How to Edit Like a Pro Learning Adobe Lightroom | Edin Chavez | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

How to Edit Like a Pro Learning Adobe Lightroom

teacher avatar Edin Chavez, Changing the world one photo at a time.

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

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

4 Lessons (39m)
    • 1. Introduction

    • 2. Learning Lightroom Santa Monica

    • 3. Learning Lightroom The Coast

    • 4. Learning Lightroom San Francisco

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Start Editing Like a Pro

Are you new to photography? Do you want to learn how to edit photos like a pro?

In this course, you will learn how to get started with Adobe Lightroom and start editing photos like a pro. 

With this easy to understand editing course, you will learn your way around Lightroom and start developing your own editing style.  

Included with the course are the original RAW files so you can follow along as well as the finished images. I have also included the Lightroom Presets so you can keep as a reference. 

One great thing to remember is to always shoot RAW. This will give you more editing power when it comes to beautifying your images. With a RAW image, you simply have more information to pull from inside Adobe Lightroom. 


Meet Your Teacher

Teacher Profile Image

Edin Chavez

Changing the world one photo at a time.


I am a Commercial Photographer based out of Miami Beach Florida. Some of my clients include Nikon, National Geographic, Corona, iHeart Radio, Volvo, Curtis Stone, Andrew Zimmern...

I have had the honor and pleasure to work with some incredible people in the industry and my love for the art continues to grow. I teach photography workshops across the glove and share what I know with others. 

Thanks to Skillshare now I can help more people across the glove with one platform.  I will be posting new classes often. Please come back and check them out. 

Ohh yea I also love to hang out of helicopters with my camera on hand to get new perspectives. 

