Create YOUR STYLE with Adobe Lightroom Presets // Digital Photography | Ian Worth | Skillshare

Create YOUR STYLE with Adobe Lightroom Presets // Digital Photography

Ian Worth

Create YOUR STYLE with Adobe Lightroom Presets // Digital Photography

Ian Worth

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12 Lessons (36m)
    • 1. 01 INTRO

      0:31
    • 2. 02 CLASS PROJECT

      0:25
    • 3. 03 CREATING YOUR OWN STYLE

      2:05
    • 4. 04 HOW PRESETS WORK

      1:05
    • 5. 05 TEAL & ORANGE PRESET

      8:46
    • 6. 06 FADED BLACK & WHITE PRESET

      4:13
    • 7. 07 VINTAGE PRESET

      8:24
    • 8. 08 DEEP BLACK & WHITE PRESET

      5:29
    • 9. 09 PROFILES ARE BETTER THAN PRESETS

      2:08
    • 10. 10 IMPORT PRESETS

      0:57
    • 11. 11 EXPORTING, SHARING & SELLING PRESETS

      1:16
    • 12. 12 CREATE YOUR PRESETS

      0:39
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About This Class

In this class, I will teach you how to create your own photography style using Adobe Lightroom presets.
Digital photography is such a vast topic with so many different areas to cover and can often become overwhelming for the beginner, so I have broken down the editing workflow and show you how to create a unique look that will take you photos to the next level.


In this class, I talk about creating a style, how to make presets to get a consistent look and how to create 4 different presets that you can save and use on your own photos. I also look at how you can export, share or even sell your presets.


From creating a cohesive Instagram feed to putting together your first preset, there's sure to be something for every Digital photographer.


Please note: This course is suitable for the absolute beginner but there are many useful tips for the more experienced photographers too. Something for everyone...

Check out this class for a complete beginner lightroom tutorial Lightroom masterclass


check out my photography equipment

Check out my landscape photography

Check out my Lightroom presets

learn more on my youtube channel

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Meet Your Teacher

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Ian Worth

Teacher

Hello, I'm Ian, a professional filmmaker and photographer based in the UK. I document weddings for a living but also run a Youtube channel based around my love for the great outdoors and landscape photography.

