Edit like a Pro! - 1 - Beckett Bridge at Sunset | Joe Houghton | Skillshare

Edit like a Pro! - 1 - Beckett Bridge at Sunset

Joe Houghton, Passionate about business and photography!

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
15 Lessons (51m)
    • 1. 1. Titles and what we'll cover

      0:54
    • 2. 2. The Edit Like a Pro! series...

      2:17
    • 3. 3. Introducing our image...

      3:14
    • 4. 4. Reading the Histogram

      3:02
    • 5. 5. Creating the HDR merge

      4:33
    • 6. 6. Sorting images in Grid view

      2:11
    • 7. 7. Using Survey mode to compare images

      1:22
    • 8. 8. Keywording our new image

      3:15
    • 9. 9. Editing - The Basic tab

      5:33
    • 10. 10. Editing - The Transform tab

      3:45
    • 11. 11. Editing - Sharpening

      2:45
    • 12. 12. Editing - Radial filters

      7:32
    • 13. 13. Editing - Adjustment brush

      6:38
    • 14. 14. Editing - Final tweaks

      3:37
    • 15. 15. Thanks for watching!

      0:29

About This Class

In this easy to follow class we go through a complete Lightroom edit on a sunset image taken looking down the river Liffey in Dublin, Ireland towards the iconic, harp inspired Samuel Beckett Bridge.

Techniques covered include High Dynamic Range (HDR) processing of 7 separate images into 1 single composite, global and local adjustments, using radial filters, adjustment brushes and much more.

All easy to follow and apply to your own images - come on in and see!

