Edit with Intention: Photo Editing with Lightroom and Photoshop | Micah-Daniel Lewis (ItsForGotham) | Skillshare

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Edit with Intention: Photo Editing with Lightroom and Photoshop

teacher avatar Micah-Daniel Lewis (ItsForGotham), Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (41m)
    • 1. Introduction

    • 2. Deliverable and My Project

    • 3. Key Differences Between LR/PS

    • 4. Temperature and Tint

    • 5. Color Palettes and Grading

    • 6. Presence and Hues

    • 7. Split Toning and Detail

    • 8. Lens Corrections and Effects

    • 9. Brushes, Filters and Cloning

    • 10. Final Thoughts and Closing

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About This Class

In my introductory Skillshare class, we digested fairly large concepts with editing images through a creative lens and drawing on influences from other mediums such as film and music. In this class we will focus on concrete reasoning and tools to justify edits. Students will gain a working knowledge of two professional grade editing programs found within Adobe’s Creative Cloud service, Lightroom 5 and Photoshop. Topics covered will include, filtering, color grading, and the program’s basic and advanced applications for editing DSLR images.

Meet Your Teacher

New York City based ItsForGotham has been drawing from a unique brain condition known as synesthesia since late 2012. Using this subconscious ability to "see" sounds and "hear" colors has led to a development of a unique approach to capturing and evoking any given emotion. Pursuing themes such as neighborhood violence, corruption, silence and human psychology, he began pursuing the craft more seriously in his free time and would later develop a certain technical ability to shoot and edit various urban landscapes all within apps on the iPhone 5 and Canon DSLR equipment. Months of persistence, patience, and meetings landed him the opportunity to became a brand photographer for Nike and Jordan brands, and he hasn't looked back since.

