Image Processing Like a Pro - The Ultimate Post Processing & Editing Course for Beginners | Jellis Vaes | Skillshare

Image Processing Like a Pro - The Ultimate Post Processing & Editing Course for Beginners

Jellis Vaes, Artist. Entrepreneur. Adventurer.

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25 Lessons (2h 19m) View My Notes
    • 1. Intro Video - The Ultimate Photography Course in Post-Processing & Editing

      2:14
    • 2. WATCH THIS FIRST - How the Course Works

      4:57
    • 3. Welcome to Section 3 - Learn to Edit Your Photos Like A Pro

      2:26
    • 4. All Around Editing Techniques – Basic & HSL Panel

      8:15
    • 5. Detail, Split Toning, Camera Calibration

      6:25
    • 6. Saving Your File, Auto-Align Layers, Cloning

      6:21
    • 7. Healing Brush, Clone Stamp Tool & Customizing Workspace in Photoshop

      3:43
    • 8. Dramatize Colors with The Selective Color Tool

      3:30
    • 9. Color Balance, Dodge & Burn Tool

      3:52
    • 10. Creating a Vignette and Using LUTs

      6:05
    • 11. How to Make Your Photos Cinematic using LUTS

      4:51
    • 12. Applying a Sunset Technique in a Photo

      7:23
    • 13. Working with Blending Modes & Sharpening our Photo

      4:29
    • 14. Temporarily Unavailable

      1:01
    • 15. New Sunlight Technique and Final Touch

      4:02
    • 16. Portrait Retouching Techniques – How to Turn a Terrible Looking Photo into a Good Looking One

      6:30
    • 17. Fixing Hair, Removing Blemishes, Correcting Skin Color

      4:45
    • 18. Dodge & Burn Tool, Photo Corrections

      4:41
    • 19. Enhancing Colors, Selective Color & Color Balance

      2:55
    • 20. LUTs, Cropping, Enhancing Eyes

      7:20
    • 21. Brighten Eye Pupils & Change Eye Color

      7:21
    • 22. Adding Realistic Clouds to a Sky

      5:44
    • 23. Smoothing Skin with the Frequency Separation Tool

      9:22
    • 24. Blur, High Pass Filter and Finishing Touch

      7:44
    • 25. Bonus Lecture: How to Create a Professional Photography Watermark

      12:39

About This Class

“Photography is the story I fail to put into words.” - Destin Sparks

You are about to learn how to tell your story even better.

Just like The Ultimate Photography Course for Beginners, this course is focused on digging right into the true essentials of post-processing and editing.

This means the techniques and skills that you will learn here, are the ones that will truly take your photos way beyond simply okay, giving them drama, impact and that wow factor. 

Everything that you will learn in this course are techniques and skills I’ve learned from numerous other professional photographers throughout my years in the profession. I’ve combined all of that information into a well-presented package that not only looks good, but is good - guaranteed.

My mission here with this course is to guide you step by step, slowly but surely through the myriad of possibilities that post-processing and editing offers you and your photography.

And don’t worry, for those who are new to Lightroom or Photoshop, there are lectures to help you understand all the necessary tools, and if you have any further questions at all at any stage, you just have to ask, I am here with you on this journey. 

What Will I Learn?

  • Various new editing & post-processing techniques
  • What LUT’s are, how to install them and how they work
  • An in-depth insight into what the editing process from start to finish looks like
  • New tips & tricks with each photo we will edit
  • How to blend two images together into one
  • And many more invaluable tricks, tips and techniques

Now, brace yourself and get ready to be blown away by just how much better your photos will start to look when using the numerous easy to advanced techniques and skills you are about to learn. 
It’s going to be a lot of fun, so please enjoy the course!

An honest review and rating is always appreciated and will help me to make any necessary improvements for the course, as well helping to get more people involved so they too can benefit from the beauty of photography. Many thanks!

__________________________

Connect with me:

Facebook: Jellis.Vaes
Instagram: JellisVaes
Twitter: @Jellis_V
Youtube: channel/UCSN058GSqdV5ndLbubY3AlQ

__________________________

The Ultimate Photography Course for Beginners

Not yet mastered the technical and theoretical aspects of your camera or photography? The Ultimate Photography Course for Beginners, my first course, digs into the true essentials in understanding those aspects. It’s a quick, yet in-depth and fun course that is highly recommended, not just by me, but by more than a hundred 5-star reviewers.

