with all of your photos are currently in the folder in which you are viewing most of the panels in light room, a collapsible, which can help keep your work space really clean entirely. Just click on the little triangles to collapse a panel and click on them again to reopen them. The develop module looks very similar to the library module, but the side panels are very different. At the top left, we still have a navigator, but below that we have are presets in history tubs. The preset tab will show all of the install presets, and our history tab will allow us to wonder Edits that we've made by skipping back in time . Other bottom. The import and export buttons have been replaced with a copy and paste buttons. The whole bottom section is very similar to the library module, but the right hand side is now very different. The right hand side panel is our main editing panel on this is where the magic happens 3. 03 CLASS PROJECT: for the class project. I would like to see some of your work, so please go ahead and share some of your edits. Using some of the techniques that you've learned here on this class. Feel free to upload the raw file on the finished edited file so we can see where your head it started and finished. It would be great if you could use some of the techniques that you learn further on in this course, such as Hasty are blending panoramic shots, starting and burning selective editing the tone curve. Please feel free to drop in. Some comments to on it would be great for me to take a look at your work on. Hopefully, I can give you some feedback that you might find helpful. 4. 04 IMPORTING YOUR PHOTOS: important your photos using light room is really easy, but there are a few really important things that we need to consider whilst imports stage first, Insult your memory card into your card reader into the library module and click the import button bottom left. This will open up a new page, which will call the import module. If your computer has read your SD card, then your photos may already be loaded into the grid, like of you here in the middle. If they haven't automatically loaded, you can come over to the left and select your file in the source tub. Simply click on the drive or card in which you wish to important from the previous thumbs will start to load. It's important to note that when the images air loading here in the center, they have not yet being imported to your hard drive. This is just showing you which files you have on that card or folder or drive to help the files load quickly. Set your thumb now size to the smallest by moving the thumbnail. Slide it all the way to the left. I usually have my sort tab set to capture time from importing photos. This helps when you look through the files later. If I have video files of the media that will not be importing on that card, then I will set my sort tab to media Type instead. This allows me to quickly identify the video files and uncheck them as I will not want them imported with my photos. I always import all of my files from every card that I upload. I think it's easier to sort images in the lively module. You can then delete the ones you don't wish to keep later. If there you want to import one specific photo, you can check all of the photos, search for your photo of choice and just check that one. This means that when we hit the import button, it will only import that checked file. You can view the photos full screen by clicking the photo view button at the bottom left hand corner at the top. You'll need to select copy as we will be. Copying the photos to a new location over at the right hand side is where we'll have our import settings at the top, right. You'll see the destination drive in which images will be copied to five pick on another drive. You will see this change coming down to file handling. I recommend checking the build previews of standard without going into too much detail here . This will render your developed previews for you at the standard size. This means it's rendering the files on import as opposed to the first time you click on an image in the develop module. What this means is that it will take longer to import the files, but it will save you time when previewing the files for the first time in the develop module, as a rendering part will already have been done. If you'll be zooming into a lot of images, it might be worth checking the 1 to 1 preview as this will render the files at 1 to 1 ratio . Instead, this will take even longer import, but again could save you time down the line. I always go for standard, though, is it suits my style of working. I tend not to bother with file renaming until I export my photos. Let's move down to the applied uring import tab for the developed settings you can choose to apply presets. All of your images. I don't do this. My landscape talk for years. I'd like to edit each image individually as the look I'm going for is often very different . I always use this for my wedding photography and family shots as it gives me a uniformed base to work from. This helps to keep my consistent look, I have a number of presets I have built over the years. Saved me a ton of time going down to meta data. This is where you can have a copyright into the metadata. You really, really need to do this. If you're planning to share your images on the web and you wish to retain the copyrights, your image, this will embed the copyright in the metadata. So if somebody clicks on your image will be able to see your information blow meta data. We have key words. I always add a few descriptive keywords usually based around their location, moving down to destination. As the name suggests. This is where you choose where your photos will end up. After import. First, check the drive. You wish to stall the photos on and then select the main folder This might be the location you store all of your landscape photography on each year so you could have a folder called Landscape Talk for 2020 on For Future Years. Landscape photography 2021 so on. This will help organize your photos for each year. If you click on the landscape Photography 2020 and highlight it and then go up and check into sub folder. You'll be able to create a sub folder that sits within that yearly folder. This could be 01 the location, then roll. For example, I find it's good to put a number first. That way there will be an order of the date captured. This method of filing is how I do it. But if you already have a system that works for you and you may want to stick with that you're currently doing things you want to make sure that organizes set to into one folder. That way, if you have multiple cards that were shot over multiple days, all of the photos will end up in one folder, as opposed to multiple folders. When everything is correct, simply hit, import and get on with something else while light room does the importing for you 5. 04.1 FOLLOW ALONG IMPORT EXERCISE: during this class will be working on some raw files together to create some photographs. But first of all, what we need to do is import those photographs. So if you haven't already downloaded them from the resource is packed. Please go ahead and do that first. Wouldn't you've downloaded them, then will come back on. Get these imported into the library module. So if you've downloaded them, they should appeared in your downloads folder on the folder. Name is even worth editing files. Inside that file, you'll find six raw files. Just leave them in the downloads folder for now, and we're gonna import them into the library module. So here we are, in light room in the library module. I'm gonna come over and click the import button That's gonna bring up our import module on . As you can see, I do not have an SD card actually plugged in at the moment. So there's no photographs showing here. What we're gonna do is search for the downloaded images on our hard drive. So I'm gonna find my downloads photo here. We can sit here and now here we can see that even worth editing files. I'm gonna click on that and then that is going to bring those files up into the import module. You can see them all here. So the next things do is to come over and make sure all of them are ticked. This is where we could either check all or on Jekyll. But as you can see, that automatically takes. That's gonna import all of those images into the library. Next. We need to come over to the right hand side and just make sure I got billed previews this standard to make sure it builds the previews for us. So we don't have to worry about doing that. Once they're imported, they're gonna come down to develop settings and apply any developed settings to these images because we want just the raw files toe work on. I've got my standard meta data here set, but you can set your own if you wish to do that. In the key words, I'm just gonna write down in worth editing files just in case I lose the files. In future, I'll be able to search for them using those keywords. And now I'm gonna find a place on my hard drive to store these photographs now, Like I mentioned before, I've created I create a landscape photography folder for each year. So I know where my images are for each year. So if I come down to users and then come down to, uh, pictures, you'll see here landscape talk for 2020. So if I click on that, make sure that's highlighted, then come up to into sub folder, and now we can add a name to the folder that we wish to create. So to make sure that all set in order, I like to number mine. So this is the 1st 1 put in this folder. So it's going to 01 I'm gonna put here and worth editing files. Now you can see that's just appeared as a sub folder underneath that main folder. So that's where it will be positioned on the hard drive in your computer, so that will be the window. See, Dr Under pictures underneath landscape toll free 2020 and then our file. Now you can name these whatever you wish to name them. Like I said before, If you've already got a system in place, then please go ahead and use that But this is how I do things. And it works really well for me. So once we've got far name all sorted out in a click, organize into one folder, make sure that's checked. Just in case we wanted Teoh upload some or from a different day, it's all going to end up in one folder. Now I'm gonna click import on. It will just import these files. So if you go ahead and do the same thing, you'll find that these images should now be building their previews on appearing in the library module. So, as you can see now, all off the files have come through to the library module may concede a mall here. We want to enlarge and just come down toggle on the loop view here to increase the size of . Now, we've got a few different files are gonna be working on during out during the class on his would be basic edits to this one. We've got a HDR blend that we're gonna be doing and also a panorama working on those later in the class 6. 