Color, Lights and Contrasts in Photoshop | Marcin Mikus | Skillshare

Color, Lights and Contrasts in Photoshop

Marcin Mikus, Retoucher and Photoshop Instructor

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41 Lessons (4h 32m)
    • 1. Introduction to The Course

      2:22
    • 2. Opening RAW files

      3:57
    • 3. Adjust Lights in Camera Raw

      6:30
    • 4. Color Profiles

      2:56
    • 5. Other Adjustments on RAW file

      7:05
    • 6. Further Camera Raw Work with other Images

      10:24
    • 7. Lightroom Classic vs Camera Raw

      4:03
    • 8. Lightroom Classic Processing

      6:39
    • 9. Lightroom Classic Processing II

      7:58
    • 10. Other Panels in Lightroom Classic and Camera Raw

      10:52
    • 11. Exporting files from Lightroom

      5:57
    • 12. Exporting files from Camera Raw

      3:43
    • 13. Bonus - Capture One walkthrough

      18:33
    • 14. Non-destructive clean up

      7:02
    • 15. Dodge & Burn Retouching

      9:53
    • 16. Color Harmonies

      10:27
    • 17. Selective Color Adjustment Layer

      7:10
    • 18. Gradient Maps Adjustment Layer

      6:28
    • 19. Photo Filter Adjustment Layer

      2:45
    • 20. Black & White Adjustment Layer

      4:08
    • 21. Color Balance Adjustment Layer

      3:12
    • 22. Hue/Saturation and Vibrance

      5:28
    • 23. Lights and Contrasts

      6:26
    • 24. Levels Adjustment Layer

      7:12
    • 25. Curves Adjustment Layer

      7:09
    • 26. What is RGB?

      3:54
    • 27. Color Lookup Tables

      8:01
    • 28. Channel Mixer Adjustment Layer

      14:27
    • 29. Color Grading I

      5:08
    • 30. Color Grading II

      6:08
    • 31. Color Grading with Curves

      10:02
    • 32. Black & White Conversion

      5:50
    • 33. Color Corrections

      6:59
    • 34. Simple Light Adjustements

      5:27
    • 35. Adjusting lights/colors on legs

      4:11
    • 36. Working with Luminosity Masks

      4:55
    • 37. Work on specific color

      5:15
    • 38. Simple Contrast Adjustments

      1:42
    • 39. Match Settings using LUTs

      4:37
    • 40. Final Adjustments in Camera Raw

      4:57
    • 41. Final Adjustments in Lightroom Classic

      12:14

About This Class

I have been working in retouching industry for over 5 years and have experience working for top brands and magazines such as Vogue, Numero, L'officiel and many others. My mission is to teach you imagery post production in the way that is useful. What I mean by that is the fact that I not only teach you photoshop editing, but I teach you quality post production with the standard of high end work. Learning from me provides you with knowledge that can bring you profits in photography industry.

In this course I will teach you everything that you need to be successful in post production.

We start with the raw conversion. You will learn how to adjust lights, shadows, exposure and how to polish colours of your images to prepare for work in photoshop. I am not only showing you how to do raw conversion in adobe camera raw, but I will show you the same process in Lightroom as well. Just in case you prefer to use Lightroom over camera raw.

Next we will move to photoshop, I will show you how to retouch skin in non-destructive way and after that explain to you all of the adjustment layers that you will use for photo editing so photoshop will not be confusing ever again. I will make you understand channels and teach you how to work with luminosity masks to get the perfect results.

On few different examples we will do full color grading work and adjust the contracts so you will have real work experience.

At the very end I will show you how I personally like to do my final adjustments and how I export the images before sending them to my customers.

Wether photography and post production is your hobby or work. This course will show you how to make your images look professional. If you want to learn how to edit image beautifully, this is the course for you.