Transcripts

1. Intro Video - The Ultimate Photography Course in Post-Processing & Editing: Hi there. Welcome to the ultimate prosper, acing and editing course for beginners. My name is Ellis Fast, and I am a professional travel and adventure for Darfur, and I hope that you already to take your photos from this to this after my first successful course, the ultimate photography course for beginners, where recovered all the theoretical and technical aspects off photography. I am super excited to invite you on a brand new adventure where we will explore the other half off the whole that makes up with our fee, plus processing and editing. This course is designed beach and show you all of fundamental techniques and tools off Light Room and Photoshopped. Now I've divided discourse with three sections. The 1st 1 will explain how lights and works. The second month will explain how Photoshopped works and all of different techniques and tools that we will need. And in the third section that's where the actual bus processing and editing will come to happen and where we will go over various different photos, all from start to finish, applying all those different techniques and tools that we have learned in those previous lessons with every photo that we will come to edit in the third section. We will come to learn a whole variety of new skills and techniques that all together will come to make your okay looking photos into stunning and dramatic looking photographs that will take yours and everyone's breath away. Now I hope to see you soon as I, for one, can't wait to be your feature and to show you exactly what's in store for you. There's a lot of fun to be had in taking this course, so hop on boards and I'll see you soon. 2. WATCH THIS FIRST - How the Course Works: hi and welcome to the ultimate Prospero's ing and anything course for beginners. Super excited that you decided to embark. You're with me on this adventure, and I can't wait to show you all of the cool things that are waiting ahead of us. Before we do the into all of that, I just want to dimension a few small things about discourse to ensure that you will have the best experience. First of all, let me start off by saying that if throughout the course something is not 100% clear to you , or if you come to stumble upon any more questions on anything or bust crossing after the course, don't be afraid to ask me a question creating this course. I'm trying to do more than just these videos alone. I'm trying to be here for you as a teacher, so don't be shy. If you have any questions on editing or bus processing police, go ahead and as them, it might take me a day or two to come back at you, but I will assure you I will come to answer your questions. Secondly, if you don't already know how to operate your camera, correctly. If you don't know how to work with Aiso, temperature, shutter speed and all the other technical and theoretical aspects off your camera, I would highly recommend you to check out my other course. The ultimate photography courses for beginners or mere lifts cameras such as effort, your shutter speeds and so. But we will also cover various composition techniques, process of workflow and even touch upon the basics for bus processing and making. It has received a lot of great refuse. It's a very fun and engaging course, and it doesn't take like 10 hours long to to finish it. It goes down into the true essentials off all of theoretical and technical aspects that you need to know now. The reason why that I am mentioning this here in this scores is because boat editing, a bus, processing and knowing how to correctly operate your camera. Both of them go together. Both of them are needed to take good photos. The 1st 1 say it serves into knowing how to take a good photo on the spot, and the 2nd 1 this course serves into knowing how to edit your photos to make them afterwards look incredible boat. This courses boat, this one and the ultimate photography course for beginners served as a very strong based ground into photography. So if you don't already know all those theoretical and technical aspects, I highly recommend you to check and learn that first, unless, but not least now, I have already mentioned this in the intro video. But if for some reason you didn't watch it, let me just mention here one more time. I have divided the scores into tree sections. The first section we will come to see how life works the second section. We will come to see how 40 ship works and all the tools and techniques that we will need. And in the third section, that's where the actual anything and prosper acing will come to happen and where we'll go over various different photos, all from start to finish, applying all those different that needs and tools that we have learned in the other lessons and each voter that we will come to edit. We will also come to learn ah whole range of different techniques and tools. Now, if you already know how to work with lights room and for the shop you can effect jump straight through the third section. I could, however, still recommend you to check out the 1st 2 sections because you never know there might be still some some tricks and tips or tools and techniques that you don't know yet will benefit a lot in knowing. So it's entirely, however, up to you, I've created these scores in such a way that the freedom is completely yours Now for everyone who is very new to light from and photo shop. Be sure to check out the 1st 2 sections, of course, because they will explain very well how light room a photo shop work and will give you a good base grounds how to work with those two programs. Now I think I've done all my talking, at least so far. Thanks again for for taking the scores. I appreciate it a lots, and I'm very humbled that I can I can have you as a student, and I can share some off the knowledge that I have about photography. You I'm sure we'll both come to have some great funnier in this course, and without any further ado, let's get started 3. Welcome to Section 3 - Learn to Edit Your Photos Like A Pro: welcome here to the third section. I have to say I'm very impressed that you've made it all the way to here. Now, if you've just shown then that I'm just very glad that you've joining here in this section here in the third section here is where the actual anything and bus processing will happen in the first and the second section. That's where we've learned all those techniques and tools. And here in the third section, that's where we're gonna go and blind him. Really? So we're gonna take photos from start to finish, and we're gonna use all those tools and techniques. But of course, we're also gonna learn a whole range of new techniques and tools on each photo that were anything. So in the end, your toolbox off tools and techniques will just be incredible big. I'm gonna take my time with each photo because we're really gonna take from the start into life room and then take them into photo shop and a really apply all the adjustments and everything. And I'm really gonna try to make the photo as best as I can. And one less thing that I want to add here is each photo that I'm everything. You don't have to go and edit your photos the exact same way as I do. The thing what I'm just doing is I'm showing you the adjustments. I'm showing you the possibilities. I'm showing you the tools and the end of techniques. I'm not asking you to go and edit your photos the same exact way as I do. That's not the point of this. The point is that you just I mean, you definitely might take some things that you like, what I do, of course. But the point is that you just go when we're editing those photos. Just look how I edit. And I want you to really think about it, what I'm doing our and I want you to really say to yourself like, all right, I like this what is doing? But I don't like that I would do that differently, and I would do this and this differently. So try to really be an observer here. Try to really see what I'm doing and try to really think about what you would do differently. So that's the whole point. Now, with this editing and bust crossing here in the third section. I'm showing, you know, but you have to go and think as an individual yourself off what you would do to create your own style and having just all that said, Let's go and jump into the third section. Alice start editing at Prospero's Issing. Our photos. 4. All Around Editing Techniques – Basic & HSL Panel: here we are in the third section. You have gone incredible Long way. If you've started from the first section to the second section and now the third section, you've come to see so much information So many things Here, there, 60. Now we're gonna sort of get all those things that we have learned in the light from section and the photo shop section. We're going to see all of those things again. But now we're actually going to really apply them in editing and possible assessing a photo . If you just joined in here in the third section, then I just want to say welcome. I hope you are ready to learn quite some cool things here to edit at plus process your photos. Each photo that we are editing has some kind of ah, a reason. A purpose of why we are editing that to learn some specific, that niece and the touch upon some specific tools. So in this photo here, I just want to go and cover some very kind all around techniques and tools. So let's jump here into lead room. Now we are gonna edits these two photos here and what we're gonna do is we're gonna blend them together. And the reason why is because I took this photo here. Add a shutter speed of 80 because I wanted my friend here to be in focus, But I kind of wanted to have the kind of magical, smooth effect that we have here. But in order for this to do we need it's a longer exposure off one of the fifth seconds. So we're gonna blend those two photos together, and it's very easy to do. But that's for your photo shop here in light. From right now, we're gonna bring out the most information that we can from those two photos. Mostly always rate my photos. So this is the first. This is second photo, and then I can stack them into a group with just right click on either one of them and we go to stacking group into stacking, and I always put the red label, as we have seen in ah, the workflow lesson off life room. I always labeled them reds for the ones that I want to end it cream for the ones that are finished and purple for the ones that I want to revision so here. That's why they are boat rents is about when I edit them. So let's go here into any develop module. We can just eat a click on here or he d for develop. I want to start here with the lens correction. I always check on remove chromatic aberration and able profile corrections for correcting the sum over the lens distortions. And you can already see that it did do some changes. And then we go here into the basic panel. So let's see. I might bring up the exposure because we are mawr in our instagram, leading to a darker, under exposed kind of photo. So let me just play here with the exposure and see I don't want to be like a little little bit more former just decrees that a little bit more and thin, but see, so a little bit of a greener Dent's body contrasts many times. Putting it down can look, have some pretty cool kind of Matt result. But here I might just and a little bit of contrast to the photo, like about six. The highlights. Let's see. I don't want to overdo them. I kind of want to just put them a little bit down and like I said and I would just want to repeat it again. But light room for me is just draw out the most information off everything. That's why I wanted to put the exposure limit more up to have the most information from this photo. That's why I want to have the shadows nicely because I want to have the most information off the shadows. So let's put the shadows late of it down. The white slides tried to put on the limit more up. The blacks see my kind of put them a little bit up. More to clarity. I don't use much, but, like just like maybe tree or four, not too much vibrance and saturation I don't use. And the reason why is because I go down here through the H as L panel and I individually go through those killers, the vibrance you just affecting every color here, right? You're affected them all at once. H is el. You are as well doing the vibrant sort of. But you're just separately going to each color and I like to do it is a lot more. You're doing the coloring Mawr mentally, with the H S, L and the color and the HCL panel. They are like I've already went through. They are just the same. They're just different overview. But I like to use just a color here. So let's Gill and let's just play with Luminess, which is the brightness off the color splits. Play with you and see if we can put some cool thing with that. But a live it down and a situation. Let's maybe see not too much. There's not too much kind of a rent dollars in year orange. There will definitely be some orange in here, and that's also from Iraq's. I might afterwards. Once we're done with everything else that we're doing, I might go back to the color here in camera calibration. The blue primary bumping his live it up thus give a lot of times a very nice effect. Honestly, the guy enriches a lot of the a lot of the colors here in a photo, so I do want to increase a little bit. Let's see, let's just go through the basic bend a little bit. Mawr. Maybe. Maybe I do want to put the highlights a little bit more down, but all of that thus looked pretty good. We have more off, well, explores photo now and let's just go. And maybe in the yellow, I kind of want to do a little bit of changes here because I just feel like we have a lot of really green green now to win a decrease in a little bit. It's more like something different. Gotta callers through it all now, right? Let's just play with the greens on a little bit, too. Increase the luminous a little bit. Maybe I know our consideration that looks all you know, pretty good to me now. The other photo that we are anything ese just the same. So I don't have to go and do all those changes and adjustments that we have just made into this photo here. What I can do is we just go to the library crit and just have that one was selected that you've made all those adjustments. Do we go on, patrol a command, dislike the other photo and just go here to sync settings? Let's click on that now. Let's check also have all the settings here checked on, and let's just click on Synchronize. This will be now just synchronized over to this photo with pretty much you seen things. Now I just want my friend to be well exposed. Let's see, just with the highlights that looks right. Ah, With the exposure, I could maybe you, like, do a little bit And because I took this photo at an isil 1000th 6 hundreds. There might be some some grain here in his photo, so I might go and like, you see there definitely some Granier. So let me just go to detail. 