05 SORTING & CULLING PHOTOS: after your importers complete, you'll seal destination folder here in the folders tub in the library module, you can see the importance of the numbering system here. Some of the folders I've got that a number that will appear at the top and then I've got some random folders underneath that kind of all muddled up so you can see the importance of putting that number. And if you have imported photos on many cards, sometimes you'll see the last imported card in the film to put the bottom, just come over to the left hand side and click once on your folder to bring up all of the files within that folder. She now see all of your files within that folder in the film strip at the bottom, and this is where we call or select the photos that will be working on. There are many ways in which to mark your files, but I like to flag mine. You can use P to pick and you to unpick your photos for selection. Usual arrow keys to move along the filmstrip from left to right, right and on the arrows and your left hand on the P and Yuki's. I used my index and ring fingers on both hands, but just cheese. What works best for you? It also depends on where your arrow keys, a situation on your keyboard. What I'm calling large quantities of files. This method is super quick. If you like the photo hit Peter, flag it. If you don't like it, hit the right arrow key to move to the next image. Keep doing this until you reach the end of the film strip. When you reach the end, it will be time to select those files. Press the shortcut key control and L to enable filters, then click filter by flag and flagged Only. This will make the images in the film strip visible that you've previously flagged on the ones that you didn't flag will become invisible in the filmstrip. Don't worry, though Your own flagged images are not deleted, they're just not visible. To make them visible again, just hit control and L for disabled the filters. All of your photos from that folder will now be visible again in the filmstrip. When you flagged your images, you can now go back through them and call them further. If you have multiple versions. Simply press you on the flag images to unpick them. This will make them disappear from your selection in the filmstrip you can use Compare view if you wish to view to similar images side by side, The short cut key is see to switch between normal and compare view. The highlighted image will be your selected image. Use the left and right arrow keys to scroll to your candidate image. The candidate is a little black diamond at the top, right hand corner of the thumbnail in the filmstrip. This is a great way of choosing between two very identical images. Again. Just hit you on the image you wish to discard on flag it. 7. 06 GLOBAL & LOCAL ADJUSTMENTS: here in the develop module, we have two main ways in which to apply. Edits to a photograph These a called global and local adjustments. Global adjustments mean that we will apply an effect to the whole of the image. As you can see here, as we move the exposure slide to the right, we're just in globally to the whole image. As we move through the different editing tabs here on the right, you will see that whenever we're just the sliders, it's applying that adjustment to the whole of the photo. Laker adjustments are, as the name suggests, they make adjustments locally. When investment has made locally, the adjustment will be targeted to one or several parts of the image is opposed to the whole image. This is how we can get really selective and creative about how on which parts of the image we can apply certain. And it's too. For example, we might only want to bring the exposure down in the sky area and not the London part of an image with tools like a graduated filter. This is easily achieved, but we'll be looking at these tools a little further on 8. 07 KEYBOARD SHORTCUTS: There are many useful shortcuts built in with the debut like Room CC, and I've put a list together of my favorite keyboard shortcuts that can really help speed up. You're in it in time. I put this together in a list, and it's in the course notes so you can download this and print it off for yourself and use this in your at it. So here are some that I frequently used, as we've already mentioned P to pick a photo or you to unflagging that photo. You can also give you a photo rating out of five by using the number keys. 12345 Also you six to set color. Label off my images to read. I usually use this for my edited Web ready. Images are normally use a color red label. You can press nine on the keyboard set that could label to blue. Usually, I set my edited print ready images to a blue color label. L turns the lights out. Keep hitting L to turn down the background brightness. This allows you to see your image clearer F to go to full screen and impressive. Going to go back. I to show your camera information and stop left on corner control of the plus and minus keys. She zoom in and out of an image control shift and e to go to the export menu. Control L to enable filters M toe access your graduated filter shift in M to access your radio filter que will access your adjustment brush. Oh, when working with brush shows the mask over. When using the crop, it'll shows your overlays backslash to toggle between your edited and unedited photo. See to choose. Compare view Control Aid to select one of your photos in the filmstrip control de to de select all of your sector. Photos in the filmstrip. I put this list in the course notes. If you wish, you can print it off, which may help you get to know these handed shortcuts while you edit. These are based on the PC. If you're using a Mac, then swap control for command. There's also much larger list of short crust on the David website, and I'll link this in the course notes to 9. 08 THE BASICS TAB: before we go through the basics tablets briefly talk about the history, Graham hissed. A gram shows the exposure of your Fator in a graph. Former this Graham is really powerful tool, and it can help us to achieve a balance photograph. Essentially, the instagram's graph display. The number of pixels are displayed of a particular tone value. Everything that is black is on the left. Everything. That is why it is on the right. In the middle, we have our mid grey tones. The higher the graph goes in. A particular area shows how many pixels in the image for within that particular tonal value . If I made the exposure slide to the left, we'll see that the image becomes under exposed in the history and Bunches. They're left, meaning most of the pixels of very dark or black. If we move the exposure, slide to the right and we will see the exact opposite. The image will become overexposed in the history will bunch to the right, where most of the pixels will show is white. If you ever want to reset any of the sliders, just double click on the word or the slider indicator to return it to its zero position in the basics time we consent, whether we would like to work with the color or black and white image, bro, that with the profile tab by default, is set to debut color. If you're shooting in role, which are highly recommend that you do, you can choose a different color. Pray photo work with you can save all of your own profiles or purchase them online. They're similar to a preset, but a profile will not make adjustments to your sliders. Where a preset Well, if your camera has a color profile attached, you'll be able to find them. Here. I use Fuji cameras, and if I scroll down here, you'll see my Fujifilm simulations available for me to apply to my rule file. Next up, we have the white balance tub. This is where we can change the temperature intent off the whole image. On a global level, the temperature is measured in the Kelvin scale, which is a scale that measures temperature. The warmer, the image, the higher the Kelvin body, the higher the Calvin value, the more yellow and orange the image becomes. It's the exact opposite for cold. The lower the Calvin Value. The cool of the image becomes rip sent by the image being cooler in color. A blue color below the temperature slider is the tent slider. If we compare the color wheel to a compass, yellow is north. Then blue will sit directly to the south on the opposite side. The same was said for the tent green sitting to the east of magenta, sitting opposite to the west, leaving the Tintin temperature. Sliders together will give us control over the whole of the color wheel, using the color picker or by hitting the short cut. W will allow us to use light room brain to do the work for us. Simply select an area that is completely mid grey and watch. The color temperature slide has changed in unison to give a good starting point for our color correction. Keep using the picker if you know happy until you get close to look you're going for. This is a really good start, important. Next, we're moving down to the tone selection or of the ciders affect the image on a global level . Here, I tend to stay clear of the auto tab is like to have full control over my head. It exposure. So this one's really easy. Simply drag to the left, and it was dark in the mitt drug to the right, and it was like in the image, press the shortcut J to see when your image is clipping or losing detail in the highlights or shadows. The clipping warning for highlights is marked in red in the shadows marked in blue. Next is contrast by adding contrast. Essentially, we're making the darker parts of the image darker and the lighter parts of the image lighter, giving us more contrast. Watch the hissed, a grammas we admiral contrast the darker and lighter parts of the hissed. A gram get pushed more towards the edges. The opposite would happen if we dial in a negative amount of contrast, Watch the history and moved towards the centre. OD is a contrast side of very subtly, as there are more selective ways of adding contrast. Ballet. The highlight slider does, as it suggests, that increases and decreases the highlights in the image without affecting the shadows. Watch how I could make this guy become completely blown out without affecting the lander tool. This light, it could be really helpful for recovering areas that looked bright in the sky or water. For this image, I could drop the highlights to decrease the exposure of the sky without affecting the rest of the image. Shut it started is the exact opposite of the highlights cider affecting only the shadows. Look when I move the slider to the right, see how much lighter I could make the foreground without affecting the sky. Using these two sliders in tandem is a great way of recovering areas of the image that are near or being overexposed or under exposed. It's also a more selective way about. In contrast, the white and black slide is a very similar to the shadows and highlights but affect the lighter and darker parts of the image. Only you need to be very careful, these sliders, but they're a great way of selectively adding contrast to an image you could hold down old . Many of the slide is to see how it affects the image using old when the blacks, for example, will show us when part of the image becomes completely black. If you're making global adjustments to a photograph for a quick edit using all of the sliders above in unison could really give you a quick edit on a nicely balanced shop. Let's run a quick edit on this image, leaving down to the president's tab. Texture increases or decreases the amount of medium sized texture in a photo without affecting the finer details. It's a great way of adding in some detail to photo without adding. In more contrast, the clarity slider is similar to contrast, but it works a bit differently. Contrast, slider effects all of the tones in a photo, while the clarity side at work s'more on the mid tones by increasing the clarity will bring out mawr edge detail. By decreasing, the clarity will soften the edge detail. You need to be really careful about the clarity slider is. It could make the image of very grungy if pushed too high. I tend to never take it past plus or minus 10 de hay. Still, work similar to clarity can be great for adding or removing a spirit conditions such as mist and fog to an image. Vibrance is a great tool, which increases the intensity of the more muted colors and leaves the already well saturated occurs alone. Vibrant slider is great for poor traits as it will leave skin tones alone on concentrating . Adding saturation to other areas of your image. Saturation cited will boost the overall intensity of the colors in your photo, just dialing required amount. 