Transcripts

1. Introduction to The Course: first of all, thank you for getting this course in which I will make sure that you will be much better in Photoshopped Postproduction. I have been working in retouching industry for over five years and I have experience working for top brands and magazines such as Vogue numero official and many others. My mission is to teach your image postproduction in the way that it's useful. What I mean by that is the fact that I will not only teach you Photoshopped editing, but I teach you quality post production with the standard off high and work. Learning from me provides you with knowledge that can bring you profits in photography industry. We start with roe conversion. You will learn how to unjust lights, shadows, exposure and how to polish colors off your images toe prepare for work in further shop. I'm not only showing you how to do a conversion in adobe camera. Oh, but I will show you the same process in light from classic Sisi as well. Just in case you prefer to use light room over camera. Next we will move to Falter shop. I will show you how to retract skin in nondestructive way and after that explained to you all of the adjustment layers that you will use in photo editing. So far, the shop will not be confusing ever again. We'll work with such an adjustments like curves levels, color balance, channel mixer and many others. I will make you understand channels and teach you how to work with luminosity masks to get the perfect results on. A few different examples will do full color grading work and adjust the contrast, so we'll have real work experience. On the very end. I will show you how I personally like to do my final adjustments and how I export my images before sending them to customers. Whether photography and post production is your hobby or work, this course will show you how to make your images professional. If you want to learn how to edit image beautifully, this course is for you. Don't worry if you don't have many images to practice, because I will share some images with you so you can practice at your own piece. 2. Opening RAW files: in the first section, we will be talking about the raw conversion and in the first lesson, I'm going to show you how toe open your raw files in a camera, which is software that is connected to for the shop in some of the next lessons. We're also going to talk about how to open and edit images in light room, because that might be preferred toe way for some people to do rock conversion. And also, I will show you additional software on the end. Capture one for those who prefer to use capture. But let's start here in a photo shop. Once you open this, you will have toe options like creating you. If you want to create some designs you want toe open new project or open, which means open file Open image. If you heat this, you can locate your images on your computer. But what you can see this is not the best way off searching images. That's why when you download in photo shop, you need to make sure to install and a B bridge I swot. It's include it in the photography subscription, so don't worry about having it or not, and Once you are in the bridge, you can lock it easily. The images you want toe work with. So, for example, I prepared the images that we are going toe work in these scores. I name this couch, for example, when I'm going toe open this folder. As you can see, my raw files are located over here. This is really great way off looking at it because even though if you have some mess, um, you can locate your folders on the top or on the left hand side. You can choose the folders where your images are located, for example Here, images choosen. And as you can see, I'm locating different folders with my images. One of the best ways about bridge and why should do it here is that you also have all of the information about the images. Start before starting from aperture, I saw off the image and all of the details about size on beat that peak cells Centrum document type, of course, camera image. So let's open them how to open images. We are going to start with this three images I have over here. One of the common question is how toe open all of them at once, instead off opening just one. So if you have to roll file, you can just double heat on this. But if you want to open multiple images, you will select three of them. I'm going to press control and he'd by my pen on my tablet or click right and then open in camera the same case. If you have Jay peak images and you want to start from camera, you will heat right and then choose open in camera. So this is what I'm choosing. And as you can see, three files, we're open in camera. So now we will be ready to start and it in them off course. First think we need to do we need to do some corrections for sure. So we need toe unjust aligns. This images are it'll be darker, so you need to and just exposure. Contrast highlights and all of the things to make sure your image looks ready for moving forward. 3. Adjust Lights in Camera Raw: The most important part in camera is located here on the right hand side, and we have few things on that we are able to adjust. First of all, we will be able to choose. The color profile will be ableto unjust. The white balance and off course unjust, the lights off the image. So how do I start? First, try to look at the image and judge it. Is it too bright? Is it's too dark. It's really easy task. And if you are not sure what you want to do and how correct image should looks like, I would recommend you pressing auto just for now. President Auto, and you can actually see how in each, with our proper a light, it looks like I feel it might value Toby too bright, but it looks absolutely correct, and you can check the exposure. Ignoring contrast, slider. The highlights, shadows assed usual shadows up and highlights down, and looking at this can help me toe. Understand what I need to do later. So what I will do now I'm actually going to reset the camera default, and I will start with bringing up exposure a little bit because this image is a dark. I wanted this image to be a little bit moody, but it will be dark because it would allow me to achieve really nice color effects later that I'm going with shadows for sure. I want to bring absolutely shadows and highlights just that little bit down. It looks already a little bit better. Maybe a little bit more touch for and the highlights, and this is good start. As you can see, we actually brought back the proper light for the seeming. So if a name it would be correct would stank at this point. And the next step is I allow myself to work a little bit with contrast on this time. If I work with beauty images, I don't really ah, work of contrast. Bad. After flattening this image, I can actually see that and in a little bit of contrast, can bring some of the texture back. Some of the good colors that I would like to have over here. Some are actually letting myself toe under a little bit more contrast, and especially after we brought up in the shadows a little bit off contrast, it's not really bad, and it might save you in just a little bit off work for later. And another step that I'm doing here is unjust in their white balance. So temperature, we will have some off the other options. We can go with auto, and as you can see, it lowers the white balance. And once again, what they come mention here. That, although is actually pretty good. Start persistency on. Duh. Well, it's white. It really depends on what you want. If you want to have white colors, being white auto might be a good starting point, but I'm going to show you also some others. So you have cloudy. We have shade, some rather colder options over here. So as the shot, it looks like this. It's a little bit warm, and you need to think at this stage if you would like to go with warmer image or rather called image, because if you're photographer, you can actually make this decision if you are re toucher on. That decision is not always up to you to work with the temperature over here. Many photographers, when they send over the files to work with me, they send it already with adjustments and this n Jasmine's often include the adjustments off the white balance. So if I would like to go with the warmer image off course, I'm going with the warm adjustments. If I want to go with a little bit colder image, I would try to work and it'll beat with this blue. And I think around This is something I like here, maybe a lower thinking a little bit. But this looks correct, and I like the adjustments on that. They did hear very soft. I could go even stronger with shadows and unequal bit stronger with contrasts over here. But of course, this is just the beginning. Clarity not really using on this stage yet, and also vibrance and saturation can be used but rather be careful with it. Going with saturation wouldn't be really ideal on this stage, because I believe this skin getting this orangey on natural look. So what I would do here I would lower the saturation just a little bit, because in the case of saturation, you actually saturate will decide. Operate all the colors equally, but when it comes to the vibrance, you saturate and the separate colors but preserved the oranges. Thanks to it. You don't affect the skin taller colors that much so that I would like to do. I would like to increase the vibrance. I'm in prison, actually a little bit off the flower, a little bit off the colors that exist maybe around. But as you can see, the oranges were not massively increased over here. So what I could do then I could much all of the settings. But before we will do so, I will talk a little bit about color profits that you can also use when doing your basic adjustments in camera. So let's jump to another short lesson and talk about coal provides. 4. Color Profiles: in camera software. The same us in the light from software. You can choose from some color profile stand that they'll be company provided. So by default, every image will be in and they'll be color profile. Once you open this, you can see some other extra profess. But what we want to see want to see all the profiles that are available here. That's why we are going to truce. Browse or he'd these squares over here. And as you can see, it opens the profiles for you so you can see and a big color. We have monochrome landscape, which will be more saturated here on Derby Portrait on Derby Vivid. And that the Bystander The vivid works pretty good. We have some other profiles here which is under B roll, and we can see that will be at the big color, of course, under the landscape, slightly different than the previous one who have Adobe No troll on Derby standard under the portrait and also and of you give it. Would I especially like to use is from this part camera matching, of course. Below will also have artistic, black and white modern vintage and some others so you can always experiment with them. But of course, for the best and natural result, it's best to go with on this basic colors and work on the color a little bit later. So one of my favorite that I always tried to check its and that the standard Zosia, it'll be darker than under be color, but we can simply correct this. But looking on the couch and under skin, it gives me and the colors that actually desire. I will meet more for this image. That's why I'm going to choose cama much in standard. Then close it. I will let myself toe bring on the shadows just a little bit more because it was getting a little bit dark. Maybe not as much, I was so I would be lower than vibrance in this case, and that would be it at the state. So simple work with a profound but don't forget that they exist, and you can always change them. But of course, there is a difference. If your photographer you are free to do it. If you're re toucher, this is not something recommended tow experiment with color profiles and getting to created for the colors because what you want to do, you want to deliver good job as a photographer wants it, so you fulfill his vision and not your own vision. 5. Other Adjustments on RAW file: after everything with the lights and many with colors is settled. We're going to do some final adjustments to make sure everything is ready for some work in photo shop, where we will be truly unjust in the colors, doing the color, grading, correcting the colors and, if need it, you also retouch the image itself in Father ship before I will go down it to make sure everything is excellent. Then I'm going toe match with other images from the same scenery, and then it will be good to go. So right now, over here, I am satisfied. But there's few things like, for example, this image waas under quiet low light. So when it happens, as you can see, I got a little beat off noise over here. Yes, I'm going to return stays, cause I don't want this to be visible. I think on this level, as you can see, it's sorted. Right now, you can also manipulate with luminess detail if you losing some and details working under the ruminants. As you can see, you can bring them up to by pulling the slider to the right side. It's about an unnecessary over here, as you can see on this image is not about the details. But I'm gonna keep this at around 50. And I think this is quite sorted. When I look from this distance, I don't really see too much off a noise or anything. So it's good for now and some of the color thing. So I'm skipping off course. The curves arm s keeping things like a spree turning. This is not the time to do it because now is the time just for them conversion. And if you want to adjust some other colors, I strongly recommend hue, saturation and luminant adjustment and maybe not luminous on this stage. But of course, saturation here will work. Perfect. So I have a little bit off the Yellow club and I find it a little bit this destructive for me. So I'm grabbing this lighter for the yellow. But I need to make sure there is not much yellow in the other areas. And I think reducing this yellow over here, help me a little bit with this unpleasant color here and some of the yellows and that we had in the parts off the wardrobe, we can check some other color how this looks like about the Reds. I think other colors not that necessary and some green I want to push, if it's possible, just a little bit because of the flower. So not too much on. That would be pretty much done in case off wanting, adjusting some saturation and also work with the channels I might go toe calibration panel . And sometimes I try to see if the values off Hugh any channel are good. I don't really want to change it because I already did a lot of work to make sure that my colors and the images are exactly as I want. But as you can see, you can work with separate channels, separate light channels such as red, green and blue. And I'm just the hume off each and specific channel, I said a light color channels because it's not necessarily the color. It's about the three color lights. Red light, green light and blue light that connected together create the colors on your image. So Blue is usually has the smallest wrench over here and gives you pretty good control. For example, in this small wrench like in this case, I can see it's strongly affects the couch and skin. I would say a little bit of the highlights, So no need to do anything here and the other option would be You can increase the saturation off channel. So Red Channel, usually the wind, this trench and the Blue Channel usually the smallest wrench. Simply speaking, not going really on deep into this as this is not something very important over here for the color grading. So we are done now. We need to match the images and how I do it. I'm going to the left hand side. I'm going to perceived and choose the last one, and now I'm going to heat right or control and press on my tablet. Then I'm choosing sync settings, so synchronize settings and also hear what you want to synchronize. You can actually choose. As you can see, most of the things are marked here, and I don't think off anything that I would not like to much so I can keep them all selected. If you don't want something to match, you can just turn it off. That's it. OK, once it's done. And now let's see the other images. So why it's important to check the images, after all, is because sometimes the light might be simply not perfect. So these two images, um, perfect match. But for the last image, I find it might be just a little bit too bright, I would say, Especially done. I want to keep their mint so I could lower the exposure just a little bit. And now my images would be ready to work on in photo shop. So last checks. Everything is good over here. I'm not opening this in for the shop yet because we have some other images would like to discuss with you, and we have some other options to show. So for now, when it's ready, I'm just gonna press done. So the settings that I applied will be remembered. And once we want to go into foot ship with just open this and then open image in photo shop , some heating done and a spencey settings are applied 6. Further Camera Raw Work with other Images: Now I have some other images with very similar A scenery, but this time will be using some natural light that come from the window. So we'll have a little bit more possibilities to play with the light and I'll move straight today. Camero. I'm just going to select all of the images, right and open in camera so that this is the first image. I think we might need to do a few things a little bit differently between, for example, this and this image. As you can see once again, they're under quite low light. And thanks to this, we have all of the details in the highlights very well preserved. So it will open us quite good possibilities off work on to start from this image. And this time and once again, we can just hit auto to check what correct image. What looks like. And this is on that level. I think I would like to have it even unequal beat brighter right now. It's really nice and moody that we have over here. And as always, when you press also the contract go out, it will be down. I'm not sure if this is the case. If I want that contrast to go down, So what I'm going to do? I'm going to reset the camera defaults once again, and I was start of exposure going a little bit higher. So I saw it was at plus 0 55 and off course, the shadows on this level. It's quite OK. I might go a little bit with the highlights, but also as this image waas a rather dark if this image would have correct lined or would be a little bit overexposed, and then you go with highlights more. But I don't need to go down off the highlights that much because there were no over never overwhelming for this image. So does the first move on bringing up the shadows, and I'm taking the highlights down and below. Also, we have white and blacks I really use on this colors they. Some people consider them a very similar to hide in shadows, but that strict related to the color so we don't have much white. And as you can see, it's not affecting. This emit that much. The blacks we have them, we have much more off the blacks and as you can see, when I manipulate with this, if I go up with the blacks, then that the image might get a little bit flat, so I would be careful of this. May be just plus three Really something. Me model over here and now, I think even a little bit more off the exposure to this level, it will have correct level of this. If I would go with a contrast, just a little beat not to match. I don't think you want to do contrast too much on this stage and maybe just a little bit off the shadows. I might knock them down later, but I prefer this to be just a little bit brighter on this moment. Then what? I want to jackets. How saturation with a faint this, of course, no saturation too much. But I'm thinking maybe I could achieve something nice with a little bit more off the vibrance, and it will be down with the saturation and off course profile. So I want to see how the auto looks like, and I was thinking it will drive down a little bit off the white balance because they reach Waas with a little bit orangey sun, and it will turn it to them white color fully. Let's see how the others would looks like, for example, make it very yellow. So for this image, I would be thinking I will be governed with some warm effect. For sure, That doesn't mean I have to start with very warm effect, so I will lower the temperature. For sure. This image is too warm on this moment for me, So I'm going to take this. It will be down, maybe even Tintin on down to zero or two, because it was getting into this on green weird tones and then profiles. Let's go to the profiles I think the professor was using before, which is common. Matching standard might be a little bit too much for this image, because I see this image is actually more saturated, has a little bit more color. So for this image I seen we might do better for the image. If we want to go with camera match in, I will keep. And don't be color on this moment since its any reacher, But it might be too rich. If I would go with camera standard, I would have to work a little bit more on the saturation over here, so I will leave it for now and for sure. I'm gonna think about this as the time times go, we have some other image. And for sure, for this image might be a little bit different Adjustments. We might match it at first, these two images just to compare. So I'm going to synchronize settings. The light is about being okay. Go beat more. Bring the details from the shadows here. And, uh, also white balance is Justin Point. But right now I want to see and compare how different color profile will work on this image . And on this image, it actually suits a little bit more from what I come see over here. So you might go if it but few more corrections, because I have some more colors over here. So this for sure will have a little bit more vibrance and I need to be less off the saturation. Also, I will go to there separation and I will increase saturation for this green plants. And should I increase the yellow? I see that's a little bit too much. But in prison, the yellow also not as much as before. So just till this level we'll have some other things, such as taking down the noise as well. So let's zoom in over here. Nice reduction. I will be more. This is too much. I want the details to be visible for I need to make sure that I'm not losing any details on doing this process. Now I want to see again how the camera much. It looks like probably the camera standard is not looking on as bad. But if you're not sure, you shouldn't really move forward over here. So I'm just going to much These two images first synchronize settings this to us well, synchronize settings and that See, looking all really good on this one could be a little bit brighter, this one and will be less. And these two images are very similar. The last one, also just a little bit brighter but they didn't do for this image is a little bit off the nice reduction on that we have to do here before Cola and another one as well enough for sure. A little bit off the color noise. My dogs up here. That's why I'm lowering just a little bit. And for now I'm satisfied with another images, as you can see, clean, ready and nice and simple raw conversion. They're still a little bit flat, but I think for this images once best to work more on that in a photo shop a little bit later. That's why I'm going to choose done on this moment. And we might try to move to light from and this cast those things and my do I walk through all of the panels in light room and finish. The rest of the image is preparing for the future for the shop work. 7. Lightroom Classic vs Camera Raw: I don't become a row as well as Devil Panel in light room. Classic CC are exactly the same things. That's why some of the people prefer to do row conversion using adobe camera. But some people prefer to do row conversion in light room. And, of course, there's pros and cons. Camera comes together with fought the shop, so it's quite handy when you open this in bridge and then it pops in camera. Then you can just go too far to shop in light room. Off course, you're still can open your images from light from toe photo shop, but the pro that I find in light room is the fact how we can export the images. I really like toe export. All of the files at once saved them in different four month store than as processed files and then go to for the shop. So because of this, sometimes when I work with be quantity off images, I find light room a little bit more handy. So for those who prefer to do row conversion light from now, we are going to do this here. First of all, let's import the images that we're working on So we working still on the same images we might to some different group. I'm going to choose the folder to sing on the same location off the folder circuit and desktop in the courses. Then I need to find master off lights and colors, which is what I'm working on now and then I'm going to heat images inside these images. I have some different folders, a swot chosen, and then I have different folders inside. I'm not going toe open separate folders, but I want to open them all at once right now. So I'm just going to import all of this and you will be able to notice one thing over here . I believe so. Let's Hey, devil panel. And we're going to check some of the images and toe heat on them because before that seems not available. But these four images and also we're working on this a few images over here. So as you can see the images that we already worked on in a camera, they have the same settings in my trim. Because as I mentioned to you before the devil, a panel is exactly the same thing. Us, the camera, we countries. The profile we can set up the white balance, and below that we have exposure, contrast and presence, which is exactly the same thing. What basic primal in camera looks like have also other panels, which are the same panels US order panels in camera. Of course, we have calibration. We have effects with transform with lens correction. We have details of speed turning a few saturation ruminants. And of course, we have the Tonkin in this few light from lessons we are going toe edit some of the other images on that We're not doing it. So I'm thinking off this with no images. They need some adjustments, and also we have some of the images on the solid background as this for after we gotta do it, we are going to talk about some additional things. Make some additional panels on that require some explanation because sometimes you might need to use the muscle. So let's jump to work and move to the next lesson. 