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Transcripts

1. 01 INTRO: Hi there. My name is Ian Worth, unprofessional filmmaker and photographer based in the UK today to be taking a look at how you can create your own photography style. Using a day be light room presets. We'll talk about how presets work. Then we're going to create four amazing looking presets that you can use to take your photos. That next level, we'll also be looking up how you convert presets into profiles, export and share them, or even sell them and earn some revenue. So please come and join me on this class. Let's create some amazing presets. 2. 02 CLASS PROJECT: for the class project. I would love to see some of your photos that you've created using presets. Now, you can use the presets that we're gonna build in this course, or you can create your own. Please leave a bit of a description about how you created your photo, what presets used on that desire look that you were trying to achieve. I really would like to see some of the work that you can create and please feel free to upload and share them. 3. 03 CREATING YOUR OWN STYLE: great in your own style is definitely something you should look to achieve if you're looking to. So you work, gain commissions, is a freelance photographer or to build a cohesive in scrum grid or website. So how do we go about creating style? Or this is probably a difficult question to answer, as it would depend on many factors, many of which, of course, are subjective and personal to the individual. But if you're just starting out and it's a good idea to experiment and ask yourself a few questions, firstly, is it just for personal work? And if so, then do you need to follow a certain style? Maybe experimentation will be better for you if you aim to share your work. Do you wish to follow a certain local feel to take my landscape photography in scram feed? Now I don't tend to use presets for this is every single image I take requires a different sort of edit, many of which could be very complex. But if you look through the feed, you tend to get a feel for a certain style. The colors are usually fairly earthy and of a mix of greens and warm tones. This is because I shoot most of my landscapes. Jeremy. The sunrise or sunset in the areas that I visit generally provide a consistent color palette. I tend not to go for Blackmore images for landscapes, and this makes my feet look fairly consistent. Let's take a quick look at my wedding feed again. This style looks fairly consistent, but this time I've used to preset. This is because im visiting different locations with different color palettes. But I want my portfolio to have a subtle film like look that is consistent across all of the images. Using a preset really helps to speed up yet it, when I'm did in the thoughts of images to, especially after the wedding day. Many of the big instagram troubled bloggers like to use color palace that are consistent throughout their images. Many go that extra step to and style themselves with clothing that helps to keep my only themselves looking a certain way, but also the whole color palette of the feed. When a preset is applied to something so stylized and they look very cohesive indeed, finding a style that suits you you're shooting could be essential if you wish to keep a consistent look, and that's why presets is so valuable that make the editing process so much faster, too. 4. 04 HOW PRESETS WORK: So what are light rain? Presets were likely in presets. Allow us to store a selection of settings that we can then saving, apply to future images like it gives us the ability to move sliders and curves in the develop module is create a certain look when we have a look that we're happy with weaken in , save all of the settings of the preset that preset condemn be used for future edits. We can also edit the preset, make multiple presets in a folder on export preset to share with others. Or even so, another great thing about processes that you can apply them at the import stage, meaning that when you import your photos, the precept will be applied again, Save any time. It's worth mentioning that presets work best on raw files. As with a raw file, you have more flexibility in terms of exposure and colors. Presets do work on J pegs, but you have to take into consideration. Jay Pig is already processed where a raw file is no. This means that finish look could be very different presets. A such a versatile way of working, and I use them or of the time from a wedding, photography and family shoes 5. 05 TEAL & ORANGE PRESET: Okay, here we are in a day. Be a light room classic. Now I'll be working here in classic, but these processes work very, very well in light room. Sisi on like Grim Mabo, too, So you'll be out. Use these techniques in any application that using. So let's first talk about the teal and orange Look. Now this is very popular look we see in film loads on. The main reason for this is especially when we're dealing with skin tones. Skin tones fall within the orange range of the spectrum until sits directly opposite that on the color wheel. So these are complementary colors, as we call them, so they complemented each other on whenever you look at the color wheel, you always see colors that complemented each other just by drawing a line from one side to the other. So that's a really good way of trying to work out how to split. Turned helped work out colors when you make him pretty sets. So we're gonna be creating a teal and orange look with this image here on day. This is the finished image we're going to be creating since the precept that