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1. Introduction: Hello. Hello. Hello. What are people? How's everybody doing? This is Daniel Lewis, a k. It's for Gotham. If you didn't already know. Welcome the class. I would really like to thank all you guys for coming back. Classroom was a huge success and skill show. Approached me about partnering up in doing Ah, follow up Siri's. So this is the first part of that series. You guys don't expect another class are basically throughout the summer. So this is Ah, my next class. I would like to focus his class specifically on the technical differences between Adobe Light Room and Photoshopped. You hear a lot of people go back and forth like which one is the better process by the block. I'm really here. Just toe show what you can do in both of them, show the applications of them and not push you towards one way the other. But to get you comfortable with using both in kind of being able to import and export of picture, using both applications for these guys who don't already know. My quote unquote, my day job is ah is working as a content creator from Nike, just creating excuse me images and emotions that can be marketable to people who aren't just athletes. But, you know, everyday people, people want photographers or videographers and make them feel, um, relatable to whatever the subject of the picture is. That's basically what I do. And I also, you know, finger paint. I'm starting to dabble a little bit with with cinematography and making still images come to life. And that's something that I'm really looking forward to sharing with. You guys, without further ado, really quick. I just want to share with you guys will be expecting of you. Um, we're just briefly. The main purpose of this class is to show you the differences between Lightman photo shop and how they can be used together. And with that further ado, let's get started. 2. Deliverable and My Project: so really quick. I'm gonna go over what I'm expecting to see from you guys in your final deliverable. I went 3 to 4 images. I want one of your images just raw straight out of the camera when a second image, um, which shows major transition from the original image. And when you felt like your head, it was starting to come together. And then your third and final image, or fourth, depending on how many progress images you decide, upload your fourth and final image should be the full high res image. Finished or polished and ready to go. I really want to see 3 to 4 images that's showing your thought process. And I want you guys to also explain the story of what inspired your picture for my final project. What I'm showing you guys. I took this picture on a recent trip to Chicago, um, underground at the Millennium Station, and it's kind of like a sense of belonging. It's like we're not really supposed to be on these tracks. You're not supposed to be running around on tracks. It's not really conventional photo to take eso. I kind of want to evoke that emotion as well. That's why the saturation is so low, really high clarity. And I have these really high highlights in the back that's not really showing what's on the other side. So you have that sort of, ah sense of adventure. You're on these train tracks kind of running around, but you always pushing forward to that sense of purpose and fulfillment. So it's kind of, Ah, quick image, if you just look at it's really simple. I don't have a ton of colors going on here, but it's something I really wanted to evoke a certain emotion, which is why, you know, saturation, the colors really low. But I still feel that it's really powerful because, um, just of the other meanings that could be interpreted for it, so sort of that pushing, uh, for the future. And you know that sense of belonging even though, you know you're sitting on train tracks, so that's a little bit about the story that I have. And that's what I want to see from you guys. So I went 3 to 4 total images. I want one raw image from the camera, Um, one second image that shows hey, at some point, I felt this that it was really starting to go my way. And that's my image right here. And your third and final image is gonna be a composite. When everything straightened out, your tones are covered and you've got your final layer done. That's what I want to see from God's, regardless of the application that you use. So if you decide to use light room, saved three total images and export those if you use photo shop, whatever you decide to throw in a Photoshopped picture, um, throw those three or four composite images in just showing us where your progress one went and also be able to explain like I did, why you took the picture that you did and why you used certain tools over others. 3. Key Differences Between LR/PS: all right. So really quick. We'll just jump into some contrast in, ah, differences that are in light room and Photoshopped and really without applications, you can use them for a full adobe. Photoshopped and Adobe Light room are both available in adobes Creative Cloud service, which I'm a member off. Essentially, you pay a monthly fee. I'm if your students a little bit lower and you can download an update, any program as you see fit as you need it, I find that to be useful. So that's what I use. Um, so it'll be light room and it'll be Photoshopped will jump right into those. If you're importing a picture into adobe Light Room, you want to open up the program. You go to file import photos and video and basically wherever you're plugged in, if you have a hard drive plugged in, or if you have just your regular computers hard drive, you can select from that menu, and you can drop down what file you would like to import your pictures from. Um, and then from there, those images will show up and everything that's new will shut up is ah, check folder. Since these are all edited pictures and Adobe reads cities as new photos as J pegs instead of camera raw files. These are all gonna show up is new. Um, so I won't import them just because they're edited and