Landscape Photo Editing in Lightroom | Phil Ebiner | Skillshare

Landscape Photo Editing in Lightroom

Phil Ebiner, Video | Photo | Design

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15 Lessons (2h 41m)
    • 1. Enroll Now

      1:22
    • 2. Welcome to Class

      2:17
    • 3. Download the Project Files

      0:45
    • 4. Join the Student Support Group

      2:17
    • 5. The Basic Landscape Photo Editing Process

      22:58
    • 6. Photo Edit - The Lake

      22:12
    • 7. Photo Edit - Sunset Skyline

      18:51
    • 8. Photo Edit - Snowy Lake

      12:29
    • 9. Photo Edit - Sunrise Lanscape

      10:47
    • 10. Photo Edit - Desert

      13:44
    • 11. Photo Edit - Boats on Water

      17:58
    • 12. Photo Edit - Long Exposure Beach

      12:09
    • 13. Photo Edit - Milky Way

      13:10
    • 14. Exporting Photos from Lightroom

      9:34
    • 15. Thank You

      0:44

About This Class

You want your photos to look amazing, right?

Perhaps you come home from a photo shoot or your latest travel, and the photos you shot just aren't as magical as the ones you see other photographers posting.

It's time to start editing!

This landscape photo editing course will teach you how to make your photos look incredible!

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You'll love this course if you enjoy watching full length Lightroom editing tutorials.

We'll start with a basic process for editing any type of landscape photo, then we'll build on that with more advanced edits like graduated filters, brushes, split toning, and more!

Follow along with downloadable practice files for every lesson!

It's best to learn by doing. So when you enroll, you get access to all of the RAW photo files to practice with.

We'll be editing in Adobe Lightroom Classic CC. It's best that you use the same version of Lightroom. But if you have another photo editing app, you'll still be able to follow along. The process is basically the same no matter what editing application you use. It's just the buttons and things will be different.

Learn a professional process with all of the following tools:

  1. Crop & aspect ratio

  2. Exposure adjustments

  3. Color temperature, saturation, vibrance

  4. Clarity, dehaze and other filters

  5. Tone curve

  6. Focused edits using graduated, radial and brush filters

  7. Remove unwanted spots with the healing brush

  8. Split toning styles

  9. Color styles and presets

  10. and so much more

By the end of this course you will be confident editing photos in Lightroom and making them look better than ever!

Enroll now and we'll see you in lesson 1!