You can look at my Portfolio keep up with my latest photo adventures on my blog. ... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: in this three part video course we're going to explore. Light Room will be editing three beautiful images and will also be exploring the basic panel, as well as local adjustments and global adjustments. Inside, a life will dive deep inside so you can start beautifying your photos right away. 2. Learning Lightroom Santa Monica: What's up, guys eating Chavez here. Even shoppers that are common in this video. I want to teach you how to create this beautiful image from a route file. Um, I have attached this raw file so you can follow along, and, ah, we're gonna use the very few sliders. Very simple at it. This is how you did most of my photos. 99% of them, and I'm gonna show you how so First thing I want to teach you is, uh are, uh, our panel's over here. You know, there are loping when you open light room. These are all open up. So here's a trick that I I like to use to speed up my workflow and, um, speed of my edits. I did a lot of photos, so this is very helpful to me. So we're going to right click on any off the panels and we're gonna press click this solo mode and that will compress all this panels. And now every panel that I open it's gonna open that panel and closed the other one up, so it's really helpful. It works really well, and ah, it makes your editing so much easier So let's get started on this edit. So I'm gonna right click here, and I'm gonna reset the photos so you can see the raw file, and I'm gonna walk you step by step on what I did to create this beautiful image. So we'll click Reset. And there you have it. Now, this is how you should all my photos, um, under exposed, I'd like to shoot him under exposed, because when you shoot a raw file, you have so much control over all your shadows that if you shoot it under exposed, this is a little two under exposed. But it's easy to open up all the spots you wonder viewer to see. So let's get started. First thing we're gonna use the crop tool to, ah, straighten on my horizon. So as you can see, I'm staring over here to get that straight now and that if you want to use this level angle to, we can also use that what you do, you just draw on your image and it strains out the line for you. I like to do it manually because I think my eyes he's a little better than that, too. So we'll do that and we'll get out of the crop tool. So now we're gonna open her basic panel here. This basic pattern is the most powerful pattern you have in all of light room. With just this sliders, you can change the whole look of any image, and you can do it over and over and over again to the same image given at multiple looks. That's how powerful this is. So first thing we're gonna do to this image, we're gonna fix the exposure because it's obviously way too dark. So we're just going to start bringing it this way to the lighter side so we can start opening up the image. And this is all entirely up to you when you feel is good, and then that's when you stop. I think that's pretty good right there. So we'll stop right there. Next thing I saw immediately, it's all this little dots. So my sensor was obviously really dirty. And you can see him because I had a really, really a small f stop. I was at F 22 which that's a high F stop, which means my my my, um, aperture was really, really small. Therefore, you're gonna be able to see all this tiny little dust spots so here will come to our top of her basic panel will come to our spot removal to we'll click on that. And then down here, you have a visualized spots to tool. So you don't click on that as well. Here, you're going to be able to see all of your spots all over your photo. Um and so we're gonna start fixing them right away. So you'll click the 1st 1 and here you have a clone in a hell. Um, on your spot. Remote Little. And I like to use he'll most of the times if you put if you press clone is just going to clone the exact thing from somewhere else onto what you're trying to clean up, and it's not gonna match. So if you press ah, hell, it will heal the dot They will create a same. It'll cover it up too much everything around it. So we'll just go through the image fairly quickly here, Um and you want to do this Ah, to your images all the time. Because no matter how clean your sense, serous are how dirty it is the trained. I will always see this photos, Um, and when I look at people's photos when they send them to me to check him out, this is the first thing I see into me. It's like, Well, you didn't even clean up the spot, so I don't really get past it. And I think that's truthful for every photographer out there with a trained eye. So I always make sure you clean your images. It's it's a little bit painful, and it's a little bit tedious, but in the end, the result is so much better, so much cleaner, and it just looks professional. And as you can see, it's really not that hard light room makes it really, really easy to do. Um, so just do it. It's not not a huge deal, so we'll go there. And I think that looks really good and I will click out of visualize spots and see what that looks like. So that looks pretty good. I can't really see any other ones. We'll click out of the tool right there, and okay, I see a couple more. So I see one here when I see one here, so now we can click back out of it, so it looks really good. Ah, so as you