5. Detail, Split Toning, Camera Calibration: So let me just go to detail and let's just click on the masking and let's just nicely try to just mask some things out here and let's click on the Lewins, and I would just increase that with them. The luminous don't overdo it because that you were trading details for that, for smoothing is all our. So I don't really try to overuse it, but just try to see that it's like, you know, removing some of degree and then everything and that we're masking just hit Ault and I click on it to get this kind of you here. If you're gonna going to be true, it to smooth out those things just where the white ISS That's where the sharpening year of Photoshopped off light room is being applied and all where the blackest that's where it's gone away. So it's just more the edges that we once it's pretty good many times. Once you're sort of done with the coloring and and doing the adjustment seeing here the go and just maybe go to the toilet for a moment of just go for a small walk and just stepping away from it from it all, just for a few minutes and then coming back to it all, you just have, like, a fresh look up or look upon all this. So that's why it's very good where you're editing, take multiple breaks and especially when you're doing the coloring. But I might go into the color Hedo and do put yellows even a bit more stronger. Let's just play with you here because I want to have a mortar, the greens or sort of dumb, illiterate or out. Let's just see what orange? Yeah, I would say That's pretty good. The split dawning I do use many times as well. And let's just have a little look here because maybe there is some cool thing that we can do with split toning but a little bit of warmer. One just agrees that a little bit, uh, will be cool. And we're doing this and it's many. You know. You don't have to go all the way to 100% because that's just crazy effect. But having more like a subtle effect off like 6% in it makes things a lot more realistic. So let me just add, like a limit of wars in there. Now let's go into the shadows and and I would go for a little bit of a greenish color, but like, very subtle, like five or something of it. So maybe less. Just go here into this highlights again. Let's put a little bit less do in the shadows. We could put some kind of 1/10 in there, too. And let's just see, because this does give some very cool effects, too. And let me just do a little bit more here. Now, you know, it looks very nice in the greens. I would go home or this side and also very subtle, though, like just five. Be sure if you're making some adjustments to one photo and you are working with another photo that you want to blend together that they But they match right? So let's just synchronize that again and boat photos are done and already the go to the next face, which is Photoshopped. So let's open that. So the way to do that is we just go to the great few. We just hit the G or we can also, if you are in the develop module, you can also just open this step here by clicking on the arrow and then just having the photos here, selecting that you wanna have control plus command to select them, rightly gun it, and then you can click on edits in and then add it in at a photo shop. Now, in this case, because we want to blend those two photos together, we want to open them, asked layers in photo shop. But if you're just adding one photo, you just leak on edit in adult photo shop and that one photo will open in photo shop. So here we are in photo shop. Let me, first of all, already start of by saying something if you open your photos into from light room and you keep light room open while you are in photo shop. And so let's say that we have done some anything here on their photo, and I'm just gonna overdo it very much. No. Was made a darker If you click on exits while you're a photo shop and you're still in flight room open, you click on exits Nuclear on safe changes through the ad of Photoshopped documents. That photo with all those adjustments will be here now as a separate file, it's automatically being brought into light room, which is very, very handy thing in this case. I want to have those two photos into photo shop. But I am gonna exit light room because light roomed us used for M and Photoshopped will be running a lot slower. And this tablet here on this laptop, it doesn't have that much ram that I have on my desktop. So that's why I'm gonna close light room. But for you, it might be as well that your computer your left off it's not that fast clicking on exit off light room on down, having photo shop open. Then you have to actually go and imports the photo. So we have now here our photo open in photo shop again. And let's just exit light room. Now if we would be doing our edits, you know, let's make some weird thing here again, and we were really gone. Exit footer Ship will always automatically ask if you want to save it or not, which you obviously, if you have done your edits, you do want to do that right? So just click on Yes, If we go now into light room. That file will not be there because life will just not updated like it does when you have photo shop, open and light. 6. Saving Your File, Auto-Align Layers, Cloning: where we were last time and it just like on imports. So you just want to g o to the file or folder where your photos are stored on your computer on default for Maxim, for just BC, You will be in your pictures folder, so for most people would be here. But if you have put your photos somewhere else that are in your catalog, then you have to go to there and then you can easily see the ones that are already imported in your gather lock and the ones that are not. And in here we can see our one photo and we can just look on on chick all. And that's the one that we have just edited in photo shop. So we just go and click on that one, and we just like on imports, and then that one will just end up here on its up. And we could just move that then, too. The photo. One folder where allergist delete that bullard in remove so that will be in our photo, one older. So in many ways it's a lot easier where you have flight room opening your photo shop open while you're working in for the shop because when you exit black trimble automatically alright, Just gonna import that into light room. Let's now go and actually ended them. What we wanted to start first with is so I feel like those two photos are not completely a line and weaken. We can align them very easily. Just click on the 1st 1 and just like the other one by just painting control and go to edits and on auto align layers and then just have auto on because photo shop does a very good job on it kind of runs through all the other ones here and then just sees which one works the best. So now we want Teoh blend my friends in this photo here also, we want to remove the people hiding in the bushes. We want to remove them. And I also found this this party road bridge kinda distracting and also the just the wire that this kind of just got a sticking there. I want to remove that too. Let's adds a mask, a layer mask onto our top layer Here, let's eat the beef or brush and we now just smoothly g o and paint him in and this is very easy one to do. So you just bring him in. We have aligned our photo, so that's great. And we can also see now if we just increase the capacity or decrease it delivered where the rest of his body Ghana needs to come. So right, also the shadow, of course. The shadows here on his hands. We do need us. Well, those shadows and I don't think we have really? All right, we have them and we have just very easily successfully blended him in two photo that we wanted. So that's great. And now we don't need the outer layer anymore. We just needed that layer for the purpose of having him. So I want to make a stamp visible layer out of this by hitting control All shift e. This will make a stand visible layer so we can just make those invisible, actually, and we have just we have now one photo on its soul where he is in a where d nice effect of the water is in there. Not too different photos now anymore. That's our base photo. So that's just like the background photo that many times for the show has and we can just gonna go back grounds and we can put this little safety lock on there. And that just means that we can edit this photo. So let's just make a copy of that photo and and click on that Safety luck. And here we can now just go and do all of the rest of the adjustments. But in case we ever have to go back to the original one, it's on here. It's down there. The rest of I want to do is I want to remove the tree people here. We have went through those tools already in the photo shop section. If you have not watched them, I could definitely recommend you to watch the return fishing lesson where we go into the healing brush spot Healing brush stamp visible. So let's just use a combination of the close them tool and the healing brush to fix this year. Now let's see and I wanna start yeah, with the clone stamp tool and your capacity. Let's have that on what's a 70? Let's clone here heating Alz and let's just start, you know, cloning a libertine year. So this to me looks more than fine. Like this is pretty much blended, Very willing. Let's just do a before and after Here they are ends. You hear that? A gun? There are just not too much that you can see anymore. And especially if we zoom out there pretty much. All done. So that is fixed. You don't have to perfect it. You have to make it believable. And this to me it looks very believable. It just looks like there's force coming out of it now. 7. Healing Brush, Clone Stamp Tool & Customizing Workspace in Photoshop: So let's continue on and let's remove now the wire out of here. One thing that I might also dio because, you know, we have our backgrounds layer now, which is this one and then the company of that layer. But the through bottom layers here, we don't need them anymore. They are in fact, just making our final or bigger also lowering the speed off photo shop. So I'm just gonna go and removed him. So let's go on here and let's continue on and remove this wires here, which will not be too hard on. Let's do that with the combination off the healing brush and the stem tool and the wire was do before and after has Bean very successfully being removed. Let's g o and make this bridge here disappear. And we also will do that with the domination off the healing brush and the clone stamp tool . Let's just he use the healing brush for here way have made the bridge disappear very nicely . It's not perfect, but like I said, it has to be believable. And I know in the end process what we're gonna do with this. This will be okay. I will not need to go that much more extreme with that. I want to go to the crop tool here and I want to crop it a live it. So let's go up and let's crop. It's say about this year, and also I want to club that a little bit more, just a little bit more so I want to have more the attention going to this area here. That's what we're gonna do. I have touched a bunk. This here in another lesson in photo shop off the can attempts that I would recommend to have. And they are the color depth, the adjustment that and then the layers. And if any of them is not there, you could just find them here in window. You have the adjustments. You have the color, the layers Have those checked on, and you could customise them. You know, you can put them put one over here or wherever you could just do all that's That's a cool thing of photo shop. You could just really customize your workplace. Now, here in the adjustments, I will start with the selective color and in a way, we have done something similar in light room. They will affect our photo a lot differently already like this. I want to think or want to decrease that a little bit. You We have some very nice scholars, and I do. Right now. I just want to increase decrease it, like a little bit. But in a minute, I'm gonna make another selective color adjustment layer here, and I will explain it once we're doing that, See them agendas. All right. 