Cheers,

Phil Ebiner

Transcripts

1. Enroll Now: Do you want to learn how to edit landscape photos to turn them into beautiful works of art photos that you would be proud to print? Share. Put on your wall. Perfect. This is the course for you. My name is Phil Abner, and in this course I show you my entire process for editing landscape photos. You'll learn a basic process that you could put into place for pretty much any landscape photo. And then you'll learn some more creative and artistic ways to edit photos to make people say Wow when they see your own photos. I personally love learning. By doing so throughout this entire course, you have access to all of the raw photos that I use that you can follow along. In this course, I'll be using Adobe Light Room Classic CC. If you're using another version of Adobe Light Room or even another photo editor, you may be able to follow along, although it's best if you're using Adobe Light Room Classic. This course is perfect for you. If you enjoy watching full length photo editing tutorials where I'm going to show you from a to Z my entire process, there's no reason to hesitate. We have a 30 day money back guarantee. So hit that enroll button and I'll see you in class. 2. Welcome to Class: I mentioned in the intro video that I've created the photography and friends Facebook group . This is a community that I created for all of the students of my photography classes as a way to get betters, feedback and support from other students. And there's lots of cool activities that were doing in this group to challenge you. Oz a photographer. We do things like weekly photo adventures where we give you a prompt and we tell you to go take a photo like X, y or Z. It could be a night photo or take a picture of a cat or something fun like that. And so you get to see what other students do and get critique about your own photos. Well, you things like monthly photo editing challenges where we all edit the same photo, and we can kind of see comparing contrast what other people edit the photo like we do live streams where we do life office hours, contest giveaways, we do photo competitions, lots of cool stuff, and, uh, just a great place to connect with other photographers that are on the same journey as you . So if you go to Facebook and you go and search for photography and friends. You should find the group. Now when you see it, it is a closed group and you have to answer the secret the question to get access because it's only available for students of my courses. So there's a couple of questions that you're going to need to answer. One is asking you what the secret word is, And I'll tell you the secret word is Kodak. So you know, like Kodak Film Kodak K O D a. K. So you need to put that in there when we prompt you for this what the secret word is or he won't accept you to the group. And the other question is just asking you, Teoh, agree to all of the rules, which is basically just no spam, no self promotion on, you know, keeping it family friendly, that kind of stuff. And we have the rules listed there as well. So I hope to see you in the group and, ah, whenever you join the group, make sure you post a photo or post out of post and just introduce yourself where you're from. Maybe tell us what camera you're using and things like that. Awesome. I'll see in the group, and I'll see in the next lesson 3. Download the Project Files: just a quick note if you didn't find it already. All of the project files for this class are in the projects, and resource is tab of the course you can find. The resource is over on the right hand side. They are all zip files that you'll have to zip, unzip, Teoh, get the photos inside. It's a little bit wonky. Skill share only allows us toe upload five files, and there's a size limit, so each of these folders has, like two or three photos in it. But in total, you should have 10 photos that will be working on throughout this class. So, yeah, that's how you do it. Make sure you download all four of them and ends up all of them, and you'll get all of your files there. 4. Join the Student Support Group: I mentioned in the intro video that I've created the photography and friends Facebook group . This is a community that I created for all of the students of my photography classes as a way to get betters, feedback and support from other students. And there's lots of cool activities that were doing in this group to challenge you. Oz a photographer. We do things like weekly photo adventures where we give you a prompt and we tell you to go take a photo like X, y or Z. It could be a night photo or take a picture of a cat or something fun like that. And so you get to see what other students do and get critique about your own photos. Well, you things like monthly photo editing challenges where we all edit the same photo, and we can kind of see comparing contrast what other people edit the photo like we do live streams where we do life office hours, contest giveaways, we do photo competitions, lots of cool stuff, and, uh, just a great place to connect with other photographers that are on the same journey as you . So if you go to Facebook and you go and search for photography and friends. You should find the group. Now when you see it, it is a closed group and you have to answer the secret the question to get access because it's only available for students of my courses. So there's a couple of questions that you're going to need to answer. One is asking you what the secret word is, And I'll tell you the secret word is Kodak. So you know, like Kodak Film Kodak K O D a. K. So you need to put that in there when we prompt you for this what the secret word is or he won't accept you to the group. And the other question is just asking you, Teoh, agree to all of the rules, which is basically just no spam, no self promotion on, you know, keeping it family friendly, that kind of stuff. And we have the rules listed there as well. So I hope to see you in the group and, ah, whenever you join the group, make sure you post a photo or post out of post and just introduce yourself where you're from. Maybe tell us what camera you're using and things like that. Awesome. I'll see in the group, and I'll see in the next lesson 5. The Basic Landscape Photo Editing Process: welcome to this first editing lesson in the light room landscape editing course. In this lesson, I want to break down my step by step process that I use for most of my landscape at its in this one. I want to keep it as simple as possible and show you how you can take a decent photo, which you see on the left and make it a little bit more memorable. Make it pop a little bit more now. I do want to preface this as photography is very unique to whoever the photographer or the viewer is. I've edited and shot a lot of photos that people love. I've edited photos that people hate. I don't think there's necessarily a right or wrong way to edit a photo. In general, I think it's OK for people to get as creative as they want. Some photographers believe that you should get the closest thing to final photo while shooting it. Others believe that editing a photo is fine. Some say you shouldn't make creative adjustments to make it look more artistic. Others say that playing with color and playing with different brushes and things like that in light room is good. I'm here to show you different tools that you can use in different ways toe edit photos. But in general, I think that whatever you want to do to a photo, if you like that photo at the end of the day, that's all that matters. Alright, so back to actually adding this photo. So, as always, these photos are going to be available for you to have at it yourself in the downloads from earlier in this course. So this one right here we are editing is city on a hill, and some of these photos I shot many of them. I downloaded from we saturate dot com, which is a great website for finding free photos that you can also distribute and edit your own if you'd like, and it's great for practicing photos. So step number one in terms of editing a photo editing a landscape photo is starting out with a great photo. This means not only should the subject of the photo be good, the exposure should be relatively good, but also you should be working with the raw photo itself. Editing J Peg or compressed photos will not allow you to have the room toe edit things like exposure or color, like you can with a raw photo. So definitely start with the raw photo whenever possible. Here we also have a great shot. Looks like it was shot with a wide angle lens. I'm not exactly sure what camera it potentially could have even been a GoPro. Although the dynamic range is pretty good. So I'm guessing this was with a DSLR camera. And one of the cool things we can do in leg room is see under our metadata What this was shot with. It looks like it was shot with a Nikon D 7100. Perfect. So if you have the raw image, often you will have the metadata here in the library tab and undermanned of data we see there, we can even see what lens was shot with. The 10.0, 10 millimeter F 2.8. Awesome. So great. Great photos starting out with So we're happy here. Step number two is create your aspect ratio or your crop or you're framing. I often will crop my photos before I do anything else doing that allows me to focus on what's within my final frame that I want, rather than focusing on things that might end up being cropped out Now, you can make crops later on. You can see with what happens if you revert the crop later on. Just deceive you like it. But in general, I'm going to crop. So in light room, you click this little crop button Right here is the square rectangle with the dashes. If you've edited in light room, I know you probably know that already, but bear with me for beginners watching this course so you can choose any preset aspect ratios down here. I've created a couple custom aspect ratios. Often I will crop to a 16 by nine ratio in my photos, especially for Landscape, because I think that lends itself to a nice, wider sort of aspect. And that's good for landscape. Or sometimes I'll just create a custom by unlocking the gear there with locked there and then just cropping inner out. Actually, like how wide this image is, I like that this church or whatever this building is, ends up on sort of the rule of thirds intersection line one way to see a better example or see more clearly what this would look like is just to finish your crop. So I'm just gonna press return on my keyboard and see what it looks like. And that's looking pretty good. I do like getting rid of some of this on the bottom. I'm gonna put that horizon right in the middle. Some people like putting it down on one of the thirds lines or at the top here. I feel like it's a little bit too heavy down below. I want my eye to be drawn to this church, this water basically the horizon. And right now there's too much below. So I'm gonna move it up just a bit. I think something like that is pretty good. You go a little bit more extreme, but then some of these buildings down here, it's a little bit too much negative space. Now, that might be sort of a style you're going for. You