will be created in. See, we've taken it from the just a standard raw file here with the greens in the background and convert that into a real, classic looking teal and orange look. So let's work through the edit. Andi, I'll show you how you can go about creating this look. So I'm not gonna make any adjustments to the white balance on the exposure until the end. And I won't be including these in the preset. In fact, I never include any adjustments, toe white balance or exposure in my finished preset, because each image will be different on you can adjust the separately, then if you don't include them in the preset. So it's quickly just work through the basics tab, and I'll show you what changes I'll be making to this image. So first off to really reduce the contrast in this image because we're gonna be adding in a tone curve, which will then bring that contrast back. So it takes in the contrast away, first of all, dropping the contrast to negative seven, bringing the highlights down to around about negative. 52 looks good shadows down to minus 15 whites up Teoh plus 15 Andi blacks down Teoh Conectiv six. So that's a good start. I also want to take clarity away from this image to I don't tend to want a lot of clarity and my images, especially for portrait work. I'm also going to bring down the saturation ever so slightly. The next day I got the tone curve, and this is where we'll be adding that contrast back in. So come down to this area here it's is linear. Click on this miss gives us three different presets that we can use to create a curve with 10 curve, so choose strong contrast for this image. As you can see, it's it's bought in an esseker of shape, but it's a little bit mawr heavy down here in the shadows area. Now you could leave it at this, but what I'm going to do is that in a bit of a fade to and try to fade into an image, it's ever so easy. All you need to do is double click on the little point there on the very left of the image , and it will create a horizontal line, and then you can drag this up and down as much as you want and that will I didn't or take away fade as Aziz, you need it. You can also do the same with a highlight area to by double clicking on, then moving your point around as required. So somewhere there looks fairly nice, I think may maybe just a little bit more somewhere there, I think, Yeah, I'm happy with that. The next step we're gonna come down to the split tone, and we're not actually gonna make any adjustments in the hate herself for this preset. We're just gonna come straight down to the split tone. And it's a split toning essential allows us at in different colors into the highlights and shadows. And this is really selective tour, and it really helps with teal and orange look. So if we hold old down on the keypad, we can see which colors we're going to be, adding a finger on the old key. And as you can see as I move through the different colors within the highlights section here, it's just changing them. So I want to add in a nice, warm orange color to this to this shop. So probably come round about 41. This is a saturation slider. So you this obviously allows of the amount of saturation they're gonna be adding into the image. So take it away over to the right day hundreds and saturation to the highlights. But I think being subtle here in this retaining is really good for presets. So I'm just gonna be very subtle with the highlights just adding 2% off saturation now again with the hue off the shadows and then added a teal Hugh two shadows. Thiel's around about their again. Holding oak down on my keep hard around about here is nice on. Then I'm just gonna dial in the saturation as required. So, like I said before being very civil here, just adding a little bit. So if I tuggle the spit turning on and off, you can see it's made some changes very, very slightly. So for this teal and orange, preset magic really happens down here in the collaborations tub, and it's a tab that often gets overlooked. But it's a very, very selective way of adjusting. Colors essentially weaken just the saturation and hue of red, green and blue channels. So this is really cool. It really, really does help to generate this to your knowledge, orange look that we're going for. So essentially, what I'm gonna be doing is taking the red, huge red primary and pushing it more towards the oranges. Around about 50 works well for 10 orange look, so I'm just pushing up, up, and as you can see, it's moved that read their up on. We're gonna be reducing saturation of this as well. So any reds in the image you're gonna be just putting that saturation down and actually making the more orange in the process for the greens are not actually gonna be adjusting any of the greens in this image. I'm just gonna be concentrating on the blues on really what we're trying to do here with the blues. Take all of the blues and push them right into the Thiel's. We're gonna drag that slider all the way across into the teal section on, then just reduced the saturation a little bit too somewhere there. Now, as you can see, it's starting to look teal and orange now and in fact that is the color processing pretty much done now. It's probably not the desired look that we're going for but that is really down to exposure and white balance. So if I was to save this now, as a preset will be out to make slight adjustments to each image just by changing the exposure in the white, just see how we can make this image really come to life by boosting the exposure and then just warm in the image slightly on. Now we're much, much closer to that classic teal and