they're already in a folder, so I'll cancel out. But that's how you would import when you're ready to export, you would click whatever file you would command hold down. If using, Mac, um, you can hold down multiple images if you need them. Um, and you would simply go to file export. Ah, you would pick your settings your folder where you want them to go. I export by dimensions and 3500 by 3500 pixels and depending on what I'm using it for, I will adjust my resolution accordingly. Um, shopping for screen removed metadata and I will be ready to export. The converse of this in photo shop is this is specifically used for editing camera raw files. So if we go to my desktop, I'll bring in a camera raw file a dragon into photo shop, and right away it will just bring it up for you. And you can already see the similarities between photo shop in my room. The editing These tools are in the same place. They're in the same order that just place a little bit differently along the top bar of the camera editor. I'm using a version 8.8. I believe photo shop is up to nine right now. So if you guys want to be updated, everything that is safe there for you, Um, I go quickly over a key difference. Um, something I'm expecting of you guys is toe. Provide me with a snapshot at some point during editing where you felt like there was a significant change, Will you felt like you started getting to where you wanted and you edit. I would want you guys to say that as a screenshot in light room. Simply you can right click the picture that you wanting. So say, like, I have this one. And this is the picture I want to save right here. So going the develop module. All right. Click the photo and create a virtual copy. Um, I made four by accident cause I have four pictures selected. Let's just click one. All right. Click create virtual copy, and it will make a copy of that picture twice. So if you want to edit that, and then you would just simply export that as a JPEG and photo shop. It's a little bit different. It's a little bit cooler. Actually, you can actually go to the last tab and you can go to snapshots. It's the very last one, and you would click the new page chair and you would simply create whatever you want that to be. So it could be screened, uh, screenshot 01 And you would say that. And if you make another change in your editing, like you make the exposure darker, you would click the new page again and you would make screenshot 02 and then you couldn't go back and forth between those. And you could individually say those and import those images into light room. I'm sorry, Photo shop, another quick difference that I'll jump into with you guys if you have an image that you want to set for a certain ratio. So, for example, if all you're doing some kind of wallpaper of any type, what light room allows you to do? I'm sorry photo shop allows you to do is before you set a layers. You can set resolution settings. So, for example, I did a lot of iPhone and Galaxy Mobile. More papers. So what? What I would be able to do here is something within haIf my resolution or D p i p pr. Whatever your preference, pixels per inch that would show up here and then click. OK, and basically it'll make that as a layer, something you can't do it in. Ah, light room. So Photoshopped does have that edge if you wanting to get more into the technical use of photography. So whatever the image I would want, for example, the train image that I'm submitting to you guys and this is just really quick hot keys for photo shop, I would hold down shift all dragged the image out So it stays centered. And you know, I can drag the image around to get what I want. And essentially, I would click the check mark and would place the image and I'd be ready to go. I could export it, save the image as whatever I want. Basically, I conceive it is a photo shop player, J peg ff dycom, BMP. Whatever your settings that you prefer, and that's something that light room doesn't have. That's another key difference. So for the last difference that I'll go over with you guys, I'm going to jump into the Cree explore video. Um, that I did, uh, with, uh, I was in a spit a few months ago. Um, specifically, where you can use is the engine in photo shops like quick lasso. And you can make parallax all show you guys just really quick for reference What? That looks like. Um, so from right here, you notice that the buildings are moving in space. Um, something you can't do in light rooms off. We're using this project as a reference. I edited this backdrop in light room. Then it image was brought in the photo shop. So for this example, I'll show you guys this Essentially, what you need to do is use quick lasso, tool and basically draw around the image, and you would have to save each individual cut that used as a layer. You need to keep doing this until you got all the pizza pieces that you wanted of the image to move. You need to save that as a layered file. Then bring it in another program called Adobe after effects that so you get the actual image to move, and that's getting into motion graphics and cinematography, which I won't really push too hard right now. But that's just to show the other applications of Photoshopped. So that'll basically I'll show you guys. That's why would use both. So, like I said for the create explore video this, like this image right here was made using light room I built, you know, I took the shot on a Canon six D headed into the shot. And, you know, Johnny Castle and, uh, themselves blew those guys over create export an awesome job of engineering this and putting it together to make your image move. So that's motion graphics and more cinematography, but we won't get into that s o basic applications of how you could use both. If you'd want to use light room to actually edit a picture on get your color grading. Don't do there and then you can use photo shop if you wanted to. For example, you make your motion move, make your image move important into a sequence really anything you can do. So the applications are endless, so