might want a ton of negative space, something like that. Just crop out all those buildings down below and potentially something to play around with later and see. But for now, just a star. I'm going to go with a crop like this, pretty wide panoramic something like that. So that's my first or second step, actually. First up with start with a great photo. Second step is crop and create your photos frame. The third step for me is exposure playing around with exposures. These air still in your basic sliders. Up here, you can do a lot with just exposure. I usually skip my overall exposure and jump right down to the individual sliders for highlights. Shadows, whites and blacks unless it's completely overexposed or under exposed. That's when I'll use this exposure slider, but because this is a generally well balanced exposure, which we can see up here in the history. Graham, we've got exposures all across this whole graf, from blacks to whites. That's generally what you want. You want t have pure blacks have pure whites if those air in your frame. But there are some things, and if I jump down to the highlights, you can automatically see if I start to bring down my highlights that it starts to bring down the exposure of the sky, and I get a lot more detail there, which I like to see. And if you were here sitting on this this hillside and you bring. If you're looking out there, you'll probably see MAWR detail in the sky similar to this rather than like this. It's just the fact that camera's still can't really see as good as human eyes can in terms of contrast and dynamic range. And so bringing this down actually makes it look a little bit more natural with shadows again. You might be sitting up here and it might be a little bit higher oven exposure down here in these shadows in this area down here. So I'm gonna bring those up. Now, this is a preference that you have to make yourself. Do you want it to be super contrast e or not contrast? E? What I basically did with the highlights and shadows was made it less contrast e by bringing down the highlights down the shadow or bring up the shadows. You could even see up in the history Graham that the graph moves towards the centre when I do those things, rather than moving further to the sides, and that makes it a more flatter, less contrast, you shot. If I want to bring back some of that contrast I might bring down the blacks again, which Onley brings down the darkest of the darks. And we still have the boosted exposure in many of the shadows that I made and then same for the whites. I might bring up, see what that looks like or bring back down with either of these sliders. If you go too far, it starts to look a little unnatural. Say, I bring the whites all the way down or the blacks all the way up. You see, it starts to look too flat. It just doesn't look natural. Now, as I mentioned before, I believe any sort of edit. As long as you like it. That's completely fine. Personally, though, I do like my photos to still remain somewhat natural. Later in this course, I am going to edit some photos, little bit more artistic, a little bit more experimental, but for my standard landscape at it, I do like it to be a little gnat, more natural, So this, I think, looks pretty good. Now, a keyboard shortcut that I want you to remember is the back slash, but and it should be somewhere above the return key on your keyboard because this C shows the before and after already. You can see that. It looks to me at least better now, remember, you might not like it, but to me this looks better. You can also comparing contrast before and after with this buttoned down here that you click Looks like a why, Why You can shuffle through these by clicking on it and see the before and after now? No. So this shows the before and after with the same crop, it doesn't show the original crop. If you want that, you click this but in down here, which has a reference photo so I can actually use a reference photo, which what I'm gonna do is right. Click and create a virtual copy of what I'm working on and then reset this one. So that's now my original photo. I'm gonna drag this as my reference photo, and then I'm going to click back to this photo that I was editing. I hope that makes sense. Just rewind 30 seconds of it, did it. And now we see the original photo versus the edited one with the crop differences to really see what we're doing differently. All right, so now I'm going to click this button back here to get back to my main edits. So that was Step three exposure. Step four is color and for this step for I mean the overall color of my entire photo. To me, this includes things like temperature, perhaps tent vibrance and saturation. These things can really help with a lance cap. Escaped photo. Change its style, change its feeling and make it a little bit more poppy. First with temperature. Sometimes this can be a more artistic decision. Do we want it to be warmer? Do we want it to be cooler? Do we want it combined? These make it cooler and add a little magenta tent that's giving it a style. This is not very natural. This is probably not what it looked like, but does it look good to you? Maybe. Let's add a little green. Make it warm again, giving it a different style for any of these sliders. If you double click the slider or this little notch where you are setting your slider, it will return it to the original setting. So for this photo, I'm going to actually boost the warmth overall, just a little bit now, I'm gonna give you a sneak peek. One of the later steps is Teoh. Make local adjustments or adjustments just toe one area of the photo. And that's one way that I can really make a photo stand out. And I might play with color and exposure there as well. But for that specific area of the photos, such as the Sky. For now, though, just for my overall adjustments, I'm just gonna make that slight warming with the temperature slider and then down below. Let's go down to vibrance and saturation. I'm just gonna boost my saturation just a little bit. This is one of those effects that if you go too far, it starts to look unnatural and almost a little amateurish. So again it's up to you. You could crank up the slide saturation to 100 if you want. It starts to actually look distorted to me, which I think is a very bad thing now, saturation and vibrant. If you've edited in light room or taking another light room course from me, you know that saturation will make all the colors more vibrant vibrance ism or intelligent way to do this mawr important for skin tones because it boosts the vibrance of colors more like the greens, the blues. But it doesn't boost the oranges and reds and yellows as much you can see I can crank this all the way up to 100. But the yellows that were very distorted when I crank the saturation up don't get boosted as much. And I like that because for this photo, because I want to boost those individual colors more, there's another way to do this in light room. If you want to slide down to the HSE L panel under saturation here, you can pick individual colors to boost the saturation for. Or you could even pick this little eyedropper and you click there and then you click in your photo to a color you want to boost or make less saturated. And then you just click and drag up so I can go around and say, Oh, the purple in the sky. That's pretty nice, the color of this ocean. See what color that has boost that maybe I do want to make the orange is a little bit more saturated, maybe not, so you can play around with this, too, and so making those little adjustments can help, Um, but there's lots of ways, and that's the thing you'll learn in this class and through playing around with light room . There's lots of ways to do the same thing, so boosting the overall saturation or boosting just a specific color. You can do that with the HSE L panel. The next main step is Clarity de Hayes and sharpening. You'll see the clarity and the haze sharp sliders here. These are overall sliders that will affect the entire image down below. If you look for the detail panel, this is the sharpening panel. Light room will automatically sharpen your raw images because raw images come with just their A little soft because you have all that data there. And that's just how your camera processes, or, I guess, doesn't process the photo. When it captures that image, it generally needs a little sharpening. You can see though this image even have zoomed in, which you can do just by clicking on your image or pressing the Z key. It's sharp. It's as sharp as can be now. Some of the things in the distance are a little bit softer, but that's just because whatever lens that was using it focused more on these buildings in the foreground. And whatever the aperture was, it didn't have. It wasn't able to get everything in the background as crispy as you may want. Or maybe you do want your foreground to be sharp and your background to be blurry. That's the photographers decision. You can increase the sharpening over here. And as I do that, if I go too far, you start to see that it starts to look a little bit distorted. It adds a lot of grain into that image. Now, if I have this all the way to the left, you can see that it doesn't have its a little. The edges are a little soft, so leaving this at the natural sort of 40 amount that light room adds to all raw photos is good for me for most photos. Now, noise reduction is another thing entirely. That is not a major step, but I'll just mention it because it has to do with sharpening. If you zoom in here and you have a lot of noise, let me just crank up the sharpening just for an example. But then you say, OK, there's a lot of noise. I want to get rid of that. You can increase this noise reduction slider and gets rid of that noise, and it starts toe blur things a little bit, and so if you go to crazy, it starts to look like it's like a watercolor painting. So these two sliders are things you have to balance. This photo itself doesn't have too much grain. I don't mind the grain, especially with the standard amount of sharpening. And again, the sharpening itself is not a way to make an out of focus photo in Focus its Maura way just to crisp up those edges a little bit. Now I'm going to slide back up because I mentioned in the Step Clarity and D. Hayes Clarity is a slider that I actually like a lot for landscape photos. If I drag this to the right and go crazy with that, you can start to see what happens. Edges of things get a little bit. Chris Beer. There is a little bit of contrast added. You get more detail on things like the sky and areas of this photo, where the detail is a little blurred out versus if I go to the left, it gets all blurry and sort of glowy faded out. That might be a style you want for some photo edits, but for me, I'm going to usually increase clarity a little bit just to bring back some of those details . If you go crazy, give that sort of HDR effect. It makes the exposure of everything a little bit better. Like while it doesn't make it flatter in terms of overall exposure, the opposite of contrast, it does make everything a little bit mawr exposed properly. So that is one