orange look that you would associate with many of the really big instagram feed to the travel fees that you find on instagram and travel bloggers . And often we see quite a lot in film as well. So this obviously is a classic look, and it's a really, really good look to use. Let's come across on create a preset for this image who's gonna click on the plus icon to create preset, create new Greep my new presets and it's called This one CEO and Orange. And now here, we're gonna do is just select the things that we want to apply to the presets so you can untech thes. If you don't want Teoh, use any. I don't have exposure selected. Here's that's UnTech on white balances until two as well. Everything else is tick. So now we just go ahead and created. So as we can see here, if we could call my new presets, we'll see our teal and orange preset there. So in the future now will be out to select any image we want on a ploy, the preset just by clicking on it One click so really quick and easy way to save a preset. Now one thing we should say is that not all presets will suit every single image on a lot Depends on what colors you got in the image. So selecting the right image for the right color toning is really important. But this is a classic looking teal and orange preset. 6. 06 FADED BLACK & WHITE PRESET: So let's create a faded black and white image, something that's quite film, like a moody. This is a shot him from this old yellow rusty metal backdrop just going to reduce the crop of this image before we start working on it around about their looks pretty good. So essentially, we're gonna be going from this cut up raw file to this really cool looking, faded black and white image with a little bit of split toning as well. So it's never took steps to create this awesome looking faded, black and white preset. So I'm going to start in the basics tub of make a few adjustments. Now, first off, I'm not. I'm gonna be working in the day, be color hair. I'm not going to be working in the black and white section, so this is a little bit different, but going to be covering the black and white section a bit further on. So let's first of all, drop saturation down this image and that essentially converts it to a black and white image . I'm gonna add in a little bit of contrast to this shot as well. Roundabout purist 10. Good. Drop the highlights down Teoh Negative 55 ish Boost the shadows to round up. 17. Boost the whites 46. That's good. And take blacks down to around about minus 24 a little bit more punch, in contrast to the image clarity based up to around about plus five just to give it a bit more grungy look, But to help the fade, we're gonna reduce D Hey, slider. It's already looking pretty cool, but we can definitely improve on this a lot further next. Gonna come down to the tone curve on very similar to the two and orange gonna add in a s curve to this image and again, this time we're going to be adding in that fade. And you can really see how that's working in this image. Now weaken just this tone curve, really to make the image. This contrast is we wanted to a guy in just for Jason faded highlights as well on this. That's really cool. This sort of image works really well for, like, bands and that type of thing, you know, like a portrait of a band or something like that. I think you feel it works really well for that sort of thing. It's a really punchy but faded look. I think it looks really cool. Definitely suits, musicians, rock stars, that type of thing. So before we finish this quick edit, actually, we're just gonna come down to split tone in on. I wanted to warn this image of a little bit, so although it's a black and white image, we don't necessarily have to take all of the color out of the image. Andi, I find this really, really usual sometimes on just adding a little bit of warmth to the the highlights. And shadows can really make a big difference how the black and white image fields in the oval mood of the shop. So I'm just gonna add in a very, very small amount of orange this image on just very, very slightly boost those highlights up a little bit. So just adding in a little bit of warmth, and again it will be doing the same to the shadows as well. So just adding a little bit more orange to it. Andi just boosting it, just anybody to, but you'll be able to see in a second what difference that actually makes the image. If we just toggle the split turning off. You know, just having that little bit warmth Teoh really like, makes the image pop out a little bit more and just makes it feel a bit more warmer. Now. We can also add in a bit of been yet Give it that moody look by bringing in that been yet there on for this sort of image as well. I think grain works really well, so I bring in a little bit of grain to this image as well on, uh, really, really see this image stuff a lot more filming, looking on. It's a really, really punchy, faded filming look that we've got there in just a few easy clicks, really? So that's that's pretty much it for the faded mono preset again, we would go ahead and save that as we did before 7. 