3b4a4c24

Transcripts

1. 1. Titles and what we'll cover: I want to know how to edit your night shots like a pro. How to bring attention to subtle details of your shot. I'm Joe Hatton. Let me show you how it's really simple to do. By the end of this class, you'll know how to use the hissed a gram to set white and black points all to your colors. Use radio filters to alter portions of your shot, fix wonky verticals and clone out distracting element on when to make global versus local adjustments. So let me show you how it's really simple to do. Click the Enroll button now. 2. 2. The Edit Like a Pro! series...: Hi that this is a short at it tutorial using adobe like room, which is part of a Siri's that I've put together based on a night shoot that I did with some students in Dublin recently on the keys off the River Liffey. So as you can see from these three shots, this this Siris of of addict tutorials takes you through three very different shots that were taken during the night on shows you how the shots were taken on then how they were edited into their final forms, as you can see them here. So the 1st 1 is the Beckett Bridge at it, where we bring out the sky on DWI do an HDR high dynamic range. So we composite 37 shots together. T get this effect The middle one, the Navy on the keys. So bringing out the detail, doing some cloning work to clean up some mess on on his cap. Onda adjusting white balance on. Then on the right hand side, the light trails on O Connell Street Bridge, which again is a composite off a number of different shots where the light trails from different vehicles were brought together in photo shop using a blend mode on DSA. Um, layering so very simple techniques. Very easy to do. So if you watch the tutorials and follow along with me, I'll show you how to achieve thes looks yourself. I will also include the original raw files for the shots as part of the tutorials, so you can use those in light room yourself, or you can apply the same techniques to your own photos. So I hope you enjoy the tutorials. Look out for the other ones in the Siri's. If you just found one of them on any questions, feel free to drop me a line or an email. I'd be it be great to hear from you. 3. 3. Introducing our image...: So I'm in light room on. I'm looking through some shots that I took when I was on a night shoot a few days back. So as you can see, we've got a lot of shots from the keys in Dublin that we were taking just before the night came down. And then later on that night on in this class, what I want to do is I want to have a look at HDR high Dynamic range on HDR is a technique whereby you can take shots at different exposures, so different levels of brightness if you like on then you can combine those shots in order to get one particular shot with all the colors and all the detail, which you might not be able to get in in a single shot. So if we if we have a look here at this sequence from this shot through to this shot here, So this is ah, seven shot sequence. I've set the camera up for bracketing on what that did. Waas. It started off Andi. It made an estimation of what was the correct exposure for the scene, which would be the shot in the middle here. Okay, now many times that's going to be OK, but especially when you are focused when you're looking at a very high contrast scene, where perhaps there's a lot of brightness in the sky. But there's also quite a lot of dark areas in the foreground. For instance, then it could be very difficult for some cameras to get a single exposure, which captures the entire range of tones. So if you're facing a situation like that, then have a look on your camera and see whether it will allow you to do bracketing. And if it will set it up to shoot, however many shots it can do. Some of the more entry level cameras can perhaps only shoot three shots so they can shoot one shot, which is what the camera thinks is correct. They can shoot one shot, which will come out darker on one shot, which will come out brighter. So my camera I can set up to nine frames of bracketing. So in this case I set seven up just so that we can see that we have quite a variation. So the first shot, If we double click on this, you can see it's It's almost completely black. But this shot gives us all the detail in the sky, and I'm just going to shoot the left campaign down so we can see the shot. They're a little bigger. So we've got all that detail in the in the brighter areas of the clouds on then, as I right arrow through the's seven shots. So there's the next on a little bit brighter and then a little bit brighter. 4. 4. Reading the Histogram: just loading the shut up there. Quite quite large shots. Thes off the neck candiate 10 Each one of them is about 40 megabytes. We're getting brighter and brighter now, as we move through the shots, let me go back to the darkest shot for a minute. Yeah, over up in the top, right hand corner. Just look at the history, Graham on the hissed a gram is a graphical representation of the tones in the shot. So this very dark shot, the hissed a gram is naturally bunched over towards the left. The very left hand end of a hist a gram is complete. Blacks on the very right hand end of the history, Graham is showing complete whites. So, as we get from go from black through to white on all the mid tones in between, we get different peaks showing whether asthma turns out. So here we've got a lot of very, very dark areas. We've got a a few that are kind of getting a bit brighter. That's kind of over here, but there's nothing that's completely wiped. If I moved to the next shot, which is a little bit brighter, you can see the hissed a gram has moved slightly to the right, and as I move through these shots now