8. Lightroom Classic Processing: We will start editing from these images on quite so by ground. I feel there are a little bit easier unless light work. So that's a good start and we can press the button auto at first. I think it doesn't do really great job in case of this image. It's proper, but it doesn't have the atmosphere anymore. So I'm going to do it by myself and it'll be more off the exposure and I want this shadow area just to bring up a little bit and also Andi going down with some highlights. No, I just want to check the forehead where was majority off the highlights and I want to see if I'm still able to see the skin details because sometimes when we overexposed image, we cannot see the details anymore. So it's very important to pay attention to this find details and when it comes to the light , I don't feel there is really more we want to do on this stage. So next thing I'm going to work on the temperature. Simply speaking white balance. We can check how others looks like and of course, auto. What waas what I was expecting it would get called that this image has this yellow town, and I think for this image I want to keep it a little called there as well. So I'm lowering the temperature, and also I want to remove this green color from the background. So having a little bit off magenta and when it comes to their temperature, though, I'm not going as cold as before. To be honest, in this case, on to keep a little bit different balance over here. I don't want to go as green as before some going of magenta around eight in this case, and also I lowered the temperature just a little bit. But I'm not going single out to the auto because I think when we get with this image to be too cold, it's it will not match, and it will lose this sensual vibe that is actually having on this moment. After that, let's check the profile goingto open profiles, and I'm going to see how the camera standard works really like the deep colors that it offers going to check some others. But the gets a little dark as well, which worries me at this moment, but it kind of creates this painterly effect. I want to zoom in and see what is happening, that so I'm going of the standard and because the standard also has a little bit different lights. What I want to do here for sure, I will bring up a little bit blacks and go up with the shadow stress that it could be and maybe 0.8 points for exposure. It's very visible. If I have to be honest, let's a few points here, then maybe 19 year. I want to keep it rather dark, but not too dark. And I think now it looks absolutely beautiful. So what I'm gonna do, I'm pressing command or control, selecting the images that have the same background and then similar as before. We're doing in a camera. As you can see, I was actually on the working with basic panel. I wasn't going the other panel. We can probably go feather and trick some separation of values, but if I'm happy at this moment, we can give up on this at the moment and other step in the camera, we heat the option and then we sink rice settings in light room after we select the wanted images. Just heat sink here and treatment profile. We're going to apply wide balance. Make sure you check select all of the settings that you really want to be applied. And this is really important. In this case, order settings are not applied yet, but I'm not especially worried because I wasn't working on them. And now, of course, we need to compare the images so some images are dunker. And of course, in case the images darker, we needs to work on it by ourselves. So if I see this image was starker than this one, I want to end chanson and make sure the lights on them is fairly singular. This image has a rather nice light, a little bit more for the shadows and the last one over here also looking good. Just a little bit off exposure and less highlights in this case. And this is the easy way how we can match the images I feel on this image can actually at so I even slightly more exposure. Now it looks absolutely perfect. So one step more for some of them. And now they all having absolutely beautiful lights so off the next last summer. We will be working with the rest of the images and I will discuss some extra options that are in line, tremendous course in camera before moving forward. 9. Lightroom Classic Processing II: and we have some of the last images toe finish with the basic adjustments, which is basically I just in the lights, a little bit of color. And this time I might try to go with a little bit warmer colors on because we have these window images and you can see a little bit off light going through there windows. And we have this really amazing race. We can see around the wall on a little bit on the model, so I believe we can play with it a little bit at some warm tone so we can end up with some really fantastic results. First of all, we need to adjust the light so I will start with The shadows will go up of this a little bit, maybe a little bit more, because what's important here on this image is also this green plants that we have here. I believe we can use them to do some ready cool color composition later. We can play with them at some saturation, so I think they actually might play very important role here. And when you come to the highlights, I'm not going to lower them too much and The reason for this is we don't have that much of the highlights. Photographer paid the attention to make the highlights on point and the shadows darker so you can actually have the possibility off plane with the light. Frilly as we like once he's done a little bit of the exposure here, it'll be classed and on the other images because I brought actually a little bit more from the shadows here and what I see for this image. I can add a little bit off contrast wire money in a little bit of contrast for this image, because I wasn't flattening this as much as before by lower in the highlights. So I think we can actually get a little beat more with the contrast, because this image done have that much perspective. So adding some contrast can add a nice, crispy look. So not too much, they seem. It's still and it will be hard. It will require a little bit more work with the lights. But let's have a look for our temperature for this image on in just a little bit more. And when it comes to the Tintin, I don't feel it's worth toe add more here, maybe just few points, really, because it's not getting into the greens. But I think the Sikhs that we had, it's actually on point. So I'm going to check the profiles, and I'm really curious how it's gonna look. And I had good feelings about this, that it's going to plant the warm look more. That's why wasn't pushing this too much. But for sure, after this, a little beat, more exposure, and every camera standard for this image gives us ready amazing son effort. So this is not finished yet. Then I'm going to hue, saturation and luminous because I want to work more on these green colors here that I have some increasing saturation. It's not as much as you would expect, because often the green plants pick up a lot off yellow color. So in this case, when I add the saturation for yellows, you can see that we increase a little bit here. But one thing we can also not this rule also increase the saturation. All are on the model. I want to see how the oranges works, and I think we can solve it in some way. I'm going to increase a little bit off the saturation for the yellows. But then, I mean, I'm going to decrease. The orange is just a little bit, so the model will not become way to saturate it. This is one thing we we can do here. But when it comes about the plant invade, even if I want to add a little bit more off the saturation to it, we will leave this for later in 40 shop us. There is some limited possibilities at this stage, and we don't want to overdo it. The other thing is in the presence that I'm going toe work at equal beat with the vibrance , as we're doing already before. But I'm gonna decrease the saturation here. And I think now it kind of looks on point and this image still looks a little bit too yellowish. So I meant to go toe orange and move the hue off the oranges. I've people beat towards the Reds, so that would be it. I'm going to select the other images and I'm going to synchronize this and think it's OK to synchronize now and legis compared how it looks like on this image. The light is on point. I think surprisingly all of the images have really amazing light. Maybe a hero. I come, um, a little beat, more light to this image. This one was just a little bit darker. And I want to see if I'm able to move the yellows. The other side. It would be really great if we could do this way. But as you can see, if I'm moving yellows towards the greens, unfortunately, the model on coming also quite green all around her clothes, so would be really careful here, going to lower days after after checking the other image, I feel it's better to be a little bit more careful still on this moment. So we are going to set out a bit more, and it's OK because with this plans, with this beautiful plant, we are able to work a little bit more later. So here I feel I need to take down some of the saturation from the yellows were too much of the yellow color on this areas, and these two other images are just on point, as I mentioned before here, let's bring a little bit more shadows if possible, so that would be our images are pretty much processed Now we have to export them or opening for the shop before we will do it. Let's discuss a few more things about light room and camera that we did not talk about. But it's important because maybe sometimes in some other cases you would like to use them. Maybe you have to use them, so let's have a walk through the panels in the next dress on. 10. Other Panels in Lightroom Classic and Camera Raw: in this lesson, we're going to have quick work for the other panels that will have in light room and camera . Because, as I said before, the developed panel and camera are exactly the same things. When it comes to the basic panel, we are quite well familiar as we're doing majority off work using a basic panel. And below that we have some other panels such a stunt, your few saturation luminant speaking in detail and some others. So let's have a quick look want does it offer when it comes? Their curve, which is exactly the same thing, works the same way us the curve adjustment layer in photo shop toe, which we will give a little bit more attention once we landing for the shop is not the thing I like to use for fashion beauty images and on the level off raw processing. But of course, it's very powerful when it comes to working with that lights on, just in the contrast or working with the RGB channel red, green and blue to manipulate with the colors, just as I did right now. And maybe we could achieve some nice some interesting colors depends on what you are looking for off course, I wouldn't be doing this Adjustments on this stage off the rope processing and when it comes to RGB will have the separate lesson. Talking one actually is RGB how to use it for your work and how to view RGB itself so that Tom Cure allows you to work with the lights and the color lights. I'm grand. Switch it off now because, as I said before, it's not. Something will be affected. Hue saturation. Luminous, you already know hue saturation Ruminants allows you to work with each color separately and allows you to manipulate the hue off this color. The saturation of this color and luminant off this color in the road processing it allows you to manipulate, for example, with the skin color, which is very important. Sometimes maybe the skin color comes out a little too yellowish. Then you can go to their yellow color and just the hue and saturation on this and, of course, luminous in case you need, but with ruminants. And when it comes to the portrait, you don't want to mess up too much when you have something green something blew. It allows you to and just days colors a swell. For example, when we have blue sky manipulating with the hue off the blue color and saturation allows you to actually the results you really want. So this is one of the easiest toe Understand. Of course, you have two options. You can switch this to a color and choose each color separately. Or you can shoes all over there, colors at once and manipulate huge separately, saturation separately, Lewin in separately. The next panel is speak to me, and in this case it allows you to apply some color for the highlights and some other color for the shadows, and then choose the balance between the scholars. So, for example, if you choose for highlights of world color at some saturation, maybe foreshadows some cooler color and also some saturation, you achieve a certain effect. Why? It's not a good idea to use this on the level off row processing. Well, the option off splitting, and you can easily apply later after clean up the image and you don't want to mess up too deep with the color, especially with there s pleating in which is quite artificial club at this level, because you don't know the final result yet, so this sort off effects are much better after you do what's important. First, after you set up all the colors after you have polished look, then you might want to use this pre turning, but not at this stage. So let's lower days and movement off course. We have details where you can sharpen your image. You can do the noise reduction, which were actually doing sharpening. Why I'm not really using it. Once again, sharpening is better to use on the very end, because you don't you did not clean up the image. When you sharpen this, it's going to sharpen all the hairs you don't want on the image. It will sharpen all of the wrinkles. You don't want the image, and it will sharpen all of this pot you don't want on the image. That's why details also something to skip on this stage. Less correction. This is actually quite important thing that you could be interested. We have two option in and the profile lens correction. We can just heat remove chromatic aberration, which you can actually check every single time you do something. Some images on some images can appear some sort of chromatic aberration if you have some issues with the lens, and this battle will remove this and also the other option below, which is more important, enable profile correction so you are able to correct and the profile based on the lens, as you can see. Once I enabled this, have the lens with which and the image was taken, and also what you can see. We removed their Venuti, So if you want to Keven getting you can go down with it. If you want to remove, you can keep it at 100 your image is corrected. The perspective might be slightly better as well as well, you can see that a change the shape just a little bit. If you don't want distortion, you can lower the distortion and living eating will be removed. And if you want the distortion, you can apply soap. I'm going to keep it. I think after the correction, it looks quite well. I'm going to do this on some other images as well as you can see. It does correct the image in the nightly, but always pay attention if they actually show and distortion helps over here, or it may be distorted the image too much that you don't like. So pay attention to those things, and I would recommend to do it manually, not necessary to copy to all of the images, because you want to pay attention if it's actually correct in this in the right way. But in most of the cases, this simple profile correction will do the job so and pay attention to it, and you might want to check it after less correction. Half transform, which allows you to straight in the image, for example, want to keep the straight perspective off the image more lanky when it comes to the landscape images that will be very important. And you have also option auto. It might straight your images if it's on parade. This image did not. I wasn't considered as having wrong perspective. So was nothing to correct. Here. Might have a look. There's another image that seems to have, as you can see, um, dozen correcting. So for fashion images, it's not something you would like to do. If you want to correct. If auto doesn't work, you are able to transfer your images in vertical way horizontal way, which is not something that will give you very good results. But the sliders, like rotate and scale my liver health. If the image is not straight, you can just simply use the rotate. If you want to change the scale, you can zoom in or zoom out, and you can also position the image is in eggs offset. Or why offset So something pretty useful. And mainly I use it for the landscape Images, as mentioned off course, also effects where we can remove being eating at some vignette in at some grain as well, which I tend to use at the very end of 13 as well and calibration that we already so any camera as well and what's important to mention those things are available. Walls in the camera. It's all the same. So we have panels. We have a little bit and different layout all off the panels. But of course, once again you're able to enable our profile corrections and chromatic aberrations over here as well, the same way as you are able to do this in delight room. So profiles are over here, and it's all the same. So it's your choice, how you prefer to work with it, whether you prefer to work with camera or light room. The one difference is the transform that the transform panels not located over here but on the top with the other panels We have transformed panel, which is this small to, and you can rotate, change scale and offset off the image. So these are all important informations I wanted to talk about on the light room, and more. Many people that I know prefer to use a light from why it's convenient. As you can see, we can easily view easy lock it all of the images on that we have over here. It feels a little bit more intuitive, But some people just prefer to stay with photo shop and under the bridge, often when I work with a small amount of the image, mainly when its beauty images, for example, often stay with the camera. If I have big quantity off the images, often coming from my personal resources, I will work in light from, so I'm actually not leaning towards and off the sides. I'm not putting the favor and off the software, but I'm using light from or camera, depending on my needs. 11. Exporting files from Lightroom: The last thing that you have to do in my drum is, of course, exporting the images or opening the images in photo shop in camera, you can just hit open image or open this a smart object, and it's very similar in the light room. If you want to work on the single image, you can just opened this in photo shop. How to do it below on finding the images. You can just heat right or I'm working on the tablet right now. So I'm going to press control and heat on my tablet, and then we have option and it in. You can choose at it in under before the shop CC 2000 19 or below. You have open a smart object in photo shop, and if this is how you want to work, you might want to open as the smart object in front of shop. Because if you are not sure if you did everything right, you just hit open as the smart object, the images open, and in case you want to change something, you can just double heat on your layer here, which is your smart object. Of course, it's not really you're yet, and then all of the settings that you did in the light from before are seen here in the camera, and all of the settings are, of course, exactly the same as you did before. There was no difference. But of course, there's no way to go back for for the shop to light room. So it sends you do camera with exactly the same adjustments so you can change something. If you're happy after changes, you can just heat okay, and you will get back to work in, in for the shop. Off course, you can open all of the images in for the shop, but it wouldn't be advised because once you sell like them all, then he tried similar way and tried to end it in for the shop or open as the smart object in front. The shop off course, that would be a little bit too difficult to open. All of the images in photo shop soon might not want this. My favorite way off opening or rather exporting the images is actually exporting them to the teeth. It's very important to make sure that everything with the road conversion you did till this point is something that will leave you satisfied. So I know I did everything and I don't want to do anything more with my images at this stage. Then I'm going to file and truth export off course. I'm making sure that all of the images are selected. At this point, I'm going toe export. First, we need to choose where we want to export the images. Some trees in the folder. I want to export this and using the folder where my courses are located images and it's here. So in the chosen next to the raw files, I'm going to choose it. And then I want the images toe be in the sub folder. So I'm going to create a sub folder. I'm going to market is because otherwise all of the images would be not in the folder. That would be a little bit too message some creating sat folder and I'm going to name this processed. So I know these images are already after roll conversion rename to I'm going to keep file name as it waas go lower file settings so we can choose the four month off the file off course if we are going to export this and continue working there. One option that we should do here s P C or T file. So we'll be working with thief or PST. I like to work with teeth. Uh, some somehow I find it very convenient. So changing to 16 bit, of course, PSD file offer suit, same settings over here, so there's no big difference. I like to keep it as the thief so later I can save it easy as the teeth, just without the layers. After the finished work, I can open this again in the light from if I want some final adjustments. So these are my settings that I like to export 16 bit. It has a little bit more and death. It has a little bit more details. Bad when there was too big of a size, I tend to downgrade this toe aid beat, but if you want to preserve all of the quality of the image, you will trust 16 beats. After that, I'm just going to hit export and my images will be exported to the SAP folder that I choose in the location that they choose before and you can see on the top. There is the information export 15 files, so we have to wait till it will be exported. And after it's done, it's nearly finished. We can see what's happening in Adobe Bridge, some opening and RB bridge. And as you can see, I'm opening the folder chosen where I wanted to export days. And here's my folder processed and all of the images are being saved over here in the teeth for month, as I chose. So now will be ready to working with photo shop once we saved our images, okay? 12. Exporting files from Camera Raw: when it comes to camera. After he finished all of your adjustments, you are ready toe open your image in photo shop, but before you do so before you heat this battle over here is reward WTO. Pay attention to the few details. Have you want open the image and check if all of their settings with your file are correct . So they always do. Check this sign Over here we will have the informations about color space and about death off the image. So we have cursed place. Adobe RGB eight Beat. And this is what I'm really interested in because I want to work in 16 Beat Image. That's why I'm choosing to heat on this and all of the information off the details we can view. Here we have color space and API RGB 1998. It's the standard that I always work with. The biggest car spaces, of course. Pro photo Angie Be It's not something necessary that you have to work with Pro photo RGB. It's a little bit over a statement when someone says that I should work with Adobe RGB and most of the people. Most of the photograph furs will keep working with Adobe RGB. One important think you can choose Adobe RGB or Pro for Tagi B but do not work with as RGB , So this is one very important thing to pay attention to. Then we have depth of Danish, so by default we had eight beats here. I'm going to change the to 16 beans because I want to have a little bit more off the quality. When I will be working with lights and colors, it matters. And another thing that I want to pay attention to is on the bottom here, opening for the shop as the smart object, which is very important because often it's good to start as the smart object. If you're not sure about some of the settings, if you need to do some feather adjustments, I would recommend this. And if you check this box always, you will be opening your images as the smart object or your foul as a smart object once this box will be checked. If it's not the case and not always will be opening as the smart object can just hit OK on this stage and choose the battle open image, though, if you are not sure. Maybe in the future want to go back out, recommend to perceived. And once you press shift this open image switch in tow. Open object. That's what I'm gonna choose now My image is being opened on this moment and we are in photo shop. As you can see, we don't have the regular layer, but we have object. So now if you decide, maybe this image is still a little too dark. You can just double hit on this and do some fender adjustments, maybe until be brighter. And once you are satisfied, you can see it, Okay? And these changes will be applied non destructively into this smart object. And when I just work with camera with a small number of images, this is how I usually opened this. I start with smart object, even though in most of the cases I will not go back, it wants to do some just It's good habit to have when you will be working with camera 13. Bonus - Capture One walkthrough: as we know everything about the row conversion in capture one or legend. There is one more software I want to talk about and let me explain to you the reason why I decided to make it extra class about this other software daughters after his capture. One. And it's at the second most popular or conversion software after adobe products. So, maybe, or one of the user off capture one. Or maybe some other people who watch these cars use capture one and want to familiarize themselves with this software. Want to learn a little bit more? Maybe you feel a little bit uncertain about using this software. Then I hope this one class will help you of this. And if you're not, capture one user than it's OK. You can skip this lesson and we can move forward toe for the shop. So for you, if your capture one user, let's start from the beginning. How to import the images, how to prepare them for the work and for the shop later doing some simple light and color adjustments, and then how I explored them toe work in photo shop later. So first, let's start from important. I'm going to heat this arrow import images. And as you remember, the images were working and that there were in a few different folders. So once, um, trying to search for it, I'm going to include the sub folders, and to search for it, you can simply heat source and truce folder. As you can see, I found the folder I'm looking for already. This is chosen images and dying for different folders. I'm just going to heat open and it trust me, the images that are included in sub folder. If this would not be selected, as you can see, we can see it and we have to go further and import separately so we can always include sub folders, and then we're ready to import all of the images. So now that important and we'll be doing some simple adjustments here in Capital. One at first might be a little bit confusing, but you do know that all of the road conversion software they have some similarities. And even though the layout, my reality, will be different, all of the steps on a sort of white balance and some of their adjustments work very similar . If I would have to compare capture. One toe adobe product is the fight that it reads the color a little bit different for many people. This is how it should read the colors, that image that you see on your camera. It's represented exactly like this in capture one. And the reason for days is it. Recognize the camera it was taken. So gashi see some around here in the lens, we have recognized the lens. Once you go to the third panel, where's a lens and you have information about the lens and we could start even from this part that when you enable in light room there lens correction, you can see that we have those options. Over here, we have the lens. It's Canada 50 millimeters. We can apply some distortion, if needed, can apply sharpness and some other elements. If we have fringing what this friend uses this weird think around often on the trees, on the people and sometimes when issued with wrong flights, and we've I so we can get some fringing. If you have something like this, you can simply just increase that fringe and the fringing that could appear there purple fringing if it appears on your images, you can simply read justice. And even though it's worth toe, have a look in these three first panels such a silence and library where we import off the images. We have informations about recent imports, which is quite similar to delight room. These are not the panels where you spend majority off the time, and my approach is that its report Time to learn about the things that you will be using and in your work and not really pay too much attention to the things that you not you won't be getting too deep into. That's why I will be working with three main panel such US color exposure and details. I'm starting with exposure, and I'm going to heat auto toe, adjust my exposure and also in the high dynamic range. I'm going to heat auto, and right now we have pretty solid lights over here. As you can see, the shadows highlights and exporter