I recommend using both. I'm still learning both myself right now, but it's something I definitely recommend you guys doing. And without further ado, we're gonna jump into exactly what each of these programs can do. 4. Temperature and Tint: All right. So we're gonna jump right into the 1st 3 things that you see when you drop down, you're editing tools on light room and Photoshopped, um, you get white balance, your temperature and something called tent. Um, I don't really mess with white balance too much, basically what it does if you click it and you can see over any navigator. Basically, you can pick the colors that in the picture, and it will create a tone for you. I don't really like using this too much. I don't like what it does to my pictures. Some people, you know, you could use it if you could make it look cool. Why not? It's not really my thing. So I usually need that alone. What I usually mess with is the temperature and the tent and not so much on the tent, because I like messing with shadows. If you have too much pink, you have too much grain. You can't really do anything with the shadows because you have so much color in it already . So I like kind of keeping it towards like a neutral feel, which I have, you know, usually, if you just double click tent. It will reset it toe as shot, and it's usually around the plus or minus five range. I'll keep it a little bit more towards the Green Side because I want to contrast the green tent with some blue shadows. So I leave it down here around the five range and I'll take my temperature down a little bit. And in Photoshopped, the converse of this is a little bit different. The white balance. Essentially, you have options you can choose from. If you have a DSLR, these might look familiar to you. If you use a canon or Nikon, basically the same options you can have. The same violence is to show that they like shade, tungsten, different lighting situations, etcetera, etcetera. Like I said, I don't live like messing with these are usually leave it as shocked and on this round with the temperature slash 10. These are the 1st 3 things that you see when you drop down, even the basic menu in the camera raw editor for photo shop or just the regular basic menu in light, which I'll show you what they look like. I usually have all these drop down, and when you just open, like room. For the first time, these are gonna be pinned up, but I usually drop down. Basic is the 1st 1 And this is where you get your 1st 3 tools. 5. Color Palettes and Grading: next thing we're gonna jump into is color palette ing and basically color grading. This is really simple, basically what colors you want in your final image. For me, I have a really cold picture here. It's pretty sterile, not a lot of life in It s oh, I've chosen temperature intent that's pretty complimentary. It's pretty sterile when I get down into my shadows and my clarity and vibrance and whatnot that's really going to determine where my colors they're going to go. So once I have my tones and my lighting set, that's really what's gonna allow me to edit the color. I really like messing with the lighting first in the colors. Second, people do it different ways. Whatever works for you is best, but I always like making sure that I have a handle on where my lighting is, where it's coming from and having that under control and then add in the coloring, which could be the icing on the cake and can really make your image make a break in some cases. Eso Once I have, you know all this setting up here, I'm gonna really jump into my colors. So for the fine tuning. Really? Um, I like having a lot of contrast and a little bit of a lower exposure. Which one little accent by having my highlights a little bit higher, which is the latter part of the picture right here. And by the way, this is all the exact same in photo shop. So it's not really much of a difference here. You doing the exact same thing? I'm gonna use light Women's my basis just because it's what I'm comfortable with. So once I start sending my tones around, I noticed start to notice where I want my colors to go. I have the train check to train tracks. Actually, that's coming leading to this really bright, really bright background. So my foreground, I'm noticing that I have a lot of blues. So basically, when I finish this, I want something that's gonna compliment the lighting that have created the situation I'm showing to you guys, um, the blacks in the shadows can really have fun with these. If you have your blacks all the way up, makes the image of a kind of flat versus where you have them all the way down here makes it look kind of oversaturated and kind of really contrast. E. I don't really like this look, so I usually keep it around the middle. If anything, I'll keep my blacks between negative 10 and negative 20. Just so it's a little bit more, and that allows me to move around a little bit with shadows so you can kind of see what's going on here. But it doesn't lose the quality of the richness of the darker hues, and I'll do the exact same thing with the highlights and the whites. So basically, for lighting for lighting, guys, highlights and whites those on one end of the spectrum shadows and blacks on the other end . If you're looking at your tone curve, which I taught you guys all about already in the first class, your highlights and your whites are gonna be at this top part of the curve right around here. If you can kind of see the graph, that's right here, basically, when you get below zero. Essentially, this is where your shadows and your blacks are so the complementary, the next to each other. And if you have ankle on one, so I'm keeping my anchor on the blacks a little bit lower so I can keep my shadows a little bit higher, so I could still maintain that quality. And I'll do the same thing for the whites. I don't want the whites too bright, but I don't want you to be able to tell it. There's, you know, an ugly train or wires on the other end of this sunset. You know, I really want you guys to see the image leading into it. But I want you guys. I want a sense of divinity to this. I went there to be like, Hey, like it's the train track all the way into heaven, you know? So what I'll do is up. You know, I'll show you guys what it looks like if you keep them all down, the whites and the highlights. See, just you can kind of start to see structures on the other side. That's not something I really want you guys to see. So it kind of back out of that. I'll keep my anchor for the whites down a little bit lower and then not allow me to mess with the highlights a little bit without crushing the picture too much. I'll leave it right about there, and we're gonna go onto the next part, which would be your presence of your picture. 