we're getting a brighter shot and you can see the tones of showing that week. We've got tones from from dark through mid tones, and we're getting some slightly brighter tones towards the right inside, which would equate to these brighter areas in the cloud over here. And as I go right again, we're getting even brighter. So that's the fourth shot. That's the middle shot on. You know that, hissed a Graham is saying right, we've got a full tonal range in that shot so that shot would be the one if I only took one shot would be the one that I would go and edit. But Aziz, we go to the right again. We've got an even brighter shot Now on. We've got an even brighter shot now, Now you might think Yes, well, that's far too bright. You've lost all the sky detail, and you're quite right. You have lost all the sky detail. But if you look down in the right hand corner here where we're looking at this lovely old cast out and hook that the ships used Thio more to the brightest shot. Although it's blown out, the skies has brought out far more of the detail in the darkest area of the of the other shots. Which is this this detail of the old ironwork on the stone here. So when we combine all these seven shots were going to get the detail from here taken from this shot on, then perhaps will get some of the detail off the water because the clouds air reflecting in the water beautifully from this shot. And then as we go into the darker shots, then we're going to get some of the sky detail which only really comes out in those very dark shots will be taken from from the darkest shots. So if I press G to go back to the grid view 5. 5. Creating the HDR merge: Andi, here's are seven shots So 1234567 I'm going to select those. So I click on the 1st 1 on. Then I moved to the last one in the sequence. Hold the shift key down and pick again. So now you can see it selected all those shots and in light room We could do an HDR very easily by going up to the photo menu and then we go down to photo merge on we choose HDR. For years, you've been able to take the photos straight out to photo shop and do emerge to HDR in photo shop on. If that's your previous way of doing this, I would encourage you if you've got light room to try doing it now in light room on there is one really important, um, benefit that doing this in light room offers over Photoshopped at the moment on. I'm sure it'll changing in later versions, but But in the current version of photo shop in light room that we're in in November 2016 doing a photo merge to HDR in light room gives you a raw file so the output from this process will be a DMG file, whereas if you do this in photo shop, you get a TIFF file, which is a file which is doesn't have quite a much data in it and can't be manipulated as much afterwards because we're going to do this HDR. And then when we've got that final HDR file, we will probably do a little bit more processing on it. So I'm going to click on HDR now on. What it will do now is change the screen into the HDR, and the first thing it does is it reads in those seven images on its creating a preview. So I generally check auto align on auto tone. Andi. I would typically just have high checked as well for the de ghosting amount. De ghosting is when things in the shot were moving. So maybe people were moving around or trees were moving. Leaves were moving on. If you put it onto high, it just reduces the visibility of that on what it will do is it will find a shot where there is least movement, and it will use that for the areas of the shop that we're moving across the seven different shots eso you get a nice, crisp, clear, um, part of that particular image. So this takes a few seconds, Aziz. You can see it's it's churning away, and this is a fairly fast machine, but it's dealing with 7 30 megapixel images. You can speed the process up by down, sampling your images or re sizing your images to, you know, maybe a J Peg image or two to a smaller size. Again, I'm shooting on the D A 10 which gives me 36 megapixel photos. But if you want to speed up your HD ours, you could maybe save those photos out at, you know, 2000 pixels, long edge or whatever before you do this, Um, and that will speed up the process. But I don't mind waiting a few seconds for it to to do its thing. So all being well, in a couple of seconds, we will get the preview, and that will give us some idea of what it looked like. So here's a preview, and as you can see, we've got all the sky detail, which is reasonably bright. We've got the detail in the water on. We've got the detail down in the right hand corner, which is what we want. So that's gonna be fine. Okay, now, that's not our final photo. That's the product off the HDR merge. So I'm just going to tell light room now to do that. Merge, I'm gonna click on the merge button so we now get dropped back into light room on. We can carry on doing stuff to other photos on over on the top left hand side. Here, you can see the process for creating that HDR. So it will just go off and do that in the background on when it's finished, we will get a new photo which appears stacked alongside previous 6. 