8. Dramatize Colors with The Selective Color Tool: Let's see them agendas. So we have added a little bit more of those colors in here, which leaves very great. I'm gonna now gil and make another one of the selective color. So let's go here to select the color. And here I want to touch upon some very specific area. And especially when I went to the yellows, Alex just changed out here to more of the orange er toe got amore magical orange. I don't want that everywhere, but I do want it on a couple of spots. Now let me just play a little bit more with the orange because I want that. Can it orange in there? So the way to do that, we just have our layer mask here. Just look on control or command. Plus I. So we inverted that. And let's take our brushed by hitting to be have the White selected so he don't exits. Not on whites switch restaurants. Allen's just have the capacity very low, very low, so we could kind of build up, and I want to paint it here around some areas. So I am just gonna leave that for now, and I will return back to this later. I want to bring greens, lib it more outs. So maybe I go just hear back through the first selective color that we had. And let's bring the greens a little bit more outs. Another nice thing is if the effects can too strong, you could always lower the opacity. But just dragging that down. And I might try that a living down here to 80 on that one, and on the other one that we did. And I want to go to the adjustments and do another one. Let me lower the opacity of that a little bit, too, to about 18 six. So great. I definitely will come back to the scholars again because I do want to separate a little bit more off the orange and the green here. But we can go and make group from this, so just have the first layer here selected and just leave on shift unless one it control or command Pallister G and we have your group and we could even name it if we want, so we can name it colors and you don't have to do this, but I do. There's a lot of times it's just gonna organizing and making things a little bit more easier to know where the layers are and let me say this as well. But just going here to safe or you can also just easily do control or commands bless s which stands for safe. A less adjustment that I'm gonna apply here in terms off affecting colors. He's the color balance. 9. Color Balance, Dodge & Burn Tool: So here let's go into the color balance and we can hit the tone. We can hit the mid tones, the shadows and highlights, and we're just going to see true, all of them. So let's just got go to it and see what kind of looks nice. Very subtle effects. But it is in there. And let's even lower your capacity of all this to about 80. Well, seeing 90 I still want to retrain some of the original gonna information. So why was many times to do lower the opacity? Just like a little bit. So I will stop here with the dollars, and I would recommend you to do that as well. I always ended my colors at first before I'm doing other adjustments to the photo. So that's why we're gonna take a break year and well for you in a minute. But for me, it's in a couple of hours tomorrow. We are gonna continue anything on this photo. So here we are. For me, it's the next day for you. It's just two or three seconds later. Let's jump into light room. And here is our photo that we have bean anything or that I've been everything yesterday. We're gonna continue on anything with it. So I have here the purple mark on a purple label because that was the label for re visioning it. That's what I use for that. And I'm gonna open this photo in Photoshopped just hitting control or commands plus the E. And you can just click here on edit original. The next thing that I want to do is I want to go to brightness and interest here and here. I want to draw out some of the shadows and some of the highlights. So I hereby brightness just slide this down and make it kind of darker. And we can name this too dark And let's invert that mask getting control command Phyllis I and then I'm gonna make another one. So go to adjustments again, go to the brightness slash interest. And here is for the kind of brighter area. So we want to increase that and he also control plus I to invert that you can also put them in the group now just clicking control plus the chief. And we can name that dark slash dark slash rights and let's start in the skull a bright as well. It starts you with the darks. And I want to draw out the darks here a little bit Mawr. And this kind of gives more of a tree dimensional feeling to everything. And here we are, sort off a little bit like a painter trying to gonna paint like a nice kind of treaty effect out off everything. So we went to your capacity on then because we want to build things up here. And let's just make this live it smaller. And here on the edges, where the darkest I'm going to start painting and trying. Teoh, bring them a little bit out to create a drink treaty effect. Be sure to have your brush on the whites and let's just start painting a little bit. 10. Creating a Vignette and Using LUTs: All right, so let's switch over to the brights now. So here we would have liked the blacks, right? And here we have the brights. So I went to draw them a little bit stronger around as well. So with darks, let's just put the opacity a little bit more down about 70 and the brights. So far, they're not like that many, many areas that I kind of want to write more Arth. But maybe when we are editing further on, there might be a couple of more areas that I will see that I want to draw living more. But so far, let's go on with the next things here. We want to make it being yet around here on easy way to do that is going up here to the elliptical marquee tool palettes with feathering up here to 1000 sir, just one 00 to thousands. But this so we have made now a selection in here. And if we go to the adjustments, we go to our curves and we drag this down that what we selected the insight will now evil effect now, with the curves or any kind adjustments that you have in that selection. Just click on control, plus I to invert this and then you can see it's inverted and a very nice thing on Let's first just just here, to curves a little bit more, do something that looks a little bit more applying. I would say this now, Over here, bringing this up, you can give like a nice kind of mud feeling to the shadows. So let's bring that a little bit up, and that looks very nice. This is layer math. So obviously, if we hit the beef or brush, we can go and paint out in areas where we don't want it. Because I have now made my friend over here only be darker, too, which I don't want, because I want the attention going to him, and now we stand up just going away. So let's do the capacity to 40 the brush on whites or Serie on dark and just being him you a little bit more back again and let's just see, maybe we just want, like, a little bit of a spotting your lighter to, and that may be too strong. It's with that 20. That looks great. Um, let's see so he looks get just to before and after. This already sets a lot more off the moods and everything in the photo, right? And I kind of wanna just bring us living more lighter out again. Do you want to take a little bit of the effect off year on the rocks? Swell. I just I do feel it's like, very dark. And be sure to one single a go to safe here. So you're document is being safety in case if voter shop crashes, I have never happens de next thing that I want to add here on the photo and this are gold lutes, and they are used a lot of times for videographers in their movies. It's sort of like a free said that you apply on your video, but you also have that four photos. If you go here to color Luca, you have fear. Treat the elude file loads treaty would file, and a near you have a whole range off lutes. Now, on the Internet, you can download hundreds off different lutes. I have attached a pdf file in this course year. We'd some loot recommendations. Now I can show you where to go and install them. You want to go to this computer to your hard drive and program files and that you want to locate Adam and then go to Adam Photo Shop CC 2017 or which ever one that you're using. And in here you want to locate three sets, So click on that. And then if you have dollar your lutes, you have downloaded the files. You have to put them into the tree deal lutes file. So this kind of files, you have to put them into here now for make users go to your applications and you have to go to adult and you basically have to find the same once you also have to go to out of photo shop CC order of the version that you're using and then also the presets and then also to treaty of lutes. And then you also just put this files into the fuller 11. How to Make Your Photos Cinematic using LUTS: Now, I'm gonna check if you can see which one looks nice. And you could see now that it's sort of like a preset that we're applying right on this. What looks Yeah. I don't know. Not to. Wow. Fade outs. Let's check that one. Now, I would never really use just everything like that. I would still put the opacity like thou art and gonna make fuel adjustments here and there . So let's just take a little bit further. Maybe if we put the capacity down of this one. This good look may be nice. Yeah, this one I like. It's will. And this one I like a lot. It's just shaking living further. Oh, and this one I like even more. And there's just one more that I want to check over here. All right. That's just a week one. But this one over here, I like a lot, and I'm gonna use that one. No, Like I said, not like 100%. But I'm gonna bring you bass Idi a little bit down to say to 40%. All right, now this loot, we also have a layer mask on it so we can go and being a little bit over those things a little bit back here, so I want to paint some of that cream back in here. Now, this has dramatically changed the whole photo, right? If we would just and if I would do it before after you can make all of them like invisible . Right? But you could also just go into the less I hear and actually going Alz and click. And thats done shaking all of them off a logistically on that again having old selected and that we get if, like, a fest before and after of everything that we've done. So just she see again And, uh, yeah, the whole mood of the photo looks a lot different. So I'm gonna go to adjustments again, going to go to color, look up, and I'm going to look for another loot that we can load which look nice on you. Let's make the 1st 1 that we have made invisible so we can just see the whole effect off the next loop that we're loading. And then we're gonna blend them a living together. Yes, it this one was it. Get one, I think. Let's also just bring their living down and let's enable the other one again. And the other one kind of brings things. Leave it brighter, and this one makes things living darker. So it's kind of a NASCAR interest that it's making. No, it's just justice now what kind of I plan to deliver more in Nicer. So let's move our color. Look up our lutes. Let's also moved in here in the colors because they are as well dollars that we have been changing. So let's just slate them. Allen's dragged them and draw them here in the colors. And by the way, this is also a very cool thing. So we have here the group now selected at all those adjustment layers in here. If we would g o way we can actually infect at a layer mask on that group, and we can then go and adjust all those colors here now. So if we will go to black, we are now affecting all the colors off that that are here in our map. I might just want to take a little bit here off the rocks, but like just living up the color, I feel like for the most part, everything was pretty nice. Maybe I could go here in the brights and add a little bit more brightness on leaves here. Well, maybe I would add living brightness kind of to some parts of the water here. That the photo looks pretty great. I think it looks very nice, but the next things that we're gonna apply on the photo will even make things more dramatic . I want that make, like, some sun effecting here because there's sun coming from there, and we're gonna also ad lib it of a blur in there. 