10. 09 WORKING WITH THE TONE CURVE: the tone curve is a very useful tool, and one which I use a lot 10 curve could almost have a course all of its own. So what I'll do is break it down the basics for you. If you look at the tone curve, you'll see it represents, hissed a grams graph on the graph. We can see the line running diagonally from the bottom left to the top, right? We can drag this line around to change how the tones in the fatal displayed. If we drag the bottom left hand corner up, you'll see our black start to fade. If we drag it to the right, we'll see the black start to increase watch Other history changes as we move the tone curve line. We could do the exact same to the white point to if we drug it to the left. The images more white in it, if we drug it down, will push the hissed a gram or towards the mid tones. This is really useful for sitting our white and black points within within an image reason it's called the tone curve is that we can bend this long weaken, curve it by doing this, we're able to manipulate the tones within scene Todd. Contrast. An S curve could be added. Light room is a couple of presets are a good starting point. At medium or strong contrast, you can see the line becoming more shaped like an s shadow area on the left being pulled down and highlight area has been pulled up, given in the April image a boost. In contrast, you can move these points further or less. The 10 curve is great because it's so flexible. It allows you to add contrast exactly where you need it. You can learn more about the tone curve by clicking on the line on the right. This will bring up four sliders. Drag these and you'll be able to see the tanker of move. This is a great way of learning the tone curve. If you need to get rid of any points that you've placed simply double click them to remove them. If you need to adjust a part of your image and you're not sure where to start, click on the picker and start to drag it here. You will see exactly where that's home falls on the graph, be really careful with the tone curve. Try to keep it nice and gradual. Having steep curves on the graph will make your image fall apart Really garish. Look at this example image. See how easily we can add contrast to the image to the right. We have our channel selector by default. This is set to rgb mean in the curve. Ill effect the red, green and blue channels at once. But we can break this down to single color channels by clicking on either red, green or blue just for a quick example. By using a specific color channel, we can manipulate certain colors within either the shadows, mid tones or highlights. Look at the color wheel. Here you'll notice that cyan and green is direct directly opposite red, so if we drag the red line up, it will add read into the shadows. But if we drag it down, then we had the opposite color to the shadows. In this case, Greenlee Cyan color. Using the color channels is a very complex way of correcting colors and can work very well in some circumstances. In most cases. Oh, I prefer to do my cut up manipulation in the H S L tub 11. 10 USING THE HSL: blow the tone curve. We have the hate S l tub hs else tons for hue, saturation and luminant. This is where we can selectively manipulate each color individually. I think this is a really useful tool if you subtly also, I think it's a lot easier to use than the individual color channels on the tone curve. If you click on the all button, we will see all of the hate yourself sliders, and this is how I like to work to the left of each section, we can see the color picker. We can use the picker to click on the colors in our image. We would like to select manipulate. Simply select the picker, drug it to the color you wish to change and drag up and down while holding the left mouse button, and you'll now see the selected colors move in the relevant sliders. We don't have to use the color picker. They We can use this sliders to independently adjust them just by dragging them at the top . We have our hue slider, and as the name suggests, we can change the hue of a particular color. Let's say, for example, we want to give this image a teal and orange look or would need to do is drag the yellow slider more to the orange shoes on the blue slider. More towards the teal color. See how quickly you can change the appearance of an image now below the hue. We have our saturation slider. This is where we can adjust our color saturation or the intensity off color again. This is really useful. Let's say this guy is too saturated in the London's two under saturated. Let us use the color picker for this example. Let's drag the sky saturation down to see how reduces the blue. Let's drag the land up to see how it boosts the oranges and the yellows. Now moving down to the luminous again. This isn't of the useful tool. This allows us to change the brightness of a particular color. So if you want to darken the sky, we can grab our color picker and pull down the colors that we'd like to darken. Using these methods of controlling Kurds could be very powerful way of editing. With example, I've taken the image to a completely different look. It's not something I would personally do from my work, but I think it shows a good example of how you can manipulate colors. If you're working in black and white and you've checked the black and white tab at the top , hate yourself will now become being W. Using this tab allows us to selectively dodge and burn certain colors within the image. Dragging sliders to the left will darken them. Dragging the sliders to the right were brought in them. Obviously, as we're working in black and white, we can't see the colors. And using the color picker to choose an area in the image that we wish to change could be a really useful tool here. Let's say we want to make this guy a lot darker and more dramatic in this image. We can do this by using the picker and dragging down on the part of the sky that we'd like to darken. We could do the same for the land this dark in the Heather Little, you can see which colors are being affected. A sui drag the slider again, another powerful tool here in light room 12. 11 SPLIT TONING: split. Toning is another great way of adding color to an image. This time they're slightly different. This split so we can have a color to either the shadows, all the highlights of an image. Let's say for this image we want to warm up the highlights and cool down the shadows. First, we need to choose a color for our highlights. So let's pick a warm tone. Click on this small rectangle to get a better view of the colors and use the picker to choose a warm orange. By doing that, we can see our slider is moved. We could move the side of manually as well. But holding old on the keyboard, we can get a view off the color that we're adding. Now we can increase the saturation slider until we have warned that the highlights sufficiently. If we referenced the color wheel, we will see which colors complement each other. Complementary colors sit opposite each other on the wheel opposite color oranges till, and as these colors complement each other, we can add in some tales to the shadows to call them down, get a balance shop. We can adjust the balance between the highlights and the shadows by moving the balance tighter to get the required look. We can see the before and after by using the toggle button again. It's probably best not to push the slider too far, but things could get a little false looking if you're not too careful. 13. 12 SHARPENING YOUR PHOTOS: in the sharpening tab, we can sharpen the image. I usually do this as my last step. Now. How sharp you would like your image is obviously going to be a person thing. I don't tend to sharpen my images. Too much fish cameras are used don't have an anti alias in filter, meaning that they're sharp, straight out of camera. But if you use a camera with an anti alias and filter, then you may need to apply a lot more sharply than I would. Usually, I keep my radius set to one, and this controls the size of the sharpness below that we have the detail slider, and this is the site of the are used to sharpen my images, and usually I move this up to around about 90 then bring up my amount until I see any artifacts creeping in. Usually around 20 is good for my cameras to control. Whether sharpening is being applied, we can hold bolt and drag the masking slider to the right. See, for this example, we do not wish to sharpen the sky. Will do is add noise to the area. So if I hold down and drag the masking up until we see the sky area turned black. Everything in the image that is white, we'll have that sharpening applied to it. Everything that is black won't. So just move this until you see the desired effect. Now, this method works well for my cameras with the next chance sensor. But if you're using a camera with a Bayer sensor, then you may wish to sharpen differently. Now, when I shot with my Nikon D 800 I used to leave my details side a set at zero my radius to one and then slide the amount slider to around about 70 again, using the masking to be selective about what a sharpened in the image. I think Sharpton is very subjective and various from camera to camera say my best advice would be to zoom into into your image at 1 to 1 and play around with sliders and choose what works best for your eye. Now I don't tend to use the noise reduction for landscape photography as it could make the image soft on almost all of the time. My eye so is fairly low, if no at its lowest. So I guess the exception to this would be maybe Astro photography. But Astro, maybe you might want to do that. You're editing in photo shop or another application anyway, so I don't think noise reduction is particularly useful in light room. But if you do need to apply noise reduction, it's fairly self explanatory. Just move the sliders until the image gets cleaned up. 14. 13 TRANSFORM & LENS CORRECTION: lens correction can help. If we see fringing on the edges of tree branches, for example, this is commonly known as chromatic aberrations. You can also apply lens profile to correct things like distortion. My cameras have a built in profile, so I never need to use this type. And as you can see, I'm not able to use this section apart from the remove chromatic aberrations. But I'll usually keep this checked. If you're using a different cover to me, though, you should be able to find your lens model in the drop down menu. Select jewel lens and Light room will apply that relevant corrections for you. I don't tend to use the transform tool very often, but it can be helpful sometimes if you need to control distortion or straighten things up a little. If you play around with sliders, you can adjust angles and rotate the image if needed. You will need to crop after you've made any adjustments. So to get rid of any white space around your image, dropping down to effects. So this is where we can have been yet to our image. I tend to do this with the radio filter as I find it offers more control, but you could hear if you want a quick edit, simply drag the amount on feather it to taste. As you can see, the further we drag the image to the left, the darker the edges become below the vignette. We have grain. Unlike the name suggests, this is where we could add film grain to the image. I don't use this for landscapes, but if you don't, you can just slide the slider to the right toe. Had more grain. It's pretty straightforward. 