6. Sorting images in Grid view: I've mentioned this tip in in some of my other classes as well, but it bears repeating. Um, sometimes when you do this type of process, whether it's in photo shop or whether it's in light room where it's creating a new image for you, the image doesn't appear with your original photos. Very often, you have to go down to the bottom of your photo stack for that particular shoot, and it'll maybe be at the bottom on. That typically happens when the sort on your collection of photos here the set of photos in this particular folder is set not to file name, but to the default, which is captured time because these photos were captured a few days ago. But the capture time, if you like of the newly created HDL, which is just being made at the moment, would be, you know, today. So the capture time for that new photo would be would put it right at the bottom of the pile. But if you change the sort order to file name, then when light room creates this HDR file, it will base the file name on. I think it's normally the first image off the set on. Then it will. It will upend dot dash hdr to the end of the file name so that we can see. So if we stack the photos by file name order when When it's finished creating the HDR, we should see that photo appear with the seven photos that we've we've already got. So I'm just gonna let it finish show. It's just finished now. There we are. Andi, here's are seven photos. Okay. 1234567 I'm there at the beginning of the seven photos is the new one that it just made from that set of seven. 7. 7. Using Survey mode to compare images: So if I just highlight those those eight photos now Andi press en for Norman. That puts me into what's called survey mode on. I could just show you the that allow the photos together. So the one on the top left hand corner is the Is the HDR merge. And here's the seven photos that made it up. So they see there's the middle photo that we started with, which might we might have started editing with. But you can see that that's much darker in that right and corner than the the HDR photo that we've got probably a similar ish sky. But we've got more detail showing in the in the water on also in the buildings you can see these buildings are somewhat brighter than the buildings in the in that photo. So it's taken elements from these all seven of these photos and combined them into this war . So I'm going to press G now to go back to Grid, and I'm going to just double click on. I'm just going to click off these photos and then just click on the single HDR photo again . Andi, double click on it and we'll now start to develop this photo 8. 8. Keywording our new image: so to develop the photo, I'm going to bring in the right hand panel, which is the the one where all the all this stuff goes on. That we when we developing on while we're in library module on. We've got this new photo. I'm just going to update the keywords on it because there's a few key words that we need to add. So I'd put these general keywords in for the whole of the set because they apply to all of the photos. But this is a shot off Beckett bridge, and you can see I've already used Beckett. Bridge is a key word, so it pops up. So as soon as I start popping up, I can just it Okay on that gives me Beckett Bridge. It's also called the Samuel Beckett Bridge. So that a lot bridge? Because that's another one. Um, Allied Hop because the bridge was based on the Irish harp symbol. Um, keys because we're on. We're on the keys in Dublin, So keys. Liffe. Oh, I've already got Liffe, So that's fine. River. Um, maybe port No, not Port Edward. I just want port. So I just delete Edward, and okay, so that that'll do for now and then it's offering me down here. Suggestions for keywords on Here's my recent keywords that I've used. So all the ones that are highlighted in white are already up in my list on any that are highlighted that her grade out slightly like this haven't been used. So if I want to say River Liffey is a key word, I just click on that and it will add it into my list of keywords. Um, the rest of those don't apply, so I'm not going to go any further with him. The last thing I want to do in library module while the Net Now the second last thing is changed the preset. So I have a preset, which is Joe out in 2016 which adds, in all my copyright information on my details into the I. P. T. C data for the image. So that's going in there on then I will typically as well give this title. So let's call this one Beckett Bridge, um, at Sunset Dublin. Okay, and I'll click on OK and I tend to use titles as part of the bigger file name. When I export this for uses either a stock photo or is a photo that goes into one of my galleries for sale. So that's, um, that's all the all the basic work in the library module done. So now I can click on D for Developed and we can go into the development, Jill, and we can have a look what we can do to improve the photo on bring out a bit more of the color on the detail that that I want. 9. 9. Editing - The Basic tab: So let's go up to the basic panel to start with, which is a good place to start now. Overall, the the tone of the photo is quite cold at the moment now. It was very cold at the moment when we took the shots, but I'm going to want to just warm this photo up a little bit. So the first thing I would do is just just slide that temperature a little bit to the right and just maybe bring out a little bit more of the warmer tones on. We'll see how that goes. I might come back to that a little bit later on, um, on by might just pull the tint the other way just very slightly, just to just to offset some of that, that we are okay, um, in the basic panel. One of the things that I want to do is I want to make sure that I stay within the left and right and urges off the hissed a gram to make sure I maximize the use of all the tones across the entire range. But I don't lose any detail, so it's quite a bright photo at the moment, so If I pull the exposure down a tad, you'll see that the the main kind of arch if the hissed a gram moves over slightly to the left, so I'm bringing down a little bit. But But I quite like that. It's it's an evening shot, so I wanted to be a little bit darker on then. I know that it's really darkening off the foreground here on the buildings and stuff, but we can