can see, we have our exposure. That looks pretty good. We like it. And now we're going to go to our contrast before we head out anywhere else in their contracts. We use when I give it a little bit of contrast, make it look a little sharper, a little more dynamic. Um, so I think that looks really good. And I remember there's no no right or wrong way to do any of this. This is entirely up to your taste. I like to create dramatic images, so that's what I'm trying to accomplish here. But if you can do colorful images, whatever you want to do, there's no limit for what you can do. I just bought it. When I did the contrast lighter. I just spotted another another spot. It's actually that one. It's still there was a man so you guys can see it. It's right there, so it's already it's already clean, so we'll delete it. And as you can see, it was from somewhere else. So we'll zoom out. That looks really good. I just saw another tiny little spot right here. We'll clean that and then we'll go there. All right, so now that we have our exposure, her contrast we're going to go up here to our white balance. Now, there's many things you can do with the white balance. You can goto auto white balance and that is going to do its best to to make it right. Then you got your daylight and you got a lot of options here. I rarely rarely do this. I usually leave it a shot and I shoot it all automatic in my camera because I like to mess with the dials myself because I think my I can put into the photo what What I want people to see better than a computer thinks I warn people to see. So here, I'll just start toning it down just because I wanted a little cooler. If you bring it up, it's gonna be warmer. But this particular day, it was actually pretty cold that was wearing a jacket, and I was still really cold. So I'll just keep coming down here. Maybe, maybe right about there that lets you know that gives it that sense off. Go off coolness. So I think that looks really good. The tent. You know, if you want to go left, you'll make your green. I'll show you make it greener if you want to go right and make it more purple. Um, but I think where it waas it was just perfect. So we'll go to minus 5000 where it waas. I think that looks really good. So not that we have those forced lighters. I'm gonna show you before and after so you can see the power off the sliders. So here's before and years after already a really, really good photo. So, um, let's I get out of that pressing your Waikiki, you get out of that and you come back to the photo you're working on. The next thing I want to do is I want to bring Ah, I want to open up my shadows. What does this last me to do? Is this allows me to see all my dark spots This I usually just go all the way. And as you can see, it opened up all these shadows and I have more things. My eye has more things to wonder into a supposed to just the horizon. Um, now I'm gonna come back to the highlights. Um, and I like to bring those down. I'll show you why you married him down. This guy becomes more dramatic, and I don't want to get too crazy. If you ring him up, the sky disappears. Um, so I'm gonna bring it down just a little bit, Maybe right about there. Now, you want very subtle changes. You don't want anything too crazy. You just want subtle changes. And they create the most dramatic effect. There's nothing worse than a overdone photo. You know, when you see online, some photos are just priestly overdone. You don't want that. You want something that looks nice, that looks clean, that looks crisp, and that's not overdone. So after your highlights is done in your shadows is we're gonna come toe whites and blacks This are rarely used. Um, depending on the photo. But here you can just see what would you see? Fits no right or wrong way to do this. Um, and I I like I like it were this. I don't think it's It's any of it. Same with the blacks. And I like your word is Ah, good rule of thumb is a lot of people uses If you President, hold down your option key and slide. This a good rule of thumb is if you hold under option key and slide this and once you start to see the black, you let go. And that's supposed to be the correct thing. But to me, my I can do a better job than than what that does. So to me, I just like to Dubai. I seem with the whites. If you hold on the option key and you start seeing white, that's where it's supposed to be amazing. But, you know, I don't I don't think that does a better job in my so I rarely use that the rule of thumb. But if you want your more than welcome to a lot of people, use it in a lot of people of it. It works for a lot of people. It just doesn't work for me. So I'm gonna leave those at zero. I don't think they do a lot next. Next thing you see here is that clarity, vibrance and saturation. Now the clarity just gives you harder lines or softer lines. whatever you like. See if you do it. Ah, minus it to the left. You can see the sky becomes very soft and very gentle. I like hard lines on my photos. I want to be able to see those those lines, that madness. So I'll bring it up. Just a tiny but nothing too crazy, because then it says it starts to become grainy at some point. So a lot of time. So you actually just leave it alone? Because I think the photo looks pretty good words that, um And now with the vibrance and saturation, you got to be really careful. The vibrance is okay, but the saturation I never touched just