15. 14 LOCAL TOOLS: while making global adjustments is a really quick way of making an edit, local adjustments have far more control on its these tools that can really bring an image to life. So first up, we've got the crop. It'll now the cops are, is a great way of adjusting your compositional, removing distractions from around the edge of the frame, or even for choosing a different crop ratio. Click on the crop tool and drug the edges to help you recompose the shop. We can adjust the angle of the crop by moving angle, slider. Or, if we have a straight horizon, we can use the level tool to drug. A line along the arise in line on the crop will be leveled along that line. Aspect is, as it sounds, either landscape or portrait orientation. Clicking on original would allow you to select a ratio for example, five by four or 16 by nine. For this example, let's choose a 16 by nine crop ratio. This allows us to put the fern in the lower left hand. Third on get all the waterfalls in and eliminate that patch of white sky. Take dumb when you're satisfied. If you press on the keypad. When you're using the crop tool, you can scroll through different overlays, such as the golden ratio. This can help you to recompose your shop. I usually leave mine to the standard rule of thirds setting. If you wish to have free control over your crop, then click the padlock button and drag the sides independently of each other. Isn't a crop tall is nondestructive, so you can change it at any time. One thing to mention, though, is that if you taken image into photo shop to do some work on the image and then bring it back into light room, you'll fix the crop. For this reason, If I plan to take an image into voter shop, always take off the crop first, and then I have the full image to adjust a later date back in light room. Next is a spot removal tool. The spot removal told, is a great way of removing objects in the photo. Simply click little, adjust the size by dragging the slider were using the wheel on the mouse. Click on what you wish to remove and drag out the other circle to where you wish to claim from. It's really easy to use but can be problematic for Biggles tricky areas for bigger areas. I would usually taken image into photo shop and work. From there. The graduated filter is another excellent, off selectively changing characteristics of a certain parts of an image. Simply select it and drag it over a part of an image that you wish to change. We now have a plethora of controls, our disposal very similar to the basics tub. But we only applying these effects to the area of image where the filter is applied to see you mask it O on the keyboard. Let's reduce exposure a little added little clarity to make the clouds pop and remove some saturation to make it feel more natural. We also have the ability to add a range mask. This means we can mask out certain areas of the filter. So for this example, we do not want to filter to be applied to the hills, just the sky. So let's use the luminous range mask click on show mask, which helps us to see more clearly. Now let's drag the darks to the right. Watch how the red mask dissipates away from the hills, meaning our effect isn't applied to the area. We can use the smoothness to feather this effect. I find that luminous range mask works better than the color mask, but both worked the same when affects the ligaments, the other colors. So now, if we exaggerate this effect, it's not being applied to the hills, just the sky areas. The radio filter very much works the same as a graduated till over this time, we're applying the effects that either inside or outside of a circle this is great is we can make our selection to very small areas of an image or very large areas of an image. Let's say we'd like to add a vignette, this image. They struggle radio filter. So this feels most of the scene. Now let's reduce our exposure. Little as you can see, everything outside of the circle is having the applied effect. We can now just the feather in by moving the feathering slider. Now let's say we would like to add in some clarity and sharpening just to this stone wall here, this dragon of the radio filter tool out to the wall. You can drag the handles to get the correct shape. This time, though, we want to effect to be applied to everything inside the circle. To do this, we have to select invert. Now we're affecting everything inside the circle again, just like the graduated, till we can have a range mask to remove certain colors or luminous from the filter moving on to the adjustment brush. The adjustment brush is a great way of getting selective about playing local adjustments. Let's surprise from dodging and burning to this image. First, select the brush, then boost the highlights and exposure slightly. This will be our dodging. Brush their supplies from dodging to this image. We can adjust the settings after we've done our painting to the desired level. Click down when we're finished. Then open another brush tool and painting some negative exposure to the shadows to burn them. If we paint over an area, simply hit, hold on the keyboard to paint out on area with the same brush again. Use the okey for the orange overlay to see where you've painted at the bottom. We have the ability to change the brush size and add a range mask, as we did before with the graduated and radio tools. If you need to remove any of the adjustment filters that you have applied simply right, click on the gray buttons, remove it. These tools are some of the most powerful features in light room. Let you be really selective about the adjustments that you make. 16. 14.1 FOLLOW ALONG EDITING: So now we're gonna put into practice some of the techniques that we've learned previously on. We're going to create this image here, which we've got looking across the Peak District in the United Kingdom. Lovely sunrise location. And we're gonna be doing some edits to this, using the techniques that we have learned. So yes, if you consider elect Red 13920 dot r a f andi, open that file. I'm gonna come over to our develop panel. Click on develop. Now, here, you can see we've got the information. You can toggle that on and off by pressing I but we don't really need the information. So I'm gonna leave. That turned off. And I'm also gonna close the panel on the left just to give us a little bit more real estate to work in. So we're gonna be doing some basic and it's on this image here to start with, first of all, because it was a sudden rise, I'm gonna warm this image of a little bit just to start with just to make the image feel just a touch warmer, so I'm gonna base set up to around about 60 three hundreds. Something like that that works were really well, that's 63 Double six there on the temperature scale just to increase the warmth in the image just overall make it look a little bit more warmer. I'm gonna come down and do some basic adjustments here in the basics tab. So I'm gonna boost the highlights in this image. Not something I do very often, but I really wanna accentuate the light on these rocks here. I'm also gonna boost up the shadows as well. Teoh Runabout plus 41. Now, please feel free to follow along with this edit Onda. Hopefully we can create something. It looks really nice because to start with, this image is quite flat looking, really Wanna accentuate the tones, this image and bring it to life. Gonna bring up the whites to about plus 18 And for now, we're gonna just leave that blacks as they are. I think I might just boost the situation just by a little bit. Maybe just plus one for now. And then we're gonna come down to the tone curve. I'm just gonna add in a medium contrast tone curve to this image and I'm gonna leave it as it is for now, because I feel it looks it looks quite nice and quite happy without that feels right now, I'm just gonna I can come back and tweet these lines if I need to. But I think for now that that's looking really nice. And then I'm gonna come down to my hue saturation and leaving. It's gonna play around with colors just a little bit. Now I want to take the greens out of this image. I really want to try to simplify the colors on quite often in this to the landscape. During the autumn time here in the UK, all the Bracken's died down. It's a lovely orange color on. We've got this beautiful light blue sky to golden light on the rocks and to simplify the colors, it means we can really concentrate on two different tones. Him, really that they sit opposite each other on the color whales what the the blue Teeley colors on the orange colors. So the greens that we've got here in the foreground don't necessarily fit him without if you like, So I'm gonna be reduced in those greens down on. I'm gonna add in some yellow to those green tones. Bring that right down that green hue right down to yellow. That's essentially changing all of those greens. Now, over to a more yellow color. Taking those greens out of the image, you're gonna be boosting up the Reds just a little bit more mortal orange as well. So I'm gonna be boost in that up to around about 30 ish something like that just to read out the image of just a little bit more orange just to make it feel a little bit more warm overall on the orange, I'm gonna push a little bit more towards the red. And I'm just playing around with the colors here just to make it feel mawr natural and mawr like actually waas on the day during the shoot saturation off the green. I'm going to bring down a little bit again. Just taking that green out of the image on to help lighten some of this foreground area here. I'm actually gonna boost the luminous of the greens. I'm gonna push that up, Teoh around about plus 50 something like that. And that's just helping lift that foreground because I've got a lot of shadow in the foreground in a minute, the image fields just ever so slightly on balance with the brightness that we've got here. So in terms of toning, that's pretty much it for this part of the image. But next, we're gonna be working mawr locally, so it could be producing some Grady INTs. I'm gonna be using the brush tool as well, painting from different areas of the image. So, first of all, I'm gonna be using the radiant, or I'm gonna just click on that, and it's opening this new planet up. We're just gonna click and drag down from the top of the image down Teoh somewhere about halfway. And then I'm just gonna drag that slider down a little bit more and push it up a little bit more. That's just squashing that area. Now what I'm gonna do is I'm gonna use a range mask, this image just to show exactly what we do, and I'm gonna reduce my exposure right down to make it really dark. And obviously that looks a little bit silly to start with. But this is just gonna help us is a bit of a guide. I'm gonna come to my range mask here, and