handle those later on with some localized edits and adjustments. So my highlights are pulled all the way to the bottom. And if I don't really want to blow the highlights, because if I do that you see in the top left hand corner of the shop that the highlights will go go to White, I'm getting a reminder to plug in my power. So let me just do that. We are on. We'll get rid of that. So that's probably OK. Hi. I'm gonna leave the highlights down. I've opened up the shadows. I slipped. I I slid that the shadow slider to the right and you see what that does? It doesn't really affect the brighter areas of the picture in that say, the top left hand corner, but the shadows slider is great for bringing out more detail in those darker areas. Ondas. You can see on the history Graham. It's really only affecting that left hand edge of the hissed a gram that left hand hump of the hissed a gram. So I'm just going to bring up the shadows and I'm gonna bring them up all the way. Actually, I'm shooting a camera, which was I was shooting in raw. I was shooting at a very low ice, totally. That native ice on the nick on the turn is 64. But if you're shooting at I so 100 or 200 which is you typical standard I. So for most cameras, then that allows you to have acquired a lot of latitude when you are pulling shadows light list without introducing too much noise into the image. Whereas if you shooting at a higher I. So let's say you were shooting at 400 or 800 or above that and you tried to do the same thing with shadows. What you would find is that the darker areas were very noisy. They were getting a lot of purposely grainy Look on that center noise coming out when the ice so is being pushed even further than it. Waas. The whites and blacks points you use the's on the hissed a gram to set the right and left edges of the hissed a gram. So, for instance, if I pull that white point to the left you can see the right hand edge of the hissed a gram whereas the what where the wall the white sit are is pulling to the left on that white point basically wants to be almost touching the right hand edge so I can move it. Until that hissed a gram just just about touches the right hand edge. On that way, I know that all my whites air still in the shop, but I have not blown any of them out to completely white. Another way of doing that and visualizing that quite well is while you're dragging the white or the white point slider. Hold the key down. Now I'm going to drag. I'm pressing the Elke and as I drag the white point Now you see those those areas in the top left hand corner appearing. Now those are telling me that those areas have now blown out to complete white, so I can just pull the white slider back until those areas just disappear. And that's the perfect point now for my white point to be so I've pushed it all the way as far as it'll go without blowing out any of my whites on I can do the same with the blacks. So I can either just eyeball the hissed a gram like that. Or I can click on the black slider, hold the old key down, and now you can see as I go left anything that shows black, yeah, is going to be completely black so I can move the blacks and just eliminate all. Or maybe I just want some of the stuff to go completely black. Those cast out that Kasten, um, hook, but the bottom of the right and corner there, Some of it probably is completely black, so I'm just going to leave a little bit of total black on. Believe that is my setting on. Well, we'll work on that in a little while. 10. 10. Editing - The Transform tab: So that's the basic tab done. So I'll just I'll just close that off for a minute. Let's just move, move down a little bit. The next thing that I want to do is is do a slight transformation. I shot this with a very wide angle lens on you. Can you can see that this is a wide angle lens because to the right and edges of the shot, what you tend to get is the verticals of bowing out a little bit. So certainly this fence was actually vertical. But But you can see it's it's showing slight distortion there. Those buildings are fairly vertical, but there is a slight kind of upward left, right to left distortion there. So we're gonna fix that. So we go to the Transform tab now. Light room has the automatic ways of doing this. So if you if you click on Vertical, for instance, it'll it'll do its own thing. And perhaps or full. It's not doing a lot so we can try auto. No, none of those were really working, so we'll turn that off. But in a fairly recent version of light room, we got the option to actually set over to cause ourself, So this little tool here is really useful. So let's click on that. And now we can draw some lines on the picture and tell light room what the verticals are. So you see this fence pole here, um, this this vertical one here, I'm gonna pick up the top hedge of that and you can see we've got the little loop magnifier here showing the topic. So there's the very top edge. And then as I moved down, you can see that line and I'm gonna move down to the bottom of that fence pole and I'm going to just choose the bottom there on that. I'm saying that's a vertical line. So that's one vertical. Now we need to draw two vertical loans for light room to do its magic. So I'm gonna go across the river and I'm going to find or maybe the edge of this building. So there's the very top corner of the building, and then we're going to draw a line down on find the bottom of that building. So there's the building. There's the bottom. I will say that's a vertical as well. So now what? We've got is we're saying that's a vertical them have saying these verticals on light room has done some correction. Now, Yeah, that's OK, but it looks a bit odd because now we've got these. I