because you can always over saturate a photo, Um, and that makes it look really, really ugly. So I always leave that alone. You can mess with it if you like, but I'm only gonna mess with the vibrance jump when I give it here. Maybe a plus 40. Maybe a little more. Plus 51. Probably right about there. A so you can see just made everything more vibrant, more lively. So I think overall that looks That looks really, really good. Another another thing I'm gonna do to it is I'm going to come here to the detail module and here in my detail panel, I can the bring up the sharpened slider. I'm gonna bring it up right about there. And as you can see, all this just became really sharp. Really nice. It was a little soft, nothing very noticeable, but that just cleaned it up and made it. Made it sharp. Now, my nose reduction, I'll just bring it up just a tad just to get rid of the noise. Nous the poisonous in the clouds. Um, I didn't have to. It wasn't bad, but just a little bit just to be on the safe side. So overall, I think that's a pretty good photo. Let's go to the before and after so you can see what I'm talking about. So here's before and after. What a difference, right? I mean, this photo you would have probably looked at and you would have probably deleted it. But a Z, you can see it looks really, really cool. There's president like you to get out of. There's a couple more things I want to do before I'm done with this photo um so here I have my graduated filter tool and what this tool does this tool allows me to ah, do any anything that's here to particular pieces off the photo. So I'm gonna click effect twice. That will reset all of this sliders from when you were using in previous. And then I'm going to draw this so I'll start right there, and I'll come down here. What I want to do is I want a dark in up this sky, and I want to darken it up just to make it more dramatic and bring more drama to the photo . So after I dry crooked like this sideways, however you want to call it, I'm gonna bring my exposure down. And as you can see, the sky starts to become really dramatic, and I can bring it down a tad more. As you can see, the becomes really, really nice here. I'm gonna shut it off so you can see before after before, after before after. So we just made this guy a little bit more dramatic, but I think that looks really good. So I'll close out of that. And that looks like an awesome photo. It's pretty close to done. I wanted the one more thing I want to show you. Guys. Here we have. We have a radio filter too, and we're gonna click on that again. You're gonna click your effect. Um, here twice that will resettle the sliders. And now what this does this was This will allow me to brighten or darken again. Any part of the photos will very powerful tool. So here, I wanna Brian this this letters up just because I want the viewer side to go to this letters first. Then come to this pier. Then come follow this ocean and then come back to this Ah, to this lifeguard tower. But this is where I want the viewer to start. So by doing this, I'm just I'm just going to bring it up. Just just subtle. Nothing too crazy. Just bring it up just a tad As you can see, that looks pretty good. Now, if you invert the mask, your this will brighten everything outside of the circle. If you click it, it will be everything inside. So you always gotta watch out for that little marks The feathers lighter if you bring it all the way down to create a hard line. I'll show you, I'll get out of that. So that's obviously that's not what you want. So you always want a feather. You click back on that. I'm sorry. You always want a feather It it's very subtle about a 75. You know, I just wanted to brighten that up a little bit. Just so the viewer side goes to it, get a little bit of that thing that looks really good. So I'll close out of that. We'll go to be foreign after and while I I think that's Ah, image very well done. Thank you so much for watching guys and we'll see you on the next one. 3. Learning Lightroom The Coast: What's up, guys? Eating Chavez here eating Chavez dot com. And in this video, I want to show you how to create this beautiful Seascape using some some up very easy sliders here in, uh, light room five. So let's get started. So first we reset her photo, and then we first thing right off the bat, just like anything else we're going to. Ah, make sure our crop is, uh, good. So I think the line looks pretty year. We'll go out of that, and then we're gonna jump right into our basic panel here. So I think all in all this looks pretty good. This exposure looks really good. I was actually exposing for the sky on this one, so I wanted to make sure that this was exposed correctly. And then I could worry about opening up my rocks in my water here, So let's do that right off the bat. So before I do anything, I think my exposure is good. Since this guys is, you can see it, and it's Ah, it's visible. Uh, so let's just go straight to the shadows and we're gonna go all the way this way. As you can see, our rocks open up, and now the whole entire photo looks correctly exposed. Um, almost us if he was an HDR, but it's not. I just simply opened the shadows because I shot it this way so I could open the shadows later. So after we do that now we can see what we're doing. Eso Now let's let's get back up here and start on this exposure and conscious. Like I said, the exposure is okay, so there's