works really nicely defined. I want to increase a little bit of contrast for this image in capture one, and but I cannot issue. We don't we have that match off a noise on this image and the reason is when we get into details, the noise reduction is already here. So as I lowered this now 20 on now we can see a little beat off noise. But by default it's on 50 and I can't really see that much off the noise. Everything is quite well cast demised over here. If I would go off luminous to 100 there was even rest. I think keeping everything at 50 is correct for this image. That's why I'm going to go back to my color right now where we will have based characteristic off the camera we're doing. And this is also the reason why capture One can recognize the corals, the original cause that meant to be here, courses and debate. It has a lot off available profiles it recognize your camera very well, so starting point in the color will be the white balance. So white balance is also quite different than the one in adobe because once again ingested friend software and if you wish, you can add jazz. This whether we want this to be a little bit warmer or colder, you will be working the same way with painting and temperature in this case, Kelvey. You can choose the moment as the most shot. It will recognize us. It was cast on white bands that you had. You can change it to daylight. So we have very similar options. A slight room and camera offer by this small. I drop very can also peak and check and adjust the white balance. It does not guarantee you the best results. Probably. That's why it's not always great idea to use this by auto Clower this on by. As you can see, I wonder if auto, as you can see auto adjustment over here is different. Then this one on top. But I will be customizing this by myself, and I actually in capture one in case of this image, actually. Look, the colors I have right now, I don't think I want to lower days too much because I'm quite satisfied with what they saw for maybe I'm just gonna lower the temperature, just a little meat. And we have some other options to work with. The colors here, adoptions that actually we want using that much bad. It has few pretty cool feature. We like the color balance here, which I would describe as quite similar to the street to nick, for example, of the shadows. Let's say Want some cooler colors and with highlights, maybe some warm colors. Plus, then we can also choose the meat time for our image, depending on the effect you want. So capture one is quite powerful color grading tool, and it would be really cool to work with this on the end. And we'll see if we will want we might create there some extra lesson once again to perform some simple color grading in capture. One. You can see you have good feature off, unjust in the color balance with on a split on shadows, meet tons and highlights. So let's go back with it Off course. It can convert image to black and white, which is similar way. We have it in camera or light room, and we have color medical, which is one of my favorite features, and it has some advantage above Adobe product because it allows you in advanced Choose there. I'm droppin the Pekar, choose the color you want to work with. So, for example, I'm choosing this flower color. As you can see, it's getting in tow yellow. So little beat Ankara change This wrench just said it could be possible not getting toe that yellows. And I'm gonna increase the saturation just on this plants. I don't want to affect the model too much. You can also and has the hue maybe more green. Let's get the hue juicy like this. And the other cool feature is that you can actually choose as many colors as you want. So if I would like to now I could choose the color off this window and not curtains, but rather shades. We can work also on the skin tone after that. So if you feel the skin tone does not have that perfect you, you can check it. You will have all of the information's about the hue saturation the same with all their colors below. If you want to manipulate with the hue, as you can see, you can do it whether we want this to be more yellow or more orangey. So for the color corrections it I have to say on that is the really good advantage off capture one she can see here. I want to work a little bit more on this on the hair because we affected some of them to change their hue, setting to beat over here, to preserve the natural color off the head. And I don't we want to do much more with this image. I could increase a little bit more off the exposure. And if I want to competence to the rest of the images to see how it looks like, I'm simply going to press command, shift and see to copy adjustments and then choose other images and press command shift envy to paste adjustments. And as you can see all the adjustments that I applied to the first image I have in other images right now, I wouldn't be getting too deep into this. I'm going to choose some other age and let's try to work with some other images. So we had these other window images as well. I was thinking maybe we do something different, so this time will be working with, and they solid background I Somehow we like this image. So let's try to do it here. I'm gonna exposure and all we go into auto adjustments. I want this brighter on. It'll beat. So here it didn't work a little bit off contrast in this case, and I'm absolutely loving the colors that we have over here. I will go back now to the color and I want to open the white balance and I want to see how the other looks like. And it's absolutely standing when it's a little colder, I believe. But it might be a little too match for this one, but I'm looking for and these ones are absolutely beautiful colors. So I hit the although I did not expect it will go as well as it did. But now I'm reinjuring colors and it allowed me to get it sorted very fast. When it comes to the skin, I really like the skin color that we have right now. That's why I would be ready to apply these to the other images. I did not copy it, so I'm going to copy first command shift and see. Sadiq told this command shift envy and as you can see on the light ISS slightly different on other images. So we will have to get this adjusted to last images a little too bright and second image from this wall images said it'll dark. That's why I will go back to exporter Heat auto and just trying to enjoy as this fast. We like the old function that capture one or first me here. And I think we got it done really nicely. Maybe before we move forward, I'm going to do quickly with you. One more images, one more image as the extra training, but really fast and auto and onto here it's not too bad. Maybe a little brighter. Then let's get color sorted. Let's see have the white balance. I think a legal to call, to be honest, that's why I would try to a justice by myself. Do not get too cold. You something around these, Okay. I just wanted to compare to my starting point. And now beautiful. I will go back to their exposure and a little bit of contrast here And then off course, I would be applying this to the rest off the images. So now let me get all of the images sorted. Very short s keeper, And then I will show you how toe export this. Once you do your rope processing, which is very simple process, as you can see in capture. And I don't want to get too deep into this. I'm doing this very fast. Then I will show you how to export this and most important part now. So how to export this toe? Work in further ship, doing it? Sing our way as I showed you in light room. So I like toe export all of the images to some folder, so we have to sell it. It also first image is already selected. I'm going down. I'm selecting the last image. Some press and shift last image have all of them selected. We go to the last panel this small on job, this small settings and panel that is called output. Choosing this and you have to set up information's how you want to export this. So the basic you want you want to choose the format teeth 16 beat made it be options on compressed profile and adobe RGB Carlos Pace and then output location. So we can actually location of this. I'm going to choose folder. Let's go to the folder with our images. Let's get it here. And I'm gonna set this as the output folder Output naming. I like to keep the same image off the files start I'm going toe work with. But what's really important about them locations over here? As you can see, I did not selling the SAP folder, so it's ah, quite important to get some sap folder if you don't want to have the mess. So I'm going to Name is processed right, And right now, as you can see, it will be in the destination images and then sample they're processed will be created after everything is checked. Just need to heat process on all of the images that we just did right now very quickly, so I would have to probably pay until be more attention to it. Let's go to bridge. Even just South Folder was created just now, and you images are being saved and will be ready toe work with in photo shop 14. Non-destructive clean up: this lesson will be another addition to the coarse, and we will talk a little bit about how to clean ab the huge So how to clean up the spots, how to clean up some scars. People's etcetera. The main focus of this course. It's lights and colors, but you might be not sure how to professionally and quickly clean ab the images. You might work some wrong videos, so I want to show you how to do it in the right way. And the right way is to use basic retouching tools ended long distractive e So how to clean up the image? Once you're in photo shop, you have to look here on the right hand side, and here are our layers located. I want to clean this up on the separate empty layer. Do not affect my base layer. Over here I am creating the new layer, and I'm going to rename this into the clean. Now ask. My empty later is created. I can now look on the left hand side where my retouching tools are located and many will be working with healing tools. So we have healing brush tools popular in bashful patch toe that patch tool will not be relieved that often used, it has to be used on their actual layer, so it would work with the patch tool. I would have to maybe duplicate desire for security by present control or command in J and then using patch tool to circle the spot you want to remove and drag it. It's not the best and not the fastest way. That's why I'm not choosing to work with the patch toe. In most of the images, I usually go with healing brush, tool and spot. Here in brash toe spotting brush tool allows you to clean up. The image is very fast and automatically so. With this process eight days, it can easily understand this spot located this part of course, sample layers. It wasn't disappearance, so the spot was in disappear in, so make sure if something doesn't work that on the top. Here, everything is checked and the brush that you're working with is hard, so hardness at 100%. Then you just market and this puts are disappearing, another hearing to which is more popular than actually spotting brush delays, healing brush tool and here you have to perform the time disks manually. So, for example, you locate the spot. Then you press artery option next to the spot to copy the texture, the good texture and then you apply the texture and the color is adjusted automatically around. That's how we do it. Pressing, copying, applying texture and the color ace adjusted. And this is the tool I mostly used on this image. We have quite a lot of details, so I will try to clean this up very fast. You see, we have also spots like this, and it might look like a long process at first. So for those unexperienced what I want to say, get yourself retouching Graphic tablet. I'm using a basic tablet that wasn't really expensive. So if you are still using the mouse and you work a lot with the skin, you have a lot off skin work to do. I would really recommend the tablet because it will save you a lot of time in the first weeks off, using tablet, maybe 1st 2 weeks, maybe first month. For some, it might feel a little bit unnatural, a little bit confusing, and it wouldn't be difficult to switch into the Tampa. But if you're thinking seriously about your photography work or retention work, getting a tablet will save you a lot of time in the future, and you will be able to perform the tasks that you were not able to perform using the mouse . So getting back to our cleaning up process using here and brash plus you can see I don't really have to be especially careful here. We just want to cover it fast, and the skin still has its natural features. It's not really detailed images fashion image, so the texture might be not necessary that invisible the Win it us. It would be done with different lens for beauty. Mitch. The other tools that you might use sometimes, and I didn't see the place we could actually use it, but it's ah, really useful. Think is clone stamp tool. It wants a little bit different than him and brush toe on because it's not on the copy. The texture, but it also copied the color so this tool would be the best to use. Close to the edge is, for example, when hidden brush toe doesn't really work that well. Close to the edge is because when it tries to address the color, ruin the texture, it gluing the line off the edges. But it's not the case with the clown stamp because it copies. Both thinks also how I used Crown Stamp used for very specific tasks. I use it, for example, when I want to hang down some of the shadows or knock down some of them big pores or such a densely located people's. So I'm working with soft edged brush in here, trying to take a sample and softly brushing it just like this, as you can see slightly Mac it down first. Of course, I will have to clean this up with healing brush tool. And then I might perform this task. But she can see all of the process is re focused on healing brush. So now I'm just going to speed up this video a little bit or skip it, and I'm going to talk to you in another restaurant when we have another thing to discuss. Still related to cleaning up might be some simple task about that and burn, and then will be moving to the working with the colors 15. Dodge & Burn Retouching: the next step in the cleanup process. In the skin retouching process is Dutch and burn retouching, which is simply retouching or flights. You darken some parts and you brighten the other parts that need to be brighter. You see, the skin is not the flat texture. It has some scars. It has some spots. After you clean up the people's, it still might have some different light values, so some of the areas on the skin might be darkened in the areas around it. You might want to brighten this area. So then your skin well look better and cleaner off course. So the best way to do it is using curve and jasmine players. I'm going to open to curve adjustment two years open, one, then just duplicate by prissy command or control and J, or can open from your adjustment layers First curve adjustment layer. I'm going to name Dodge and the other one I'm going to name phone. So for dungeon oneto brighten up. I'm grabbing the curve just in the middle and drag it it up just a little bit. Fill this level maybe more dependent on the needs, but for those images it will be very light, Dutch and burn. And for the burn, I'm grabbing it and just said it will be down to this level. What's next? Because I don't want toe affect this injured. I'm going to invert this layer masks that appeared here you see every unjust mental your that you create has this layer mask and first they have the white color, which means the effect that you applied is visible here. If you would reverse this in tow, the color black the effect will not be visible. So that's what we're going to do now. I'm going to press command or control, and I This is the key toe reverse. So in this case will be reversing there layer musk. So command and control and I once again. And now the effects are not visible variable to bring back this affect and how we will be able to do it on this layers is by choosing the brush the white color of the brush. I'm going to keep the floor of 100 now 100% just presenting artist work. And if we'll paint with white color of the brush right here, which will be actual painting on this layer mask because, as you can see, this square around means we selected this. So if I'm painting on their Dutch when it selected, um, brightening this if I will be painting on burn when it selected um, darkening these and in this way we will be able to correct this small irregularities on the skin, we can make it a little bit better, a little bit easier if we could use some black and white layer. So then we can see on the color values and not hall of the images. Not color values, of course. Then life value. So, um, for now as the help opening hue saturation, and I'm going to de saturate this Tu minus 100 then I will switch blending mold to color. The reason. It's de saturating days because I don't want to see the colors right now. This is not the final effect or anything. It just help later, and I switched the blending mode to color because I don't want this to affect any lights. I want this black and white layer effect on the colors. Then I will add some contrast, or it could be curve adjustment. Layer it could be on brightness and contrast. It's up to you. How you gonna work with it? I'm going to darken this a little bit. So this to is just help players. I'm going to place them to the group, selecting both command or control. And G. I'm gonna name this black and white help and then I can see some of their irregularities. So with help off that and burn layers with the help of flights, I can correct these dark spots of refuge. For example, As you can see, I have some irregularities here, and the key to successful dodging and burning on these kind of images, which is not really beauty images but even for beauty images is doing is doing this slightly is doing us a little as possible, just as much image require. Remember, you don't really want to make this kind of image perfect with absolutely flawless skin, because it will not look natural. And no one is looking for the images like this. What you want to do? You want to make the skin look healthy, but you still want to keep some of the natural shadows. So have some shadow over here. It doesn't mean we need to remove this shadow. You want to keep those natural features on the face, so don't do it to match. That's why I think one life son is enough. Even if it might be a little bit confusing up first and now you can see how it works. So I was working with that, so I was brightening. And as you can see now, this part looks a little bit better and the same process we can do in the other areas. Of course, you can keep using this help player, and when somewhere is too dark, you want to see it will be better in other areas, just unjust your curve adjustment there and go back to dash in there into the same process . So as you can see, it is not really a process that is complicated. Once you start using this the forehead, I don't think there's much to do so really some basic touch ups over here. Sometimes, when it comes to the image like this, there might be some other and iris. I always try to pay attention to the neck. So many people tend to forget about this, but I think it's something you want to look. Sometimes it might happen to have worse texture than the face, so you don't want it to leak a little bit weird. You want toe, just have a look and see if there is something you could do, then going to the legs. It's always worth to pay attention to the legs, and after I will do it, it will be done. Many people would say the Dutch in Bern is long and complicated process, though it will ruin the images. So I'm trying to keep it low and just take care of this basic things, especially. And when it comes to the fashion images, that's very important at the image looks much better if it will has some of this natural shadows. I'm probably repeating myself a little bit too much, so just going to finish this like we have a lot of a lot of spots here that we can paint on and a few more things. Remember to keep the flow low. I keep it at 5%. It can be 3%. It can be 10%. More important is how you feel comfortable. I don't think is to use soft edged brush and I'm going to provide this brush. I'm using this brush for the past few years forever off my work. I made it so this brush doesn't burn brush. I will include this to discourse not only for indulging in burning, but you can use it for many other tasks. If you need paint on something, this brush really allows you to pain softy. So I'm finishing here. We can see already on the top the difference. Well, look at this knee before and after. I can't know before laughed, as you can see, Look much better. So I'm going to finish bottom of this like and we can move on to the proper lessons. We can talk about adjustment layers in the right way. We can talk about the court eerie, and it'll be rgb about you such of color and usage off color lights. So let's go 16. Color Harmonies: before we start to do anything with color before we start using adjustment layers before we start applying the color on this image, what is really important to understand how the color work and in many off my videos, I was sharing with you some color will color theories how the color works. I was talking about complementary colors about analogy colors, and it's really good to know theory, and I'm going to talk about this, but it's also very important toe. Understand the image. So let me start from the color theory. What is it and how the color works? I recommend you to go to the Web and just Google color will or color harmony so you can start from good basis off how color works. We can sleet the colors into a few different harmonies, so we have complementary color harmony. Try added color, harmony and other analogy, color harmony. This would be most popular color harmonies that we have and how we can explain them when we have complementary color harmony. It's simply speaking, means the colors complement each other when he takes the image. Because we talk about photography here, you want the object to stand out and how to make object. To stand out, you need to place the colors on the opposite spectrum off the color will. If you photograph the model and you want model to stand out, maybe it would be good idea to dress her in the clothes that have opposite color to the bankrupt. For example, let's say you photograph the model on the green background somewhere in the forest in the park. It would be quite important for Model two stands out to wear the clothes that have red colors, maybe something close to the red color. So then whole object would stand out on the background. If you dress the model in the green colors, it would actually blend with the background. You would not have the object to stand out in the other examples. When you take just the portrait and you wonder face to stands out, you wonder portrait to be really visible. The good idea would be toe photograph the portrait on the blue background. Why? Because the skin tones are summer around orange and the orange compliment itself with the color blue, and you can see on this color will when we have orange as the primary color. Maybe somewhere around 30 Hugh. Their color that will be opposite to it will be this soft blue color between orange stands on the blue. When you have red color, main color of the image will be read. Then it's good toe. Have the green Bagram. That's how you make the object to stand out. The other important thing is complementary color. It's not on the one color harmony and many people try to start. It's good to start with it, but many people try to put their colors opposite to each other. Frickin that everything will look good when you have the colors on the opposite spectrum. Not every single image will look good. Why? Because there is something like atmosphere, the color palette. So if you take the sense it image, for example, then trying to manipulate this into the colors on the opposite spectrum, my actually ruin the image. Then you'd rather prefer to keep the image in the analogic color harmony so somewhere on the oranges, yellows and reds. So that's why it's very important to understand what actually suit to the image very similar to the complementary color. Harmony will be Triaminic color harmony. Then we have one primary color that will be dominating and two other colors that stands on the opposite side off the color will not far away from each other, as you can see on the example in the front of you, the other part that will be very important to understand. We have also more values than just the hue off the color. We also have the ruminants, and we also have the saturation off the color, so you need to make sure that you balance those values very well. Let's say we have sunset. You are able toe unjust. The saturation of this son said you might make the image very saturated. Then it probably will make the lively atmosphere. But if you have the image that is some sensitive image. But rather with the nostalgic atmosphere, I would probably go with a little bit more the saturated colors. Or maybe you photograph the autumn. You don't want the autumn to create maybe in the full saturation, but make it a little bit more nostalgic by saturating this and working more with the amount off the light within the color so as you can see, there's really a lot off possibilities with the color, and it's really important to understand those basics and then how to apply this to the images. Quite common mistake that I notice that people do. They always try to force their way into working with complementary colors and why this is not the right thing to do. You see complementary colors look great together, but it's strictly related to your image. If your image itself has the colors that complement each other, you just need to push them a little bit feather to improve your image. If your image has an allergic color, it's better to stay with those colors that actually already exists on the image. So, for example, looking at this image you don't want toe force your way into a complementary colors over here. The curse on D. C majors are rather warm, rather in singletons dominated by the yellow color. So probably what I'm going to do here will try to push this nostalgic colors these warm colors and I might just add slightly different on the opposite tone around here in the corner. Maybe work at it'll beat on the shorts, but not try to force my way fully in tow. Complimentary color harmony so I wouldn't try toe at the blue collar where it doesn't exist . And the mistaken understanding complementary colors is often that it means shadows and highlights. So what people would do often. Ace, let's say I'm gonna use one adjustment layer just for show. We will be explained this adjustment layer later. It doesn't mean the complementary colors does not mean that, for example, two shadows you aren't cold stones and the highlights you add warm tones. This does not mean that you created complementary color harmony. That simply means you handed some colors to the highlights and shadows. Their harmony off the image is composition off the colors that you already have here. So I have many orange composition. That's analogy, composition, and later, How I'm gonna manipulate with the colors doesn't mean I'm changing color harmony off the image. That's not the case, and this is not how you should understand color harmonies. Many off my students were sending you work with the image that waas, for example, on a logic, and then they tried toe apply opposite colors to the image, stating that it has complimentary color harmony. This is not how you understand the colors and believing that's quite clear at this stage. So as you can see looking at this image, we have rather similar colors, and I will be trying to improve this. I might add some different colors to the shadows and highlights to improve the general balance off the light and colors in this image. So on the basic, familiarize yourself with the color, harmony and the color wheel. But the reason to familiarize yourself with this is to help you to understand what you working with when you look at the image you can understand and define which colors it has. If it has complementary color, harmony, try and the color harmony or made the ANA logic, color, harmony and then, based on how saturated is the image, how much light has the image? How much light has the colors? You can simply define the palate off the colors. That image has from which color toe which color is the palate. Looking at this image, we have the palate from the strong oranges, too quiet, soft yellow colors, many, and that our palette that we will be working here with a recommend looking at a lot off art pieces at a lot off good quality photography and movies because you can learn a lot about color from this kind of thinks. So let's move and we talk a little bit more about color, as will be processing with our work, and we'll start exploring actual tools in Photoshopped toe work with the color. 