don't know what these are. Street lights, perhaps. Andi. They look very odd coming in like this. So I'm going to change this and I'm going to I'm going to make one of these a vertical on DSI. Whether we can tell it to pick that up rather than the street pole, the poles. So there's one. There's another on the so the upright corrections and I'll tell it to update. Now I'm going to select that one and delete it. Okay, so then that that's giving me are more pleasing. Look for the photo. So these are stronger verticals, which which the, I think should be vertical. That's making Liberty Hall in the background vertical as well, which is is correct. So I'm quite happy to leave these looking slightly skew. That doesn't really detract from the photo. So we're happy with our transformation. We click on done on, then it will make the two white lines go away on DWI. Congrats on with our other edits 11. 11. Editing - Sharpening: The next thing I would typically do is just do a little bit of detail work for a shot like this, especially where the stonework involved on buildings. I'm almost always going to push the sharpening up, probably to around about 90 or 100. But I don't want that sharpening to be applied to things like the water on DFLers at surfaces, so I can tell light room to mask out some areas of the picture to not apply. Sharpening to summaries of the picture on if I want to see what it's going to apply the sharpening to again, I hold the cult key down, and as I hold the okey down, I drag the masking slider so it starts off all white. But as I drag to the right, the black areas of the shot will not have that sharpening applied to so you can see that is our drag. Further and further across, pretty much the whole sky is now selected. Most of the water is selected, the all that flat surfaces on the bridge just selected. So all the white lines are just showing the edges, which will have a bit of sharpening applied to them. So that's about right. And I release my mouse button on then that sharpening is now only going to be applied to those areas that were showing his white looking at the photo here. You probably can't see any difference. But if that photo was blown up or printed, that would actually make quite a bit of difference. Do the photo. So I think we'll we'll leave that. Okay, I don't need any noise reduction. If I could just check around the photo so I could click on this little crosshairs on, I could move my mouse around the photo now, and you can see that in the in this area here that the kind of magnified area as I move around the photo when I move into the sky, for instance, have a look at that bird up in the sky There. There's no noise because I was shooting at 64. I so and I was on a tripod eso, even though it was getting quite dark. There is no noise whatsoever in this image. It's a very clean image from noise for interview, so I don't actually need to apply any noise reduction It all if I did see some noise coming in here. Then I could play with the noise reduction sliders on. That would sort that out. But I don't need to today. 12. 12. Editing - Radial filters: I'm gonna come back up to the basic tab, but I'm actually not going to use the basic tools now. I'm actually going todo do some stuff using the adjustment tools up here now. So first thing I want to do is I'd like to just bring out the detail in this, this right on the bottom, right hand corner of it. Now, I could use the adjustment version kind of paint over this, but my kind of go to tool for this kind of thing is the radio filter. So let's click on the radio filter on what this allows me to do is click and drag a circle . And I could move this around, um, on within or outside that circle. Depending on how I choose to set the settings. I can I can change the light in the color on all these different things that we see up here so I can adjust the shape and the size of this circle by using the the handles Here, I can rotate the circle by grabbing the circle anywhere apart from the handles on that will allow me to rotate the circle, so I'm gonna rotate it to be kind of slightly over like that and just change the center slightly. I can adjust the feather of the circle so you can see at the moment that we've got exposure is pushed up slightly so you can see that it's brighter in the in. The centre on dive clarity pushed Oppa's. Well, I just leave those for now, but you can see the effect off that effect. If I have no feather, it makes the circle absolutely sharp. Well, that's obviously no good. But if I go the other way and put the feather completely to the right, it really softens that edge off the application of what these changes will be to the center of the circle and then feathering it out. So, quite often, feathering up to 100 or, you know, the high eighties or nineties, we'll give you a a more pleasing look, and it will make it less obvious that you've you've actually done something specific to the photo. So what I want to do here is I want to just make the I slightly more aware of this than it perhaps would be if it was in the bottom corner and very dark but I've gone too far at the moment, so I'm just gonna pull the exposure back a little bit on this. Um, to maybe there the clarity is is great for something like this, because what it will do with with ironwork amid stone and stuff is is bring out the details so you can see if I go from no clarity at all. And I pushed that clarity all the way up. Yeah, it's bringing out that detail in the In the stone on the mosque. It's popping the it's popping the the detail on the this little weed that's growing up, and it's also really bringing out the detail here on that stone work. So I quite like that. I'm going to just try a little