what we want to try and do is mask out these rocks and these boulders here in the foreground. So I'm gonna choose Luminant for this on and then I'm gonna click show mask, and that's gonna turn the image to black and white. And it's just gonna help us show why Where the mask is being applied to know, you can see this red overlay and you can see that it's affecting where the rocks are. So I'm gonna drag the range across here, and we can see now as we do that we drug that range across to the right. Inside. It's reducing the mask there on those rocks. We can then play around a little bit with smoothness, just to see if we can take that completely away from the boulders There on. Now I'm gonna take off the luminous mask just to see how we are when we can still see that it is darkening those boulders just ever so slightly. You have to be really careful here. We don't overdo it. Obviously, I've got my exposure right down to now. Let's just increase exposure a little bit and we can really see now that we're able to dark in that part of the sky without affecting the rocks too much, there's still affecting them a little bit. So let's just bring that a little bit more now. You can see the little toggle button down here on the left bottom left on corn about just essentially turned the adjustment layer off. So the adjustment brush off or radiant tool off just told it on an officer. We can see the before and after, which is quite helpful. And I think it's quite clear to see that we're still too dark with our exposure there. So I'm just gonna increase that ever so slightly somewhere there looks a lot more natural. I'm really just added a little bit more saturation to these blues as well. Just Teoh, make that blue stunned out a little bit more somewhere around about plus 34. I think if we go too far, it's gonna be over the top. So I run about 35. Something like that looks nice. It's just added in a little bit of saturation on a little bit more darkness detail to that lovely blue sky that we've got there So next up, we're gonna add on adjustment brush to this foreground here. And essentially what we're gonna be doing is lifting the shadows by quite a bit. I'm gonna kick on my adjustment brush hair on. I'm gonna click O on the keyboard to bring up my layer mask so you can see exactly where I'm painting. I'm gonna increase the size of my brush. I'm just using the wheel on my mouse to increase the size of my brush. I'm just gonna paint in this area here. Now turn my mask off by putting on the keyboard again on now, I'm gonna increase the shadows quite a bit just to really bring out some detail in those shadows. Obviously, is looking a little bit washed out now, but that's not not to worry. We're gonna be working on that a little bit. Mawr gonna add in some texture to this area as well. Boost that up to about 23 on just a little bit of clarity as well. And now I'm gonna warm up just ever so slightly with the temperature slider. I think I might just bring the shadows down just a little bit. Maybe somewhere there looks a little bit more natural. Okay, that looks good. Now I'm gonna fine tune the bottom area just a little bit more, and I'm gonna put in another adjustment brush Oh, my keyboard just to draw the mask on again. I'm just really affecting this lower area. Now, if any time we want to take away some of that mask if we hold down old from the keyboard weaken, bring upon negative adjustment brush and that just paint away in the areas that we've painted in there. Now let's take off our mask combat where we were. Now I'm gonna boost my temperature a little bit. Just warm the foreground up a little bit more just adding each time to this image, building up in layers ever so slowly gonna increase my exposure around three cores off a stops and things like that game just brightening this area up in the foreground. Here I did a little bit of contrast. I'm gonna bring my blacks down just a little bit. I run about negative 17 and just reduced my shadows ever so slightly on this area. Just I didn't a little bit of contrast looking good on my just boost up the saturation ever so slightly. It's looking better. Just gonna bring up my mask here, Andi, paint out this area here. I don't want to get any more bright areas where this likes it in that rock. That's good. So next I'm going to bring up another adjustment brush on Each time I'm doing this, I'm building these areas. These highlights in the image and what I'm trying to do is accentuate these lines in this image and create a path through the image. So what I'm gonna do is draw on some highlights in this image. I'm just gonna really roughly working some paths in this image that lets the I dragged through the image. I'm doing this very roughly here, but in a second I'm gonna be using my negative brush to paint that away. I I find this a lot easier for some reason to fine tune where I've painted stuff. As you can see now by holding down OK, my brushes turned into a negative brush. That's allow me now to paint away these areas that I painted in very, very crudely. I find this had over easier, but then you might find it a little bit easier to just paint in a bit more correctly with a positive adjustment brush. It's just what works best for year. I think I'm just trying toe accentuate some of these lines in this image on uh, yeah, just allow the viewer to get drawn through the image a little bit more. So I'm gonna release our color mask there just to show what we've we've painted. And now we can play around with the exposure a little bit. Just increased the exposure a little bit. I'm gonna boost the temperature. Just It's perhaps a little bit too much somewhere there. I didn't a little bit of saturation boost the Highlight Services site. We have to be really careful here that we don't We don't overdo it. Yeah, a little bit of magenta to it still feels a little bit green, but we might just that ever so slightly in a minute, boost the clarity a little bit on the texture. And again, we're just building this up ever so slightly as we go. Each time adding adjustment layers to areas, Teoh accentuate certain areas off the image. It's only adjust. This now is toggles on and off all of the adjustment brushes that have done. So I would say we could make quite big difference to foreground of this image have really brought it to life. It kind of feels like there is some light now being drawn into those areas. Andi Yeah, balances the image out quite a lot more. So I'm going to be done here with my adjustment brushes on. I'm gonna adjust my crop ever so slightly. I just want to bring in Make sure the horizons around about on this third line here on maybe just straighten it ever so slightly as well. Compositionally I think it works, OK, we've got a bit of a flow through the image here. We've got this sitting on the top third, these rocks here on the bottom third and some lead in lines taking you through the image. I think that looks a little bit better on Yeah, quite pleased with how this image looks overall to maybe just take away some of this green in the image. I might just bring up my tent ever so slightly with a magenta slider, only a fraction two plus 19 adding a little bit more that warmth, that golden glow that we expect at sunrise. I always like to come back and look at my history. Graham at the end of the edit to see, you know, if anything's clipping now. I really don't want to see any highlight clipping in my images, but I don't mind a little bit of black clipping. I really don't mind seeing pure blacks in my image, but I don't like to see blown out highlights if we decided that we wanted to bring up those blacks a little bit. If we clip pick on the Vista Graham icon here, that will show our clipping mask here, all the blue areas are pure black. So what we could do is increase the blacks here. What will find if we do that is the image was tend to look washed out, So I'm just gonna release those back to where they were work around here. If you wanted to bring that detail back in, those blacks will be to use an adjustment brush and literally just bring up the blacks in that particular area. But like I said before, I don't mind seeing pure black in my images, especially in the very dark corners of the shadows. It really doesn't bother. May I think it looks quite nice, but that's just a personal preference. So we could boost the exposure a little bit as well if we wanted to. Just Teoh maybe make history a little bit more violence, David to the right. But I'm gonna leave it as it waas because I feel that feels to me like how it was when I was there, shooting the image. So have a little play around with this edit. You know, you don't have to follow exactly what I've done, but this is our I would go through the edit and edit this image. I think this feels natural to me. It was pretty much how I saw the image when I was there in the field, and that's why I always like to try and do with my images, like to process them how they were with my own eyes. I don't like to make them look to over edited, but editing is a personal taste. Have a little play around with these settings, but feel free to, you know, push this edit as this law as far as you want just yet. Spent a bit of time on it on. Do you get to know these sliders? Build your at it from that? 17. 15 SYNCING & PRESETS: if you have a number of images that you would like to make the same edit to light room as a sink feature, and it's a really simple tool to use. Firstly, highlight the image that you would like to copy the setting from in the filmstrip. You can either highlight a bunch of images by holding, shift and clicking on another image to highlight everything between those two images. Or you can Manu select images, hitting the control and highlighting each image that you wish to apply the settings to to select the whole of the film's rep press control. And a just remember that it will sink the settings from the first image that you highlighted next. Simply hit sync for it to apply those settings. All of the images. Another great way of copying settings is about making presets. I use presets all of the time, especially from my wedding and portrayed work where time is money, you can make your own presets from your favorite settings by firstly highlighting the image from where you wish to save the settings from and then come over to the plus button on the preset tub, give you a preset name and add it to a folder of your choice. As you can see, here I have my presets folder name Ian Worth presets. I have them all numbered as well. I have my most commonly used ones at the top. Most of these are designed for my wedding and portrait photography. When you've selected your folder, you'll need to check which effects will be saved as a preset. For example, you might not want to make the change to white balance on all of your photos. You're applying the presets. I usually leave this and checked. Simply press create. When you have finished making your selection, you can now apply the preset to any photo by clicking on the preset. You could even share your pretty sex with others by exporting them. 18. 