07 VINTAGE PRESET: it's not going to create a vintage filmic looking shot here Andi got. I chose this image because it's got a lot of different colors and it's got some yellows and blues, obviously our skin tones as well. So we're gonna take this image from this raw file into really classic filmic vintage look. So there's a lot going on in this Said it actually will be working in the hate your cell of a lot of this image as well on the calibration tab at the bottom as well. But first off, we're gonna make some basic adjustments to this shot. Again. I'm gonna believing the white balance and exposure till last. Reduce the contrast in this image just a little bit. Bring highlights down Teoh around about minus 36 that seven. Like that, shadows boost the map to plus 25 28 that whites down to negative 25. I'm blacks down Teoh, my 17. That's just reducing the contrast in this image a little bit, and just 18 those shadows up inducing highlights. Next up, we're gonna reduce the clarity in this shop. So I get filming look so it doesn't want to be too sharp. So nice and soft for film looks boosting the vibrance just a little bit. I'm reducing saturation site now for this shot I'm gonna be adding in a s curb again to this image. But I'm gonna be taken the time that I don't add into much contrast. So I'm just going to click on the preset here of God, which is the medium contrast. I just could be leaving at that for the time then. Now it's come down to the hate yourself and make some adjustments. The pages. So now we're gonna be working a lot here in hate yourself. Eso hay Giselle Stones for huge situation on Luminant Here we can see our hue section here can see our situation here we can see our bloomin So Hugh obviously changes the colors. If, for example, here are orange color, the more we take it to the left, the more red it gets more. We take it to the right. Well, yes. So Hugh basically changes the color saturation changes thea amount applied saturation occurs in the luminous is the brightness of the car. So I could be really, really selective here about how we manipulate our colors, and that's exactly be doing here in the next minute or two. So it's gonna boost up the red a little bit ongoing. Teoh, make the oranges push a little bit more towards yellows. About 16. Looks good yellow. I'm gonna boost that up a little bit more towards the greens. Around about nine. Looks great. Greens gonna push away up to the teal colors about 45 Quiz eight blues again and push them down to the teal colors. Beautiful teal color that we all love purple. Just push up to the Reds a little bit. Magenta is we're gonna leave where they are. So that's pretty much it for the Hughes. Now and then we're gonna come down to saturation. I'm gonna play around with these just a little bit. Situation. Reds down tomorrow. This one situation, the oranges down. Two months, five yellows. We're gonna take down a fair bit. Fight those yellow eyes away on the greens. So for me, when I'm creating a vintage look, I'm really looking to de saturate my greens quite a bit. I know what my greens to be. Very punchy. It'll onda a bit more sort of pushed into the blues Eso That's one doing that blues here I'm just gonna boost the saturation little bit Give it a bit of a believe and the tone blues process a little bit purple is gonna push up to plus four on but gentle is I'm gonna take down I don't like strong magenta tones within my images, particularly especially for poor traits. So I'm just going to reduce the saturation down to you. Run about 30. It's good. So let's move down to the illuminates here the reds down a little bit Orange is just a refraction. Yellows up to around three greens up is obviously increasing. The Limin INTs off these colors equals to 23. Looks nice tryingto take effect now, isn't it? The color palette that we've working with lose to around about 16. I was right in wrong way of changing colors within, You know, you're edit. You really just got to find out what works best for you. And it will vary from image to image. Now you have to be really careful with me. Playing occurs because you can start to get banding coming in. So you gotta be quite sitting in a way that you do it and be careful not to go from one side to the other. Very extreme. Say, you know, we were quite crunchy colors here in the lips. Got some nice magenta color in the cheeks, which is very natural. But these blues and yellows have faded out. The blues are pushing towards towards the Thiel's. We can see these lovely teal color is creeping in in the background. Now, this is not a classic to an orange color grader at all. It's very much a vintage feel. The next I'm gonna come down to the split toning and make a few adjustments to the split signing again, we're gonna be altering the hue and the saturation off the highlights and shadows. So again, we can hold down old on our keyboard on we can see where we want to be pushing our colors too. So I'm aiming for a sort of warmish orangey color to the highlights from around about 38. Looks good. And I'm just gonna bring in the saturation of that to around about nine, just bringing some warmth to the to the highlights and again down to the shadows. We're gonna be putting in some teal coolers into the shadows somewhere around Not too blue . We don't want to blue with this. I looks great on game, very simply, just adding a little bit of saturation. Stop making a huge difference, this image. But again, if we just total that on and off, you can just see a very, very slight difference. And it's all about subtle changes as we work through the preset. It's not gonna come down to the color calibration section again at the bottom and just tweet these a little bit. Nothing too drastic. They just gonna boost the red primaries saturation up just a tiny little bit. Reduce the green primary saturation just a fraction to around about minus four on. Then we're gonna just play around with a blue hue a little bit, appreciate a little bit more towards the Thiel's. I run about 17 on, then just boost of saturation. The blues this time something we did didn't do when we worked with in