jump into her contrast. We're going to give it a little bit of contrast just to make those rocks pop. And just to make him look really, really good and really dynamic is what I'm looking for. As you can see, right off the bat, the photo looks already 100 times better, just looks crispy. Looks good. I know I did. Was just given open up the shadows and give it a little bit of contrast. Um, where is her temperature? Here are white balance. Like I explained in the previous video, I want to give it a feel of what's what I actually felt. But I think this section looks really good. If I go this way, it will warm it up a little bit, which looks really awesome. But it's not what I was feeling. If I go this way, it could set off a little more. And actually, it looks really nice, but it's not. It wasn't that cold out there, So maybe that's where I started. Maybe I'll comma just a tad, maybe right about there, maybe right about right about there s O. That looks really good. So after I do that, I'm gonna come back here to my whites and blacks. I think if I go down my whites, they're gonna shoot that. Uh, that's guy. If I opened him up, they're gonna open up the sky. So I want to open it up just a little bit just so I can open up those rocks, but not too much. Because the more I do it, the more that's Guy's gonna open up. So I just want to give those rocks just a little bit off off brightness. So maybe right about there, that looks pretty good. You'd opened on my sky, but I'll show you how to fix that in a minute. Um, so next thing we want to jump to our clarity vibrance and saturation. Like they said before the saturation, I'd like to keep it zero, but the vibrance I always like to bump it up because it gives it color. It makes it makes a vibrant as a viewer. You wanna, you know, you want a colorful photo, at least to me. I'm a very colorful ice I like, you know, I'd like to see color. It just draws my attention more so we'll go here. Plus 41. That looks really and our clarity are clear, is going to give us hard lines. It's going to make those clouds a little harder, but especially this rocks, which is what I'm going for. Because my hole, the first thing that my eye goes to us a viewer is this rocks these rocks, draw me into the photo. I come here than I go in here to this rocks. And then I come back and make a triangle up here. Um, and it draws me into this beautiful, beautiful sunset and into this sky. So I think that looks really good. So when I do all this, um, immediately, I can see that my sensors dirty over here. So you're just gonna run through it and clean it up. I did a little bit beforehand. I didn't want to board you going through all the spots. So we will come back here like in the last video and go to our spot removal toe and just go through what you can see there's will always happen when you're shooting at very high f stops. Um, it just does. And ah, no matter how clean your your sensor is, you know we're gonna you're gonna get this you know more often than not unless you're shooting at 2.8 and, oh, are you know, uh, 3.5. Um, then you will you will be seen all this spots. So anyway, just clean it up a little bit and then go back. Get out of there. So next time you want to do you want to come up here too? You're a graduated filter to, and you want to draw the sky and you want to bring this Ah, with the clouds, the other clouds air going this way. That's kind of I want to draw it. And then I'm going to close this down just a tad just to make a dramatic, Um, And then I might even want Teoh. That's the open of my shadows or close. Um, you'll close him down just a tad just to create more off this vignette and then the I think that's good. So we'll just close out of that. And as you can see, that's a pretty dramatic photo already. Um, next thing we want to do is we're gonna come down here to the details now. I just want to sharpen everything up, Bring that up a little bit And as you can see, my rocks become sharper and everything becomes just a little nicer. Then a little bit of noise reduction just to soften up this clouds. Get those I know some rain, the green out of work. So then we'll close out of that. Not another panel I haven't showed you is the the Lens corrections panel. This panel is very important in a lot of photos. I don't use it in all my photos. First, is this under basic? If you click on it, it's gonna straighten up your photos. Yards worked. If you click on it, it only works the photo, so that looks really good on this one. It definitely needs it. And next we're gonna click this removed Chromatic aberration. What? This is is this weird lines that this Ah, sensors create Sometimes you can't always see him, but most of the time you can. So you always almost of my arm photos I get keep that clicked to get rid of all that stuff . The next thing you know, we're gonna go Next thing you wanna do you wanna go here to your post. Ah, crop vignette ing and you're gonna bring this. Suggest that that just to close on the photo just a little bit this will bring ah, your eye to the viewer to all this photo. Little visor. So once this is done, I think that looks really good from what we started with to this. It looks really, really good, but I still I'm not quite done with it just yet. What I want to do is I want to bring come here to my adjustment brush. Now we're gonna click effect twice, and then we are going to wring our exposure up just a