12. Applying a Sunset Technique in a Photo: I am gonna create here a sun light effects, and we have seen all the sunlight affect possibilities in the sunlight technique lesson. So if you have not watched that one yet, I would go and see Watch that one, because there I explain more step by step each one of those techniques. I think I've got to go with the Sunset Effect technique, and we do that very simply by going to the Caribbean tool and in here Let's make a layer. And on that layer we're just gonna put down that ingredient. So let's just drag and drop that now. Let's go to our elliptical marquee tool and the feathering we want to have on zero. So it's just with that zero and hitting Pless shift while clicking in the middle. You get very easily Ghana slaked outs, this sun set and then just click you on the layer mask. Mask that out. So here we have our sun sets as its plays, Italy bit where we want it and, of course, doesn't look like sun at all. Now let's go to the blending modes like I've showed in the sunlight technique lessons, and let's just check screen Let's go with screen looks most of time, pretty good. And let's put a blur on this now. So let's go to Filter, Blur, Goshen, Blur. And let's see, we could go pretty much pretty high with this. So ah, hundreds 56 seems get to me and hitting control or command plus d Let's move the sun set effect here. Let's spread out of living more out. So let's just direct that more. Let's see about this. Maybe about this year, let me just click. Yes, and I would say about this Looks fine. Now I am seriously gonna put a lot of over the way here, go in the layer mask, and I am going to go to the Blake and with the brush. I'm just gonna pain away some of this year because I don't want it that strongly, and I don't because a lot of this is gonna disappear A lot of sunset. I think I just wanted a little bit. In some areas. I am gonna adds another selective color, and I'm gonna play a little bit Mawr here now, with the colors. That looks very nice. Now. I'm not gonna apply it everywhere. I'm gonna invert that. And we can also just drag and drop that in the color fuller here. And let's switch over to whites on here. Its weight to bride still like on the rocks. It's just, let's put the opacity of later but higher here. Just making a living more off, See your corners suit so that looks already way better to me and the colors looks nicer to We got some more variety Now we got the greens a bit more stronger out and some of the orange to, and we have three different kind or just more like a yellow one and more like a stronger orange. We can apply a little bit more in some parts. Let's see here. He'll be more stronger in there, too. And here in the bag. There's a lot of things going on your to astrologist with some rioting there as well. That one, too. So let's now, because we have always adjustments. Now, if we make a stand visible layer of that, we can go and remove all of those adjustments. Do control all shift plus T to make a stamp Bismol earlier. So what we can do now is just take all those adjustments and just with them in the trash can. I am just gonna make a copy of that one. And we're gonna go and edit now on this layer here. So we have that one just untouched. So this one, I want to change the blending modes. So we go here up to normal, and let's just see, I have some ideas of maybe soft light, nice and definitely not 100% of capacity. But if we will change that, I believe it down. He doesn't make things a little bit more darker again. But let's just see through some other ones. Lydon fix things. Lighter screen makes things more like that. Over lay. All right, let's just change the opacity, live it. And even, like, 10 of it. 10% of it. Dust. Like quite some nice things. All right, let's Jake heart lights do much difference. Linear lights. So I would say, Let's sell flight again. Studio fast. A little bit more down. Now if we make a layer mask on that and we would invert that we are inverting the blending modes into that layer now and I want to bring out here those trees in the background war. Gonna bring out some of those shadows a little bit stronger. You could definitely see especially like here. We have given it like some separations, sort of. You could see an hour difference between the trees and the far background and the the branches off the trees. They're kind of bringing coming along a little bit more out, which is very nice to see. And I am effect just gonna doubling Kate that layer once again. And I'm going to change that blending mode a swell. And this time I am going to do it the screen because I just want to thank you the waterfall , a live it. 13. Working with Blending Modes & Sharpening our Photo: And of course, we don't want the opacity 100% eater here. So and let's just see, Is there something else? As you know, color Dutch looks pretty nice. Sort of, too. So lets you scholar Dutch in this case, and we probably need the opacity quite low for that, just like a little bit of bumping there so, like, 8%. And let's also use a layer mask on that. And here, let's also invert that and let's take the brush and let's have the white color. And let's just apply it on a few areas here where we want it just to bring a few more things, and we can also use it. Even here, bring a little bit more sort of some beams or something kinda from here. Just gonna lighting up a few more things. Analysts put capacity. Maybe two 10 Onda, Uh, just kind of lightening up a couple of areas here. You're trying to just highlight the better parts. Like here is another wonderful, but it's not that obvious, right? So just highlighting it that little bit is very nice, because e, you're drawing out every kind of detail in the photo, which It's kind of your job here to do that and also like the little a little water coming from here. And if we were grouped those two together year with the layer masks, it is definitely adding a little bit more off off depth through everything, and we could also but the capacity of all of them together, a living down. And maybe I will just do like minus 10% or something. If I'm happy with this year, I'm just gonna go control all shift e, make a stamp visible layer off that, and I'm going to remove the group here. And I can also remove that one year later to because that was our first stamp is of layer that we made and we can make now a copy off that layer here. So let's first of all, make a smart object out of this layer here so we can always g o and just the Scharping that we have a blights. So just right. Click on that and convert to smart objects that is now a smart object. And we will go now to filter, to sharpen and too smart sharpened. And let's just put this over here because we don't want to over sharpen him. But the great thing is we can add a layer mask on that and we can just mask him out. So we because he's getting a lot of noise now. So I'm or going to try to see just at everything, all of the photo, because we do have to remember he was taken at a nice oh off 1006 100. The rest of the photo was just taken at an AYSO off 200 so he will not be any noise, really? So we can go and increase that a little bit. So I'm just going to do that on the hundreds and 70. And let's just see before and after clicking on it. All right, that's a lot sharper. Definitely. Let's get going. Okay. Creating a smart object also already adds a layer mask on it, so we don't have to go and create one anymore. Go on the layer mask on year. Let's go on the black analyst take the brush and let's being that off from him. That's the very nice thing of ah layer masks that you can just so easily masked things out and Let's maybe put the whole capacity off everything. Just a little bit down, like about 80 or so. And the next thing, what we want to do east at some blurred now to it is. 14. Temporarily Unavailable: 15. New Sunlight Technique and Final Touch: now having just a final less look at this photo. There might be just one more thing that I might add to it. And that's just give a light of, ah, sort of a more. I'm missing something over here. Andi, I want to bring some kind of Ah, this is also some sort of sunlight that unique that we have not seen, though, but it's a very easy one. And I we just go to layer here. So we're creating just one layer, and we are gonna sample here by clicking Alz a little bit off the orange scholar here. Okay. And let me just make that kind of big, and we just make, like, adopt in there. So we have now a painted dot in there. But if we go to our blending modes and we would change that through screen, for example, or over Lay and I think I'm gonna go with overlay and if we would go to the move tool, we can effect move that still around and let me just bring the opacity a little bit down. Not like much dough, but like some sort of more, um, over Got a lighting coming out of there. I'm missing something like that. And, yeah, like sin. Let's see, like it's wolf or the sweaty Uh, Let's see, it's wolf. So something like that, it kind of looks nice. And if we click on Control plus D, we have the transferred tool so we can still go and transform that and expand that like a little bit. So my move that just a little bit too there, too. And the here living, too. Let's just leak on, Yes, and, uh, it's not like much right, but it's kinda like a little bit more of a cooler kind of feeling in there. And we could effect do here with water. I kind of want to have some kind of, ah, Mr something coming out of it. So let's create another and the layer and let's take the brush. And it's also just simple here to kind of blue color off the water, and we just gonna make a dot in here. I was just moved that a little bit nicer, but we're here, live it more down. Alice changed the blending mode as well to see screen. I might go for scream for this one, but let's check over away. Yes. So I'm gonna go with scream because this looks more like the goddamn missed. I don't know how the call is, really But the water, the kind of yeah, mist, it's very out of it. Let's just bring your pastie even more down to about five or so. So it's not much, right? But he kinda gives some kind of a mawr extra mood in there, and we could still gotta move his living around and let's transform this a leave it more down here, a swell and, ah, this year, I would say it's the end of everything that I would do. But I do like the extract on a golden, gonna effective son line that this is bringing those layers here and then the water as well . So we can also now just go emerged them down into that layer and then we have. Then we are finished. That is the final touch that I would do on this photo. So now that we're finished, well, let's go on to the next photo 16. Portrait Retouching Techniques – How to Turn a Terrible Looking Photo into a Good Looking One: this photo. It's not a photo diet I would put on my portfolio or something. It's all in all horrible photo taken in the worst kind of condition. And I'm not talking about the girl here. I'm not talking about her. She is a beautiful looking girl, beautiful person. But I am talking about the condition that this photo was taken in. First of all, this was in the middle of the day. There was no clout at all in the sky like you could see here. Just perfectly blue, Beautiful Lehto. But it's not the kind of time to go and take photos in because he creates, like, very harsh shadows. Also, we were climbing up on a mountain in Barcelona, so her skin was a lot redder. I'm gonna show you a before and after the after photo, you're gonna say, like, Wow, this is the before photo, the after photo so you can see this one compared to that one, it's just a huge, huge difference, right? I mean, in this one, it's well exposed. You can see her eyes, which you can't see in here. We have clouds here in the background, which we're gonna learn how to do us well, which it's just very easily with a brush, and then you're kind of trying to blend in nicely in the background. I would still not use this photo in a way as a portfolio photo or anything, but this compared to this is just a huge, huge difference. And with that, I'm just showing you first of all, the whole range of new tools and techniques. But secondly, if you have a photo that you kind of liked, but it was not taking other conditions, but you really liked it. There are still a lot of things that you could do to go and save it, because this photo is kind of like, Yeah, this photo is a lot more usable, so let's go and start editing and plus processing. So first of all, we're going to start here in light room where we are, as always, taking out the most information that we can from the photo. So let's just play here a little bit with the exposure. It's already, but that'll live it off. Interest in this photo are might affect bringing down instead of off. I guess there's already too much in there, So but to come for us, we can flatten the foot of a little bit out. So let's bring their to live it down. Highlights. Let's just see. Don't wanna overdo that, Spinella. But down two shadows we can already recover some nights. Information from her ice with that. So let's put that up. Maybe not that much. The whites. Let's just see. We don't want to go too crazy with that eater. So let's bring Natalie down. And the blacks? We might want to put that only but up to with the temperature. I am not sure if I'm gonna play much with that in here. I might leave that more to photo shop, but in general I would maybe warm that photo living off. It's just maybe a blight. Now, let's leave that clarity. Let's just put, like a little been in there, a little bit of a bunch of clarity that kind of makes things live. It looks sharper, don't curves. I leave that photo shop in the color. We are gonna play here with the color and we're gonna get true all off them again. So what, you hear in light room, obviously, to read so going down would be just making it worse, right? But going up if we are in fact nicely fixing a lot of skin color again. And obviously, if there's like too much, if there will be like orange or something in her skin that you would like to fix that you have to play with the orange you or if there's like, you know, like yellow that you have to play with you a yellow top here. But here because of her Redskin, we have to play with direct you. So now let's gill on and let's see lens correction. I probably should have enabled that at first, so just get reminder Lens correction. Tried to always have that at first because, as you can see, e east enable profile correction. It's kinda influencing again how our whole photo loose and in this case I might infect, not applies because off our headier, it's just I can almost scaring her off there, and I would like to just have a little bit on there, so I am just gonna look on remove chromatic aberration. Most cases profile. Corrections is toe have on camera calibration might put up to saturation here, as it always gives, like