17. Selective Color Adjustment Layer: toe color. Great your images successfully as well. US. Adjusting the lights successfully on your images. You need to learn some of the basics about the tools that allow you to do those things and the main tool that allow you to color greater images and work with the lines in photo shop are unjust men players, so how to locate them on the right hand side on the bottom, You can just find this small icon that will say Create you feel or adjustment layer. I'm going to hit this end over here are located my adjustment layers and some of the field layers such a solid color and great, and this adjustment layers are different kinds. Some of them mainly focus on the contrasts on the light, some off them. Mainly focus is the color, such as vibrant separation and color balance, and few others. I'm going to start from the bottom. Of course, I'm not going to talk about all of them because things like invert posterized are not re important here for cooperating. But selective color grading map color look up could be a small mention for the future. Black and white color bonds hue saturation Vibrance, Channel mixer and some others. Also, if you have adjustment panel open, you can locate your adjustment layers over here, as you can see on the right hand side under and jasmine panel. Of course, if you have the adjustments panel over here, if you don't see you can open window. And as you can see, my adjustments are checked. That's why my panel is visible here. Something to start from selective color. I'm going to start from the bottom, and first of all, we will be just explaining how the certain unjust mint layer work. So let's start with selective color. In the selective color. You can choose different colors that you want to work with, and the colors that you can find here are reds, yellows, Greece, science blues, magenta whites, no trolls and blacks treason. Each off this specific color, you basic work with the colors that you have on the image. So when you will be working with reds and yellows, you work everywhere with the colors between the red and yellows, including oranges. Skin probably contains most of this year. Red color and yellows. When we will be working with the rights, you can be sure that you will be affecting the red color that exist somewhere on this image . Probably are on the face as well. And then we have a few and different sliders that can manipulate this chosen color. And this lighters have name Sion, magenta, yellow and black. But you could realize they also state the secondary color. Both RGB and we will talk about the RGB a little bit more. Sion is the secondary color for red. Magenta is the second of a four green opposite for green and yellow. Second are for color blue. So when I will go with this lighter to the left side, I will be taken away, the san and and in the red light to the red color going to the right side. I'm handing the sire to the red color. So then the image would become slightly, maybe less saturated, less lively, simply because I reduced the red light from the red color. Let's go to zero asses just presentation, then going to the another slider on the left will have green so and in green line to the reds, right magenta. Let's go to zero, then have yellow saying, going to their right. We aren't yellow to the Reds going to left. We aren't blue to the Reds and it becomes this kind off. Imagine the color, and we also have black. So how does it work when we reduce the black, as you can see reduced black color from their reds? When adding this, you add the black color to the reds by percentage. So let's go back to zero and accept the red. We have off course many other colors. Over here, we have yellows that will be similar, and each off this color has exactly the same ciders. So if I would switch to the green, I would be working on the green color. But I don't feel there is too much of the green on the image. So when I would be manipulating with this lighter is the difference. It's not that strong, and it's only because there was not much off this color on this image. This image has mainly reds and yellows. I don't see much of the science, not much of the blues, and not that much of magenta as one different is this colors white. No trials and blacks. They exist in the image always in a quiet, decent amount, so the whites will have in the areas where is the most white color located and a little bit less in. Probably the darker rest was just a little bit off the white and the same one. We have been manipulating days, for example, taken down the side, and you can see the areas that were white become red. When add sion, they become more scion IQ, and with every single color it will work the same. The thing with the no travels. It will be going somewhere on the meat tons where the great colors exists, so that will be very strong effort. And we can manipulate with the color on the very white wrench. And the blacks just located many around the shadows where the black color exists. Don't confuse this with highlights and shadows because it's not the same thing, and those things are strongly related to the colors that exists on the image. So that would be quick introduction to the selective color, which can be quite useful when it comes to color grading on depending on the task you are doing, it gives you really good possibilities off manipulation with every single color 18. Gradient Maps Adjustment Layer: in this asana, I will tell you a few things about grated map unjust mental year, and I will also tell you my own opinion about the usage off grainy in map during the color Grady. So let's open their ingredient map and let's see what we have here. First of all, when you open this, you might get applied some color. It doesn't have to be the same because it find me by default. You might have some different colors over here. Simply What does it represent is the colors are located from the shadows, so in this case, this is a kind of green color will be the shadows and the white color will be the highlights. Let's hit on this, and once you open days, you will have a little bit more options. The color that were represented is here and on the top will have few presets that we can choose from the range from simple toe more complicated. And if you would like to have a look into the presets, you can just open the small battle here, and you can have the preset like color harmonies. 12 metals, noise samples pass ALS photographic turning. So let's see, maybe photographic tuning and that's it. OK, and as you can see, the priests were loaded and these ones are actually on the ones that I think are quite acceptable when it comes to their photography. So these kind of black and white ones are not too bad, But I'm going to reset days and will do something by ourselves. So I'm going to recent great didn't and I'm going toe apply the color by myself, some something visible. So, let's say for the shadows, maybe something colder, something in this kind of times. But there's something colorful, not too dark. And then I'm going to heat another arrow here for the highlights and for the highlights. Just something in orange tones. Maybe something like this. So they have some random color. And what's important to say? You can change the wrench off the shadows and change the wrench off the highlights. How to do it. You just simply grab this slider and move it. Whether it's shadows or the same for the highlights, you can grab it and move it to change the wrench into the wider. If you want to work with the meat tons. Also on this scale, you can just hit, and you will have another arrow to which you can apply the column so the color would have to be rather something that would be transition between the shadows and between the highlights. So it's actually not something out. Recommend to use its, ah, quite difficult to watch as the color. And it would have to be something very similar toe what already exists in the shadows on the color that blends very nicely, which could be a little bit difficult to do what it comes, the photography. So let's take toe what we have right now, and I'm going to hit okay. The problem with the graded map is that it's quite useless as long as we don't work with the blending month. So we need to have some basic knowledge off there blending moat, because at this moment we could only operate by capacity, take them some capacity to apply the effect. But she could see the effort is a little bit washed out because what we applied is adjust the color. Some people could like it. Some people, not it for sure, depends on the personal preference. But the real visibility off the great and map is once we open the blending modes, and we can distinguish the blending modes into the ones that darken your image, the ones that Brighton your image. Such a slight and screen cetera. Those that are contrasting, which is overlay and soft lined hard line that more abstract one, which is difference. Exclusion, subtract, divined and below the ones that are strictly related to the color, which is huge, a saturation color and the right, which is a luminosity for great and map. The probably few blending moments that are useful is mentioned normal already sometimes this bright in one for some creative effect and overlay soft light that allows you to increase the contrast and then color that simply affect on the color. So if it would choose the color for sure, we also need turn just capacity. So in this case, lower rapacity toe achieved a certain color. As you can see, the effect is kind off artificial, so it's not something I would look for even with this planning mode, and often when I was working with Great in month, I would end up using the soft light, but it also increase the contrast. So it's not ideal because it's hard to unjust this to deliver where we only affect the color and no other things. This is why it's not my favorite tool that I'm using in the color grading, but it's important to give you this option and show you how you work with the grading map to call a great your images. Because I know some people actually like it when someone has some certain style and use the grading map for just one layer that allows them toe unjust, the contrast and the color. And if you have your own style that you found through the grated map, I think it's okay to use it. So this is the information about the great in month. That's the details and how you work with it. 19. Photo Filter Adjustment Layer: one undress mint layer that would not need much off. The introduction is for the filter. It's really simple to understand, but it also doesn't give you as many options as some other on jasmine players. So first of all, we are able to juice the filter that you want to apply. Let's call it precinct. Right now we have warming future, and we can choose different filters that this unjust mentally or offer. So the first warming filter that we choose has this kind off orangey color their other warming filter. As you can see house more off the yellow shade, we have some cooling filters, and below that we also have colors itself. So whether one toe at pure yellow pure read etcetera. The best way, probably for applying for the filter is possibility off. Chosen your own color so you can choose the shade you countries the luminosity and saturation off each and specific color. Once you choose it, you are also able to choose the density off this color. On this moment, the density US is at 25% with increasing this to 100. As you can see, the color becomes stronger in this case, the image also become more de saturated. The reason is because which are is quite dark, shade off the orange if I would go with brighter. As you can see, it does not get this level off the saturation, and obviously you are able to just any color. We could go with cold color that probably doesn't suit that much. We could also go with the warm color. So what would be the usage off photo filter itself? Unfortunately, it's not something you would use that often for good color grading work. And the reason is simple that it doesn't give you Azman options, and you are able to apply on the one color in this case. So at the end, when you want to make your image maybe a little warmer or a little colder, the photo future might be a good option. If you want to perform more complicated color grading on the shadows on the highlights, meet tons with different colors and be more precise. The photo filter will not be very helpful, so you could summarize this us and they're adjustment layer that provides you with some quick but also simple results. 20. Black & White Adjustment Layer: one part off color. Grady is also black and white conversion. That's why it's worth to explain. How does black and white adjustment layer works once you open this? What you can see the image turn back and white straight way, and we have some of their different sliders, and above that, we have different presets. When I'm going to open this percent, you can see they have actually the color in the names such as Blow Filter Green Filter some off them Haas Red Filter and let's see what is happening when I'm choosing one off these filters. The values below here are changing, but of course it doesn't mean the color will appear when we will use blue fear. So in the case off the blue future, for example, we increase. The lights are on the colors that don't have some blue in it. As you can see, we increase the light on the blue cyan magenta but lowered the light around the reds, yellows and greens. In this case, that's why they need to become so darned because this image is actually dominated by this orange tones. So then, for example, Red Future will bright in this image because we increase the lights around their colors that are warm and increased on the colors that are called. But there's not many off this color, so this presets in the case of this image would be rather uses. How, how this slide their works. For example, if I am going toe, grab the slider and go to the right. I'm increasing the luminosity value on the color red and where the color red exist, many on the skin and a little beat around this sofa as well. You can see what happened when I'm moving it. When I grabbed the yellow, you can see the yellow is not us much located on the skin anymore, but mainly just around the sofa and around this plant. When I'm going to grab green on the, the plant has a little beat off the green. It's pointless to use order colors because, as you can see, they don't really exist on the image, so we don't change in values. If I would like to unjust this on the image, I would probably increased the value off green, maybe increase the value off yellow to make it more visible and psychical lower here with the Reds. So some simple black and white ethic, though if you would like Toa, just convert your image into black and white, not necessarily to work with the values off the colors. The best way is to go with you saturation and just the saturating, this image toe minus 100. And that will be simple black and white conversion. To make it even more accurate, you would have to work with the blending mode, switching from normal to color and the same thing you can do with this black and white. But it will lose their purpose off black and white, which is manipulating with this colors safe, I would switch to color. Those work that we did will be irrelevant and will have exactly the same effect as from Hue saturation because right now the colors are not we not affecting the luminosity values, but just the color. And this ciders are all about the luminosity values. So this is how you do back and white conversion, and these are the tools that you use for black and white conversion 21. Color Balance Adjustment Layer: In this lesson, I will introduce to you my favorite adjustment layer for color grating that will include working with RGB. So let's open it. It will be color balance and why I like it so much is the fact that it allows you to work on different tones separately, set the shadows, meet tones and highlights. And thanks to this, you can have full control on different areas of the image and on each off this stone, you can work with RGB, which stands for red, green and blue color off the light. Next two days you have secondary colors, which is cyan, magenta and yellow. So, for example, if I want to work on the shadows here and I want to apply maybe some colder or warmer colors, I can see which color off the light I want to apply. If I want to go with something colder, I would apply some primary blue color and then going to the red and go to the left hand side toe, apply secondary cyan color and fixed this. As you can see, the shadow areas become a little bit colder than previously on to do it like nicely. So I'm still paying attention to their values. And then, if I want to apply for the highlight, something opposite, I would go with opposite colors. So for yellow and maybe a little beat off, Fred, I'm not working with the meat tons. For now, this is just for the presentation, how the sliders works, how to understand color balance and to understand working off red, green and blue. But of course, for the meetings, you would have to go something in between. You would not be able to go to meet terms, and at some color that doesn't make any sense. For example, green over here, that doesn't match to the colors that we applied previously, so you have to manage this to the colors that you already added to. Shadows and highlights also have the option preserve luminosity. You can have a checked or on change, depending if you want it to affect the contrast as well. But for me, the best way toe work with the colors with the tools such as a scholar. Balance or later, in case of the curse is to change the blending amount. When you work with the colors, you can change from normal to color, and by doing it you can make sure that you will not be affecting luminosity values. But John's the color. So if you want to work on the contrast separately, switch from blending month normal to color, and you can see that we're Onley affecting colors in this case. 22. Hue/Saturation and Vibrance: In this lesson, we will talk about hue, saturation and vibrance. So let's start with you saturation adjustment layer and we have few options here were able to unjust the turn off the image by adjusting the hue and adjust the saturation off the image. Below that we have slider for the lightness, which is not really often used in photography. We can work with the master mold and in the master mode, whether we will be unjust in the saturation or the hue off the image we affect all off the colors that exist on the image. So let's go back and let's see what different modes we have you. We can also work with each and specific color, such as rights, yellows, greens, science, blues and magenta as so, for example, if I will go to the Reds and increase the saturation on the Reds, I'm Onley, increasing the saturation in the areas that red color actually exist, and the same when I will be manipulating with the hue. I'm only manipulating with the hue where the red color is the fine here and you can see where it's find on the bottom. You can see the wrench off the red, and I can actually change this. I can increase the wrench or I can make the wrench smaller. So let's go back. We don't want to change it that much. Let's see some different color. For example, greens. If I would like to increase the greens here, my plans that are called green shoots also increased the saturation. Although this plants are recognized probably as the yellows here and it doesn't catch the wrench. So two candidates out have to increase the wrench. I don't want to do it this way. So what I would do in this case I could trust this small hand and then try to define which color it is on the image. So let's say I'm going to heat on this plant, and as you can see, the plant got recognize as the yellow color. If I would try toe unjust. Now, the saturation and hue also affecting order parts off the image, which is not ideal. So again, maybe I could eat adjust the wrench, but there is actually the better way off doing it, so I'm going to choose the color that doesn't really exist on this image. It could be probably blues or magenta or the color we don't plan to work with. Then I'm going to choose this. I drop her, and with this eyedropper I'm going to define the area I want to work with so I could define the area on this plant and then, as you can see it, recognize this as the yellows number two and define the color range over here, which allows you for a little bit better. Definition and other yellows are not as strongly affected. And then it could help me to unjust the range even a little bit better to not affect maybe the skin but just affect the plants in this case, and as you can see, it could help us a lot. After that, I can adjust the hue to make the plans a little bit greener. Then they are at this time, and this is how I would work with you saturation. Then let's move to the vibrant. So I'm going to turn off visibility on hue, saturation and then open vibrance. So have two sliders here. One is vibrance and the other slider iss saturation. What is the difference between them? You see the best way is to use the sliders, goto the right hand side, two plus 100 and left hand side to minus 100. And what you can see. It does not the saturate or saturate the image fully. Some of the other colors maybe are fully decided aerated. But you can see that actually, yellows and oranges are quite well preserved, so we could assume the skin tones are well preserved while using vibrance, though, in the case of the saturation, we increase the saturation equally on all of the colors, which effects way stronger than skin, then the vibrance. And when we desecrate the image, as you can see, we decided aerated, this fully toe minus 100 and all of the colors are de saturated. That's why, if I want to, let's say, make image punchy. But I don't want to offend the skin tones as much. I would use the vibrance to increase the saturation off other elements, but the skin. This is how you can work with you saturation and the vibrance adjustment layer 23. Lights and Contrasts: Now we will move to a little bit different adjustment layers because you can split adjustment layers, too few different categories. The main categories are the winds. Start are responsible for color that help you to work with the color, and the other main group is the one that help you to work with the light. And this adjustment layers are such as brightness, contrast levels, curves and exposure. At first I'm going to talk about two basic ones and just meant layers, which is brightness and contrast and exposure. These two are strictly about the light and in case off to others, which is levels and curves are universal. Help you to work with light. Just contract, but also help you to color grade the images so they're much more universal than other adjustment layers. So let's start from very basic brightness and contrast. It has only two sliders, and what's easy to guess? It's about brightness and contrast. The top slider allows you to adjust the brightness of the image, so if you feel the images a little bit too dark still, maybe after row conversion just simply can grab this letter and go to the right side toe bright in the image, and if you feel the images too bright, you can lower the brightness off the image. The more useful part of this entrustment layer is, of course, contrast simply by dragging this to their right side to increase the contrast and dragging in to the left side, you decrease the contrast. Many people would think. If this tool is such a basic tool, it cannot be really useful. But from my own experience, I know that using brightness and contrast can be really great, especially on the end, when you need to unjust some simple contrast. Maybe you need toe brighten the image just a little bit. There is no better toe, then brightness and contrast. It helps you to be very precise and just this small things that you need to unjust. One thing that is important to not this year, when you increase the contrast, you also increased the saturation off the image. So once again, it's worth to remember toe work with blending months. Whether you decrease the contrast, increase the contrast, change the brightness, make sure you check how it looks with luminosity blending point as you can see luminosity blending more more likely will keep the right amount of the saturation before you applying any changes. So as you can see, before, we had this amount of the saturation and now, after with luminosity blending mode, we have very similar values off the saturation on this image. So I'm going toe on. Check this for now, and let's see what exporter has to offer. Here we have a little bit more slider. Is that a little bit more creative, and they are less likely to be used but can be very useful in the cases off some more creative effect. First lighter is simply exposure so once again very similar to the brightness, but you would have to be more careful it with it us. It's more of the tool that you would use during the row processing. But if you find the image still under exposed or over exposed here, you can do some small corrections. But it's worth to remember that this is the place where you want to do small corrections. Us. You don't really want to destroy the image, and below that we have offset, which I find very useful, especially when it comes to some creative efforts that I like to do for some clients, and let's have a look how it looks like simply by increasing offset you wash out the shadows. In this case, you increase the light and create this math effect, which is basically the offset off the image. And many people seeking for the tools that allows them to create this wash out effect and offset allows you to get this effect really polished, and it creates really amazing results in this effort. There's a few different tools you could create washout affected, but I found offset to be the tool that allows you to create truly pain, tary wash out effort, going to the different direction. You will be increasing the contrast by decreasing the offset off the image. It's really important to not use it at every occasion, but on the when you seeking for the very specific effect and when I go with offset, I really go just slightly to the right side because it's hard to say that this kind of image would be wanted by it. Anyone. But if someone wants a little bit, wash out of the shadows and in just a little bit off. This offset might be helpful in this case and below we have gamma, which very similar to offset, help you to correct some minor imperfections of the image in place of the offset. You can wash out some very dark shadows, for example, and opposite and gamma help you to fix that. This play off the light by increasing it. As you can see, you can fix their overall contrast and the light off the image. You increases the contrast and dark in the image. And, of course, going to the left hand side. It works, operate you bright in the image and flatten that image. Overall, it can be useful, especially with some minor cases and its reward to remember that for the ship actually has the tools that help you to solve such a small issues. 