6. Presence and Hues: next thing we're gonna jump into it just sort of like the presence, Which is these three options down here? Clarity, vibrance and saturation. Uh, clarity. I like to have pretty high. Um, it just accents. The picture essentially is what it does if you haven't really downs, kind of dreamy. If you have it up, it's kind of hard and crystallized. I like having it towards the forties and fifties. It's just enough definition for me. It's not too much, but you know, it's open for you guys to play around with. Vibrance is just the life in your picture. How much the color that is in your picture. It just determines how much there is of it, since it's a pretty cold picture already. If I have it up higher, Vibrance is gonna accent those blues a little bit more. If the vibrance is down, it takes essentially the blues out, and it kind of matched them out a little bit. Um, my pictures lately have been having this kind of Matt feel where everything is just kind of flat. So my vibrance is going to be a little bit lower if you like, you know, a little bit more contrast year, you know, higher saturation picture. You'll want environments higher. Last tab is the saturation. Essentially, just is what it is. Saturation. Similar to the vibrant swill it basically can highlight or de highlight the colors that you have in your picture. I like using vibrance and saturation together, and then I'll add clarity and later, like, you know, just toe to reset it. So I have my saturation down as well. I don't want it too high because I don't want this picture being too happy. I kind of wanted depressed and sad. I'm sorry. I don't want my picture being too happy. That's that's great. I want my picture to be a little bit sad, a little bit kind of dreary. But at the same time you have all these highlights in the back. So is like hope for something better, which is why I always recommend having you're lighting under control before you mess with the colors. So I messed this down a little bit, turned my saturation down. Until I get that, I feel that I want the clarity is gonna be pretty high. We talked about tone curve already. Next thing I'll jump into is the color wheel hs L, which is hue, saturation and ruminants. If you're in a photo shop, it's gonna be the fifth tab over when you open a picture. I'm sorry. The fourth tab. The fifth tab is your split, Tony. Four Time is your HS. Oh, there's a button. The convert to grayscale on photo shop. If you're in light room, basically, you just click black and white, and you can mix the colors in there back to photo shop. Essentially, it's the same thing on click Convert to Grayscale. You have hue, saturation and luminous. It's really the only color that I have in this picture is blue. So any other change that I make to other colors is kind of irrelevant, and I won't see the difference. So making a change of those is kind of unnecessary. So what? I really want to mess with this. The blues? Um, it speaks for itself. If I have my blues all the way to the left, it's gonna get me kind of an awkward tinge all the way to the right. When it get kind of a purple e more feel on, you'll notice the change in the Colors versus Photoshopped compared to light room. If I change my blues all the way to the awkward in photo shop, it looks like this notice what's kind of bleeding over into my greys and this steel and the concrete in the picture versus if I jump into light room and I kind of make my use more, um, aqua kind of take the clarity down so you can kind of see what it does. It kind of blends the coloring more. I'm sorry, kind of blends the coloring more into the gray structure of the picture rather than full shop. Were kind of you can starkly tell it is a difference. And that's also partly because this is as developed as much as the the, um, the photo shop. I'm sorry, lightning version that I did, but you can kind of see see, look, if I kind of bring the two side by side. I don't know if we can do that. Let's see. Um, let's see. Let's bring this up. So here's the Photoshopped version. Here's the lightning version and kind of see the difference. Like room. The reason why I like it a bit more is just cause it's a little bit more cinematic. That's really the biggest key for me. You can make your photos look more cinematic, and Photoshopped as well, just takes a little bit more work, and you just have to use your tools a little bit differently. Other than that, pretty similar. So that's it for clarity, vibrant saturation, kind of what those do, as well as our huge saturation of luminous wheels. Um, really quick, I'll go over what Fluminense's since we haven't that's kind of a new term. Also luminous essentially is the brightness of color. Since I have a lot of blue in here again, I'm gonna mess with the blue If I turn blue minutes all the way down, makes the picture look crushed if I turn it all the way up makes the blues a lot brighter. So since I'm going for a kind of a dramatic dark night kind of feel, I want my little minutes to be a little bit higher. It'll kind of just add to the drama of the picture, and I'm noticed that I don't really like this aqua. He kind of feel I want it to be more bluish so I'm gonna dial this back down a little bit more towards the blue, and there you have it. So that's the coloring color, wheels, hue, saturation of movements as well as clarity, vibrance and saturation. 7. Split Toning and Detail: all right. So really quick. I just want to throw some information your way about a split toning and detail. If you want Photoshopped, this is gonna be 1/5 tab over. It's the white bar on top of the black bar. Basically, it speaks for itself. What color your highlights are in saturation is how much of that color that you choose that's gonna be in there If you're in, ah, photo shop, you're gonna have a slider that you're gonna mess around with the converse of this and light room. If you're doing split, toning is you can actually click the box and you get a more open. I call it three d color palette so you can kind of drag up and down and will change the saturation that you have. And if you move left to right, it will change what color that you have. I don't really mess around with my highlights that much. I normally do this in my shadows, but once again, this is just a slight difference between ah, how you can change your split toning in light room and Photoshopped the similar thing that they have, as well as the balance If I have my slider all the way over to the left I can make my color toning balance more towards my shadows. So if I have ah more of a blue tinge and I have my balance all the way the negative 100 or whatever my photo is gonna be balanced more towards the shadows versus why haven't more towards the right and say I choose Ah, more of a pink highlighting color My balance, if it's the left, is gonna be focused more on those those highlight curves I normally like having this balance towards the lower end just because what I like to do with my shadows it gives a little bit more depth and drama to my picture. And that's usually, you know, my lane that I'll stick in, You know, obviously use whatever works best for you, but that's just a little bit on what I like to do. Um, for detail, sharpening is obvious, you know, speaks for itself. How sharp you want your picture. The radius is just really the sharpness profile. How much how much of pixels are really detailed in how sharp when they are also in the next tab which is detail. I'm not too sure what detail really does. I don't really see a huge difference in it, other than it just seems to add a little bit more noise to the picture. Um, if you have your clarity down this probably you won't really notice this, but my clarity is usually up pretty high. So if I mask up my detail a little bit, you can kind of see the difference right here. How it will just kick up a little bit more. Ah, a little more picante with the detail, which I don't really I'm a fan of, so I'll keep us keep is done Pretty low. Masking also is another thing. I don't have any masks down, so this change right here is not really gonna show anything different. Um, noise reduction. If I have anything that's too noisy, I'll use a brush and I'll brush over the area that I need. I will talk a little bit about brushes in a minute, but noise reduction right here, that really just to me, I don't really use it. But if you have a shot with a lot of noise in it, you can do a giant edit on here, and it will do like basically a mask noise reduction for your photo. Same thing over here in a photo shop. If you using the sharpening tool. Exact same placement noise reduction, saying for that, and you can do, ah, some color detail on color. Smooth Issa's. Well, if if that's what you're that's what your preferences. I don't really use it, so I don't I don't really need it. But it's there for those you who do like using it. With that, we're going to jump straight down into importing some filters, lens corrections and some more facts. 8. Lens Corrections and Effects: filters and what you do to import them with light room. Anyone can correct me if I'm wrong. But as of now, I don't think photo shop allows you to import any filters. Specifically the fiscal pack. I might be wrong about that, but this section is gonna be strictly focused on light room in which you can do to import. Um, if you get light room pre set up already, you're gonna have ah, some presets already set up that's native to light room. And if you want to import a new file or folder, you would simply right click in your presets tab. Under the develop module, you would click import, and basically I would go to my downloads wherever have my fiscal file stored. And it should show up this school where we are, let's see, did to Here we go. So I go to fiscal tree, for example, open up the fiscal three a pack and simply going the presets that I have and it's organized basically by camera build. So since I use a canon, this will be my option. They also have camera profiles which are specific to every kind of canon model. Um from like the last five years or so. It's pretty pretty specific. Same for Sony Fuji, like a limpet. So basically, you just pick your poison, whatever equipment you're using, and you would import all the, you know, light room accepted files and you would import. That's basically how you import your your filters. And then from there you can you have them organized and good to go. I don't really use filters unless I have ah, specific shoot that really needs them. Or like I find something cool that I like most the time build my edit from what you guys have seen here so far, and it will be a lot quicker for me. I can just go exactly where I like. But if you guys are a fan of filters, that's how you would ah, important presets. Um, I want to jump into legs corrections really quick if you are enable your profile Corrections. This is, ah, really a big deal that you'll notice with zoom lenses. Shot most of these pictures on a 35 millimeters, so it's a fixed lens. So if I enable my profile corrections, you won't see a difference for those of you who used a zoom lens? Are you know, 24 70 24 1 or five? So, uh, you know, 72 200. Whatever focal length you have, you'll notice a little bit of warping around these corners. And when you enable those profile corrections, it will flatten out your picture. Since I've had this effect placed already, um, you don't really see the difference. But if you have ah, lot of warping in your picture clicking enable profile corrections under the lens corrections tab that will flatten out your picture on that will level it out for you chromatic aberrations and constrain crop. I don't really mess with those. I normally keep it on the basic and just enable the profile Corrections. If you want to do my new shit detail, you can also go into my manual. And you can short of you know, change of perspective is based on how you wanna make image look ID like getting everything right in the camera the first time. So I don't really see myself using this that much. The one thing I would use is either the scale of the aspect. If you want to zoom in or out. Um, say, for example, if I'm doing like a print and I want, like, a nice little white border on the edge, I would do something like this so I can have the picture all in the frame and then have some white space for for the frame. That's really all you know, really. Only thing I would use it for, um, done and effects if you have. Ah, you've been getting tab down. You'll see that you can do, Ah, a little bit of a netting. I don't like having that much. It adds a little bit too much drama for me. I like having it between zero and negative 10 depending on the picture. If you have it up a little bit higher than it just kind of gives it like that dream that Brady bunch Look, I don't know what this is, but if you ever would need that, that's on the higher end of that. You know, obviously, with this change, you can get your midpoint. How dramatic. Um, you're vignette is and you can make it however you like. These are basically just the fine tuning tabs that you would use for those you can really play around those. The next option that we have for affects is grain just basically adds grain particles. If you notice, are this top right corner where I have ah bit of a darker divide. If I add more grain, it's gonna add more particles. And this picture is gonna add mostly noise to me. I don't really like the way this feel is, so I'll keep it down a little bit. Maybe around between 20 and 40 and I have my roughness down as well. Maybe around 40 and 30 if I have a really ah, bright picture or I have a lot of, um, a lot of natural light or even, ah, profile. Um, even if it's just something like a portrait, I will normally bump the grain up a little bit, just like in and more more character and more life to the picture. If I'm having like landscape kind of urban cityscapes like this, I don't really see a need for that much grain. I would want the image to speak more for itself, so that's really quick. That's what Ah, at least in in light room with the lens corrections and your effects do. The flip side is if you're in a photo shop, the f X actual words FX in Photoshopped those going to be your grain and you've been getting the same thing as they are in, um, in light room. Except that they just over laid a little bit different, that's all. If you want to do priority, you can have your priority on your highlights. You can have your party on your your colors. Excuse me? Well, you can have your highlight on the paint, which is ah, kind of just like the picture overall. And then you have the same, you know, midpoint, roundness and feather options. If you guys want to do that again, importing presets is not an option on photo shop. You guys can correct me if I'm wrong, but I'm I'm pretty sure I'm right about this. That you don't have that option if you want enable profile corrections well, on light room, it's the same option you've just seen. Obviously, you can pick your lens that you have actually shot this on, and it's pretty smart. Like it picks out that I shot this on a 35 14 Ellen. So it automatically profile the just for the lens that I shot with. So that's one thing, that light room. I'm sorry that photo shop has that light room doesn't. So you can really get specific. You can go all the way all the different lens profiles. So, you know, if you shot this on a Sony whatever lens you had, um, it'll automatically set that up for you on what your profile correction should look like. So that's one big difference. That photo shop would have a light room as well as the coloring, which is, you know, basically removed chromatic aberration. If you have any really color picks, Lady Pixley things, that's what you want to use this for different jing and all that. I don't really know what this does yet I don't see myself using it as well, But, you know, it's always something good to play around with. And so you know what it does in case you Ah, you do need a one day. You can always say, Oh, I remember using that and then under manual, you have the same options that you do in ah light room. You can just basically pick how you want to change the distortion again? I don't really use this if you're doing, like, a poster or something like really crazy and Photoshopped and you can you can mess around with this, but for just a regular image, I don't see why you would need this. Um, and with that, we're gonna keep it, are moving. 