bit of saturation, see whether adding a bit of saturation does anything. No, it's not really giving me an awful lot, so I'll leave the saturation. I might just pop the sharpness of a little bit higher as well. Just to really bring this out that the sharpening on this on then you can you can play with things like the highlights, so that's just going to work on the brighter areas within that circle of the moment. If I want to bring the shadows out to to maybe just bring out a little bit more detail here , I, kanak in again, push the shadows on that will just bring out a little bit more off the detail in the very dark areas off that so that would that would be that. And then I'd maybe just dial the whole thing down just a little bit because ideally, when you're making these changes, you you don't want them to be immediately obvious when somebody looks at the photo or you know he's gone and changed that particular area. So if I want to see the before and after of those changes, this little turn off the radio filter, so that's no radio filter on, then that's those changes applied, and you can see there's quite a lot of difference there in terms of you know, the detail that you are being ableto extract from from that area. Now. To save some time, I want to apply a similar set of settings to another radio filter to apply to the buildings over here, so I could just close this radio filter going drawer another one. Make all these settings again. Just take me a few seconds, but a little time saver. Click on the middle of the radio filter that you've already done. Click and then right, click on it and you get the option to duplicate that radio filter. So I click on Duplicate. And now what that's done is it's given me another radio filter sitting exactly this on top of that 1st 1 So if I just click and drag now, you can see I've now got another radio filter so that my original one is still over here. You can see the dot for that, but I've got this circle here with all those adjustments that were made, and I can drag that over to the buildings and I can rotate it, and I'm going to make it much narrower and longer, so it just really effects the buildings on that sign of the river a little bit more way, Dio. So again, I can show the before on the after. Okay, now, if you do this, if you duplicate these filters like this, then if you make a change to tee this one, it's also going to apply to that one. So be careful when you do this. If you If you want them to be completely separated, then use use different filters. So, for instance, if I want to do 1/3 radio filter now, perhaps, um t just perhaps just look at this area here. I'll do that on. I will just pull up a filter here. Kind of. I just really want to used that this to just accentuate the lines of this this lovely converging fence here. So I'm gonna put clarity up because clarity is lovely, But then I'm just going to dark and off the the exposure a little bit. So all I'm really doing there is just just highlighting it a little bit just to bring those lines into a bit more con trust. I might even just just pull the highlights down a little bit just to darken the greys of the pavement behind and again, we can just see before and after all those radio filters. Now what's happening with them? But again, you see, it's just just added a little bit 13. 13. Editing - Adjustment brush: Now, the bridge at the bottom is looking a little bit dark there. I could use a very flat radio filter, but I'll just show you doing that with with an adjustment brush rather than the filter. So put the exposure up way too high. Double click on clarity just to put it back in the middle on. You can use the right and left square bracket keys to make your brush bigger or smaller. Or you can use the mouse wheel if you've got a central mouse wheel or if you've got one of the Apple Mac magic mice just just used the Just roll your finger up and down on the on the mouse on you could increase the size of that brush. The outer circle of this brush is the feather, Uh, so if we move down to feather here, you can see that is I move the feathering down to nothing or above, or take it up to 100. The outer circle of that brushes is increased or decreased, so I just want something about that size, and I'm just going to draw just along the bottom of the bridge. There very, very kind of drawing. Okay, that's fine. Now that's gonna be see crazy because I've got the exposure turned all the way up so that I can see where I'm drawing. But then what I will do is just pull the exposure down on. And typically, with something like this, you might just, you know, use it for 1/3 of a stop or 1/2 a stop or whatever and maybe use it just to just to bring out things like the highlights of the clarity. So you can see the clarity there is just bringing out that water a little bit more under the bridge on That kind of takes the I to the bridge a bit more and maybe being the white sound, I don't want to bring the whites out too much under the bridge because I'd rather be I went to the bridge rather than to the to the water. Now, what I do want to do here is I do want to bring out the white off the bridge itself. So to do that, I'm not going to need to zoom in on the picture. So I'm going to bring in the left hand panel and I'm going to go into 1 to 1 because at the moment picture fits the window that I've got. If I go into 1 to 1, you can see it zooms in and I can select the bridge a bit more off the bridge. Because what I want to do now is I want to do a New York new adjustment brush or click off and closed the old one and start a new one. And I'm going to leave exposure up like that. And I want to make sure that auto mask is checked on because what I wanted to do is