tad. And what we're also gonna do is we're gonna bring our shadows up. Probably all the way and then our sharpness right about there and what we want to do is we want to brush some of this rocket so that you can see here. We're adding some adding some accents to this rock. Look how good that loves. We're just helping the I, you know, draw your I a little more to this beautiful ocean. We'll make it a little smaller and just draw over here just like so. And now there's no right wrong or wrong way to do these guys you can do. Would you see fits? I think that looks really good. Have you press your okey can show you what you've done so far? So will President. Okey. And as you can see, it's we've done, uh, the spots. And then here we have our feather and my feathers are 100%. That's because I want to make Suttles make it subtle, a subtle blend from what I'm brushing to the do what's not being brushed. And the more you brushing one spot, the more the more off whatever settings you did appear will apply to it. So if I if I opened up the exposure, the more I brush in one spot, the more it's gonna I keep exposing it and exposing it and exposing it. So just keep that in mind when you're doing this. But I think that looks really good. Um, so we're gonna let me show that on and off his little switch, You can shoot around no second, see what I did. So there's off their song, their self on their son. Just a few subtle changes just to Teoh make this rocks look a little nicer. A little better. Maybe back here a little bit. Maybe this rock right here just very, very subtle. Nothing too crazy. Okay, so we'll close out of that. And overall, I think that photo looks really, really good. But let's just finish it up with one more adjustment. And this is your eye color adjustment over here. If you open this up, you will see all this different sliders. Another huge raises to change your hue. Saturation is where saturation and luminous is for the illuminates. What I like to do here is common over saturate, certain colors. So the Orange Channel over here, it's all this middle. I want to over saturate that I want to enhance it, and if I bring it up, you can see the difference. It makes it over, saturates it, and that's what we want. Now here we have the red. We just want just a little bit not too much here on my own, my clouds. So that will saturate that. And then maybe my yellow Let's see what the yellows will bring it all the way up all the way down. So maybe we want to give it a little saturation. So I think that's it s so as you can see some sliders, some adjustment brushes can make the world a difference on this photo. So here's the before, and here's the after. 4. Learning Lightroom San Francisco: What's up, guys? Eating Chavez here eating Chavez dot com. And on this video, I'm going to show you up this edit a little different. I'm gonna go right from the beginning to the end without actually knowing what the final products gonna look like. So what we're gonna do, um, let's start right off the bat by straightening out the image. So I think the crop is pretty good, maybe just a little bit crooked, so we're gonna make sure that our skyline is straight. So once we do that, we're gonna come out to our our spot removal tool, and we're gonna come down here to visualize spots now, but this point, you should be getting used to creating your own rhythm and knowing what? What do you want to start and where you wanna end? Usually is this how we start? I always want to straighten out my image, Then go to the spot removal and etcetera, etcetera. But you want to do is you want to create your own pattern. So once you start shooting a lot off images and developing your own editing technique, um, then you kind of become efficient that at your own editing, especially if you do a lot of client work, then you definitely want to get get good at just ah, shooting and editing. And that, even if for a travel photographer like myself, you know, we like to be on the road and would like to travel, take some photos and enter them and we don't want to spend this. I don't like to spend a lot of time editing photos, so I enjoy it. But I enjoyed shooting the photos way more so it's important to become efficient. So we're almost done here, removing all the spots, not super important that you do this step. Don't ever skip it. I can tell you that enough. Um, people send me images all the time, and they always almost always have this spots. And right off the bat, it's like, Man, you're not putting enough effort into it. So once we're done there will close out of that, and it looks really clean right off the bat. I spotted another one right here. It's cables might get in the way. That looks really good. So now we can start our actual at it, so we'll come down here to our basic panel, and then we're gonna open up our shadows right off the bat. This is what I like to do. Ah, with most my photos. That way I can get a balanced photo and I can see everything was supposed to have in a dark spot part to work with. So once I do that, I'm going to come to the contrast, just make it a little bit, uh, more giving more pop, and then I think my exposure is pretty good. Um, I think I don't think I need to do anything with that. So I put that back at zero. Just press zero from the dial, and then I'm gonna come to my whites. Let's see what the white. Still, I don't think the whites are gonna do much to this photo, so