the to an orange crease earlier. Now this is starting to really nice start to look like a really classic feel. But to accentuate that classic vintage look, I'm gonna be popping in a vignette, this image a fairly strong one to around about minus 25. And I'm also gonna be adding in some film grain to this shot to just to give it that filming vibe. Let's bring the roughness upto around about 63 nice, coarse grained on a base the size upto around about 30 on sleep just a little bit more Not starting to look really nice now. So now I am as we did before going to come up to the top and just a play around with the temperature slider on exposure. Now, this will be something that you do separately to your preset, but it just is a little bit under exposed. I think that looks pretty nice. And I'm just gonna add in a little bit more want to this shop just ever so slightly on That looks really cool. A nice classic vintage look 8. 08 DEEP BLACK & WHITE PRESET: it's not gonna create a really classic contrast in black and white image. This is a shot off my cocker spaniel ruin across this foot bridge We're gonna create yes, something really punchy on. But it's going really work for this image. So, you know, it's slightly different to how we edited the faded black and white image that we did previously. This time we're going to be using the black and white treatment, which is gonna change the hate SL section to a black and white mixed sections or can manipulate certain colors within the scene, which is gonna allow us to darken those or Brighton each individual color. And that's gonna be out selectively create something that's quite contrast E and cool. So first up, we're gonna be able Teoh, you know, make some adjustments here in the basics Tabs. I'm just gonna boost the contrast of a little bit Here. Just two plus four highlights down to negative six negative five shadows. We're gonna bring down Teoh. Sorry. Bring up. See around about seven whites up two plus seven on blacks down to negative 10. So it already was added in a little bit of contrast to the image by doing those selective adjustments. Now we're gonna boost the clarity up just to give it a bit more crunchy. Look to it. Never gonna move down to the tone curve. Now, we're gonna put in quite a strong s curve here, and I'm gonna make a few different points on the curve here to be able to do that. First off, I'm gonna come about halfway in this first square on then about halfway in the second square and again half light in third square. No, I'm just gonna push this third square up a little bit. Feds in the first square, down a little bit on this second squad down. I did in a lot more contrast this image. It's really dark and down the shadows and bright in those high rises. So now we're gonna move down to the black and white mix, and this is where we could get selective with our colors. Now, this is a really cool thing, Teoh to do when you're working black boy. Essentially, you can tuck it in a few different ways. If you like. You can click on your color picker on, then just certain colors. So For example, if there's a part of your image that you want to lighten or darken, grab your color picker. Click on that selection. So if we wanted to make this area darker, we're just gonna drag down on the mouse and it's just gonna drag those colors and it's going dark in those cars again. We could do it the other way and lighting those colors so you can see you can be really selective about which parts of the image that you add the light and dark areas to. But this we're gonna be working on a formula that off kind of worked out over many years, and I'm just gonna be showing you this formula here on. It works well for a large range of different images. He's gonna bring the Reds up Teoh plus 22 oranges to around about plus 20 force, and by that yellows and leave where they are greens gonna push up to plus 15 AC was up to around about 15 again. 18 is fine blues. We're gonna bring up to around about 30 purples up to around about 20. Magenta is up to run about plus 24 like that So let me just quickly, it's Huggel that on and off, and you can see it's just made some subtle changes to the image light in some areas dark and others. And that's just a little bit of dodging and burning that's creating some selective changes within the colors. It works really well for many different types of images, so we can come down and make a few selected changes to the post coughing vignette ing on the grain. If we want to know again, you don't have to do this. You could make two presets. You could make a preset with a vignette on the grain and one without. If you want to back this particular image, I'm just gonna add in a little bit of film grain to this shop. Just very, very fine grained. Nothing too drastic. Just a little bit of a vignette. And then this image is, I would say, ready to be converted to a preset. But just to finish this image off, I'll make a few of the selective changes. Teoh just just the crop a little bit, Andi, I would just brought in this middle area here, and I do that with a radio filter. I just bring that over inverted. So the changes being made to inside the filter on I just boost it up on the main reason for that is you can't see my dogs eyes say on, obviously with a portrait of any person or animal. Really, you really want to be able to see their eyes. So just by boost in the the shadows of a little bit situation bringing winds down way can clearly see the eyes. Now that I wouldn't say that part into the preset, I would make that I would say the preset first, and then any local adjustments that you got with your brushes or radio tools or anything like that, I would added, after you replied, The preset, That's it. This is a really classic looking contrast in Black and white Show. 9. 