sort of a nice kind of overall blue influence and everywhere, and it definitely does. De Dent's. Let's just get see if we can bring a live it off a nice thing in here. Maybe the Korean won look pretty nice, like too much, but like five looks pretty nice. Let's just look at you for a moment here. Maybe we can put some kind of kill killer in year as well. I was like minus one minus one Looks doesn't do like a huge amount of difference, but there's something in there, so it's good to go back to the color in the end and still go true. Everything again. I was just played with the thing over here. Just have, like, one look at it, and I might just but like five or something on there to like it a little bit about that looks nice to me, and that is everything that I would do to this photo. Now I am just gonna walk away, take a little break, come back to this and then see if I'm happy with the colors because, like I have said, it's always best to just walk away. Once, you were kind of done with playing with the dollars and come back like a few minutes and have a fresh look at it. So that's what I'm gonna do right now. 17. Fixing Hair, Removing Blemishes, Correcting Skin Color: All right, back here again. A with Let me just look at this photo again. I would say that this looks all right. So I'm gonna open this photo shop by hitting control Plus E. I am just gonna start here by making a jumpy off our backgrounds. And I'm gonna just do a little bit of Jewish ng work here. So, for example, this air here, which is just kind of flying around, I want a trim limit outs. And let's see, there's some kind of a little blemishes which all in all, she doesn't really have. But let's definitely remove this year and let's try to do is with the healing brush. So let's just simple here, - Don't go for perfect. Always go for believable and especially if you know that there will become some blurring there and the vignette, which will just make that a lot more less visible. I could, however, spend a lot of a lot more time on perfecting this, but there's not really that much of a neat a little bit, and her hair looks a lot better. There's less things just sticking out of there, so let's just see if there's some kind of a blemishes on here, and we can fix that by the spot healing brush. There were just after Khaliq Photoshopped Do it thing. And the rest we will fix very good with the frequency separation. So let's just zoom marks. Let me just start off by explaining the one technique that I wanted to show to correct the red skin or any kind of skin corrections. But in light room, weaken pretty much do the exact same. However, I will still show you how to do it here in a photo shop. Now we go to adjustments and we go to you and saturation here. We want to go up to the master and select the color that we want to fix. In this case, it's Retz. So we're affecting the rights Now. Bring up the saturation to 100%. And I know this looks weird, right, But that's just got it. This is just to see where we are targeting. So we will bring this down in the end again. But bring it up to 100% here. Down. We also get effect our colors right. And we also have this arrows here that we can extends as well. We can also kind of squeeze them or in and outs and the aero as well. And we can drag and do that, too. So now the thing is, we have to just look, we have to focus. We have to see that we're just targeting the part where we want the readiness to disappear . So that is scanning the phase over there. Now we just have to squeeze all of that in here, too. So we're really just targeting God E r. Phase over there. Let's just see if we can move even more down. So it's about this year that we need right now. The 100% we can bring that back to zero because this was just to see where we were targeting. And if you play now with you, you can just adjust that targeted area that is, in effect, how you can go and fix the rightness or any kind of skin corrections in photo shop. So now you know how to do it in light room and in photo shop. It's definitely more easier in a way in light room. However, in photo shop, you can sort of target more specifically where you want to go and apply it on 18. Dodge & Burn Tool, Photo Corrections: Let's start editing this photo. Let's go up here to the adjustments. I will also start with the brightness and make one a little darker and invert that one with control, plus I, and then make one brighter. Gonna draw out some of the highlights limit. Let's invert that, too, and we can make here. If we doubled that, we can name that. So that's name that Bryant. And let's name this dark and let's just it control. Let's G to put them into a group here and let's start with the dark And I kind of want to bring some war shadows in here in the hair. Uh, it's not like that much E. S. We did with the previous photo, but there is still some of that that I definitely want to bring in here. Let's just put the Hartness to 0% and the opacity to 20% and with a wide brush, we cannot just gonna start painting here a little bit in. Maybe 20 is even too much. So let's go to then percent and let's start here and let me just say again, this is just gonna bring out the shadows and the bride's the guy give that kind of tree de feeling in a photo. So I'm not a blinding everywhere. Just gonna doing this on some edges here, like on the hair here to kind of make that live. It's stronger. No, and I'm just seeing here. I might want to trim the hair over here down as well. So let's click on our back ground layer. Let's just take the stamp tool this year. Let's try to feast at as well. So let's just keep going with the dark here and let's give painting unless we go and see something else that on my after picks, we will jump through that. So let's get one. Okay, so with the darks, I feel sort of happy. I'm going to switch over to the brights and let's start adding a little bit of rights in some here areas like on the hair here, for example, they gonna draw that a little bit more outs, so let's just but boat groups and turn them on and off. Let's just see Onda, Uh, let me just do that again, All right, Maybe with darks I will just pull them a little bit more down. There's a bit more subtle, like 80. But all in all so far, I feel pretty happy with this. And I'm going to make a stand visible layer out of this, so lets you control all shiftless E. And then I am gonna put that out of the group. Of course, if it wants to do that, there we go. And I'm just going to remove now the rest off those layers here as we don't really need them anymore. So we have now are before and our after after already. So the next thing that we want to do here, I'm gonna play with colors here in a photo shop. Let's play you with this like the color and let's go through all of them as well. 19. Enhancing Colors, Selective Color & Color Balance: Let's play you with this like the color, and let's go through all of them as well, so that looks fine. Let's ggo to the color balance and let's play in here a little bit with the mid zones, all right, so just like a very silicon ethic that we were blind on here. Now let's just prove that together. But the end result is definitely there if we do a before and after, so I might just go here to the adjustments or more time and the G o to selective color and see just if I could have some kind of nice color in the hair more. And I think if I go to the yellows, let's just have a look here now It's just a little bit like making a living writer is already sort of a nice name. It's got a nice legis, just Onley looking at the hair now, and I would definitely go and apply that. So let's invert. Our mask and steak are brush and heaven on whites. Al. It's put the opacity maybe all 40%. If he wants to do that, let go. It's just been here a little bit off that, you know, here. So, like that that looks very, very Kyul. That's like a little bit more off different colors in her hair. Um, I just bring the opacity, uh, just a little bit down, but not like too much. All right, so this are the killers, and I feel pretty happy with them. So we can, in fact, make a stem visible layer out off all this and remove those adjustments just to keep our file size limit less. We can just go and delete them. So this already before and after, let's go through the adjustments and let's go to the color. Look up. See if we can load any kind of cool lutes on here and let's just go to the list. 20. LUTs, Cropping, Enhancing Eyes: So I am gonna use this for the water. So it's just invert that you don't eggs to think the whites brush. It wasn't on White already, and let's just being here a little bit of that. So let's go back to the adjustments. Let's go back to the color. Look up, Let's load another Lutes do like the effect that this Luke guy gives on the water as well. So we might just apply that only been on there, too. Well, it's maybe just plead with brightness a little bit more down. All right, on the blue. I do like that over there. All right, I don't think I will lie any kind of lutes on her. So I do like those kind of once you that we have made. Now that's just group them. Let's just see before and after. Yeah, a little looks pretty nice and I'm just looking at the horizon here, which just doesn't look a straight at all. So let's just go to the crop tool here and let's just grow up that so that to me it looks already a little bit better now here it just looks gonna because we have taking out of her head, too. So I'm just gonna make this live it more. I mean, this is just to me. It looks like I've done a horrible job. I'm taking a photo and just not was able to put her head on there. So I'm more going to do it that it's more done on purpose. So I'm just gonna got a little bit more off. And with this, too. Just live it. Not too much. So it's more also now becoming sort of, Ah, panoramic and a feeling on there, too. Maybe even a bit more, or maybe a bit less. I know. I just got that limit more so that was one too much, I think, Look, so rights. Although I think let's do that again because I don't want I don't know, I was taking too much over here, I think to So let me just only put the top on here and maybe, like, you know, maybe like very just just a little bit like too much there, I think. All right. I am now gonna work a little bit more on on our ice because they're just black. I mean, they came out already a little bit better, but they're just you can see them really, right. I mean, they're just dark eyes and also you the hard shadows. It's not easy to really remove that completely, but there are definitely some things that we can do to fix that. So let's go to the adjustments. And maybe let's just make a stem visible layer from all this so we can just remove those things here because I feel happy with everything here. And I'm gonna take the adjustments here, gonna go to the curves, and I'm gonna pull them up. And I do have to put that on top. Just gonna pull that up. Let me just zoom out a little bit more, so just kind of fixing a little bit more, right? Let's just made a brighter and let's invert this now. And we're sort of just gonna being on here and make this live it more brighter with low opacity, though let's just bring the capacity down out to counter correct until where it looks gonna give it each still about this and I do not want any year. No, it's just more down. All right, on the eyebrows do want to give them dark and here on itself, kind of. Maybe let's just do that with 20 of capacity to This is sort of right darker. All right, let's used the stamp tool now to kind of remove the heart shadows over here. Let's just try to kind of fix it with that a limit. And I do want to make a copy off this layer, so I'm not working on that layer. But on this one, in case if it will go, not that get I could just leave is them and let's feed the s. Now the cool thing with the stamp tool is here. If you go to stop, you see normal. But if we click on it, if we go to lighten, if I would simple not from a dark area and I would try to paint that it does not do anything. If I assemble from a Latin area, it does. You can Onley sample from a Leiden source, and then it will paint, but not from a dark one. So if I go to the moat to blending modes and I would change that too darkened here, it's the opposite. Until the ones like that here is the opposite. If I simple from a dark area, it will paint that if I simple from a light area, it will not being that. And this is sort of helpful in areas like this, because now I can just gonna work more, sort of specifically. So let's just sample here from there. Let's just see if we can sort of tried to fix this. All right. Looks nice. Uh, you can definitely see, though, the kind of difference here and let's just use a lower opacity. This one worked pretty well. I like this a lot. That looks very nice. All in all, it looks very nice. Year could be a little bit better, but yeah, one stood out with a frequency separation. Now let's brighten up her eyes. 21. Brighten Eye Pupils & Change Eye Color: and let's stay the curves again. And now we're just gonna try to just focus here on the eyes. So let's just bring them off. Uh, like quite some, because we can always reduce it. And let's think the brush here and let's zoom in here and let's just start just bending on the ice. But that's what you do much, though. Let's just stay like 30. And let's just like, give a little bit of some strokes in it. Not like just the whole everything, but and also the white here. Very low opacity right now. And let's go to the adjustments again. Take