I wanted to find the edges as I move along the bridge. So what I'm gonna do is I'm going to select the bridge. I want this bridge even bigger. So I'm going to go to 2 to 1, so I'm going to choose 2 to 1 here. Okay, Make even bigger, because then it makes it bigger in the for selecting. And there we are. It's brought it in. Now if I click in this area, what the adjustment brush should do now is find the edges because I have auto mask turned on. So it's just finding the edges of the bridge based on what I'm selecting the color that I'm selecting, which is under the cross hairs there. Okay, so you can see that as I move around Now it's just selecting, and it's not really bleeding into the sky, which is what I want. And if I if I need to go down a little bit smaller and I do that now, this is quite, um you've got to be careful doing this. So as you move along here, you want to make sure that your adjustment brush isn't too much bigger than the size off. Whatever it is that you are trying to paint, I feel like so what I want to do is it just one to choose the bridge? So this is gonna take me a minute to to do so what I'm gonna do speed up the video so I'll do the selection. But I'll speed up the video so it's quicker for you to watch. So I've done a very quick and dirty selection off the parts of the bridge that I want to brighten up. So now I'm going to click back on the fit and shut down the left hand panel on. Obviously, at the moment, the bridges kind of way too bright on looks really crazy because I still have the exposure turned all the way up. But while I've got that selected, I can now Dolly exposure all the way down to where it was before. And then I could just bring the bridge up a little bit and see how bright I want to make it just to make it stand out a little bit. So you see that? That's kind of about one stop extra of exposure, which would just make that bridge stand out a little bit more. Um on. Do you know I can even change things like the temperature on the color temperature of the bridge to make it a little bit bluer or a little bit, you know, yellow are warmer or whatever it is. So you've got you've got a lot of control over of the look off a selected region when you do this so I could just brighten up highlights just a little bit. Perhaps stuff like that. Now, obviously, you know, the more you do, then the more obvious that it becomes that something has been done against the background. Um, but it's it's an easy way off doing a selection and then making making changes on you can that you could now perhaps go in and do a 2nd 1 because the bottom of the bridges is actually brighter generally than, say, this, this top area here. So if I if I really wanted to be picky, what I might do is go in and put another adjustment brush on Greece, elect that top half of the bridge there and then just paint in a little bit of extra brightness for that. But I'm not going to do that today. We'll call that okay for for the bridge. So we're getting we're getting somewhere. 14. 14. Editing - Final tweaks: I'm still not. I'd still like a little bit more color to be coming out of the sky, So I just want to come back to down to two vibrance and and just do a general vibrance push on the whole picture. And as you can see, that's gonna brighten up the whole picture. But if I do that, it's it's going to really overdo the tones down here, which I don't really want. So rather than applying that to the whole picture, what I'm going to do is I'm going to put another radio filter on my picture on I'm gonna draw a radio filter. But I'm just going to kind of keep this one looking at this main area off the shot over here and try and get it to, you know, really affect that bottom corner. So there we are in my exposure double click to term exposure down to zero. And now I don't have vibrance is such in the change it it's for a radio filter. But I do have saturation, so I can just brighten the just increase the saturation. Um, a little bit now we are on. I'm gonna warm things up a bit more to change the colors. Andi, for this shot, I also do want to add a bit more clarity to the sky because clarity was really gonna bring that sky out. So again, you can see the difference is that we've just made turn it off, Tony Dome. Now, obviously, this is very subjective. You know, I quite like that. Look, you might think it's overdone or it doesn't work for you or a different color would be better. But that's the beauty of all these these options you can you can play with your shots and bring them up to whatever you want. Probably the last thing I would do. Eso I closed that radio filter down to this shot is just go down to the effects panel on Just put on a very slight vignette. I mean, obviously not not something like this, but 15 or 20 just darkens the corners a little bit on brings the I in two. What typically is what you want to look at, which is the main area of the bridge. I might, as a result of having done that vignette, just revisit. So click on the radio filter again and just go down and pick up the bottom radio filter that we had before. You can just click on the dot there and then I might just bring the exposure just up a little bit more on that, just to just to bring that out a tad because it's been darkened by that corner off the of the vignette on the frame of the whole, um, so there that that just brings out the bottom corner nicely. So the I, I think, would would kind of go from here on, moved down to the bridge on then probably up to the sky all the other way. There's there's a kind of the natural movement through this shot, Um, with the sky on the bridge and the I'm the hook in the bottom. So that's my edit off the Beckett Bridge. 15. 15. Thanks for watching!: