Editing Underwater Images in Adobe Lightroom | Jake Houglum | Skillshare

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Editing Underwater Images in Adobe Lightroom

teacher avatar Jake Houglum

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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

7 Lessons (10m)
    • 1. Introduction

    • 2. Basic Corrections

    • 3. Tone Curve Graphs

    • 4. Hue, Saturation, and Luminance Sliders

    • 5. Split Toning & Calibration

    • 6. Graduated Filters & Finishing Touches

    • 7. OUTRO

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About This Class


Aloha everybody!

In this mini-course I am going to take you through the process of editing an underwater photo in Adobe Lightroom Classic. There are a few precautions that I take that make this process a little different than editing standard images. Whether you're a new photographer trying to get down the color science of the underwater space, or a pro trying to sharpen up on your HSL tabs, this is the course for you. I hope you enjoy.

Meet Your Teacher

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Jake Houglum


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1. Introduction: What's up, guys? I'm Jake and ocean photographer based in Maui, Hawaii. Today I'm gonna be showing you how i edit my photos in Lightroom. Now this type of photography is a little different and difficult to work with that first because there's a little bit more blues and reds. But once you get it down, it's not too hard. Let's get right into it. 2. Basic Corrections: Alright, let's get right into it with the basic corrections. So I don't start off with the white balance at first I go for the exposure, bringing it up. I like taking my shots a little darker to bringing that dark blue tone, nice and blue. And then I bring my highlights up just a little bit my shadows down to get that black point and nice and vivid. And then try to bring my whites up to see what I can do but super blown out. So I just end up bringing them down to keep them nice and toned. And then I bring my blacks it down just a little bit to get that little black tone. And then play with the texture, clarity and D haze Just a little bit to get a little sharpening and stuff, not too much with the color yet. And then I go up with the temperature, make that sandal Little Green and you'll see why in just a second, you'll want to get as much contrast between your sand and you're shot in the water in the background. And you'll see why in just a second. Moving that purple slider up just a tad. And then right here I notice that it's a little angled, so I'm just going to adjust that and crop real fast. And yeah, those look, those are my basic corrections right there. I'm just going to adjust the vibrance and saturation a little bit. And we'll see you guys in the tone curves. 3. Tone Curve Graphs: All right, now the tone curbs going to bring down the shadows, bring up the highlights a little bit. My new favorite part in Lightroom's up days bringing these RGB little sliders back in, little shadow, things that are in Photoshop need them and let them go ahead and make a few adjustments here. And going back and forth a little bit is debating. But what I tend to do is make a general S curve. And what that is is basically right now you're seeing the shadows dip into the purple and the highlights dip into the green. That kind of balances the colors a little bit underwater, a little better. I've noticed in my personal opinion, but that differs from picture to picture. You can adjust that in your photos and you can make as many points as you want. I generally choose to make two, but you can make 5102050, however many you want. Alright, starting to go back and forth a little bit here. Just kind of balancing the colors out a little bit and trying to get that nice white sand and blue background. That's what I focus on the most in my underwater shots, is getting bright white sand in the foreground. In that dark blue ocean mystic tone in the background. Right here, as you can see on my tone curves as I'm switching back between the blue, green, and red channels. You can see how the red channel really affects a lot of the colors here. Go ahead and back and clicking on it. Now, look at that, dipping back into the shadows, bringing it up into the shadows, into the highlights a little bit. How's that color restoration? Pretty nice. 4. Hue, Saturation, and Luminance Sliders: Coming down to the HSL color tab here. I'm just going to quickly adjust a little vibrance and saturation. I like to go back a little bit and just we can do whatever you want. There's no rules. In the red tab. I'd like to just kinda see what kind of colors are going on just by sliding the Hughes sing the different changes in lieu colors. See what kind of what kinda vibe I'm going for. So it kinda colors or can be effected in the photo that you could see the first colors don't really affect the photo that much. It see the yellows kinda changing a little bit on the Turtle, but the green is gonna do just a little bit more effecting. That doesn't even do that much until I get into the acquis tab. But now you can basically see how much underwater that blue filter underwater really effects your photography. And see how I just changed that human that Sandra's lightened up just a little bit from that plus night shift. That's an I'm talking about right there. Let's slide the hue over just a little bit. Maybe make that a little less saturated. It's looking good, a little brighter on the luminance side. And the blues. Let's get that dark blue going in the background. Yes. Saturated. Yes. Let's bring that Q a little deeper. Like in that a bit. So looking good. Purple tab, not much going on there for colors. And the magenta Nazi much either for underwater photos, it's going to be mostly the Aqua and the blue tab for the atrial cells. 5. Split Toning & Calibration: Alright guys, coming down to the last few tabs here, we've got the split toning tab. I like going the highlights just a little bit in the orange, just the under saturated pinkish orangey salmon color for my underwater photos, just a balance that yellow sand because that blue filter really affects it when you're deeper, when you get down to ten to 20 feet. And then in the shadows, I like bringing that teal and just to get that dark blue mistake by that I was talking about earlier, as you can see, I kinda like going up a bit in there, but it gets a little too saturated. So I end up bringing it down just a tad. And then I end up balancing out the highlights a little more because I didn't really like how much the blue is saturated from that split toning. I did right there. Now these last few tabs I kinda like working all at once. So I remove chromatic aberration and Enable Profile Corrections from islands. That just helps a lot for photos, gosh, no wife, your intermediate photographers. And I don't massive transform our effects too much because I kinda like the look of a photo, but calibration is where the color strides for underwater photos. I make that tent just a little more purple. The red primary, a little positive. Little negative. Maybe. Negative. Yep. Little little under saturated to get that sand a little orangey green. It's a little tougher every photo, but I'm just going to nudge it just a little bit. See what it does there, Mike about Let's Move the blue primary a little negative. We don't want it to, to light blue because you still want that dark vibe in the background. And I'm going to obviously make the saturation negative because you want the sand in the foreground to be white. 6. Graduated Filters & Finishing Touches: Timor, additional touches to the white balance here after touching everything else up a bit. And then I wanted to talk to you guys a little bit about graduated filters for underwater photos that are very useful as you could see here, messing around with the exposure and the white balance, just to get that turtle a little brighter and a little more contrasted. Let's go ahead and increase the shadows here it decrease the blacks just a little bit, just to balance it with the subject and make our subjects stand out just a little more. Warm it up just a little bit. And let's mess with the hue a little bit, maybe minus two just to balance that out just a little bit. Yeah, I'm liking that saturation. You can just mess around with it however you want. And you're the artist, it's pretty much up to you how you want to do it. Alright, getting into finishing touches here. Let's go ahead and close out of this little mask in. Go through everything just a little bit one more time. Make sure everything's looking at ship shape, go through our tome curves. Just a little bit. Awkward looking a little too. Ok, well might have to D saturate that just a little bit. Maybe make it a little darker. Mike in that. Looking good, the skin tones all my friend John Lennon's looking very nice. In C. Just little experimentation with the exposure area to see if anything else is popping out to me. And yeah, that's looking almost finished here. Das a little bit. We'll texture. And the presence channel and tone channel honestly are the best. They, you'll see the most drastic improvements from just the basic corrections and a little before and after here, just to see how the photos look. Unlike in this a lot. It's looking great. And we got some more before and afters here. Let's go ahead and do some comparisons. Men, I love editing photos. 7. OUTRO: Alright guys, that's it for this course. Go ahead and submit your edits below. I'll go ahead and review them. If you like this course. Go ahead and leave mirror view and maybe a star rating. And I will see you guys in my next course. Advocate one piece. You can keep shooting.