another curves and let's pull them down now to about something like that. Let's invert that as well, and this is a very nice thing to do. Let's take the brush again, make it small and just go a year, making this year bit darker, like around her eyes. And that's maybe a live it too much. And let's make the people also a limit darker. Just let it stronger and the eye delicious. Just living suit. Let's take a look at her eye slits group. Um, the's did definitely a very good effect, right I mean, you can definitely see. It's very much strongly drawn out everything. So let's change here the colors off the ice and try to match them because this one was different than that one, which looks living weird. So let's match them. And it's in fact, very easy to do that. Plus, the following technique will allow you to just great any kind of color in the eyes, like creen eyes, purple eyes, ice, Porsche, ice whatever you want. We can do that. So let's go up to the lasso tool and you could also just like on the L. And the lesser duel is just another way to make a selection. And we don't have to be perfect, of course, but let's just draw a line along de people here. And if you click on shift, you can see this plus sign going next. It'll also, and this just means that we allow to take to draw another selection, because if I would not go make a selection without that, that's just gonna be removed. So just click on the plus sign and go and make another selection through the ice and go up to the adjustments and g o to you and separation. Now this maids a selection off that we can see that selection here. If you keep likely gone Ault and on the mask, you could see the selection. And if we click or here on the adjustment now click on coal arise and you can already see colorize the ice. Now, if we take the you, we can change the color off the ice like See, we can just make it into any can arrange off colors. Now for this one I read or want to have sort of a blue collar. So let's put it to a pot to hundreds. If it's too strong, then just go with the situation and just drag that down. The color is going off now on the areas here, which we don't want, and we just go to our layer mask. And as we have done so many times before, we just take the white color and in year, let's zoom in, take a brush, have the capacity on the hundreds and do not do that. Uh, they could be black color. It's just being that nicely off, and we have matched both colors now. First of all this one is a little bit brighter before, but in general they do look very nice. And we can always go in the curves here or it was in here, right? He waas this one and we can always just made that a live it more brighter now. - Oh , yeah. And now I'm thinking of this here with the with the ice that we have done the blending modes where you want the effect dollars just the load. Just changing it from normal to color will only work on the colors itself and its leading up a little bit right from normal. This one here is living dark lighting up. But that's a different one sliding a little bit differently, a bit more up, which actually looks great. But now we're just loan affecting the colors and not anything else that we have touched, even though we have pain to that off. But now it's really just affecting the colors. What we have put on there so that to me loose s well, let's just group all of those things here just together. I'm going to stop for the day and edit tomorrow. Further on, it might be good for you to also just take a break and maybe continue on in a few minutes or even tomorrow as well, Because they also have, like, a fresh look upon all this again now. 22. Adding Realistic Clouds to a Sky: Welcome back here. And let's continue on where we left with this photo over here having a fresh look upon all of this again the ice. There is definitely something too strong here. The color of it. And that should be this year below. It's not even the color. Uh, okay, there we go. So let's just lower that or let's just see and play with that until it gonna looks live, it more appropriates. I am gonna leave it with that. I'm gonna make a stamp visible layer out of this so I could remove everything off those changes over here. Just delete that. Let's put some clouds in there and they are effect very sort of easy to make. And we just do that by a customized brush. Now, this is just my eyes brush that you could download. And I have attached a pdf file here with some brush recommendations that you could just double for free. And you could just gil if you right, click when you have your brush and you go here on the little gear that you just guilt to load brushes and the brushes that you've downloaded, they will you just select him. Then I'm clicking a little brushes and they will appear here on the bottom off all your brushes. So here we have to kind of difference clouds or different cloud shapes. And let's just start with this one over here. And we want to make just the layer here. We do want to have the color on whites. And let's just make this live it smaller. And if I would just stamp it, you could see it's making a little fluffy clouds. Now, these dust look a little bit like fake out, but we will do a few things to make that look a lot better. All right, so let's start here by just I don't know. We do kind of want to make it better that it looks realistic, right? So I'm just gonna make one like over there and maybe one over there. Great thing here on the layer is we can go to the move to and we can move. Ah, yeah, right. Sorry. It So there. I made a mistake. I just have one clouds. Right? So just f one cloud over here, make another layer and I'll go and paint another clouds. So each time we can go and separately move that cloud right now. You can move this piece over here. It kind of position. It'll be different or hitting control plus V. We have been transferred to where we can transfer this a little bit, which is always get thing to do. So this looks kind of like a good thing already those clouds and let's just continue on. Let's just make one over here for a moment. Let's go to move, Tool And let's, um, I don't know what's the maybe oh, yeah, if you hit control plus STI for the freight transfer tool, having that selected and white clicking on it, you can flip it horizontal. So you're just flipping it through the other side. Which is nice, because now we have, like, a different kind of shape over here to work with way you can just go and want, like shift to have the bottle one and clicking control plus eat to merge them into one layer. So now we can also try to just work with all of them if we just still want to do some sort of adjustments. But all in all, I think their positions pretty kit. And if we go to filter and we go to blur and to Goshen blur here, we want to. This photo is just just her. She's in focus, right? All the restroom in the background is not in focused trees, not in focus here. Down there, the harbor is not in focus. So we want to match the clouds as the photo in there. We also want to make it not in focus, right, So we don't want to make them sharp. And then over here is not sharp because that doesn't make sense. She should be a focus. Toleration should be unfocused. So let's just make them sort of almost. They should be visible, but not as visible. And it also takes off the heart edge off those call outs. And then they do look a lot more like some more realistic clouds. And I think ago about like this year, you should see a preview because this dust looks like it's got a matching in the bank run. So yeah, I go, Let's go down. Okay. And there we have just pretty easily made some clouds in our background. This is one thing more that we've done on the photo 23. Smoothing Skin with the Frequency Separation Tool: So let's start with the frequency separation. Now let's make a stamp visible layer first. Vote it Control all shift e so we can go ahead and the legal This here for the frequency separation We want to make two copies. So let's make one two. And let's call this one little free. I couldn't see. And let me add to this before I'm starting all with the frequency separation if you have not seen in a photo shop section the ridge. Ooh Ischinger lesson. That's where I in Dept. Explained the frequency separation and what exactly this and where I think my time, much more into explaining it to you. So here I will still do that, but sort of lesson depths because that lesson is specifically made. The issue. This technique. Please go ahead and watch that so that you know what I'm doing here. So the low frequency ease for removing any blemishes or any of the sweaty spots here and the next one. You want the name height for wheat, see? And that's to correct any fixture. Let's make the low frequency first, which is the easiest. So first of all, check off the 1st 1 so we could say this one here and what we're doing on that one. That let's go to filter, Let's go to Blur and Goshen Blur. And 78 is way too much, probably and mostly between the radius between two and then should be somewhere there. It just depends on the person and the skin, of course, by he just tryingto want to eliminate kind of sort of the texture. Not too much like this is too much and not too few, because now we can still see pretty much a lot of it. So let's just going to go. I think broadly, like about six or so will be a good spot or about eight. So about AIDS. So we don't see all the kind of textures in there, so we're gonna just blurring them out. So let's do that. Let's click on OK, And with that, we have just made the little frequent si. Now let's make the high frequency. So let's like that one and just click visible again. And for this one we go to image and we go to apply image and in here you want to select layer you want this late Lou frequency and then blending. This is probably just, well, normal. So take that from normal and go to subtract. And now we can see here the dislike, the high pass filter sort of because we see all these sharpening now they're right, and the scale said that, too. And the offsets said that 212 a 282. With that, we just click. OK, so now we just have this here once we come back. So we need to change our blending mode from normal to linear lights. And now, if we group toe high frequency in the low frequency it could drop was Jeep to make it into a group. So nothing has changed in out right if we made it visible, invisible And if that's the case that you have successfully made the frequency separation here. So now how this works. Let's like the low freak machine because it's best. Always start with low frequency first to just remove those blemishes and everything, and let's zoom in here on her face and let's remove dose highlighted spots, and we do that by the less 02 So the lesson tool, which is located over here, which you could just do with a shortcut. L and we just make a selection. So let's make a selection of this year. And now we go up to filter and we go to blur and we go to Goshen Blur. And you said it bid higher like 48 year, and you can already see you before and after. All right, And we obliged. Blur. Now on there. Now, let me just do a few more, and then she'll be before and after. That looks very nicely, right? Looks like we fix some pretty good spots in here now. So that's really the amazing thing of a frequency separation because because now with the low frequency, we can correct this blush e areas and with the high frequency, we can just correct some texture. And the way to use the high frequency is by selecting it, going to the stamp tool. So it s and have the blending modes of that A normal and sample have that on current layer . So we are sampling from that layer load. So let's go and sample here. Let's put the capacity maybe a little bit lower, and we are way to keep the skin detail, but we're just making some nice correction on here. And that's really the beauty year frequency separation. So let's try to use the low frequency. Learn more here. That's right. Correct that over here. Leaving more. Let's go to Builder Buller, Guardian Blur. All right, so we have the flowers. We've done the frequency separation. Let's just make a stem visible layer from this so we can go ahead and remove those things here just to make things run faster in photo shop. Now let's see. I would say, Let's do a vignette in here and some like until Ship Blur or something in there as well. And let's start with a vignette. Maybe so. Let's just guilt year to the elliptical mark key. Let's just make sort of a selection in heater like that. Maybe a little too small, but we can correct that. And once the selection is here, let's go to adjustments and have the curse. Let's go to the curves. Let's drag easily be down Now this is going from the inside, so we want to invert that. So we're doing this year and let's just zoom out a little bit and Let's just note, see how much we want to blight, first of all, and a nice thing year that will work very nicely in the other photo. I didn't do this, but if we drag this up here, we get this kind of film ish look right, and I think it looks very cool. So let's just play more with that. Gonna see. So this makes the whole photo kind of look more film ish. Don't overdo it, because then you make your photo look horrible, but just some of it gives a very cool feeling. Teoh. All right, Looks great, Andi, I don't want it like here in our ice, obviously, or in her face. So let's not go with the clouds. But let's go and select just a regular brush here and let's switch not to wife, but to Blake and maybe