24. Levels Adjustment Layer: Let's talk about levels. I'm going toe open them and let me explain first what you see on your screen. What you see on this hissed a gram. So here on the history, Graham, you are able to see how their lights are distributed for the inch. You can see that the darkest point Start somewhere over here and it's quite settled till the mittens and the light is the area off. The image is mainly focused on the mittens. You can also see that there is not so much off the highlights off the image by quiet and empty space over here by this tree sliders. You can on just the balance between the highlights meet Tom's and shadows. So, for example, grabbing these white slider from the highlights and dragging it to the left side, I can increase the highlights, which you can see, And then on the other scientific, I will be grabbing this dark slider and going to the right side. I will be making the shadows darker. And then also we have something in the center, which is this gray slider, and it's responsible for the meetings if I'm gonna grab it and direct to the right side, the same us in the case off the shadows. I will be darkening the midterm, so it's not increasing that much off. The contrast are simply darkening the overall image because it's mainly darkening the meetings. And if I go to the left side, I will be also flattening the image but now brightening the image as an increasing the light around the meat. So these are the basics on the left. From these, we have free our droppers. I pickers we have with different endings, this one white one. If I grab it and I want to define the white on the image, I would look for the brightest point. Maybe somewhere here hit on this, and as you can see, the image is adjusted to this. Recognize as the fully white spoke, and all of the rest of the image is adjusted to it. If I will grab this and dark, I drop it and I will hit it here. I consider maybe as darkest point or somewhere here. We can see how much dark and Amy, because it recognized this point as the fully black. Maybe somewhere here it's a little bit better definition and in that just all the colors and lights towards it. I'm going to reset this now by hitting this battle and the last thing we have the scale on the bottom going from there fully black color to the fully white color. Once we gonna grab it, for example from the black site and drag it to the left side, you can see it's kind of great this washed out effort. It doesn't mean it does create, but what it happens, we cut out the black color. So, for example, now we set the point, the darkest point off the image as this shade off gray. If I'm going to go up now, I set up the darkest point of this image as this shade of great. So everything darker than this shade of gray. It's not visible here, so they may become quite washout. The same thing will happen if I will go from the right side. At first, you can't see much of a difference because we don't have much off the highlights here. Once I get here. As you can see, I do not allow to be visible on the meat. Anything that is brighter than the shade of great. So the shade of gray is the brightest point off the image. Having these things, we can quite flexible work on their lights. So, for example, if I'm going toe, increase the contrast a little bit. Maybe change three things over here. Some simple adjustments once again would have to remember to change the blending mode to luminosity if you are satisfied with the saturation levels after the adjustments. But for now, let's reset this and see what else the levels has to offer. So it works is in RGB mote. It means we also have color off lights red, green and blue. We can work with this colors off, lights to color, great our range. For example, on grabbing this slider from the shadows, we decrease the red color from the shadows and effect with the science to get something quite opposite. I could cut out the wrench off the science from the shadows, and as you can see, the shadows get filled by the red life, then going to the meat tons. If I grab it to the left side, I will be feeling the darker part off the image with the color. The light read and then going to the left side, I will be feeling their meat terms with the science color and the same with the highlights . I will increase the red sound there highlights when I will drag it to the left side and opposite way. I don't have match off this space here so below I could increase the science are on the highlights simply by cutting out these white points are everything that will be brighter than this. Shade off gray will get Sion feeling and also I have the eye droppers and that will work the same way as before. And you can see because it unjust every single part of the image, including the RGB, the same with green now with opposite. Now the primary color would be the green second arrow would be magenta. So as you can see now, magenta do their shadows and green to the highlights. Green magenta to the highlights, of course, and green to the shadows and then off course. We have the mittens, so this is the simple understanding how the levels works. It allows you to perform in many different tasks include, in contrast, adjusting the lights and doing color grading. Now let's move to curves 25. Curves Adjustment Layer: time for the curves, which is my favorite adjustment layer when it comes to the work with flights. First of all, I'm going toe open curve adjustment layer and once again, few things to explain which is history. Graham. That looks exactly the same. Maybe in a little bit different form than the one in levels. But as you can see here, the shadow area equally distributed, Ah, lot off meetings, and not that much of the highlights that the highlights do exist. But as you can see, the images not dominated by the highlights and many of the things that you see over here is exactly this same way. It this in the levels we still have I droppers and using the white one. Let's grab it somewhere here. We'll get the effect that we achieved the same or similar before with levels. So I'm going to do a stand back. I'm going to press command or control and said to do our stand back and looking at the history Graham. Now let's try to manipulate with the light. So instead of the sliders here we have the kerf. The left side is or the shadows are on the right side is where the highlights are by Graham and this curve on the bottom and going down here simply increasing the shadows. So I'm done killing the shadows. If I go up here, I'm actually making this a digital washed out because I'm increasing the light in the shadow area. Let's go back to the bottom and in the highlights. When I take it down, I darken the highlights. If I go the other way, I brighten the highlights. What is really great about the curves that you can actually make the point everywhere on this curve. So here we have shadows and highlights their darkest and the brightest point. But also we can created a point by clicking or using the tablet on this spot to define the meat times. Then we can also define more points on the curve along the curve itself. So, for example, if I would try to drag down the shadows in this place, I can do it. If I want to bring up the highlights here, I can also do it. And if I would decide to write in the darkest part of the image, I can also brighten it here and I could also the darken the brightest spot off the image. As you can see by simply doing this, we already have five points on the image, except that we can also unjust the meetings. Whether you want to Brighton this or darken, we can half a little bit more work on just in those things. If you don't want toe, affect the colors off course, which, in blending mode to luminosity, would be helpful. But if you decide to work with this brand month, you need to know that you won't be able to work with the colors afterwards, the same us in the case off levels. So if you decide to use curves for the lights and then you would like to use it also, for colors, you have to open another curve adjustment layer, and then you can open it and switch between different color off lights. So first we have read and increasing the curve up. We increase the red, the Christian we have, sire. Simply drag it down. If you want toe, remove the ethic with green going up, increase the green and going down magenta with blue going up, blow down yellow and also working with the curve allow us to apply this colors very selectively. So, for example, you want toe. Apply some colder color for the shadows and some warmer color for the highlights. Maybe when it comes to the green, maybe you want to apply a little bit of the green to the shadows, Let's say, and someone gentle to the highlight, Well, it's not the best idea. I'm going to give up on the green. I would go to the blue and this time, apply a little bit off the blue, maybe rather here to the shadows and don't really want to apply too much off the yellow for the highlights, because I don't think it would look that nice. So they small correction. And this time I don't want toe affect the light at all. I could switch the blending mode from normal to color, so that's how you can work creatively affecting lines and colors. Using curves off course, us always in the case off adjustment layers. You can use some presets that I would not really recommend you can, whether heat auto adjustments that that's not necessarily guarantee you perfectly adjustments. It doesn't look that bad in this case, plus some presents whether you want to use color negative darker but purposely, I don't mention about this, understand, because, well, it doesn't give you the results that you want to achieve by yourself and rather the results that someone else created for darkening the image. It doesn't estimate how much you want to darken your image, but it's already pre made and does not consider how dark or bright your image is. Also, we have the small hand, and this is quite useful, if you want, very precisely on just the point on your curve. So, for example, you want to define where this highlight here is located. We could use this hunt and create the point here, so you know the level of the lights on this forehead. It's located here on this curve adjustment layer. And if you want to locate the shadow, let's say, here you can define this and it's located somewhere here when you want to find the meat tons. Maybe somewhere here you can define another spot by here, and by using this hand, you can easily defined the light and then manipulate with this on your kerf. I usually try to work manually and don't use any presents. I don't try to grab the point, but unjust the lights manually by working with curves adjustment layer. 26. What is RGB?: the big part off color grading work that you're going to do in photo shop is not on about the color, but you will be working a lot with RGB, which stand for red, green and blue. And of course, these are the times use for color. But in this case, we're talking about colors off light. These lights, connected in additive process, create all colors off light. For example, connecting the red and green. You will get yellow connecting blue and red. You'll get magenta, and by mixing them in different ways, you are able to achieve white trench off colors off light. Connecting this colors off light together will leave you with pure white, right? So where RGB is used, it's used in really wide range of devices such a Stevie screens. If you would be able to look very closely to locate the pixels, you would find RGB pixels, but from the distance they were creating full picture in for the shop, RGB is crucial part off work that you will use all the time, but in different amount. Off lights toe achieve final color result for your work, and right now we are looking for classic RGB mode and you can see connected colors. So let's go to their empty file over here. New project that I created and right now we have white Bagram. If would try to create something with RGB on pure wide by ground, it will be impossible to see. And this is proving to you that those values are actual light. We can manipulate them, but it's impossible to see anything on the pure white, and the same will happen when you will be working on the pure black. There is not enough light to make the other lights visible. Not enough color. Pure black does not reflect and a like. So in this case, if we change it toe in the shade of grey, you will be able to see the color changes. For example, right now I have these great color. I could go toe curve adjustment layer and apply some different colors off like, for example, a little beat off. This not a little bit, but quite a fair amount off this red light. Then I could go to green, maybe an applied a fair amount of green mass. You can see we got the color that it's more very close. Two yellow. It's not really perfect, but that's what we got by meets in these two colors of light. I could apply some off the yellow and we get very strong yellow. Or I could apply some blue. And when I get up closely with these three colors, as you can see, I'm getting very close to the shade of gray again generating white life. Let's change it, and let's try to mix maybe a little bit different color. In this case, I could go maybe with science. And then I will go to Green and adding the green. As you can see, I'm getting these array weird green tons going with magenta. I will get closer to the purple color. So that's how mix and color works. And, of course, depending on the amount off color added, you are able to actually Freddie wide range off colors just by using this three primary colors entry secondary colors 27. Color Lookup Tables: previously, I skipped some of their adjustment layers. The reason? Waas. I believe some off them need further explanation, and some of them are just not something that you could use during the color grading. So let's open this and to adjustment layers that eat for their explanation. First, Corluka up and channel mixer first. Let's talk about color. Look up. I'm just going to hit on this. And as you can see, the new adjustment layer appeared. But it looks a little bit different than the other and jasmine players were working with. So what's going on here? Color look up is basically about color. Look up tables or three delights. You can choose the lance that, and they'll be software Haas in offer, and you can apply the treaty land to your image. That will be some random effort, because these are sort of presets that already pre made by Adobe, and you can choose from the least just by heating load three. The latte. So, for example, I can choose the one called Fuji Eternal 250 D, and as you can see, some effort was supplied. I can choose anything that is here, but one thing I have to say. And the's are not ideal for most of the images. Sometimes it my much to your images. Sometimes the effect that you will find here might suit, but it's always very important. Toe work with capacity work with the blending mode on DSA switching between the blending months, you can achieve some interesting colors, but as I said, most of that is not actually idea. But the good thing is, in photo shop, you are able to create your own three D lands, and that's what I'm going to show you right now. I am going toe open other image without any layers because it will be easy to create some good looking color look up table. So right now, as I have an empty layer, we are going to create some very simple car look up table, something not very complicated. So let's say I'm going to start with color balance and will apply some colors to the shadows. Maybe some think holder. It's very important toe. Remember, best would be to create on this image if you we plan to create for the same images and just don't want to remove the layers right now. I could do it. I could create a stamp here and do it on this image. Bad for presentation purposes. I will do it on some other image and I believe it will suit for this image. Us. There are 30 singler and are still from the same set. So for the shadows a little bit colder and for the highlights, maybe some of that warmer tones just like this. It's have long before after not too bad. I'm going to change management to color. And then I'm going to add some contrast, maybe by using brightness, contrast. So a little bit brighter, some more contrast, maybe something more and what we could do here, Maybe a little beat work with curves and exposure after all. So we got more contrast. I will change it to luminosity and the previous one as well. And at the end, I would like to work with exposure just a little bit. So I'm trying to you some gamma correction. Maybe in this case it's something very rare. But I just want to apply some random and jasmine layers to show you that anything to use can be used later in the creation, off color, look up table. Whether it's for the future, even the solid color Gray Dent's everything can be used in creation. Off Carlo. Comfortable. So we have this a few different layers. Now what I'm going to do, I'm going to file export. And then we need to find color. Look up tables. So we have the description off the look up table. I can change it and name this as the test. Not quality. I keep as the high four months. I can save it in a few different four months. But we can also save it on as the Cube or three. The land I checked. Cube hit. Okay. And now to the location where we want to save it. So I'm going to save it where my courses may be somewhere here, and I'm gonna name this US test number one. He's safe and the land is created. So I am going back to my image. I'm going to choose load treaty land over here, and then I'm going to find the land that I just created and see how how it's going to look on this image. I'll say this here. Test one cube open it. And as you can see, it doesn't look too bad. It's actually very soft. I believe it could be the effect a little bit stronger. And the change of the color is not that big. And the reason for this is of course, I just not this on that we said the blending mode on the color. So if I changed two normal surprised why the contrast are not changing because we're working with light and, as you can see and they give me got much brighter because we're working. On contrast, it's not ideal. I believe the light is a little beat too strong over here, so I would create this a little bit more settled. But that was the first try. And if I see it doesn't suit. And if the colors doesn't suit, I'm trying to create another one that will match finally, and then once the lattice great that I can apply to the other images. The one thing that you might also be interested in creating the car look up tables. If you want to have them here in the least, I don't like to give them here. I prefer to load them But in case you want to have it, that you can just go toe place. You saved it. So that was in the location we're looking at. So it was in the courses and over here she can just heat right and copy once you create. Of course, that proper latte that you are happy with, then go to applications under before the shop. CC 2019 in this case presents treaty lots and you can paste it here. Then you have to close the photo shop open again and you will have this on the least. So this is how you work with color. Look up tables And that's how you create your own color look up table. So then you can speed up your color grading process and not only because you can create, of course color. Look up tables that are universal for colors and lights. 28. Channel Mixer Adjustment Layer: another adjustment layer that I skipped previously his Channel Mixer. And the reason why I did this. Because Channel Mixer might be most difficult adjustment layer in photo shop at the same time being probably one of the most powerful adjustment layers in photo shop that might be quite useful in seeking for some creative results. To understand this, we actually have to look at the channels as well how the channels are distributed over here and to understand them. Of course, you need to understand a little beat off the information about RGB Red, green and blue light how it's distributed over the image. So let's have a look at this image off course. All of this tree channels connected together created a full picture off RGB that looks like this when we have a look on separate channels. In this case, for example, Channel Red, we can see where the red light is distributed. All of the white area are the areas where the most off the red light exist, and when we go to the dark areas, there is very little of the light itself, probably because it's simply dark. So when I go to the green you can see the areas where the green light is distributed. Once again, most of days will be around the highlights as usual, a little bit less on the skin, because skin itself contains less off the green light than red, but still where we have a really polite it's basically nearly black. And then the blue once again we see most of the blue located on the highlights and very lethal around the skin, in this case, because there is not so much off the blue light around the skin. So let's turn it on, and I'm going to keep the channels here for now, just to show you something. Were few and different outputs channels and this output channels represent these channels over here. So when I'm going to manipulate with this sliders, for example, this lighter on that is red. As you can see, this small think over here becomes quiet, overexposed because we actually work on the with the Red Channel, and even if I use the difference lighter, all of them are about red light but affecting different area off the image. So this is the red light affecting the areas with mostly green pixels So if I'm grabbing this, as you can see once again affecting the Red Channel but slightly different area off the image and the same with the blue mass, you can see working in the same way and this time affecting the areas with mainly blue pixels. And if I'm going to switch, for example, into the Blue Channel this time, as you can see, the values will be changing are on the Blue Channel. If I will be going to the opposite way, I'm making this blue Channel basically black because I'm taking the light from the areas that have many blue light. So let's reset this at this moment, of course, that Channel Green works on the same basis. Another information here and that we will have to pay attention. Is these a total percentage. So it's good to keep it at around 100% because when we go with this, for example, red Slide. As you can see, we have this sign over here that the image might be getting overexposed. So whenever we will manipulate and adjust in different Steiner's, we want to stay at around 100 to make sure that we actually not making this image over exposed. We're not blowing and the image, so it's good to pay attention to this and below. Also, we have constant that allows us to manipulate with the light so going to the right way by the fight that we work with their blue channel. Now we increase the blue light and going down, we off course decrease the blue light so the image will be becoming more yellow by the percentage we can see over here. So that's the basic information about how the channel mixer works here, but a little bit easier. Way to understand the sliders, which might be a little bit confusing on the very start, is having the image like this, so I have quite dark red color green and blue color. So for sure, on the left side, the pixels that exists here will be many red pixels. In the center, we will have mainly green beaks off and on the right side. We have mainly blue pixels, and now I opened the channel mixer. So let's work with the Red Channel and when I will be manipulating the Rights Channel as you can see what I'm taking down the red light, it becomes dark. When I'm increasing this, it becomes bright, sort of very saturated. Going back 200 going to the green. If I will be working with green, the same things will happen with the green. We will have small changes of the other color here, for example, because it seems this blue also consists some of their green pixels in this case. So I'm going to reset this and then I'm going to the Blue Channel. And now, as you can see moving this mainly are will be affecting this glue color over here. So now about their sliders. Let's go back to direct. If I will be moving this green slider, I will be affected. Uh, I will be working with their red light, but affecting men in green peaks off the so as you can see what? I'm increasing the red light. I'm increasing The red light are in the area that contains the green pixels. If I'm going down well, not that much happen. So going back to zero and the same with their blue as you can see if I will increase their red light over here, I will be increasing the red light over the blue pixels. I'm going to reset that, of course, important to understand. It won be going really opposite way. There is not that much off the red light itself around this area. So these are the basic informations about their channels. And then if I will go to the green, for example, and then I will increase it over here. As you can see on the Reds, eso increasing the green knight. Many are in the red pixels, and it's getting dominated by the red and going down, affecting on the greens because it's still exist. Some of their red pixels over here. So what? I'm taking this down. As you can see, my greens also become a little bit darker when it comes to the blue. The same I will be increasing the green light over the Blue Peaks is so this amount of the information is absolutely enough to understand how the channel mixer works. As you can see, there's quite a lot of information, and now let's move to our image. So if I would do this, which is very rare to do this because I mainly work with the customer so The changes are very minor, though. When I work with my own images, I like to do some small corrections. So, for example, let's true some color. For example, we will be working with Red, and I'm going to take down from Red Channel a little bit off the red light from the red pixels. And I was increased a little beat off the red light around the green pixels and a little bit off Luke. And as you can see, I completely changed the outcome off this inch. And the reason for this is I had mainly on the red light over here, so the skin got much colder. I can recent these, and then we can go to some Order Channel, and that will not be a strong as the Red Channel that we had here, because it's this images dominated, actually, by the read on channel. I just want to make sure that it's all reset. Appreciate it wasn't so going back today. Green in the green, for example. Let's say I would like to increase 20% for the red light around the 20% off the green light . I'm surround the red pixels. I'm going to reduce here for 15 and at blue here find the value doesn't Doesn't much here. So let me recently have 100. So once again I'm going to reduce 15 here and I'm going to ask 20 here and redish five forward. So now we still keep similar saturation values. But overall, now image become much more yellow because we're do is there And we reduced the green light around the blue peak souls and we increase the green light on the red picks off and off course, the green and red make it more yellow when we will be on in green to the red African reduce that people beat. As you can see, it's all getting a little beat back to normal. And now we have a little bit softer effect. So this allows you to really money plate completely with the color off the image and once done correctly, it opens the doors to really amazing color grading. And then we have one batter, which is monochrome. Once we switch to them, one from we don't have the output channels anymore, but we will be working just with three different lights. So now when I'm increasing red As you can see, I'm affecting all of their channels over here because we just working with the light in this case. So I'm going to reset this, but will be affecting a little bit off the different areas off the image, Of course. So when I will be increasing the red slider, I will be increasing the light are on the areas that consist mainly off the red pixels. When I will be working with their green slider, I will