I'll just keep him at zero. Maybe, actually, not just keep him on zero. I remember my whole The whole thing I want to do with this photos, make it to Gotham, is so I have some sort of idea of what I want in the back of my head. Um, So here's my vibrance toe. Usually I would bring it up to give it some color and make it pop. But since I want to go the Gotham Way, the kind of like the bad Manish mysterious, cartoonish, cool ish kind of way I'm gonna actually take away. So some vibrance almost blacking white, but not quite so I think 33 that's about good. Our clarity. We one of those hard lines on the bridge, so we'll bring it up a little bit. As you can see, this bridge becomes more defined. And here comes the magic potion for this for what I'm trying to achieve here. So here, we're going to come to a white balance. And I were gonna make this image very, very cool by cool. I mean, cool as in cold us in temperature. So I'm gonna bring this all the way down right about there. That looks pretty cool already, right? Well, not with this 10th dial. I can bring it up. Just a tad. Look at that. It transforms this photo into just something kind of out of the future. Something you'd see in a movie. That's exactly what I'm going for. Maybe even cool it off a little more. See, that's too much. So you got to Just make sure you do it just the right amount. They may be, I think right about there. I think that looks really good. That looks pretty good, huh? Let's bring the purple up just a tad more, and then there's just a tad more All right. I think that looks really good overall. So pretty, Pretty, pretty simple. We're pretty much almost done with this with this photo. Um, I think what I want to do now is I want to come down here to my detail, and I want to sharpen it. Just like you, Not. This bridge can look a little sharper, and all this tall buildings can just look a little more defined. Not that they're not sharp, but just give it a little bit more definition. Now, there's no noise in my in my sky, which is where you would usually notice your noise. So I don't think I need to go up on the noise reduction if you want to be safe. You know, if you're ah o C d about noise reduction, you can bring it up a little bit. But if it doesn't need it, you're just spinning your wheels I think that looks really now we're gonna come down here to the lens Corrections A Z usual. We're going to remove or chromatic aberration. But on this one, I want to enable my profile Corrections. I think, as you can see, brings the bridge to life a little more and it takes a vignette, the lens vignette away. So I think I like this enabled. Let's look at it again. Yes, I think I like it enabled. It brings the city it got it compresses it a little more, and it looks a little better overall. So I think overall, the image looks really, really good. I do have one last step I want to do no matter close that So we don't get confused. And what that is, I'm going to come here to my just members, and I'm gonna I'm gonna bring out the exposure in the bridge just to highlight some stuff. So what I want to do is click the exposure twice to bring it up to zero. And then I'm gonna start brushing in on the bridge right here. That's zero right now. So I want to start very gentle, maybe like 26 and I just want to brush a little bit. Very subtle changes, not too crazy. And I have your president. Okey Shows you what? We're brushing 19. That looks really good. We'll take it off and that looks pretty good. Now you can even bring the sharpness up a little bit and then I would do this pillar. And as you can see, it's very subtle. You almost can't Can't see it. And I were gonna come to her buildings over here just to bring him to life just a little bit. Just brush human just a little bit. Nothing too crazy. I mean, if you really want, you can get really creative with this and you can zoom in and you can do just some lines and not others. Um, you know, it's it's entirely up to you, but as you can see, I'm highlighting a lot of stuff. Um, if you want to create another brush, would you want to do is you want to close out of this and then you click on that again, and here's your old brush. Here's the dot were your old rushes. So by clicking that you can go back to the a brush or simply start a drawing with a new one . And this will create another new brush. But I think overall, this looks really good. We'll close out of that. And I think that's Ah, that looks pretty pretty good. Let's go back to this basic and let's take a little vibrance a little more vibrant. So I see what that does. I think that looks really good. Um, one last thing I do want to do is I want to come down here to the age a c l hue, saturation ruminants. And I do want to come down here to the saturation. Um, and I want to bring on my yellow. This will bring this lights out a little bit and my orange. And this will just make this slights on this building's pop just a little more, um, making it ah, you know, highlights oldest lights. It just makes it a little a little brighter. It brings it up to life a little more. And, uh, here I just noticed that my horizon might be a little tilted, so just I'm not sure how that happened. I thought I had it pretty dialed in. Um, but while I think that looks really good. Um, a few sliders. Very simple at it. And, uh, we got a completely different image than what we started with. So here's before. Here's after.