9. Brushes, Filters and Cloning: one of the last things all through what you guys that you can use. They're both the same in light room and Photoshopped, but you'll just be placed in different are areas or the adjustment brush is and the the cloning and healing tool spot removal, which you can use. There's hot keys for both of these. If you're on immaculate press Q on that would automatically been up by spot removal. So I'm gonna bring up just a small little portion of this shot right here that I'm so many to you guys. And I see that there's a big piece of I don't know what this is. I think it's water. I think it's a puddle, but basically I don't want this in the picture. So what I would do is I would go to my clone tool, make sure you have it set on a reasonable size. You can have the feather, which is basically the buffer, the more feather you have, the week of the brushes and the opacity. Basically, how? See through the brushes and when you're ready to, you know, go ahead. You would basically click down and draw the area that you want painted over, so my capacity is down kind of low. I would want to drag that up, and that basically makes the brush actually seek. Do so if I make it all the way down at one, you can see all the way through it. If I make it all the way 800 it basically is, you know, invisible. And what ah like room will do is automatically pick a spot that's close to your original spot. That you drew a brush and it will replicate that area over here So you could kind of see part of this other puddle is replicated here. That's good enough for me cause it's a pretty dark image. I'll zoom back out. You notice? I don't have to worry about that anymore. Um, the flip side of that in photo shop is you would simply go up to the top, and wherever it is is Theo the Where is it? Sorry, guys, I don't know what this is. The spot removal I just passed over like 10 times. That's crazy. Spot removal. The paint brush with three little bubbles under it, and it's basically the exact same thing. You draw over it like when picks a spot. I'm sorry. Photoshopped pics the spot where it sees fit to replicate that image. This doesn't really make sense, because this is not an area that I need covered. But that's just gives you a bit of an idea. Um, how the tool works. If you doing clone, it will replicate the image. If you're doing hell, that will simply blow out any blemishes. If you're doing model photography, you might have to use that just to get out. Any background flexor blemishes and just random credits in your picture. Um, next thing would jump into a quick is the brushes. Um, if you need a brush to mask a certain area, you would simply just click and hold down your brush tool, and you can play around with the area that you want darker or lighter. Um, and it's essentially just a new mask that you can put on a picture. Um, similar. You can do this in ah Photoshopped as well. Um, you don't really need this unless you're taking out. You know, you took a really hot picture in the highlights of really hot compared to the shadows. You would need that similar and photo shop. You'll go over here, you'll click K or your adjustment brush. You get the exact same tools. So those are some contrast, Aziz. Well, just really quick for anyone who was worried about the brushes. Radio filters. I don't really use that much red eye. If you taking portrait so you don't have toe. You won't really need to worry about that Radio filters. You can select an area and you can get really crazy with it. If you're doing like a post our guest, this looks really cool. I don't really need it for what I do, but it's always fun to play around with it and just to see what everything does. Um, you know, just so you know what it is, in case anyone ever asked you to use it, um, similar to Well, let's get rid of this similar as well. You have the, um, radio filter, which you can just dragon area, and it'll basically create a spot in the picture for you, and it will blur out everything else which you can also adjust and mess with. The difference here between light room and Photoshopped is the use of masks whereas in photo shop you would you would use these as layers or if you're editing in camera raw, you simply you know, whatever images you're using, that's there for you. And it's the exact same thing. Same application. It's just in a different place. If you're using your radio filter, you're gonna hit J. It's gonna be up top at the camera raw and the graduated filter, which would be right next to that. 10. Final Thoughts and Closing: All right, you guys, that basically does it for me. That's every module in need to develop module in ah will be light room and Photoshopped. Basically how they counterpart, how they work together. I hope you guys learned a little something. Something you guys can take away from this and hopefully show with the other friends. I hope you guys spread the word about this. I'm really excited to be releasing a one class a month in partnership with skill share. So if you guys can, you know, spread the word, tell your friends if you like it, that would definitely mean a lot to me. You guys can check me out on instagram. It's for Gotham. That link is ah floating around somewhere. My skill show profiles. You can check that out. Um, on Spotify beginning a lot of people hit me up for my public playlist. If you look up simply Gotham on Ah, you, Ana Spotify. You click the playlist on the 1st 1 up there. Daniel Lewis. That's me. You can check out basically every single song that I've tagged over the past year and 1/2. If you keep up with my work, you know that I tag one photo for every image that either inspires directly from the at it or the processor. When I took it, what song was playing? Um, that's something that's been really near and dear to me since I started Instagram. So if you guys really wanted diggin you guys can check that out, it's gonna be updated soon. It hasn't been updated since Christmas, so this will be more like 500 or so song. So it's like, well, over a day and 1/2 of music once this thing is updated so you guys can check that out on their, um, if you guys want hit me up on Tumblr. I love answering you guys. These questions. It's like half of my post on here, just you guys questions. So if you guys have any details that you want about what I dio or about images that you see on here, you guys definitely. You're more than welcome to hit me up and I'll answer your question as soon as I can. Um, other than that, thank you guys. So much for sticking through this and watching my comparison on light room and Photoshopped looking forward to seeing you guys projects. And once again, what I'm looking for is ah, raw image. Ah composite when you started feeling like you're edit was getting towards what you wanted in your final edit, when it's all polished and ready to go. That being said, thank you guys so much and I will talk to you soon.