side that you can play around with for landscapes. It does help a lot. De Hayes does just what it sounds like. It removes the haze. It brings detail on things like skies where it might be a little hazy. Now, if I crank this up, you start to see ah, lot more detail in the sky, but at the expense of exposure and just generally the photo looking like a normal photo. So I usually like to add a little bit of the hot hes, but more likely I'm going to do that with a local adjustment. So remember our Backslash key is the keyboard shortcut for before and after we've gone through a few steps already looking good. The last one is that local adjustment light room has lots of them. Throughout this course, you're going to learn how to use a bunch of them. But the one I want to show you right now is this. Graduated filter right here. If you click that a new window pops up with lots of adjustments you can make. But first you have to make your selection on the screen. The graduated filter basically allows you to select one side of your photo top bottom left , right diagonal by clicking and dragging. You create this and to see where you're actually selecting and compress or check on this box down here. Show selected mask overlay or press O on the keyboard, and it highlights it in pink to see what's happening. We can go into more detail in a future lesson about making the selection a little bit more perfect with range masks. But what we're going to do what the sliders will now effect on Lee. What's above On the top of this selection, you could move this around by clicking the dot in the middle, dragging up and down you make the fade or the feathering of this effect smaller or larger, by clicking and dragging the edge line the top or bottom. You can even rotate by clicking the outside of that central line and clicking and dragging up and down. So if we want to have this going over the horizon, something like that with this hill that looks pretty good now for the sky. I mentioned D. Hayes is a great thing to do, but I didn't want that to be applied to the landscape down below. Now it's just going to apply it to the sky. So if I click and drag up that D haze, you can see that it's being applied to the sky, making it look to me more interesting, more dynamic. And that's what I want my photos here. I can also play with the temperature of the sky even more. Maybe I wanted to be a little bit bluer, maybe a little bit more magenta to, so that makes this look even more dynamic. With these local adjustments, we can turn on and off that specific adjustment or that specific mask by clicking on off this button, and there you can see a quick example of why that makes it look even more dynamic. You can go too far with these effects. This one might have gone too far again. It's a personal preference, but they're powerful tools to make your photos really pop. When you're done with these adjustments, you can just click this done. But I'm button on the about bottom. All right, so what we have gone through is six steps, starting with having a great photo that begin with step to being cropping and creating your frame. Step three with exposure adjustments. Step four with color adjustments. Step five with sharpening and clarity and the haze and then Step six, our final one being local adjustments. This is just a not really quick anymore, but a relatively quick and easy edit overview of my steps for editing landscape photos. Throughout this course, I'm going to be using most of those steps in all of my photos, sometimes in a different order in a different way. But generally generally, that's the way that I like to edit my photos, and here you can see the before and after again making this photo turn into this one a crazy difference. Definitely making it to me pot more. And I like it a lot more myself. Something that I would more likely be sharing on social media printing out and just having is a photo that is one of my favorites. Of course, I didn't take this photo, but thank you to Kyung Makhan, who did take this photo? It's beautiful. And hopefully if you ever saw this, you would like how I edited it. All right? Those are my steps in the next lessons and throughout this course, I'm basically just going to be walking through different photos one at a time, sharing my process. I have you enjoyed and we'll see you in the next lesson. 6. Photo Edit - The Lake: Hey, Philip, inner here with a new lesson on editing this landscape photo. This is sort of what we're going to end up with. What we started out with was this photo right here. This is a great photo from we saturate dot com. Thank you to the photographer. Ho von is so Rob by in I am sorry if I mispronounced that but thank you for you and to all the photographers who supply these great images for us to practice and learn photo editing with. So, like I said, we're gonna go from this to something like this and let's get going. There's not very many at its actually, its some basic tone adjustments and then some more specific radial and graduated filters that get us to this point right here. And I'm editing in light room Classic CC. But no matter what you are using, you can do a lot of the similar things. So the first thing that I do with editing is typically crop it, and with a lot of my landscape photos, I like to crop in with a 16 by nine more wider aspect ratio. This is common display ratio for TVs, computer screens, tablets, phones and I just like this a lot. So this aspect ratio so you'll see me in a lot of my landscape edits. Choose a wider aspect like this. This allows me to get rid of some of the trees and leaves on the top and bottom, which I actually like. How it creates this natural border or framing of this Laker, this river, whatever this is. Ah, but it get It's not so much so heavy in this border with so many leaves. It's actually a little bit distracting. So I'm going to punch and it does make up a big part of this image. So I can't. And I'm not going to punch and dramatically like this, even though this is I like this sort of crop. But this image I'm going to keep like this. I like having this son poppin in the edge something like this. But we still have the opening, which is what our eye is drawn to in the center of this image. So that looks pretty good. Now I can make some changes, but as I always mention in my tutorials, the reason I like to crop first or at least to a basic crop is to get rid of anything that I don't have to worry about in the edit later on. Right? All right, so now I'm focused in more on the lake and the sky. The next thing I do is play around with my tone sliders and my white bonds. The white balance is something preferential, but you might want to go a little warmer with this one. Really boost that sort of son. I believe this looks like a sunrise. It could be a sunset to, but to me it looks like a sunrise. Or to get a Maurer of those blues and magenta is in the sky, I might drop the temperature a little bit, which I'm going to do for this one. So the next thing I do is come down to my exposure or tone sliders. With these sliders and with pretty much any editing tool, there are so many ways to get to the same end point in terms of making parts of your image brighter or darker so you can use the tone curve below. You can use sliders up above. You could use specific sliders in your graduated or radial filters or brush filters. Overall, though, with this image there's two basic ways that I could go. I could try to make everything a little bit brighter. And if I take my overall exposure slider, you can see what is going to look like. And that is one way to make this photo look a certain way in terms of bringing back the information so we can see the leaves. I would probably go in now and bring back down my white, my highlights. So everything is in exposed properly so you can see in the history Graham above what this looks like. We've got lots of information in the shadows, the highlights, but nothing is really clipping in the blacks or the whites, and that's what some photographers might want. And it gives us very H g r kind of look. My personal preference for this photo is to go sort of the opposite way. I actually like that. The leaves in the original photo are somewhat under exposed and silhouetted, and I actually want to do that and make it even more pronounced. So first off I'm just going to bring down my blacks, and you can see up already. Everything starts to get under exposed. And in the history Graham, some stuff starts to clip on the left hand side, meaning there's no information there. It's pure black, but I like that. I want this to be silhouette. Overall, though, I think this is a little bit too dark, especially parts in the distance. So while I bring down my black slider, I'm actually going to bring up my overall exposure just a little bit. So there's some information here in the distance with my shadows. Play around with that a little bit to maybe bring that up just a little bit. Bring up my overall just even more, but still bring down my blacks because I want to see some information in parts of the image . But generally I want this to be silhouetted now when I brought up my overall exposure. As you can see here, I start to lose information in the highlights and the whites, and that's in the sky, where I really want to have more information. So I'm gonna bring back down my whites, especially my whites and my highlights. You can see here as I bring back down my highlights. I get more information back in this guy now. If I look at the before and after, you might say, Hey looks pretty similar and I'm doing that by pressing the backslash key on my keyboard, but you can see that there is a little bit more information in some of the dark's. But actually, I think I'm going to go a little bit more, bring down the shadows even more so. A lot of what I've done is actually just with the change in color temperature. That's the big difference you are seeing right here. But I like that now. Everything's a little bit more silhouetted, so I actually brought the shadows back down a little bit more. So now there's Mawr drama in the sky, and we're going to enhance that even more, especially with landscape photos. I like to play around with clarity and D. Hayes quite a bit. So with clarity, what you're doing is sharpening things, making the edges of things in your image a little bit crispier. As I do this, you can see that it starts to bring that detail out. It's kind of like sharpening, but in a different way. If I go to the left. It makes things a little bit softer. Sometimes for portrait's. I actually drop the clarity, but for landscapes. I'm gonna bring it up now. I don't want to go too far. That starts to look a little bit to digital, depending on the image. Bringing that up can make it have that nice HDR effect, which sometimes is good. But I'm just gonna boost that up to around 10 or so with the haze. What this does is it tries toe, decrease the haze or the the small or the sort of what, exactly what it is haze that you see in skies in water to bring out some detail. So you can see if I bring this up, you automatically get more detail in the sky. Now, if