be reducing the light in the area that has mainly green pixels and the same about the blue. When I read as this, I would be reducing the light on the areas where are mainly then blue pixels, So not too complicated. You can also get amazing black and white results here. Mainly, if you want more contrast e effect. You would be increasing the blue over here, maybe increasing green as well, or keeping the green low. And then the Christian a little bit off the red so you can get the bigger contrast between the highlights and shadows. If you want the skin to get a little brighter, of course, you would increase the reds and decrease the blue. So we decreased many the highlights by the Christian, the blue light. And as you can see, I increased the red pixels and a lot of them exist on the skin. So the image overall got our little beat flatten. So understanding where the pixels are located, open the doors for you to creating more contrast. Image less contrast to image depending on what you want to achieve except that for a black and white will have some off the presets. So we have one black and white filter the rather very abstract and not necessarily could suit for professional Kogan. Your but for example, I think this one not too bad. And once you use them, actually you can customize them. So let's say you use this filter and then later on, you can customize this a little bit for your own purposes with the sliders. So this is all about Channel Mixer. I believe this lesson was informative, and now slowly, we will be able to move to the proper work with colors and lights 29. Color Grading I: Now we will start color grading our images and we'll start simple so nothing will be confusing here. And as we will go forward, I will be adding some extra things off course at the same time explaining what's required for this image. I will clo great with to adjustment layers. At first I want to use color balance. I feel it will be the best tool for this image. And also I will use channel mixer in this case to show you practical usage off channel mixer, some starting with their color balance. And I will not be doing anything with the mask in this case because color balance and away allows me to work with shadows, meet tons and highlights. And I will try to work with the different tons to get the perfect color. So first I am going to start with the shadows in the shadows. I want to increase a little bit off the Reds. I feel this image is missing some of the writing, the shadows. And that's why, um, going up to some warm level in this case maybe plus seven. And also I will and a little bit off yellow because we don't want this image to be to read . So we need to balance this with a little bit off the yellow color. So the creasing the blue to minus five. After that, I am going to highlights. And in the highlights, I will do opposite. Think I have some of the light over here. So this is the area we will be paying attention to. And I want this, like to be having a little bit colder shades. So more blue and more science for sure around these values. I think I'm finding the right balance between the shadows and highlights. After this, I want to check how color blending mud works because I believe I could be affecting a legal beat off the shadows. And it can be visible when I turn off and turn on the visibility on this layer. That's why I'm switching this to color. And I will name this balance or color number one. After this, I am going to channel mixer and Channel mixer. That will be a little bit more complicated work and we will see what can we achieve over here? So first of all, I will try with Red. I would put Channel, and I want to decrease some of the red light around their red pixels because I feel still on. It'll beat Red after applying it here. So even though I changed the colors, I want to turn it down a little bit forward. Perfect balance of the colors. Maybe a little beat, more yellow in summer. Smaller wrench on this and a little beat both here. Then I am going toe the blue. I'm skipping the green. In this case, I don't feel it would be useful for this image. Working with output channel green and manipulating with the green light, some moving to the blue light. So I'm using the very specific colors. The same in the case, off color balance in the blue. I want to at a little beat off the blue light for the rent area and maybe the crease just a little bit off here and also us. I still need to take away three points. I'm going to reduce this a little bit here. So I was testing this before, and that was the perfect balance for my colors. Last thing I want to check on to check how it works in the color blending mode, and it is just perfect for now. So very simple task going to name this color to and I'm going to call it channels. So we will close it at this stage to not make it too long and confusing. But this is pretty much water I'm looking for for this image. Of course. Remember, there was no work with the lights and unjust in contrast, So first week on the do the colors. 30. Color Grading II: and now we are going to get to my favorite image. And for sure it needs some special treatment. I'm going to work with channel weeks on this image. I found this said to be very suitable for this kind of adjustment layers. That's why we are using it quite often. And I'm going to Channel Mixer and I will start from Output Channel read. I want to decrease just a little beat off the red light from they're red pixels. Also, what I'm going to do, I'm going to apply a little bit more off there red light around the green and blue pixels so everything stays in the balance. Maybe we need a little bit Moreover, here to keep everything as it waas. Then let's go to another channel here. I'm going to keep as a day said, I'm going to move to their blue. I'm going toe at this time a little bit off the brew light for the channel for the red pixels. So thanks to this, I will get this really nice background. And that was the key. What I wanted to do, using the Channel mixer over here, getting this perfect background waas the key task for me. So just want to check if it's not too much to see. Point by point Rowntree Still not enough for five Seems to be 56 seems to be just the right amount. So although with five and for the blue pixels, I am going to decrease the blue light. I think even a little bit more over here, that would be perfect. So this is my channel, weeks or work. And usually I change the blending mode. But I think for this image, I could actually keep the normal. But for now, just for the scene, I'm gonna change to color. But I might switch back to the normal and what else we could do. We can slightly polish the colors. We can check how the color balance we will work because actually, when it comes to this chair and the shadows, I like them to be quiet, warm. So I want to see if I'm able to make this area just a little bit warmer. Same going to color balance, and I will start from the shadows. So for the shadow, someone toe had a little bit off their warmer colors here that would be a little too yellow . Assume so I'm going lower. And now I really like this area over here. The problem is still there. Highlights. So now I'm going to switch to highlights. And I need to equalize what I applied here. So I made this background back to the yellow. So small corrections over here for sure. A little bit off the blue and science convey a little bit more still, I see to step small, maybe four. I think this is so right now. Really great color we got. And if I would go to meet tons, I just need to make sure that I like the skin, but I kind of like how the skin is right now. But we could go to the mid stunts if we can polish the skin just a little bit more. I'm looking at this. It's quite red at this moment. Maybe lower in just one point over here. Just don't want to make it two yellow. Just want to make it exactly as it's supposed to be. Maybe minus one on the minus one. On this moment to lower the reds and this color balance perfect for me. I'm just going to change blending mode to color and the future. The skin correction would be required. Of course I would go a few saturation so you could see on this Is the Reds assumed? Can't go with Bruce and I should think the skin was just perfect. Sometimes I just opened hue saturation to see in case I move one point or one or few point to each of the side. If it gets any better, I might consider it bad to me. And I believe to us well, moving the sliders showed that right now we got really perfect skin tone at this moment. So this is the basic step I wanted to do over here, and I don't think anything more on that this stage would be required. 31. Color Grading with Curves: in this lesson, I want to introduce to your color grading with masks, which will be a little bit more complicated but will be very useful whether we want to color great your images or later when we will be working with flights. So we will use also a little bit different adjustment layer that will be perfect for working with masks. I want to start working with curve adjustment layer and if I would call a great the image and I want to separate this for highlights and shadows, I could easy go with one color for the shadows and the other color for the highlights. But sometimes when we start adventure of color grading, it's not some easy to find the perfect balance. That's why, in this case, I want to introduce to you how you can work with masks. You see, you can easily create their luminosity masks on your adjustment layer from your channels, which would be, let's say, rgb mask. So the image that all of these different channels create as the whole and this is one way off applying mask to your mask over here based on luminosity, or we can also go to image and use apply image. So how does it work? First of all, you need to make sure that your layer mask is checked here. So you will see this wide fink around. Then let's go to image and truce. Apply image now in the source. If the layer ISS merged, you will have the good outcome off your RGB on the mask and you can see this mask changed over here. What's important is this blending over here. You want to keep it us multiply or even normal, and then the mask will display Correct. If you will be changing too much as you can see for dark and it all works Okay, as long as the dark and multiply. Then when we change the color burn, your mask might be different and disappear. So make sure that if by default is on, multiply its OK. If not, you can change it to multiply or normal or anything that this play this luminosity mask in the correct way belong. We have also the capacity but what I want to do I want to make sure that my mask is ask clear as possible and it will represent exactly where the highlights are located and where the shadows are located. If I would choose the battle here, the invert button, as you can see, I'm inverting the mask. So now this mask would represent where the shadows are everywhere. Where would be white color? It would show me that these areas are going from meet tons to the shadows. If it's not checked, all of their white color on the mask will show you where the area from Meet Tom's toe. Highlights are located going from the gray to the purely white. Also, if I would select it from here, for example, I'm going toe press command or control and heat on this RGB. You can see I made a selection. Then if I goto layers, I have two ways of doing this once. If the mask is already created, if the adjustment layer is opened, I can invert this selection to the mask out Press command or control and I as I inverted this selection, it's very important to know that this will be representing the shadows. Once the mask is supplied, you can actually see how the mask looks like to do it. You have to press out or option on your keyboard and heat on this layer mask. And as you can see, the white color is where the shadows are. I'm going to go back. I'm going to press out option again sheet on this and back. If you don't have created and the adjustment layer yet you can goto RGB selection is done and you can just open your adjustment layer, and now it will not be inverted bad. The selection will be exactly copied, and it's exactly the same process as going through image apply image and added this this mask will look exactly the same, so it depends how you will prefer to do it. Let's have a look how it looks like I'm going to press out or option heat on this. And now this mask is for the highlights wherever the white color is located. This is where the highlights exist. I want to start working from the shadows. So what I'm going to do, I'm going to invert this. So now I'm able to invert this as many times as I want can just press command or control together with I and asked many times I'm going to press. I I will be in averting this mask over here. So as I mentioned, I'm going to work with the shadows first. Once I switch this, you don't have to see the view toe. Invert this layer mask. I'm going toe press out corruption and heat on this to go back to the regular view. And now I'm ready to our prize. Some color to it. Off course. You could work with an adjustment layer. You could use curve adjustment layer. You can use photo filter. You can use selective color depending on what want to do. You can work the same way with the masks. I'm going to open this curve adjustment layer here. I'm going to start with reds, and for this image, I will do something different. So I will try to cool down the shadows, toe lang down the general tone off the image. So as I mean, they're Red Channel. I'm going to grab this over here and once the best about creating this mask. If you go down fully, you're not really affecting that much off the highlights because you inverted this layer, miles. So right now we work on the on the shadows. So I'm dragging this down just a little bit. Then I will go to the blue and for blue. He's going to pull up this curve layer a little bit more. If you're afraid you could affect that, it'll be too much on the highlights. It's not that much of the infection, but if you worry about this, can grab it here and go back just slightly to avoid that. And as you can see now, I lying the colors much better for my shadows. And I'm going to name these shadows now, depending. If I want to work on the highlights, I can create another. Another mask, another adjustment layer for the highlights. I did not re plan toe work on the highlights too much over here bad. We can see how it's going to work. I'm creating the adjustment layer. I'm going to name this highlights, and now I'm going to image apply image. I'm just going to do it a different way, and this time we can do some work for the highlights. So this time I would pull up the curve adjustment layer, for example, and pull down here so the highlight would be rather in the Orange Times. I don't think it looks really done great on this image. Probably would be better if would go on different way at some blew off the light. But I don't really want to do that much work for the highlights on this image because I like the previous state we have maybe just a little bit as it is. So this will be the first step. And also, I want to do a little bit off the correction for this image. Just need to make sure that it looks just as I wanted. So now I would go to Hue saturation this time, and I want to work a little bit more on the skin. So I'm just going to choose this little hand and press on the skin around here as I expected. It picks up the red tons. We can also choose the eyedropper and replace another color that maybe doesn't necessarily exist here. So, for example, there is not so much science. I could go with science shoes there, eyedropper and pick the exact reds that I have over here. And then we are able to manipulate with the hue off the image and the saturation off this image. I think the saturating this just a little bit will make this image looks perfect. Just us I'm looking for. So now I am going toe change, blending months to color because I don't want toe effect, and the lights and the light work will be a little bit later. So this is how you can work with the masks to color great image and let's move to some order, color grading example. 32. Black & White Conversion: I really like the colors on this image, but I really wanted to do something special and give you as many options as possible. That's why this image I decided to turn into a black and white, which I believe also will suit to the atmosphere of the same. I am not going to go with black and white in this case, even though I could, but I won't open myself some different ways off. Working with black and white. I'm just going to go with Hue saturation, and I'm going to dis apparatus image Tu minus 100. After that, I'm going to switch panic mode to color to give myself the most accurate view off black and white. So this would be the starting point for most basic black and white conversion right now with a missing here, I feel this plan and the couch might be a little bit dark. That's why I want to work on this and try to Brighton this app. Remembering photo shop. You can be creative. You have two ways off adjusting the color when you work with black and white. First of all, you can go with black and white adjustment layer and use the sliders. Second of all, you can just convert this to black and white image and have constant view how the image looks like in black and white and be ableto compared to different layers all the time. So what I'm going to do right now, I am going to some color adjustment. It could be selective color. It could be hue saturation, and I'm going to define the colors that I want to work on. So first of all, I'm going to define this plant over here and when I will be switching saturation, as you can see a most affecting the light on this plant and the same going with the hue but with the hue. It's a little bit risky here because we affect some other areas, including the couch, But that's all right, because I want to Brighton this a little bit, so I don't have that much of them off. Let's see how it works, but I'm going to have the hue to the left, while depending on the color, some is brighter sums darker. But when it comes to the saturation now, when I lower, this seems getting darker. When I go up. Seems my yellow is getting brighter and my yellows are mainly located over here. So I'm going a little beat up with the saturation. And then I'm going to try to define the couch, which is defined as the Reds here. But I will go with some different color that doesn't exist here. And with this eyedropper I will try to define it even better, so I can be sure that it won't really affect the skin tones as much as I would wish to do so. Let's see you still do effect a little bit off the face, but it's nothing to be worried about. We can go up with the couch here, so I will try to Brighton days just a little bit. Let's see if it worked. The couch is brighter, but I also did affect some areas in the face. Do I really like it because it seems to be a little bit more contrasting, but sort off unplanned effort. So I'm going to go back to the start in a way, even though I like this effort, if you don't like this part, as it is on, there was easy way you can correct this sort of areas. I like how we affected the hair and the face, I believe could stay as it waas. So what I'm going to do, I'm going to choose black color off a brush. So I'm choosing and brush slow to 100 and I will go with black color to recent the color. You can press D and then X to switch it and I will have pained all over the face with the black color. But I will keep the head because I like how the hair now stands out. I want to see there, Andi, I feel also maybe darken days. It does not look too bad for keeping the rule. Kandarr condo serious. Look, maybe not. This one could go up. It could be a little be better cleaned. So seems I should pay a little bit more attention to it. And here we are. We have very precise black and white effect. Using the mask, we cover the things stand we did not want to effect and with the rest using hue saturation , we choose the colors and we try to improve some of the areas that we wanted to be more visible, and this is how I like to work with black and white if I need to do something a little bit more complicated. 33. Color Corrections: The truth about creating the masks is that it opens you door 1st 2 very precise color grading, and second, it actually allows you to correct every single area off the image. You're not limited to just the global color grading and global changes, but you can locate very specific areas that you want to correct. And in this case, I want to show you how to correct the black. Something very often happening is the fact that when we call a great the image, the black color changes. So as long as we don't mind their highlights changing. But when we have black clothes and when they become blue, it doesn't look well, so you actually need to be able to correct those imperfections. My color black over here did not really specifically changed too much. You can not very minor changes that do not bother, but it doesn't have black color anymore. It's not as pure, so I'm going to show you simple method how you can correct this and you can correct. This, of course, is in different adjustment layers. Ban Ki, today's will be off course, creating a mask. I'm going to try to correct this with hue saturation, and I will name these layer corrections or black corrections. So once you have a Daniel, we need to create the mask over the black color. Over here, the best way for this will be going to select and then color range. So what in the color range, what does it offer? It allows you to sample color very precisely. You can first choose the colors overall, for example, reds, yellows, and it locates the existence of certain pixels on your image. So you have few basic colors you can also define the highlights meet tons and shadows. So something very similar we're doing with this difference that over here you can set up your own wrench if I work with highlights on shadow. I tried to be very precise and going with the maximum branch and then trying to find the perfect level fuzziness for some cases that this perfect way off adjusting contrasts, especially when it comes to the beauty images. But then away, we were talking about the color, so I'm going to sampled color and I want to choose the sample of this back. So I'm having this eyedropper begin the black and it's basically selected. You want to be more precise. Choose this plaice eyedropper and heated few times on the image and then adjust the fuzziness just to make sure that your selection is perfect isn't ideal bad. That will be the good start. I'm going to hit, okay. And to perfect this selection, I want to make sure that my mask has what it needs to have. So I'm going to press out corruption and see the view. So what? My mask has selection off the blacks and this ponytail we could call it. I wonder if it also changed the color, but it would be needed to change. So we actually going to you raise this and everything else over here. So I only want to correct part off her wardrobe. What I'm doing in this case, I would be half chosen black color of the brush. She's in the branch and everything else. Well, I need to reset color. They seem to be fully black President X, to switch and with black color. Just paint over the areas that you don't want to correct. So I'm painting basically everything except part off her top, which is color black a little bit here. I'm not really being specifically careful. It's really nicely picked up over here. And this tale, I will need to paint over it if you will have more complicated selections. Of course, you will have to pay a little bit more attention to this kind of things. If your selection is not perfect, as you can see, you are able to not a some peaks of some darker, brighter. So what I would do in this case, I would go to future and blower this out just a little bit. So I'm going to blow and then gouge under onto blew out the transitions here and till this level, maybe even less more than that should be okay. And we have our mask with their selection and going to go back to standard look so out corruption, press it and heat on this layer mask. Now I'm going to zoom in and what we can do, you can simply decide rate this and difference will not be as weak. But when you zoom in, you can see we achieved perfect shade off black. After that, you can, of course, manipulate with the lightness, whether you want to have it a little bit darker. Maybe so. It's more options than just color corrections. And of course, you saturation is not on the one way of doing it because you can remove the color but by making the selection and, for example, going to color balance how? Let me show you. I'm going to press, command or control, make the selection and going to color balance in this case, for example. Of course, I'm going to turn off the visibility on the correct that area and what we could notice this image before has maybe a little bit of science. So I would go to the shadows and in the instead of sion out at a little bit of red and a little bit off yellow. And as you can see with this simple move in color balance, we reduce the cyan and blue color by adding the opposite color. So there's a few different ways off correcting colors for this image. I'm going to stick with you saturation because it's simple and for this image, absolutely suitable 34. Simple Light Adjustements: in this lesson, we will use some basic tools that we have to adjust the contrast and do some light corrections. So I'm going to start with levels and as the basic tools, I have a few different options. Of course, I have brightness contrast. I have levels, curves and exposure as their additional two. I'm going to start with levels because what I want to do, I want to bring back some of the dark areas from the image. So, for example, this corner reviewer it's a little dark and we have some deep darks over here. So what I would like to do, I would like to grab this dark slider and made this image just a little brighter, and at the same time it will become a little bit washed out. But for this image there atmosphere, the soft and glowing atmosphere, it's actually suitable. And also, I have quite strong off the highlights here. That's why what I want to do. I want to come out this strong highlights that stands out over here. So I'm going down. Maybe till this level and what we cannot face when and doing this, we're actually taking away the wrench between the shadows and highlights, the image becomes a little bit more saturated. If you want to avoid this, you can't just change blending mode from normal toe luminosity. For now, I'm going to keep luminosity. But after all, I might bring the normal branding mud because I kind of like how the saturated it gets. So as the next step I'm going to curves and in the curves. I want to do a few points and unjust the contrast, because on this moment the image is still a little bit flat. So for sure, um, grabbing this here and darkening a little beat off the shadows, maybe not as high and also I want to write and a little beat off the highlights. But one more think that I will brighten up is the meters. I feel this dress is a little bit dark. So what's important for me here? I for sure want to brighten up this part and even probably a little bit stronger than this highlights, and this is the stage when I'm actually achieving what I really want with this image. Just have a look how beautiful lights look right now. Maybe even I could do it. I need to beat more. But being careful to not go too far with what I do on this image, also it kind of God. Maybe still, it's still a little bit fat. First of all, change brand not from normal toe luminosity, because for sure it was getting a way to saturate it. And I also want to compare this blending mud. So how it looks If I get to normal enigma, well, it's maybe not necessarily. I want that much they saturated. So okay, I think with it really good jump with the dress band. Still, we have one more step I'd like to do here. So this area over here, it's quite shadowy steer, but not enough. We bright in the