16 HDR & PANOS: So let's talk about Hasty. Are panoramas and Hate Jr panoramas. Stitching a panorama is really easy in light room. Simply select the images by holding, controlling, highlighting them. Then right click and select photo merge, then panorama or click control em on the keyboard. Now this is an example of how not to shoot a panorama. I shot this panorama handheld. I just wanted to make sure I got the shot before the rainbow disappeared. So as you can see, we have a few options to make this image stitch together the best. I tend to give each one a try and move the boundary warp until it fits most of the image. I tend to either go for one that either looks the best or has the least amount of boundary war padded. Now, if you set up your pan a properly on a Tripodi image shouldn't need as much warping. This is why taking your time in the field is so important. But sometimes you just don't have time, and getting something is better than missing it completely. So for this shop, perspective requires the least amount of boundary warp, but it does have a couple of defects on the edges to deal with a great tool to use here is the film edges tool effectively Like room is using the content where to clone in those editor edges. Quite often, this works really well. Means that you don't have to do is much warping. You could crop in a little to remove these areas, and sometimes this is a better option if you check create stack. When the panel merges complete or of the images, use will be grouped together in the stack for blending exposures we can use The Hasty are blending feature built into light room. This is a great way of increasing the dynamic range of an image. If we can't achieve an even exposure in one shot. Hasty are blending. Could be a great tool. Of course, we will have to bracket are images when we're shooting. For this technique. To work for this example are very bright areas of the image and very dark areas of the image. My bracket of this image at one stop increments, so two stops either side of my base exposure. To make this technique work well, we need to have the camera locked down the tripod for the best results. Simply highlights are set of bracketed images and right click photo merge HD are or control and hate on the keyboard. I usually leave auto line layers checked in case there are some movement. During the shots on, I leave Diego set to none. Create Stack. To greet me means together and click Merge. Job Done. We now have an image with a lot more dynamic range where we can pull lots of information from the highlights and shadows. The hasty. Our panel is very much the same, but it will blend bracketed images together whilst creating a panel very much in the same way that we've talked about above. 19. 16.1 FOLLOW ALONG HDR EDITING: So we are gonna make a hasty our image now with the images that we downloaded. So we're gonna come back to the library module is one that we edited earlier image to here , which is school onto our information. It is D S C f 7588 stocks are I f Now, As you can see, we have three images in this set. They're all taken at different exposure values. And that is because the dynamic range in this image is extremely wide. If you like what? These deep, dark shadows in the foreground on this very, very bright light hitting snowcapped mountains in the background on to balance these two out was very, very difficult Indeed. This is my base exposure, my most even exposure that I could get on. As you can see, the highlights that just starting to clip here on the mountain top and was still very, very dark here in the foreground. So I just wanted to bracket this image on blend these images together in light room. So that's exactly what we're gonna do now together. So what we've got going to do to start with is highlight these three images that we're gonna turn into hate HDR image. So if we click on the image number two there the 1st 1 and then hold down shift on our keyboard and click on the third image that's gonna highlight those three images together. They were gonna right click on them and then come up to photo merge on then photo energy HDR. And that's gonna bring up our HDR blending panel preview planet panel So we'll bring a preview up for us. Andi, I always leave auto align checks because if we have any movement during the three exposures , Auto Align will align all of those three images together and help us create a much better image. I tend not to go with auto settings on de ghosting. I always leave to none. I always like to create a stack with my three images as well. So I leave, create stack checked and that will create a stack for us and you'll see that in a minute. So everything is quite simple with this hasty are blend. Next I'm gonna click, merge on, let light room do its thing, and it's gonna merge those three images together. As you can see now, by creating that stack, we've got four images. If I click on the stack here is gonna expand those four images. As we can see here on this one, here is R H d R Dr D and G file. So let's go ahead and run a really quick edit on this image. Now we'll find. Now, this got so much more dynamic range within our image will be able to pull this image a lot more a lot more detail out of this image. So I'm gonna boost the shadows a little bit to start with only a little bit because they'll be doing some local adjustments are going to this image. Just boost the exposure ever so slightly. But bring our highlights down a little bit. Now I'm gonna bring up the Grady Intell Do some more local adjustments. I fed still a lot of my edit editing with local adjustments. Find it fits in better with the way I like to edit. Bring the exposure down here in the sky to accentuate symbolizes every tones that we've got there. Push the clarity a little bit as well. Just accentuate the ages of those clouds on just bring down the relax a little bit as well , just to gain accentuate the moodiness of that sky. Now I'm going to deal with this area here, which is that snow capped mountain. They're just catching the light. That was our problem. But what going to do is add in a radial filter here, and I'm just gonna drag over this area. Just make a noise circular area here, weaken. Just move around a little bit just to get into the right place. Something like that is good. Now where the radio filter remember everything outside of the radio filter will be affected without edit unless we inverted because we want just the inside area off the radio filter to be affected by the edit, we're going to click. Invert now. If I click on the keyboard, you'll see our mask, their orange mask. If I uncheck that, you'll see the opposites that you can see what that's doing. Get rid of that. I'm just going to reduce the highlights down in this area. And as you can see, that's really pull back those highlights for us. Andi, just stopping that clipping happening there. Yeah, I don't think there's no clipping in this image now, which is really, really nice click done on that. Now I'm gonna brighten up much foreground and say It's really, really dark here. On a few ways, I could do this. I could do with Grady Intell, or I could do it with a brush. But actually, I think what I might do is just do it with a radio filter again. So I'm gonna make quite a large radio filter. You could be more specific with your edit if you wanted to. For the purpose of this module here, I'm just going to run a quick edit on this on. Increase our shadows up on the full ground. See, that's really based in that up now, going down the black, said Elbert. Just contrast. Just bring up highlights a little bit. So another area that is fairly problematic to this image, I think, is the way the mountains sits there. It's quite hazy. It doesn't have a lot of detail to it. So I I'm gonna use another radio filter here on this background and add in some contrast to this image again. Click invert, invert our mask on Bring down the blacks on increased the highlights. Whenever we go opposite ways with these lighters, generally, we are increasing more contrast to the image. Be careful we don't affect, not highlight their little bit. Move over a little bit more. I'm boost the texture a little bit, and that's looking good. Let's talk without on enough to see the difference that we've made this image just for the radio tools. So it could be really selective about how we edit this image just by playing around with the radio filters. Now I'm gonna come down to my tone curve and just adding a little bit contrast. I'm just going to go with the medium contrast, but I'm gonna just this ever so slightly. Actually, I feel that's too strong. If you want to get rid of a point, you just double click on it around with the tone curve, just adding some contrast, but not too much now. Gonna base my exposure just ever so slightly, and I feel just to draw the eye through this image. I'm just gonna add a little bit of a vignette to this one. Come down to vignette tool on, just add in a very slight been yet to this image just to allow the viewer to get drawn through the image event. Always put a vignette him. I think it works quite well for this image. Andi, just to finish off very, very quickly, I'm gonna bring on an adjustment brush on paint in just a little bit of highlight areas to these rocks here. Just I feel they get lost a little bit. It would have been so much better. This image of what? I've actually got some golden light on these rocks here. But the surrounding mountains block out a lot of light in this area, so it can be quite tricky, Teoh. Time it right. And I didn't quite time it right with this image. But even so, it's still there's still a nice image. So I'm just gonna play around with my exposure of these here. Just make those rocks stand out and pop out a little bit more in a little bit of texture. And I think I think that's doing it for this edit. Click done anything. We are there 20. 16.2 FOLLOW ALONG PANORAMA EDITING: So now we're gonna create a panoramic image. We're gonna move on to our next image here that we downloaded in our library module here. So this image was, ah, a little bit under exposed because real bright areas behind again. The dynamic range in this image is is quite quite drastic. But what we're gonna be doing is blending these two images together and create a panorama. Now, I actually shot this handheld Andi. I think this is a good example off. You know, we can play around with certain areas off the panoramic blending features just to accentuate the crop and fill the edges in. So, I think is a good example of, you know, a handheld panorama. Just taking two shots to open up the panorama feature. We're gonna highlight both of these. So let's let's highlight the 1st 1 hold down shift. How about the 2nd 1? Botham highlighted. Right click on the photo Merge Panorama. This time that's gonna bring apart Perama. Merge! Preview! Now, as you can see here, it's stitched those images together, but we're left with some curved edges. This is typical with any panoramic image that you take, but this one's perhaps a little bit more obscured because I didn't use a tripod. I just took two images. Handheld. Andi. To be honest, I didn't do a bad job to be fair. So let's have a quick look at how we can just this to make these corners filled. Then there's a few options that we've got. Festival. I always like to have a little look at the three options that we have here so spherical cylindrical on perspective just to see if they make any difference to how the preview looks . As we can see, spherical actually looks better than Sindical. I feel like a perspective, and obviously that looks terrible. So I'm not going to choose in that one s o. I think spherical looks the best. Let's take a look at these options