you go too far, it can start to look a little bit over edited. But I like to bring this up just a little bit to make it look a little bit more dramatic and get a little bit more information in that sky. Now, if I zoom in here, you can see that there is a little bit of noise now with some landscape photos I like it being sharp. I like boosting that clarity in that sharpening to make it look crispy. But in others I might want to decrease that noise in the background. And here I'm going to go down to noise reduction and do just that. I'm going to bring up the noise reduction. I know it's a little hard for you to see, but it in depending on your machine, it might take a second to actually process. But here you can see the noise before and after. We can also look at a zoomed in before and after before. After now, light room automatically has some sharpening added to it. But getting rid of some of that noise in my mind makes this image a little bit better and a little bit more dreamy to even if you go a little bit further. Sometimes that's fine with creating sort of a watercolor style effect, if that's what you're going for. All right, so here we are going towards what? Ah, this is the end result that we're going towards. We're we're getting there. We're not there yet at all. We want to add some more color to the sky. you can see in this original edit. I actually did the original four by three aspect ratio, and now I am going with more of that 16 by nine. But I think for this edit, I'm gonna like that even more. All right, so now what we're going to do is we're going to play with our graduated filters. So with our graduated filters, what this allows us to do is at it 1/2 of the image. So let's turn on our show selected mask overlay. You can do that with the keyboard shortcut O on your keyboard. Let's also reset the effects, so we're not doing anything to it. So first, let's actually edit the sky. So with the sky, what we're going to do in this image is make it a little bit warmer and add a little bit more D. Hayes to it. So you can see here that I'm selecting everything above this line that I've created. I've just clicked and dragged and created this graduated filter. For a lot of you, this is probably just refresher, so don't mind me. But if I click and drive one of the top or bottom lines that creates more of a fade. We can hover over the edge or the side of the middle line, and this allows us to rotate this. We can then click the center dot and move this upper down and again. If you're kind of struggling to fall along with this course in light room, everything. I have another one that goes over all the basics of editing in light room. See, see if you're interested and you might want to take that first. Now what I want to do is edit the sky, and I don't want what I do, what my edits, which are now in this new panel that pops up to effect the trees or the silhouetted leaves . And the reason is because I like how those Look, if I just went in here and added a bunch of D Hayes, it's going to apply to the leaves. If I add a bunch of warmth, it's going toe apply to the leaves. Now that might look good. You might like that, but right now for me, I just want to affect the sky. So to change what's being selected up here, we can turn on range mask you could do this by color or luminous luminous meaning brightness. So I want to select a specific brightness because my leaves are very dark there in the blacks. Low exposure. So with this luminous range mass selected, I can now select what range I want to select. Right now, it's selecting 0 100 If I take this bottom marker and drag up, you can see that less is selected. See how that's happening. So if I drag us all the way to the right, what's really being selected is just the sky. You can also adjust the smoothness less smooth, more smooth, the higher on the smoothest scale, the more you're going to select. And so it's kind of a balance of these two sliders to create the adjustment that you want. So the smoothest geek it is kind of like feathering as well, so I'm just going to increase this to, like, 55 or so 56. Now what's being selected is just the sky or mostly just the sky, and I can press the show selected mask, overly button on to see what is selected or press Oh, on my keyboard. Now this is just the selection. This isn't what it's going to look like. I'm going to turn this off now, and what I'm going to do to the sky is boost the temperature. So I do want this to be warmer, something like that. And then also add some D. Hayes to it. All right, so we can see what this looks like Just this effect by turning on or off this graduated filter here. And I like that. Look, now I don't want to go too crazy with the warmth of the overall sky because I like the blues up in the top. If that's what you like, you can do that. But I am going to pronounce or make that that warmth of the sunrise sunset a little bit more in just a moment. But for now, I'm happy with what this graduated filter is Has done so actually, I'm going to create another one. So if you were on this last one, you can just click the new button. And this time I'm just going to select the water below. So I'm going to click and drag right here. Something like this. Press Oto. See what I'm selecting. And similarly, I just want to select the water. So I'm going to create turn on my range mask. Now, what I could do is do the color option. Take this color dropper and click in the water, and it does a pretty good job at selecting just the water. You can turn up the amount or decrease the amount. Another thing you can do is you can actually click. Whips are ain't let's like this mask again. Click our eye dropper and click and drag in an area, and that will create a MAWR advance color selection. So let's like multiple colors or a range of colors, and that did a pretty good job. So again, with light room, you can get the same results with different methods now for the water. What I'm actually going to do is I want to make it even sort of blurrier a little bit smoother. So what I'm actually going to do is decrease the clarity, some decreasing the clarity and then also making it a little bit cooler bluer. So I'm gonna decrease the the temperature there. Now. I could try to boost the tent or decrease the tent to give it a different sort of color. Boosting the tent makes it more magenta. That looks, that makes it look a little bit unnatural. So I'm actually going to decrease the tent just a little bit to make it more of a natural blue. And what I'm doing here is trying to match the blue of the sky up here, which I like. So you get that nice reflection of from the bottom in the lake to the sky up above so we can see her before and after again. We're getting towards what I was going for. The next thing I'm going to do is really make this sunrise orange a little bit more pronounced. Now, the way I'm going to do that is just with a radial filter. You can do this with a brush or different methods, but I'm gonna use the radio filter. I'm just going to click and drag and you can see now I have this radius or the circle or oval. You can click and drag, make it different shape. I'm going to make it this whole horizon. Now if I press Oh, you'll see that I'm actually not selecting the horizon. I'm selecting everything outside of this circle. So I'm going to click this invert button down here. Now again, I'm going to turn on range mask for Luminant. I'm just going to select the more the highlights mids and whites. And now with this one, I'm just going to boost the temperature. So here, I'm gonna boost the temperature a lot. If I want to add area to this, I could click brush. And now I have this brush and you can adjust the size and feathering here with these sliders. And now I could brush on parts that I want to be included in this mask so I might brush up here, brushed down here a little bit. And the reason why I'm doing that is because you have this sort of natural sunshine sunrise right here that is creating this warmth up here as well as in the middle. And then I want to select down Here is well, just to sort of match that time. Now, here I'm I even try a little bit of D Hayes just a tiny bit that's looking pretty good. Now I can show you what this looks like with this on and off. Just that effect so add some color to it. I'm gonna click. Done. Now let's compare and contrast the before and after. So I think the original edit I had was a little bit more pronounced. So what we can do to make our new at it a little bit more colorful It just go back to our main settings, boost that vibrance or boost the overall saturation just a little bit, just like so you've got a little bit more pink in the water, which I think I did differently this time. You remember just a second ago I added a little bit of tint to the graduated filter on the bottom. If I take off that tent, we get a little bit more of that pink back. See there. But I'm with this new ed. I'm just gonna go like so then also with this radial filter, this radial filter. I think it was a little bit bigger in the original ones, so I'm gonna go something like that. Now, if I press Oh, you can see where this radial filter is being applied. So across the horizon and then got this little bit over here on the right and left now, if I decrease or increase the range, you can see that applies to even more as well. And then the last thing I like to do let's get off of this comparison view is do a quick tone curve adjustment. So sometimes I like to use this as kind of a final adjustment to my overall exposure. Maybe add a little bit more contrast. And when you add more contrast with a an s curve, which is what this curve looks like, you could go dramatic with it like this. This is more of what you when you say s curve. This adds a ton of contrast. That's way too much for me. If you're going super experimental, that might be what you're going for. But a little subtle ask curve like this adds more contrast. And when you add more contrast, you get more saturation as well because it makes colors more punchy. And now this is looking really magical. Like what I'm going for with this edit? No, this is not a natural edit, and sometimes people, when they're taking photos, they want to be as natural as possible. What I'm trying to do is create a piece of art that in my mind stands out. So when you see it, you say, Wow, that is a beautiful landscape photo going from something like this to this. This is definitely a little bit more eye catching. Yes, it's artistic. Yes, you are having a little bit of creativity with the way you're editing. But that's how I added my landscape photos. And hopefully this is what you're enjoying about this classes, learning how to take your sort of bland not so incredible photos and turn it into a work of art, something that you would print something that you would post ultimately something that captures your imagination and just makes you proud and excited to have captured that photo . All right, so this is where I'm gonna leave this photo. A pretty simple at it overall, just with some basic slider adjustments in the tone saturation but also getting a little more advanced with some specific graduated and radio filters and brushes. And I hope you enjoyed this lesson. If you have any questions, of course, let me know. But as always, we would love to see your photos, so make sure you post into the course to post them to the photography and friends community , and we would love to see them. Thanks so much for watching and we'll see you in another lesson. 