on the lower rapacity. Just enough here from her face. Looks nice. All right, so next time, let's do a tilt shift 24. Blur, High Pass Filter and Finishing Touch: All right, Next on, let's do a deal. Shift here in the sky and year on the bottom as well. Let me just take another look because I have not really looked at everything near what's happening now would have been yet. I really like it over here on my just. Remove a little bit over there. So let's just like this later here, rightly gonna convert to smart object. Once that's done, let's go up to filter you to blur gallery and to tilt shift and let's see what we want to do here. I don't want her eyes to be affected. Let's increase the blur, See, kiss something about that. Let's click on. OK, let's see out at lips. Let's go here on a layer mask and I Let's of your past. The all about 30 Let's blend is living nicer together. Michael. Let's make a stamp. The visible layer out of all of this here. Now let's remove all this year. Let's just go and try to correct his ear a little bit more. I don't know how well that will work with the clothes damp tool, but let's just try a little bit more great. Maybe over here, some of it. So let's go to the Cologne stamp tool. - So I will come to look at just one more time on this photo to borrow and then just have, like, a final sort of look on it. All right, So let's take one less look here at this photo. And one thing that is straight away coming to my mind's already used that I have not applied any sharpening through this photo yet. So I'm gonna Blythe smart sharpened on the old photo and also the high best filter and just a little bit here on the ice and maybe on the eyebrows to kind of make them bub out a bit more. So let's just make a guppy here off this layer and let's convert it to a smart object. So right click it go to convert to smart Object. Once that's done, go appear to filter and to sharpen. And let me just zoom already a little bit more in here. So fielder sharpened and smart sharpen. Now let's Ah, gill and here to the ice and let me see here. So let me just zoom out a little bit and if you click on it. You have a you have the before and way you on click it. You have the after. So this is the before and this is the after, which is already applying quiet a lot off sharpening on it, which looks pretty get Let me just see maybe up with a live it more down to about 130 Don't see that. Make it live it more subtle Uh, that looks gonna get to me So let's apply that it's gonna get Let's just do a little before and after. So that's nice, Subtle effect here off the smart sharpened Now let us gill and duty high Best filter. Now I'm just going to run the action that we have learned to create So I'm going to go to the window and just prettier the action spaniel and here the high pass filter. Now, if you have not watched the previews lessons in the second section, if you have not watched those lessons, there is a lesson that teaches. It's the one about blurring and sharpening techniques there. I also explain how to create actions in photo shop, so I'm not going to go over the whole process of doing that again. So if you don't know if you've not watched that, listen, go back to the second section and watch the one with the sharpening and the blurring techniques. So here I'm just going to g o and run the high pass filter. I'm just gonna click on a plate. All right, so there we g o. We have here all the things that we need for the high pass filter and let's zoom in here now. And I obviously want to invert that layer. Let me just see evolved. The settings are get and if I don't wanna decrease or increase the high pass. But I would say that's about right. So let me he control plus I to invert that layer and let's take our brush and heavy on the white color and only just zoom a bit more in. And let's put the opacity bit more down to about 30 and let me just here, like some more of the high best on that should just give kind of a nice little extra bunch in there. So let me just group that here, and that's pretty much the sharpening forties photo that I would apply. I'm not going to do too many crazy other things on these all here. So I would say just a sharp anything makes that was less guy thing here that I wanted to do This photo. Now, let me show you the before and the after off everything that we've come to learn here now, on this photo. 25. Bonus Lecture: How to Create a Professional Photography Watermark: What's up there? Everyone in this video, I'm going to show you how to create a professional watermark using photo shop and light room. It's actually pretty easy to do, and it doesn't take too long. But before we start, let's roll the in true now. First of all, you do, of course, need logo. There's many websites out there where you can create it. I have created my logo using 99 designs, but there's many more like Fiverr of work. I will link in the description some good websites where you can create your logos. If you don't want to use the logo but just want to use your name, I'm gonna show you how to do that as well. But let's first go into how to create a watermark. It's a logo. Take the PNG file off your logo and open photo shop and just dump it there. This light not being too easy to work on because you can't really see too much so we can actually color the background. But just for now, to see more clearly what we're creating to create a new layer, just go down to here. Click creates new layer and it's found the top. Let's just drag it through the bottom. So let's go to the bucket here and just fill it with Blake. Now it's important that you move your layer to the bottom. Otherwise it's going to go over the logo, so just that layer is on the bottom. Now that we have our backgrounds, let's go to the move tool, which is on top here. Or you can also press the shortcut, which is the, and let's just direct this a little bit. Let's be down. And this is gotta words handy to have this lines here in photo shop because the Middle one East, where it is lined up in the middle. So that's down what we want. And if you want to make it smaller, for example. But it's not necessary, Percy, because we could do that in light room when we're actually placing the watermark. But if you want to do that, you just click on Control plus D or command and T for make users, and now you have the transform, too. And if you will click on the little square boxes on top year and you moved him down that you can make it smaller or bigger now, once appear because you just you know, if we move it, we're kinda transforming everything. But if you click on the shifts while you are dragging, it holds the size which is pretty ended otherwise, Well, you're just kind of flapping around. So do that. We have our position off the logo. Now let's write our name down there to do that weekly on the Deep, which is for typing. Or you can go down here on the left sites and click on that Yalies of us, which is a bit too big. Let's click on. Yes, Obviously you have to type your name, which I guess you do. And let's just see, maybe position is a bit higher. You decisive is fine. So we wrote down our name. Now, one thing that you definitely need to add is the company. Right sign. Honestly, I have no idea how to do it on my keyboards. So what I did was I just went to Google and I typed in copyright sign, and I'm just gonna guppy that. So if you don't know how to do it either in the description I have actually, um placed the copyright sign so you can just copy it and also just based in photo shop. So let's just take that and put it here guppy. It's And there we go. Photo shop has a lot off funds, so if you click back on the deep and you go on the top here, you have just a 1,000,000 of different funds, right? You can even download many more on the Internet. If you don't find anything in there that you watch but obviously go true, it's and find one that fits to your logo or one that you simply like. And this can take a little bit of searching a little bit off, you know, going through all of them, which I am not going to do now. So we've pretty much created are watermark here. Now we do need to remove the layer here. So do take that and just put it here in the trash. So we have bag this transparent background because it's very important to have that now, once you have that, simply go to file and click on exports export s and in here have the format in B and G and B should have transparency clicked on. I would also suggest to go to file and click on Safe s so you actually save the photo shop file off this year. In case if you ever need to make any adjustments, you can easily do that again. So we can just local photo shop and save it somewhere. So each time, if you ever need to make any motive vacations, you have the Photoshopped file, and you will just have all this year again. You know, if you mistakenly wrote your name wrong and you only sought after you exported it, no problem. You could just fix it here again. Or if you want to resize some certain things or if you're tired off the funds that you used . That's why it's important to have the photo shop file as well. Now, after that, we can close that open up light room. Once we're here, let's go to edits and go down to edit watermarks played on that. Now here, go to image options and click on shoes, and here you want to choose your watermark. So click on the water mark that you have created in photo shop. Click on that file be sure it's a PNG file, and this will open up here. You can see down here below. Now we get all these options here. So the way how I have created my watermark for white photos is very subtle. I like it a lot more. I don't like it if it's do off years or two, because it's gotta ruining the photo for me. So therefore, the water markets more just that people know. Oh, he took it or oh, that's his name. You know, if people want to steal your photo, they'll find ways. It's not too hard in the ends, but it's more about just to know it's he or she who is taking that photo for me. And that doesn't have to be big and ruining photos, so make it subtle. That's what I would suggest, and that's what I'm just gonna do here. Now you can anchor it wherever you want. I have mine on the right sides, and that's gotta the size, actually, that I have a swell, but you can honestly, if you want to make it bigger, you could do that. If you want to make a huge you know, so people only see you a watermark. You could do that to the opacity. I would actually slide it down. So the watermark kind of blend saluted together with the photo play a bit around here. If you're happy, you click on safe and you want to name your presets off this watermark here in light room and click creates, open up a photo like these badass photo off the year on this mountain. This was taken in sex als Switzerland's, which is a beautiful mission apart in Germany. It's really good for climbing to, but once you have your photo, go to file exports or anyway, how you export your photos. If you go to water marking, you click on it. And here you slates. Obviously, I've two different ones now because I have my original wonder, but the one that we created water Mark Gillies fast exported and just export it once to see how it loops. And if you need to make any modifications or any adjustments now, this year to me, he's too big and the capacity should have bean lower. So if you need to make any modifications or adjustments, go back to light room and let's school. Bake to edits, edit watermarks and in your go to custom and click on the watermark preset How you need it . So I would put the opacity here, lead down maybe two 40 and the size would put maybe down to six or aids something. Save it again. Now you need to name the police that one more time. Wonder Mark Yalies bus Version one creates and let us actually remove the previous preset that we created, which we do by edits and it watermarks and go to the first precept that we made and then click on that. Click on it again and then click on Delete three sets. And if you want to name the other one that you made, you want to rename it. Click on it. You can always click on her name presets. If you want to do that now, let's go back to file exports and let's try again to see how it is this time. I would say it looks good like that. It's fine to me now if you don't have a logo and you just want to use your name, then you can actually skip one step and just go to light room because there we go and do the same thing, pretty much that we have done. Now we go to edits and it watermarks. Now here, just typing your name. And then again, just put it wherever you want. Let's go here now to the left side. Maybe put the best, the to 40 and let's just make it a bit smaller, like six, maybe. And let's move it a little bit to the rights, and that looks great. And then, just like on safe. And then you have a watermark with just your name now that here is all that there is to it to create a professional watermark for your photos using photo shop and light room. Like I said in the description, you can find the broad steps again at as well, where you can create logos. AF linked a few websites there now, having settled that, I hope you like this video and that you learned something or at least learn how to create a professional looking watermark. If you liked it, do put it themselves. It helps me lots and, of course, click on the subscribe button because there's many more tutorials and many other cool things coming up on this channel. Here. Thank you for watching this video until the next one.