here for making up this image and making it obviously fit into our cropped window so we can pick on Phil edges. Essentially, that's going to use content aware fill Teoh, predict what it thinks should be there. So it's gonna add in some details in those areas based on the pixels and the way it looks around those areas so we could click on that and seal it. Quick Cookie looks like building the preview, and it's done a fairly good job by the looks of a preview. So it's just uncheck that the other one is auto crop, and that's obviously gonna crop into our image and just straight out a little bit on again . It's done a really nice job. So underneath auto crop, we have auto settings, and this is gonna apply all the tones and colors and try to make on end finished edited photographs. So if you click on that, you can see it's adjusted. The explosion, everything. But we don't really want to do that. So we really that options. We have our auto crop or fill edges. And I actually think I prefer to go with Phil Edges, then auto Crop, because we could do the cropping ourselves. I think that's probably a better option. I'm going to go fill edges that's not distorting our image. And then if we want a crop into it, if these areas don't know particularly perfect and we can do so, let's go ahead and click, merge and let the panorama be merged together so it's created out stuck force again As you can see, we've got this three on the bundle of images there. If we kick out that just opens the stack that you can see. We've got a dock DMG file now. No, we're ready to start on edit, so obviously this image is really under exposed. First off, I'm just gonna increase the exposure show so we can have a quick look at these edges that it also filled Onda as you can see it, you know, spot on job in the corners. You can't tell any difference. As I look down here on perhaps a little bit mushy down here in the core Narcan season, I could see a bit of a line there. That doesn't look particularly great. You could definitely see some things happened there. Can't wait, but I'm probably gonna go ahead and cropped that out. It's always worth checking those areas. You can really see it on my image. You've You've obviously done this on your computer. On the process, the way built the image may be different, so you might be seeing something completely different to what I'm saying. But I can definitely see a line up here, and then it comes across in this corner. So what I'm gonna do is I'm gonna cropped that out for do anything, just bring in the crop a little bit on. I feel doing it this way. It actually gives the user more flexibility, as opposed to letting the software do the auto cropping for us. So I quite often we might want to straighten her rise and off something as well, but that looks a lot better. And if we look down here now, I've got rid of that funky line. So all is looking good. So again, yeah, I'm gonna go ahead and boost exposure a little bit more. I'm gonna Bruce the shadows up a little bit. I didn't some texture to this image. This image is a little bit softer overall, and that's probably because I was hand holding, actually, Onda, uh, they normally I'm on a tripod, but conditions were the best here on Didn't really feel it was necessary to get the tripod out and taken image. This was more really for a record shop on something that I could use for this class. The sun was actually setting here, but this big blank bank of cloud was really problematic. I just want to increase the the tones in this area. So I'm gonna I didn't radio filter invert that. So as we can see press So what's gonna be affected inside the mask? There. Now, I'm just gonna warn that area up with our temperature slider just to try to accentuate without sunset a little bit on boost my saturation just to give it a little bit of a golden globe. Not too much, just a little bit. Just accentuate that. Since that be really careful, don't do. It was really funky. Something like that looks nice just to bring in a bit of golden car to those clouds that were there. But we hoped it was gonna be a little bit better, as always with the landscape photography. Anyway, I'm gonna bring a Grady int tool down now just to bring some of those shadows down in the top section off the sky, as we did before. Make it look a little bit more moody looking. Andi, bring our range mask in the loo minutes here on just just to take the mask away from the top of that mountain. So if we don't have any masking conceit here. It's affecting the tops off their mountains. There drag that range across that you could see it. Just taking that away from the top of the mount in there. Take off the mask. No, it's helped retain some of the brightness in the top of that mountain. There, I think water might do in this image is just boost up the white a little bit, being careful not to make sure that gets clipped in our history. Graham on a bro just boost the clarity of us a slightly. It's a bit more of a contrast looking moody shot like I mentioned before. This image is a little bit softer overall, purely down to the fact that I was shooting hunt out and it was quite dark, gloomy conditions and the less that's our panorama or finished, I think it makes quite please an image 21. 17 SMART COLLECTIONS: Let's talk about smart collections. Creating smart collection is a really great way of grouping together collection of photos for quick access. I have just one smart collection called landscape photos. Essentially, this is a collection of all of my landscape voters I regard as keepers the ones I might share on my instagram or my website or even make a print from when I finished my edit. I give the image a color. I have three colors. I use yellow, red and blue yellow. It will be my finish Light room at it. Read will be my finished at it if I've taken into photo shop on blue, my print edit. Usually my print edits are tweaks, likely for the paper types I use now to make a collection, we need to come down to the collections tab and give the smart collection of name. Let's make this one prince Next. We need to tell light Room which photos in our library would like to appear in the collection Flex. Come down to rating and select color and select blue for our print edits and then click create. Yes, my collection will now appear under the collections tab now every time you give a photo of tolerating of blue, the photo will appear in this collection. This is a great way of quickly finding your favorite images. You can also do this feel ratings as well. It's worth noting that images will be virtually grouped together in light room. There will not be moved around on your hard drive. 22. 18 EXPORTING YOUR PHOTOS: it's no, we're finished making our edits. That's export. Our photos I like to export my photos to the same folder is the original photo, but you could choose a different option. If you like to export to a different location, just choose an option from the drop down menu here. I always check Put in Supporter and give this folder a name similar to the original folder . But instead of raw at the end, I'll say Finished J Peg, for example. For far naming, I choose to rename and choose custom name and sequence in the drop down. My start number is one in the custom text folder. Usually I'll put the location name. This would export the images with the location named then a sequential number. So for this example, we would be Win Hill 01 Win Hill 02 and so on. For file settings, we choose what quality and format we would like the images to be exported in for landscapes . I would recommend exporting a tiff file for your master copy as this will hold the most information J peg for your computer website and instagram and PNG. If you're uploading to Facebook, this is all a bit subjective, but I have found these formats to work really well for May you want to set you color space to s RGB and quality to 100 unless you need to reduce the file size for the web. The image sizing I'll export my images at 300 peopie i, which is ideal for printing for the Web. Though I use 72 pp Aya's. This is a better option. You can adjust the size of the final image by checking the resize to fit burn. Choose the longest edge if you're uploading to Instagram, then exported 10 80 pixels wide for Facebook, 12 under pixels wide for squarespace websites, 2000 pixels wide for e mails 12 80 pixels wide. You could do separate exports for all of your finished images, making a fold of reach so high res tiff website instagram and Facebook folder. That way you will always be able to quickly access to the right photo without going back into light. Freeman doing another exports the original edit 23. 18.1 FOLLOW ALONG EXPORT EXERCISE: So now we're gonna work on exporting these images that we worked on throughout this class. Now, to do that, just come over to our first image here, make sure it's highlighted now, Before, when we highlighted multiple images, we held downshift. Essentially, if you hold down, shift for hold down shift on the last image. It highlights the mall. Andi, it's just in. Select those. But if we hold down control, it just lets you select the ones that we want to select. So if we hold down control now and select the 2nd 1 on, then the last one was the panorama. I'm gonna select that one as well. So that's the three images that we've got. First image the HDR on the panorama got all of those selected now have come to the top appearances file on down to export. Or you can press control shift in E on your keyboard Don't export module click export And now we're gonna export these photographs. So there's a general rule of thumb. I like to export my photographs into the same folder as the original photo, so I always have this set as default. But if you wanted to put it somewhere different you can do. You can choose specific folder, and you can choose a folder from there. I would like to put it, though, in a sub folder. So it goes into different folder within the main folder of the original photos. So let's call this finished edits that's now going to create a folder within our original photo call. Finished Edits. You could put J pigs as well if you wanted to, in case she had multiple maybe had some P and G's. Or what of a Facebook, Then you know you can have different folders for different sized images. Now I like to rename my files on I normally check custom name sequence on. Then I will call it a name. So if it's a location So like, here we have the Peak District district on that's then going to name all of our images on Export Peak District and then the number one and so on. Further down will come to file. Settings now are color space is gonna be s RGB. I'm going to choose to export a J pic file here, but you could change that if you want to take to Pierre and Jean, if you're gonna upload to Facebook, that's a really good option. If you wanted a better quality file that you might want to edit later or print tiff files a good option as well that for now I'm just going to use J pick. Make sure my qualities 100%. If you're gonna email these to somebody, you could reduce the quality down a bit. But I'm gonna leave mindset to 100 to retain as much of that lovely detail as possible. Coming a bit further down, we have the option to resize our image. Now, I use this quite a lot. For if I'm say, for example, putting some images on the web, then I'll choose 12 80 pixels wide to the longest edge with a resolution of 72. If I