7. Photo Edit - Sunset Skyline: welcome to this new photo at it. In this one, we are editing this city scape, which I kind of consider partly a landscape of man made landscape. And so we're going to be turning this photo on the left into something like this on the right, really making it pop, making those colors more vibrant using again graduated filters and some brushes to emphasize some of the colors and also make it just like I said pop a little bit more. All right, so let's get into editing this photo. You can follow along as always. So the first thing I'm going to do is crop. So, like I did, usually I'm going to edit to a 16 by nine aspect ratio. As you can see, the horizon is actually very level right now, and so I'm just gonna pop it up just a little bit, something like so. I think my edited version I cropped in just a little bit for now, I'm gonna leave it as is maybe put a little bit more negative space at the sky. I was kind of just originally putting the land the horizon right on the lower thirds line. But I do want a little bit more space above the building. Something like that feels a little bit more balanced to me, All right, so the first thing I'm going to do is play around with my basic tone adjustments. Overall, it's a little bit dark to me. So the first thing I'm going to do is bring up the shadows. May bring up the overall exposure just a little bit. When I do that, the shadows and the darks blacks are brought up, but also the highlights and the whites, which we lose a little bit of definition there and now it's a little washed out, which I don't like. And so, as you can see, when I bring back down my highlights, I start to get a lot of color and information and detail back in the sky. So I'm gonna bring that back down. I'm also going to bring back down the blacks just a little bit, just to bring back a little bit of that, Um, contrast. That's natural to this photo. So here we have the before after, so it's a little bit more balanced and exposed image in terms of clarity. De Hayes vibrance. I'm just going to bring up the overall saturation just a little bit when I'm not with landscapes. I'm not too worried about bring up just the overall saturation with more portrait's and photos of people. I do worry about saturation because that can sometimes spring up reds and yellows and colors in skin tones that make it look a little unnatural. All right, so I'm happy there. One thing that I am interested in with this photo is clarity. Ah, we got all these lines and lights and I think bringing up the clarity to give it a little bit of that sort of crispy hdr look is gonna make it look pretty cool. Now, if I go all the way to the right, you can kind of see the more precisely what this effect is doing to the left. We get kind of a glowing sensation, which is actually kind of cool, too. So this is more just for me stylistically what I'm going for right now. I'm going to go drag to the right and add clarity rather than making it sort of soft glowing. But that was kind of a cool look, too, with the rest of these. I'm going to leave them as is. Maybe do a little bit of noise reduction because this was shot. It looks like at sunset there is a little bit of noise and the buildings. You can see the detail over here. It's hard for you to see on the screen, I'm sure, but if you're what following along on your own computer, you can probably see some of that noise. So bringing up that noise reduction gets rid of some of that noise. Now you got to be careful because adding noise reduction is going to make lines and edges a little bit softer because it's just getting rid of some of that detail. Softening the noise. Make blending it all together a little bit. And so that's kind of doing the opposite of what clarity and sharpening does. So it's a balance of how much do you want it to be sharp with crisp edges versus how much noise are you okay with? So the thing that I did with the edited photo ah, is really make the sky pop and also the ocean down below. So this is a combination of a few of effects, so the first thing I'm going to do is take my graduated filter. We've got it all reset to zero click in drag down, so I'm selecting everything above the horizon line pressing. Oh, on my keyboard, you can see what I'm selecting. I'm going to turn on a range mask for luminous and then set that loom. It's two more of the highlights, so I'm not selecting all of the shadows in the buildings. I don't mind if I select some of them, but I don't want all of them now. I'm also gonna decrease the smoothness just to try to get more of just the sky. So turning that off, the main thing I'm looking to do is bring out some of those colors, warm it up just a bit, just to make it a little bit more dramatic. So the first thing I'm going to do is add De Hayes. Now some people will play around with the colors saturation temperature first, but I like toe play with the D. Hayes first, because that actually adds color. Ad saturation adds contrast and detail, which now I don't have to go in and add as much warmth or contrast to it myself. I will play around with adding a little bit more warmth, though something like this just to make this guy super Vibram. And you can do that by adding temperature, making a warmer or just adding more saturation. I'm going to do with the temperature, though, because I want everything to be a little bit warmer. I can also play around with Bring down the shadows now, since I'm not selecting much of the shadows, it's with my range mask. It's not going to be as effective, but bringing down things like the blacks as shadows. See what happens if I bring back down the highlights. Even it's making MAWR detail in the sky. Now, with all of this is a good thing to kind of look away from your computer and then look back , even go away, come back and see what you're doing because you might think after playing around with some edits and looking way say, Wow, that's a little bit too dramatic. The orange over here is a little bit too warm, so I'm gonna dial that back a little bit. It's always good to look at the before and after a swell. That's looking pretty pretty cool myself. If I don't say so myself, all right, I'm going to add another and new filter, so I'm going to click new. And now I just want to play with the sky up here and create more of a Grady in in the sky. So I'm clicking and dragging a little bit longer to create a bigger fade. So as you can see a bigger fade again, I don't want to select the buildings or don't want to get the buildings as much those this time I'm going to click color because the sky is generally a s'more similar range. You can click or you can click and drag to select a selection of colors and light room will try to can a select just that selection and I'm gonna decrease amount just a little bit. So as you can see, I'm getting mostly the sky and not the buildings. Oh, on off Or just this check box down there Now with this, I want to actually make the sky a little bit bluer, make it a little bit more dramatic, some decreasing the temperature and overall exposure maybe not overall exposure, but highlights shadows blacks bringing down and what you can dio turn off Our color picker is dragged this up and down to kind of see what this looks like. It still is going toe have the range mask on. So it should only be selecting mostly that color to say we want these clouds over here toe also be included. Weaken Drag this down like so that creates a nice filter. Greedy in effect Or what you can do is say OK, well, I don't want to bring it down too much. What I can do is add with the brush. So click the brush over here, select our size or is gonna brush over these clouds that were on the left hand side. If I press Oh on my keyboard, it's processing, not selecting those clouds. A little bit more can even go down here. Brush over on the right hand side. This can be kind of intensive on your computer to handle, But as you can see now, more of this cloud gets the effect that I'm adding. Now, if I go crazy with this, you can kind of Seymour, what's what's going on? Just gonna dial that back just a little bit, though. All right, so that's looking pretty good. Okay, let me click Done. Going to see that before, After before. After. And we can also do a kind of a comparison between these two photos. So if we do this comparing contrast right here with the reference photo, we're gonna make sure we have the reference photo right here. So here's the original edit. Here's the new edit, which I'm actually liking a little bit. I think I add a little bit of contrast at the end, which makes it a little bit darker. But for now, I'm pretty happy with where we're going. The other thing I want to do is because I've edited the sky. I also want to edit the ocean to sort of match the edits of the sky. So we're actually gonna go back at a new graduated filter, click and drag up this time. This time we're just selecting the ocean. And I'm going to add some blue interest issue up d hazed as D. Hayes. I don't like that, but that's one way of getting more color, Also decreasing clarity to make it a little bit more dreamy, kind of drinkers in the clarity and also decreasing the sharpness can make it almost look like a long exposure may decreasing that overall exposure. Just Justus much, maybe a little bit to bluff. You know, if you want to get wacky with the colors, you can play with the tent as well. All right, that's looking pretty good. Now. One thing you'll notice on my edit is the ocean on the right hand side. I highlighted the orange from the sky. So in this ad, it that we're working on you can see that the ocean on the right hand side is a little bit pink. Magenta. I want that to be more orange, so there's different ways you can do that. I'm just going to do that with a brush right here. So I'm going to brush on, and I'm actually just going to right now. Turn up my temperature all the way so I can actually see live what I'm doing. Also going to turn off auto mask because I just wanted to kind of paint on everything and even blended over here. See where there's like a natural sort of part where the building is shading. It's creating a shadow on the ocean. I've kind of painted over the edge so that whatever I am adding to this effect actually adds Over here is Well, now you gotta play around with his. I'm gonna race a little bit of that and see what happens. I felt like when I did this. This harsh line is a little bit too harsh right there. And so that's why I was kind of blending in just a little bit. If you want more of that magenta it making it just more Ah, an orange orangey magenta Rather than just in a magenta, you can add some tint as well, which does kind of match the sky. He got not purple in the sky as well. Gonna go back to my