camp. And I don't want this so bright in this case. So what I would do. I would try to define this shadow over here and make it that it'll be darker. And for this I may just go with simple to us brightness and contrast. So I'm going to brightness and contrast, and I would increase just a little bit of contrast. Maybe till this level and change blending more luminosity because that dress was getting a little bit saturated. So at this moment, they made you still quite solved. Then we have really a nice contrast all over. We have some drama and the model quite dark and pretty strong highlights over here. So this is some basic adjustments, and of course, we can develop it further. And I will show you more off the examples how we can work with lights on the image before I move on. I can just rename the layers over here. So 1st 1 was shadows up. Second was midterms, correction. And here we just added some contrast. We can put this all to the group, so the top layer is selected and I'm person shift, go to the shadows, then command or control and G and all of this is in the group. You can see that was before. And this is after the simple corrections 35. Adjusting lights/colors on legs: in the case that you would like to correct the lights feather such as, for example, legs that are a little bit darker than the face. There is a very easy way to do it. So, first of all, I need to open some adjustment layer. Whether it's curves, brightness, contrast levels, all of them will be good. In this case. I'm going to go with curves and then we need to define the mask. So how am doing this? I'm going to go toe, find quick selection toe from the left hand side, the tools. After that, I'm trying to make the selection on the legs, so I'm selecting both of the legs. And as you can see, the selection is maybe not ideal because we have a lot of details around the legs, and in many cases it might be actually a little bit easier. If the selections don't get perfect. I can choose the miners here and make it a little bit better. So what I'm trying to do, I'm trying to make the selection around the legs but nowhere else, so here's a little bit too far going to make it smaller. It doesn't have to be 100% perfect because it's going toe work anyway. But as much as it's possible in this kind of cases, we should take care of it and here to go a little bit further. And I believe it's okay for now. Very could be more here. So once their selection is acceptable, we can just press command or control and I to invert the selection to the mask. Now we can turn off the selection and we have the mask. But the muskets opposite in this case, we can see it by pressing al corruption heat on the layer mask. As you can see, this is not the massacre wanted, so we want to affect the legs, but nothing else. Now it's opposite to invert this. I'm going to prescribe Mentor Control and I once again, and now it's in the right place to make their edges a little bit. Suffered the transition suffer. I will go to filter, and I will add some blue not too much. Once again, just a little beat. Probably seven peaks else will. Today I work for this image, going to turn it off again, and then I can unjust the like just a little bit with curves because I don't want to go to farm. So many I'm going with highlights and down are digital beat. You can have a look switch blending, not toe luminosity. And of course, you don't want to go too far. I think this might be a little too bright. I can just a paucity, maybe even less. I want small change and also, if you want to affect some other areas, for example, in this case, I see the neck being and it'll be dark. I can go with brush flow for 5% off course white color of the brush from prison D to reset X to choose the white brush, selected the mask and paint softly on the area that I want to be a little bit brighter, a little bit more. And for now, actually, the result that I wanted we can rename this legs even though I affected the neck a little beat. We all know what we mean by that. So this is easy way, how you can select the areas and correct the light on them. 36. Working with Luminosity Masks: quite often when I work with the lights using the masks toe unjust, the shadows and highlights for the perfect balance of contrast. And I usually do it with curves. So I'm creating to curve adjustment layers. One will before highlights. I can go with their letter age, and another one that I'm going to copy will be command or control and J and the other one will be shadows us s. So, for the highlights, I'm going to image, apply image, and then just create this mask for the highlights I'm going to hit. Okay, It's all the same as we discussed before the layer merged and then below the blending multiply or normal as long as there is the good argued, be muskets. Okay. And also, you can create this mask from the channel's hit. Okay, so we have perfect highlights, name and what we can do. We can copy this from here and apply to the shadows to do it. I'm just going to press commander control heat on this mask. The selection is created, then checking the layer mask for shadows. And then I'm pressing command or control and I to invert this once it's done off course. I want toe uncheck the selection and for the highlights if I need more highlights. Pulliam, This highlights curve adjustment layer and for the shadows pulling down this curve adjustment layer. So that's the easiest way toe work. Probably we can maybe customized this a little bit better, so we have much nice of perspective now for the highlights. I need to do a little bit more work over here. Mainly. I would like to be focused more around the meat tons in this area. That's why I'm being careful with the highlights here. And I'm doing something like this. So I want improved this area. Many may be found the top a little bit more, but not so much on the window. Also, we would be ableto create the mask from the Mittens was showing this to you before going fruit select color wrench and choosing Meet tons. So that's one way to do it. Once it's done like this, we can also create some selection about the white stripes over here. If you would like to Brighton them a little bit more to do this, I'm going to create the curve adjustment layer I'm gonna name the top, and we can go to Selig collar wrench and choose the sampled color in this wide color stripes. So that's the easiest way to do it. Then just hit. OK, and as before, we're doing this pressing al corruption heat on this, and I want to cover everything else and just leave the top. So with black color, the to reset cover, all the rest of the image, including shorts, the bank ground face, the legs and every other highlights that we have that are not the top just like this. I'm not being especially careful, but with the details like this, you don't have to be that careful to make the good effect. Once it's done, I'm going to press our interruption, hit on this layer mask and just go up with the care of adjustment layer and look at the top now. It looks really amazing before we move forward, changing the blending modes toe luminosity to not change the saturation values and also for the top, even though it wouldn't be asked accessory. So the shadows and the highlights look absolutely amazing. Now Shift top layer on the bottom layer, command or control and G and we gonna rename this in tow? Contrast. And this is before and this is after she can see the image got much more perspective. 37. Work on specific color: in this lesson. I want to show you how to adjust the lights or colors on their very specific color off the image. So at first I'm going to try with the colors so I can go with color, balance, hue, saturation or other color adjustments. Let's go a few saturation first, and then I am going to select and colorant. We are going to use color wrench to define the area where we want to work with the color and later on with the lights. So I'm not choosing any of this colors because I don't believe that color that we have over here by default can define for example, these plants that I want to work with. As you can see, greets are not located and when it comes to the yellows, yes, it does define a little bit of these, but a conscious a lot of other areas. So I am going of sampled colors and I will try to define the exact plant color that I have over here on a little bit more of that. That's why I'm going toe adds to sample, and it will be here also some darker shades off these and I just want to make sure that the plants will be well selected. Then I can just fuzziness and usually what I like to do here. I can go a little higher to have stronger selection. But then I will have more to mask or I can go lower, as you can see, and I have less to mask. I'm trying to get some good balance for a good selection and not much of the Maskin. And then I'm going to hit. Okay, so you have a little bit more work to do. I'm going to press out corruption and heat on days. So we have to paint over here and, of course, around the model. So pressing D to reset the brush X to choose the black one, choosing the brush and easily painting it. Most important would be the model over here, because we don't want to change the hue of the model. Especially that she's not very similar to the color of the plant A little bit here. Also, we catch this thing below. Just know, really great. It should be OK, but the best is to mask it as much as possible. And I think that would be actually enough. Now I want to blurt this out a little beat for better, better transitions. I'm going to go Jindo. And then let's see seven, maybe a little bit more in this case. And then he took it. So I want to press interruption hit back on this And now I will define the exact color that I have here. So I'm going with blues. I'm choosing the eyedropper and let's see what color we have here. So we get this range. Maybe we can go a little bit further and what we can do here. First we can move the here, so I'm going to make it a little bit more green. I'm also going to make it more saturated so the plants will play quite an important role on the image. From now on, I don't want them really yellow, so I feel that look good when they will be reach like this. Of course, you can use any other an adjustment layer. Four days. You can go with color, balance with curves, anything you need, you can work with it. And then if I want to work with the lights on them, I'm just going to press command or control heat on days. And I can, for example, go with curves and bright and that my feather, if needed or dark, and then if if I wanted, so that's the easy way off doing it. I don't really want to go as far, so I'm going off. Easier Adjustment Lee. I'm going to go with brightness and contrast, and I want to add a little bit more contrast so it will. On may be a little bit more mystery to the parents. They get a little bit darker, so I'm brightening them up just a little bit. And this is how my work on a very specific color that we can change the name first will be color, and that will be lights green. So we know actually what's going on here. I can select them both, then press command or control and G and name the group as the plant. So that's kind of additional world. But now you know how to money. Blowed with very specific color makes elections and masks 38. Simple Contrast Adjustments: for this image, I will do contrast adjustments just on a single layer and for the soldiers curves it, giving me a lot of possibilities. So first of all, I'm going to dark the shadows because it's giving me some good perspective in this area. And also I'm going to brighten up highlights somewhere in this part because I want to bright and not only the face here. Actually, the face not too much the clothes and I want to pay attention to these hair. So if I would go to high, maybe I would not be able to affect this area here. And I don't really want to darken them. So it's important to grab it here. And then let's change blending month luminosity. Now we can compare the shadows got really nicely darker. The legs got nice shadows. Nice perspective here and a little bit off light. And with the light we meant to be very careful. So this is around what I'm looking for. So now I'm just going toe rename this to contrast. And that would be I don't want to do a little bit more. If we think the lights are too strong, we can just grab it and drank it down a little bit free that shadows would be and it will be dark. We can grab it and bring it up just a little bit. But I like the heart contrast on this image, and I believe this really hard light suit to this image. So at the end, just wanted to show you that you don't have to create many layers, but you can do contrast adjustments using single layer, and it will be absolutely fine. 39. Match Settings using LUTs: in this lesson, I will show you how to easily much adjustments in for shop across different images. Off course when you were working with the masks selectively for the shadows and highlights more likely, you will have toe unjust the images. Mannelly. So you took one image and then going to another one and try to set the same unjust mint. Though if you notice some differences, it might be different because some images might have a little deeper shadows. Some images might have brighter highlights. So because of this, you might want toe adjust the contrasts and this small things manually. Though, if you were not using the masks, you might just want to save your adjustments us three D lab and then apply to other image. So I'm doing this. As you can see, I have some adjustments for color and contrast here. What I'm going to do, I'm going to file export and color look up table. So I'm going to quickly do it. I could give it to run them name for now. I'm going to name this US number one. Save it, then goto another image from the same set. Choose there. Call a look up table, find it on my computer. So the location that I save it, you must remember the location where you're saving your lads and apply it. So as you can see, we got pretty similar color adjustments. Of course you need to compare it. And I can see there's some differences in the light. So for the second image, I would like to adjust the contrast a little bit more so I would go to levels or curves and a little bit off right here. And the brighter the shadows because I believe they were just a little too dark. I'm going to change branded Monta luminosity. And now my images are more likely much to have a little bit brighter background here. So still, what I'm going to do take down. So the light And that's about right. Then, you know, I think I would don't this image, of course. Here I have masks. I'm going to turn it off. And if I need to correct this on another image, I will do it manually. So file export call a look up tables. This time I'm gonna name this us and number two. I will save it in the same location. Go to another image, choose the runt and applied. So number two. This time, as you can see, we are getting the same color effect. The color grading Waas Really soft process, but you can not. Is this on the highlights who have more off the blue color on the highlight, and we have a little brighter. The left side of the image world shadows are located, so this was really nicely defined. The skin is really reach, but I planned for these images, and this is how I just much my images is the I might brighten this leg after all. And as I mentioned before, if you have some my mask, some luminosity masks, then it's good to do it manually. But I like to save my unjust mints as the lights because if you do some really interesting color adjustments and later on, you are going to save it as the lot. You might use it later on during some new work you are going to do in the future. So then you can save a lot of time thinking on the color grading, because just maybe the lot you're going to create now will suit to your future work. That's why I like do it. And in this course, of course, I am going to give you just few lights similar based on the work we're doing, so you can use it in your own work. 40. Final Adjustments in Camera Raw: When it comes to the final adjustments, there is feud different ways off doing it. So the first way would be just finishing up images with the layers. Let's say your Santis fight right now. One thing you have left is to save the image, and it's ready, though. If you want to do some more things, let's say work on the shadows a little bit more perfect. The highlights, contrast and maybe some minor changes with the color you can use under be filter. And here's two way off doing it. You can do it using a camera future provided in for the shop, but you will have to work with every image separately, or you can use light room for it. So at first I'm going to show you how to work with camera filter in photo shop. First, you need to create a stamp on the top off your layers to do it. Press command at interruption shift and E, and I'm able to create this layer on top. I'm going to rename this to the final and then converted to the smart object so I can work non destructively some person control heat right on this convert to smart object. Once it's converted to the smart object, I can go to the filters and apply any future. So then I can work non destructive on this image. In this case, I could go filter and camera future, and right now we will be able to work in on all of the adjustments that we've seen before over here, and we can apply them non destructively. So in this case, if you want to bring up a little bit more details from the shadows and go with more contrasts, you can do it here with these small adjustments. And this is actually the way I really, like Do it going to make image warmer because, let's say at the end he would be dissatisfied with the color grading you did. You can apply some color changes to your images, whether it's warmer image or colder image. The fact is, you can actually do it here on the very end. So this is just an example. Here we can accept the lights except the temperature off course. You can go with the clarity if you want to make the image a little bit sharper. Work on the vibrant saturation. But of course, as I said, this is the place where I do some minor changes will have the curve adjustment layer that I use this keep on this stage. And sometimes I might unjust, a little bit off the colors here in hue, saturation and luminous if this is needed, the other thing that I wouldn't use before, but it happened that I used at the end would be split tuning. But this pic turning for me sometimes give me some artificial results that I'm not huge fan off. So let's say here if I would go to cool down this by grant a little bit more and we're mom , two shadows, I could just simply do it in this way, as you can see feather manipulating with the colors off the image and you can see that was before. And that's now, which is actually not bad. I like there colors the natural colors that we had before, but there is nothing wrong with the colors we achieved over here. Also, the end, sometimes depending on the preference you might want toe aren't some grain, and this is good place to do it. So if I wanted us the option. I might have some grain set on the amount of the grain size of the grain and roughness off the grain, depending on the effect I want to create after it. So finished on, Just hit. Okay? And that would be the final result. So in the next lesson, I am going to show you how you can half the view for all of the images and do all of the adjustments through the O off the images at once and how to export them easier. So you don't have to do it one by one. And for this, we are going to use the light from so right now, toe prepare for different adjustments. I'm going to remove this top. Layer us. It was example. And we're gonna talk further about this in the next lesson. 41. Final Adjustments in Lightroom Classic: and in the last lesson, I am going to show you how to do the final adjustments in other belie tree. This is my favorite way off applying the final corrections to the images, and the reason for that is because I can have the view on all of the images. It's very easy to synchronize the settings, and after all, it allows you to easily export all off the images at once to the chosen folder. So let's import our images and the best way you can import the images together with the settings that you did before. So if I'm going to apply the T files with the layers, what I'm going to see is the final result that I hade in further shop. So I'm just import. And of course, I need to find the images on my disk. And here is their folder Processed and the TIF files that I was working on in for the shop . So I'm just going to hit import and my images will appear here. So let's go to develop panel, and I'm going to do some final adjustments. So, as I was saying before in this step, I'm not doing too much. I'm happy with the result I got. And always when I'm at this stage, it means I don't feel I want to do anything more with foot shop. So here I'm just going to do some small contrast corrections, maybe some light corrections and temperature corrections, although it happens that I could do a little bit more if I need to. So the mission is which is due minor corrections. But if there is some idea coming to the head and I will feel that it's better with certain adjustments, I might apply it. So I'm going to start from the first image as it goes. So I want to improve a little bit of contrast. But from what I see, the image gets darker. So so I'm going up with unequal beat off shadows. So I made the shadows brighter, but at the same time, I wanted to add a little bit of contrast and for this image, and I feel I want to see the temperature as well and whatever it like I didn't plan for this image is. The first idea was that these images will be in the warm tone because we have beautiful sun coming for the windows. But for the retouching, I thought, having it rather cooler. It's nicer. So I'm lowering a little bit of the temperature on this final result, and we can see their before and after small change. But the image look overall, Johnson. It'll be keener and someone to I'm just this to another image. If I want to synchronize, just press in command, select these two images and I will synchronize it so very minor correction. And that's how I go through the images for this images. I planned to go with black and white, and it's very important to mention that if you plan to do your final adjustments, whether it's under B camera or light room, it's good to not actually convert image in the black and white in for the shop. But maybe wait till this level and you can just use the profile to switch it or turn it into a black and white, and you can do your black and white conversion here. I like dude, with the profile, I can't just go monochrome or choose from sung black and white effect that Adobe offers. So we have many black and white filters over here, we can choose. One will go with the standard monochrome and then do some other adjustments by ourselves. So I would like to add a little bit more contrast here as well and maybe bring up a little bit of shadows, and I want to keep this image rather clean, So that would be it. And I'm moving further for this image. I didn't think I want to do much because I like how it is. I might see the temperature. I don't want to go on that. Call the image and I don't feel this image would look great in the warm times. It's very beautiful. It's very pain, Torri. But for the overall mood, I believe with my personal preference, I would like to keep it. Maybe minus two is the temperature of the image. The effect that I'm looking for. This image had already enough contrast here and the shadows. I feel I feel that rather OK, so I don't want to do anything more. Maybe I might see if lower in Vibrance works and this image would become very cold and stopped to ban so quickly. I'm just going to synchronize that for this last images. I was very satisfied with the effect I got here. I didn't want to really wanted to go for them. It has a lot of contracts, but as you can see, there is still a little bit of space for more contrast. And for this I don't feel I want to take it down more off the temperature, even if I could. And as you can see, get in this beautiful white wall looks absolutely amazing. But let it stay just a little bit warmer for this image. Maybe one step. Just look at their nicer shade of the wall over here and let's compare. Maybe it's actually quite okay. I'm enjoying this. I want to see bringing back works, but it's until two flat. Maybe so. Just a little bit here, Um, adding some contrast here. So I don't need to synchronize this because these are such a small adjustments that I don't have to be bothered with synchronizing and for this image, I actually like it. I feel we have maybe a little bit stronger contrast on the 2nd 1 so I would have just a little bit off the contrast and for sure on this image. I get that orange color a lot, So I want to do here on to lower the saturation. And when I lower the saturation to this level, I feel dance there. Look, I really want let's compare and here a little bit less. And now this images are much so that our my fall no adjustments. I don't feel I want to add any noise. Maybe for some of the images I could crop it. I like the image like this. I like the frame as it is, though you need to remember about the option. For example, if you would like to crop the image, you can use the panel, transform panel and change the scale for example, to resume this. This is one way off doing it. And there was older way, which is by using crop tool. So first of all, in the corrupt to you can change the aspect. For example, 4 to 5, which will be perfect for social media if you plan to post your images to social media so you can adjust this done and for other image, I would also crop this justice an example. I'm not cropping all of the images. But these to I will do here Simula the last look, if the colors much here feel this image is a little bit more saturated. So what I would do here, take just a little bit off saturation here, another look. And now I'm pretty sure the images much perfectly. So these images, once I see that everything is as I wanted to be, So if I'm enjoying the look that I have, I'm ready toe export the images and how I do it. I select the 1st 1 Then I press shift and I select all of the images here. I only skipped the black and white effect, some going to synchronize this selecting all file export and here we need to make sure that everything is correct. So I'm exporting to specific folder. Make sure the location is known to you and especially that the location you choose in is the location that you want. So I'm exporting to images. Sam folder, Final images or final couldn't even shorter. So all of the images will be exported toe images folder and put in the sub folder called Final. Then I don't want to rename. So all of the files will have the same name as we started. Then we are able to choose settings off the file. So the former first of all, if you have customer that requested the TIF files off course, you will be sending the files and depending on the size you might be asked for eight beat. If it's enough, you can change it to the a bit and the same if you work with photographer. More likely, and the end you will be asked for defiles if you're retouching, so I work as the re toucher and quite often after finished work, I'm sending the defiles. The photographer, though, if you are photographer, want to export. The image is already for your own. Use might switch the former to Jay Peak so you have Freddy J picks. Whether you want to post to social media ads to your portfolio and that's it. That's already some going toe export off the images, and you can see the 10 files is being exported. So let's see to the end of the bridge and see if the images were being exported. So I have final and to this folder called Final I exported images. All of them are in the JP format. I decided to go with two of them in black and white and that's it. I believe that was useful. I hope you enjoyed. And what's most important for me. I believe now your work is going to go to the next level. Thank you.