09 PROFILES ARE BETTER THAN PRESETS: after we've made our presets, we have the option to get even more creative with them and turn them into profiles. So let's take a little look about profiles on why they're so versatile. If you come to the top of the develop module, you'll see the profile tab. This is where the profiles are stored. We have the option of applying one profile to any raw file. You'll see a David's preinstalled profiles and also some camera profiles if you're using a camera that supports them. If we click on the pre install profile, you'll see apply preset to the image. What's great about this is that we now have an amount slider, which we can use to dial back or increase the intensity of that preset, essentially from no preset to full strength and beyond. This is great is it gives us a total flexibility over how much of the profile is added to the image. We can be changed at any point during the edit. You also see that all of those sliders are still set at their default setting, meaning. Now we have a completely clean slate with which to work on. So how do we make a profile or convert one of our presets into a profile? Well, unfortunately, the time recording this. It's not possible in light room, and I hope soon that they can add this feature so we can do this. All is not lost, though We just need to go into the day, be Photoshopped to do the next step. So let's open any raw file photo shop they become a role will automatically apron showing us the Rockin Berta one of our like in presets will automatically be sink if we're on the creative cloud system. So we just need to click on the precinct that we wish to convert. We've clicked on the preset. We now have to come down on old click on the little envelope with bottom to open the profile. Converted top. When you ever open, we just need to make a new folder, name a profile and make sure we have the perimeter set, then click convert. It won't be open profiles tub here in camera, or we will see a new preset savers. A profile. The great thing about this is that it will save in light room, too. So now just exit photo shop open light room, and you should see your new profile added in the profile section. If you had light room open, be sure to close it first and reopen it after you've done the Photoshopped part. Otherwise it will not appear. So that's it. Now you've saved your preset. There's a profile. 10. 10 IMPORT PRESETS: a great way to speed up your workflow is by creating import presets. Now I have import presets created for my wedding Photography on this essentially applies a preset at import. So when all of your images were imported into the library module, all of your images will have that precept lied to them on. This could save you a ton of time. I also have a black and white import preset to This allows me to develop a set of images in black and white or import. This process is super quick for converting large constance of photos to black and white. Simply edit your whole bunch of photos in color as you would normally, then export them as J pigs to a folder of your choice. Next, import these photos into light room and apply a black and white import preset you have made . Once you. Once they have been imported, you just need to export them and your mono conversion is done. It's such a quick and easy way of converting large brushes of images to black and white 11. 11 EXPORTING, SHARING & SELLING PRESETS: Let's talk about exporting your presets and profiles. Export with preset is simple. First, right, click and choose export in the preset menu. Choose where you wish to export your preset to a name it, then click save and you're all done to export a profile. Simply right, click on the profile and select shown Explorer. This will show you where the dot ex MP file is stored. Simply copy that ex MP file and share away. Importing is really easy to just click on the plus icon and search for your profile and click Import export in your profiles and presets is a great way to back them up as you can save them in your cloud storage dropbox. But it's still, though you can share them or even sell them if you have an audience. Selling presets is big business for many photographers, with large audiences creating a pack and uploaded into additional products sites such as Self. I can make the whole process profitable and easy to share, so it's such a self I charge a monthly fee. But once your products are a bladed, it's a truly passive income from there on in or is left to do is to market them. This is one of my precinct packs that I So this is sold on my website. My website is hosted by Squarespace, which is a great platform for selling digital products, prints and workshops. 12. 12 CREATE YOUR PRESETS: great. And your own presets could be very rewarding. Savior 10 time. Andi can earn you revenue. So I would really like to see some of the presets that you've made. So please be sure to upload some images for the class project. I really want to see your creative style on what you're doing. Teoh, create your images. I really look forward to seeing them. Please be sure to drop any comments you might have in the discussions board to get back to everybody. And I really want to try to help everybody as much as possible. Please be sure to give me a follow to, as you will be notified them when I bring out new classes. So I look forward to seeing you again. Take care. And thanks for watching.