brush So going back to my brush clicking this A to see what happens if I apple in the sin Over here you can ease, even decrease the flow and the density to kind of brush it in in layers less powerful layers says something like that I think, actually does a decent drop. So if I click Oh, you can see kind of what it does here. So if I decrease the density a lot. You can kind of see that the selection that is added or the the layer that's added is very , very faint. So this allows you to kind of paint on like a paintbrush with strokes to make it a little bit more natural, because you might have some of that, you know, light shining through these buildings, maybe even over here. We want to add a little bit of warmth on the that side of the building. It's increase the density. So you're really being like an artist, I think, anyways, and so that's something I didn't do with the original edit. But I think that looks pretty good. I might actually click new and add and even more powerful brush over here Really crank up that temperature and then maybe just blend it just a little bit with a little bit less density. That kind of creates a nice balance, and it really adds to the effect that these buildings are actually creating a. It's blocking the sun blocking the sunset, and it's, um, coming around on both sides. This this nice sunset on the ocean, reflecting on the ocean. That is cool. I think that's looking pretty good in terms of our adjustment brushes. Let's go back to our basic at it. So we're going to close this, and the last thing I am going to do is just again play around with that tone curve. See if I want to add a little bit of contrast. Bringing down the darks bring back up the highlights, the mids to bring back that contrast. And when I do that, things start to pop even more. The issue, though, is as I add contrast what you probably know by now. It adds saturation. So if I like that contrast, But I don't like the saturation, if it's a little oversaturated and might bring back down my saturation here, or I might bring down my vibrance because that's going to effect a lot of the colors. Not necessarily the oranges, though as much as I have. Like so I might actually come back up here to saturation and bring this down a little bit to get rid of some of that saturation. That added, with the contrast, let's see the before and after so a completely different photo, I would say one thing that might look good for this photo is of in yet. I don't think I added this to the other one as well. But a Vignes small vignette. Lots of feathering. Turn this on and off. I don't know. Sometimes I lately, whenever I added, and yet I take it off. I think it's a natural thing for beginner photographers and photo editors. Toe add a vignette Hot emphatically, Um, but and think it looks better, but to me, whenever I do that now, it just looks a little funky to me. One thing I also might test out is the upright. I didn't do this now did this automatically? I mean, a little change, but I'm just going to use this upright tool. What you do is you click and drag along the horizontal and vertical lines of the photo, so I'm using with these buildings and then also with the horizon. And what it's going to do then, is it's going toe. Try to make all the lines in the photo perp Indyk perfectly perpendicular to the edges of to the edges of the photo. So, as you can see there now, all these lines are a little bit more straight up and down. Ah, which maybe to you looks better. All right. I'm happy with this at it. So Ah lot happened here, but basically a lot of it was with the graduated filters in the sky. I think the key difference that I did in this photo at it and a cool thing to think about is adding the reflection to the water and being a little bit more creative with how you're using the brush to add color temperature change saturation changed to a portion of the image adding to the left over here, which wasn't at all, um, orange before, but to me adds a little bit more character makes it a little bit more dramatic and add some balance to this at as well. All right. I hope you enjoyed this one. I hope to see yours as well. If you have any questions, let me know otherwise we'll see you in another lesson by 8. Photo Edit - Snowy Lake: welcome to another lesson in this landscape photography course. In this one, we're going to be editing this photo on the left the snowy lake scene and turning it into something like this on the right, adding a pop of color, playing with some clone and healing brushes and just really just trying to make this a little bit more vibrant of a photo. So if you're falling along, go ahead and download and openly snow photo and let's get straight to it. So we'll be here in the development tab as always, hoping that photo up. So first thing first, it's just totally distracting to me is it looks like a photographer or something. It looks like a hand with a lens in the bottom corner. I actually like the crop of this photo, so I'm not going to crop it at all from here. But I do want to get rid of that hand, so one option is to crop it. But we have some other tools here in light room that can help us spot removal. This one right here and you can have a choose clone or he'll he'll does it a little bit more intelligently and blends. Layer blends your selection so that it helps remove whatever you're trying to remove. A little bit better Clone will literally just copy and paste one part of the photo to another. I'm gonna increase the feathering a little bit. Size is good, and basically what you do is you just click and drag and paint over whatever you want to remove. So this is typically used for blemishes, leg pimples or wrinkles or things like that. But you can also remove things from your actual photo like so, and you can see that it actually just got rid of it just so easily. If I go before and after with the backslash key, you can see how well that does removing it. You'll also see what I did was if you go back to this removal, if you have ever that dot selected, I can move this selection around and see. This is where it's taking and kind of blending in with the spot that I painted on originally, and so you'll want to find an area that similar. Luckily, the snow right here is a perfect place to use as sort of a blending method to get rid of that. All right, So once we're done with that, I'm happier now. And now I'm just gonna play with my overall exposure with snow. This is a difficult thing to photograph because exposure can be so high and blown out. So I'm actually gonna jump right into my whites and highlights and see if dropping this brings back a little bit more detail. It does, but, you know, because it is snow, because it is not a sunny day, but it is shot during the day. There should be some pure whites or some very hot bright spots of this photo. So I'm fine with that. The shadows, though I do want to bring up the shadows a little bit just to get some of that detail on the mountainside. And then, as I normally do, if I bring up my shadows, I might just scootch down my black schist spring down just a little bit to bring back a little bit of that contrast. This photo there's so much detail in it. So moving down, I am going to boost the clarity just a little bit so that edges of things become a little bit sharp and you get a little bit more of that HDR Look, now, I'm not gonna go too far like so, but just going a little bit kind of helps. There isn't much color in this photo, and that's what we're going to use. Our artistic license to do is adding some color to the sky into this lake. But boosting the saturation overall kind of helps bring out some of the reds and the browns in the rocks in the parts of this photo that need color. Another thing we might want to go check down below is if we boost the greens at all. If we can get any of that Greenup or even going over to Hugh, I'm looking for these trees to pop out a little bit of green. Select my color picker, go into my greens, and you can see that as I hover over these trees. The color that I'm going to select is highlighted over in the HSE cell panel. So if I drag up or down, you can see that it's adding some color. So if I make my yellows and drag those to the right, saying with my oranges, wondering if I take my Reds. Yeah, If I take my reds, it also adds more green to it. But I don't necessarily want to do that because I like having the greens of the rocks or the red of the rock down below. So if we bring that up now, let's go back to saturation. Bring up the saturation of our yellows. Oranges? I think mostly the yellows is what? Spring out that green. We get some color back in those trees and maybe it's a little bit manipulated color, but I like how that looks. Alright. Next, what we're going to do is play with some local adjustments. So to get some color on this water, what I'm going to use is a brush. I'm also going to turn my auto mask on and we can use a pretty big brush. I'm gonna make sure my mask overlay is on. Check that box or press O on your keyboard, and then I'm just gonna paint on like so and I want my flow in density to be all the way up . So now that I have most of the lake selected, going to make my brush a little bit smaller and then just starting in the inside of the lake and then going closer to the edge. It helps with the auto mask. If I would have just started on the edge and then painted onto the lake, like so it starts picking where ice clicked first. So if I go in the lake and then go over the edge, it does better job at not getting the add to that lake or the rocks on the side. I'm gonna have to go in here and with a race tool. Just erase the edges that were selected because I really do just want the I just want that water to be selected. We can also go in here, turn on our mask range mass for color. Then if we select the color of the lake, that's gonna do a pretty good job at selecting that color. And when we apply color adjustments, it might blend a little bit better anyways. All right, President Oda. So we don't see that there's a couple ways to add blue to this lake, wanted just by dropping the temperature. If I go too far too much, you can see what that's doing or another is with this color option down here, adding a more specific blue if you're going for something a little bit more green or teal, which is actually pretty nice, something like that's pretty good if you find the color that you like and sometimes I just click and drag over and go like, left to right and see what I like. But if it's too saturated, you can just use the saturation slider to go up or down to boost the vibrancy of that color . You can also type in a specific you or specific color right here. If you know it, something like that's pretty good. And again we can go back down to our range masks and increase the slider or decrease it, depending on what you think is gonna look at now. Maybe I just want the blue to really be applied to this part of the lake over here, where there's not the reflection of the trees so I can take my color picker again and his pick that area a little bit more. And now drop down that slider and Aiken turn on, May mask over