am gonna upload some images for a video, I might choose 4000 pixels wide. But for this, I'm gonna let them be their original size are gonna uncheck resource to fit. But I am going to change this now. If what I was gonna print these images afterwards, I would set the resolution to 300. But if there for Web I like to keep at 72 so these will be viewed on the Web site. I'm gonna choose Resolution off 72. Let that role at that included anything else. I don't think. And I said we don't want any water marks on there or any post processing either. Once I've got all these items checked in here, I'm ready to go. You can obviously create presets, too, if you wish. And you can do that by adding your presets over here. User presets and save these as presets if you want. But I tend to dial mining manually every single time. It doesn't take me too long. So now I'm just gonna go ahead and export these images. As you can see, it's exporting. Three files appear should only take a short while for that to do so. Once your images have been exported, they should have appeared in your original folder. So let's go to pictures we saved in. See Dr Pictures. Landscape Photography 2020. Let's cook on that. This is our original file with our original photographs in that we imported there will click on that and now you'll say finished Edits J pegs. There that finished edited files. We can also see all of our raft files. You can also see R, Dr D and G files as well that we were working on during the edit. They are here as well. Now, all of those images are all in that one folder. Easy to sort. Easy to see where everything is on. Definitely feel for me. This process works really well. I hope you manage to follow along with that. Okay, I think it's a really good way of exporting your photos. 24. 19 Editing tricky photos demo: So let's run through a few live edit. So first that we've got a very difficult tree that we're gonna take a quick look out on. This is a beautiful, misty morning that I had in the woodland. And as you can see, this image is very under exposed. We can just see the outline of the trees. But what we want to try and do here is get a nice, evenly balanced exposure. So because the dynamic range is so massive in this shot, I decided to bracket eight different exposures. So this is my most under exposed image on this one. Here is Mike most over exposed image. This image retains all the detail in the shadows. This one retains all of the detail in the highlights on then all of the other shots are a stop in between. So basically I'm going to do first is highlight all of these images by pick on the 1st 1 holding trip shift down on highlighting order of the images I'm going to right click and I'm gonna click Photo merge Ph. D r It's gonna bring a hasty our preview. Now I'm gonna click auto align layers the ghosting to none. Create stack and click Merge. Just wait for light room to merge these images together. So here we have our finished Hey HDR image. It's come back into light room as a doctor e and G four, which is a digital negative photo lite rooms own negative files. So gonna run a quick edit on this Now, woman up for action just to get a little bit. That early morning vibe going on. Just remove a magenta off the attempt on the 10 slider. Now, when I lift the exposure up to around about their stop over boost the contrast a little. These real global adjustments, remember, drop the highlights right down. So we make sure we retain highlights that we've got in this image. Boost the shadows up so we can bring out some of that detail. See how much more flexibility of what? Now with the DMG file, bring those whites down. Does black supple over? I didn't little bit of texture, A bit of negative clarity. Just accentuate those misty conditions. Now I wanna accentuate the brightness of this foreground here, so I'm gonna drop in a radial filter somewhere around about there. You're going to invert it. You can see where my mask is. That's everything that's gonna be applied. We got some initial edit supplied to this mask. I'm just gonna click off those. I'm just gonna boost my exposure of the foreground here around about Stop. Next. We've got a beam of light that's coming through these trees, and I just want to accentuate that beam of light. So what I'm gonna do, you gonna use the adjustment brush? I'm gonna click on, make it round about the same size as the beam of light. You've been a click here and then I want to hold shift down. That's gonna draw a straight line for us. Now, I'm just going to bring up the highlights a little bit so we can see that beam of light. I had a little bit of positive warmth to it. I'm gonna just bring down the D. Hayes as well. Just make it look a little bit more misty looking somewhere around there, I'd say, actually, that's probably a little bit too strong. I'm gonna dial that back a little bit, ever accentuating beams of light. You gotta be really careful that you don't make it look like you just painted a line in the picture. That looks a lot better. So I'm really happy with this now, but I just want to add in a little bit more black to the image. Come here and make sure I'm not losing too much detail. I'm just gonna painting a little bit more contrast to just push it the exposure a bit more and then just boost the overall saturation on vibrance here little bit. Give it a bit of a beast. That looks really nice now. Now there's just one of the little distraction in this image, and that's this lock that's just creeping into the side of the frame. So the easiest way to get rid of that is just a crop in a little bit. So that's what I'm gonna do just to get rid of that, I'm just raise my crop up a little bit as well, just to help the overall composition, because we've got this green shrubbery here in the foreground, which kind of sits on that bottom, right on third, and then the main trunk of the tree follows up on Ben's Eva. So I think overall being of light sits in that top right in third as well. So overall, this is helping the composition a little bit as well. So it's gonna click done. So I've chosen this image because it's clearly under exposed, and I wanted to just show you how you can save an image. I did take a couple of other shots of this particular scene that we're better exposing this one. So I think this is a good example of where we can save an image turn otherwise rubbish image into a keeper. So let's go ahead and run it on this image for this one. I'm gonna choose a color profile, gonna come down and cheese one of my Fuji film simulations and choose pro via It's just adding a little bit more saturation and a little bit more vibrancy to the image. In a bit more contrast to which is nice, it's gonna be a good starting point for us, so clearly this image is under exposed, so I'm gonna boost the exposure to start with somewhere around about their looks. Good, because we're losing a lot of detail in the shadows. I'm gonna boo so shadows up quite a bit. But you can see that's really helping improve this image overall now because it's quite hazy. I'm going to use a D. Hayes told, just to bring in more of that clarity here in the background. I'm gonna have a tone curve to this just by use in the medium contrast preset just to boost the contrast in this image. Now, already, this image is looking a lot better. There's a lot more we can do to it to improve it further. When I took this image, I envisaged maybe a square crop. So just ignore the composition for now, but will come in and crop that in a bit. So I'd like to add a graduated filter to the sky just to bring down exposure in the sky. A Zaken. See, it's at the minute it's too bright. Even they're gonna be cropping into this image. Want to reduce that exposure down a little bit, So somewhere around about there is probably good on gonna bring the exposure down by a couple of stops. Somewhere there, you can see that in the image and overall better feel straight away. But I want to accentuate some. This golden glow here on day. I'm gonna use the radial filter for that drug over radio filter into that area with an inverted. So it's applying that effect inside of a circle. And then I'm just gonna boost the temperature up to round about about there somewhere, just adding that golden glow to that area of the scene just to give it a little bit of a boost, not just adding a little bit of saturation as well. Not too much. Don't overdo it. That looks nice. Next up, I'm gonna drop it into the radio filter to mid ground because it's looking a little bit flat at the minute and I want a boost. Boost everything up a little bit just to make it look a bit better somewhere around about there, that looks nice. So again, I'm just gonna warm it up a little bit. Invert the mask to make sure everything's applied inside the filter. Just gonna warm up a fraction. I didn't a little bit of contrast now, as we said before, this is a local adjustment. So it's just applying these effects into area in which we want the effects to be applied. Bring down the blacks a little bit just had, in contrast into this area, basically frightening parts of it up. I didn't some texture, a little bit of clarity to No, I'm just a bit wary that I'm touching the top of that rock there. Really? Sure. I just want to affect this area of the land here, So, yes, that looks nice. So I just wanna bring out some of the shadow detail in this rock again. I'm gonna do that with another radio filter. Could convert. Make sure making the adjustment inside of the radio filter on. Just gonna bring out the shadows a little bit. Just brought up a bit. I've been a bit more texture to that as well to make that rock pop out a little bit good. So I always like to do now is to crop into this shop on bond. As I said before, I kind of thought a square crop would suit this image. Say, let's click 1 to 1 in the crop, bring it down. And I think that works a lot better because we've got the horizon level there on the actual top third, and that just allows the image to have some natural flow to it. Nothing. I look in a lot better. I might just add in a vignette to this image as well. I'm gonna do that with Vignette Tour at the bottom just to draw the eye into the same. I think that looks really nice. Just a little bit. As you can see here, I must have been a dust or something on my lens or my sensor. There's a bit of a blob on the screen. You can just see it there. So I'm gonna use this spot removal tool just to get rid of that. Hi. Plates. Going a good job force. Yeah. Perfect. So there we have it. Finished image. Andi, I think that's ah, you know, a badly taken photo, you know, brought back to life with the simple editing 25. 20 OUTRO: in this course, I've covered some very important tools for landscape talk for editing on. I really hope they will help you improve your landscape photography overall and in general , help you get better looking images. Now editing is as subjective as taking a photo. Finding your own style is really, really important. Light Room has many other features hidden away in its menu system, so I do encourage you to go out there on experiment and learn more about light room. See if there's some tools that could help you in the future. Thank you so much for watching this class really appreciate it. Please do consider dropping me a follow as will be making Mawr landscape photography courses in the near future. Thank you so much, guys, and I'll see you on the next one.