away, see if I drop it down even more. It's more or less just selecting this area. And you always got to remember that you can actually click and drag to select a selection of colors, which will help it choose even more intelligently. I don't want it to be. I do like it to be more blended and not have hard edges, so a little bit more blended like that. It's looking better now. The blue color itself is looking a little bit funky to me, something like That's pretty good. You can go too crazy with us. But so what's kind of this is a more subtle at it. I think that I did originally, but what's sort of off for me is that if the water is blue, the sky should be plu, too. So let's add a radiant overlay. Gonna select the sky like So I'm gonna turn our luminant a mask and then just pick a more bright arrange something like this. Now we're selecting mostly the sky, and now let's first, let's do a little d Hayes, see if we get any more detail in there and then drop this temperature. Or maybe even what would be better is to match the color of the brush that we use, which, if we go back to our brushes, click here to get our color. It was to 19 and 34%. That's good to know, because now we can go here. We could change our color here. 2 13 0 gosh, I have such bad short term memory was a 34% 34%. Let's see how close I was. Yeah, to 19 and 34. Wow, fill. You need do better at that. But we are at 2 13 and 34 you can see that that's the right color. I might want to boost the saturation just a little bit because I think it does make sense that the sky will be a little bit more blue than the water. Let's see if we could bring some detail out in the sky. Just bring using the whites and highlight slider. Maybe clarity a little bit more. Something like that's looking a little bit. It's, you know, it's subtle, it's subtle, but I like it to be settled that way. If I want todo even more blue. Maybe just dropping that temperature slider helps a little bit, too. Selecting a little bit less, though. Yeah, it's looking pretty good. All right, So now let's see the before and after before and after. Now, let's see compared to what we did in the other edit. So here we have our original edit. Here is our new edit. So what, We're working on a little bit less of a dramatic at it. I think I have a higher clarity here to get that more HDR effect a little bit less contrast here. So if I want to get what I had originally done, I would probably boost this clarity even more. Probably add a little bit of an s curve. Something like so And then with the colors, I would make those blues of the lake a little bit more turquoise or teal and the sky the same. What I didn't do with this original photo was played with the color of the trees, which I think for this new ad, it looks a little bit better. So if we look at our before and after, you can see from left to right what it was like before and what it is like now again, subtle changes trying to be more natural with this edit, even though we are manipulating some things like color of the sky and the lake. But just in general, trying to make it pop a little bit more for you know, those those prints of those followers. Whoever you're taking this photo for. Hopefully it's for yourself. All right. I hope you enjoyed this lesson and we'll see you in another one. 9. Photo Edit - Sunrise Lanscape: welcome to this new landscape editing tutorial in this one. I'm going to be showing you how to take this photo on the left and turning into this photo on the right. This is Theseus. Sunrise photo. If you are following along now, let's just go ahead and dive right into it. So we start off with this raw photo, which is basically Well, it's a white image over exposed image. You got some hills over here. Looks like a bright sun. Thankfully, this was a raw photo. So we have a lot of detail that we can pull back from this photo. So a lot of what we're going to be doing is just with overall exposure for this photo. It's actually a rather simple one. So first things first, I am going to crop this into a 16 by nine photo. I want to not have is much sky. And I like having the hills close to this lower third line right here. So something like this is good. I can't really tell what this photo is gonna look like because I don't I can't see very much, so I'm actually gonna make it a little bit wider. just the whole with and oh, I might play around with the crop later based off of what it actually looks like. So overall, you can see from the hissed a gram that that everything is too overexposed. I'm hoping there's enough information in this photo that I can pull back the overall exposure. Now, if I bring down the slider overall, you'll see that the graph starts. Teoh look a little bit better. This is what we would assume sort of a normal exposure might be something like this. Now there is just some parts some parts of this image that you don't have any information. Even if I drag the exposure all the way down, we still have you see on this graph we see this line jet up here and it's touching the top of the graph. That's just clipping. And that means there's no information there. So because that is clipping, I don't want this to go down anywhere below the right side of the graph because it it doesn't have anymore any information anyway. So I'm gonna go basically, said the overall exporter until that line is right at the edge because it I want it because it looks over exposed. I want it to be overexposed, and there's nothing I can basically do with it to pull back that information. Even if I pulled down the whites and things like that, we might be able to bring a little bit of information back from around where the sun is shining. But you're not gonna be able to bring down that entire sunshine Bring down the highlights can also may also help just a little bit. But the more I bring down the overall exposure, you'll see that. And as I bring down the highlights, yes, this graph is looking better, but the photo it looks like it has just like this overlay now, and it doesn't have the right exposure range. So I'm gonna leave this over on the right hand side just like just leave it at zero Now with the shadows. This is an interesting thing. Do I want the shadows be darker to still wet those hills order. I want to try to bring back more information in those shadows playing around with this. I want thin, see what the blacks do, and I think bringing up the shadows, which is something I would typically do to pull back some information from the shadows. It's not necessarily what I want to do with this photo, because it just starts to look washed out. So I'm actually gonna create a little bit more contrast with this and make those hills a little bit more silhouetted. Just like so now. One thing that I want to jump down, And I'm not sure if I'm done with exposure yet because I want to play with D. Hayes, typically with skies. As you've seen in this class, if we crank up the D. Hayes, you'll start to get more information in the sky. And when I do that, you can see that. And then Mawr contrast is added, though, so I want to add some D. Hes just a little bit. If you go too far with is it just starts looking unnatural. So just a little bit. And then I think the balance it out. I'm going to bring the shadows back up just a little bit because it had added some contrast and made the shadows even darker with the haze. In terms of colors. I'm fine with the vibrance and saturation right now, you know, bring this up. Just makes it look unnatural. Bringing it down. I think for this photo doesn't look good as black and white. I might go back up here and play with the overall temperature. Now I think just from seeing this photo initially, I want everything to be sort of this guy to be all orange. But if I crank up the temperatures until the sky is all orange, which is about here, then the hills look a little bit too orange. It doesn't look very natural to me. And so what I'm going to do is actually leave the temperature as it is, and then use a graduated filter toe. Adjust the color of the sky. The rest of these look pretty good. One other thing is the the the actual yellow color of the sky to me. And maybe it's just based off of my edits because looking at the original, which look at that before and after. That's pretty wild, But looking at the original, the color of the orange that you see down here is the yellow is a little bit more orange red. Here it looks a little bit like it has some green added to it. And that's just because I've played with D. Hayes and Exposure. And so I'm actually going to change the hue of this yellow. So I'm going to go to the HSE l tab. Click. You click the color picker, go over to the yellow right here, looks good and then just drag down. If I drag up, pulls in even more green dragged down, it makes it more of that warmer sunrise sunset golden hour color. So that looks pretty good to me, Detail wise. If we zoom in here, let's just click done. Zoom in. It doesn't have a ton of green everything. It's not an image where I want things to be completely sharp in terms of, like, a lot of detail. It's more of, you know, just that it kind of looks like a painting. So that's why I skipped the clarity up here, because I don't really need everything to be sharp. I actually like it glowing a little bit, actually, decreasing the clear clarity a little bit actually makes it look kind of nice to me. So with sharpening, I'm just gonna leave sharpening as is. And there wasn't too much noise. So I'm gonna leave the noise reduction as is. Although if I want toe even make it a little bit softer, I could increase that noise reduction. To do that, I assumed that you don't see much, but if you're on your computer following along, you can see if there's no noise reduction compared to this. Still, it's like barely any noise. So I'm gonna leave the noise as is so going back up. I want to play around with the color of the sky even more with a graduated filter. I'm just going to select everything above the horizon again o on your keyboard, selecting everything above. And now I'm going to add color temperature to the sky. Now I'm my actually increase this graduated filter so it's more just selecting the blue sky up above. We already made the color adjustments to the yellow down below. So something like that, to me, is looking pretty good just playing around. So this is one area where because I'm not necessarily wanting to affect the entire sky, I'm or just concerned about the blue up here, I've moved this graduated filter up above the actual horizon. I was interested to see what happens when I play with the overall exposure. Things like the highlights. Sometimes I'm just playing around just toe just to see what happens now when I add some D hes. It brings a little bit more detail into the clouds, but it darkens the sky up above, so I might actually even make boost that exposure just a little bit. I might even just create another graduated filter. Go back there, click new just for this top of the screen, brighten it up just a little bit. So it's a little bit more natural. I would expect that there would be sort of a natural Grady int from bright to darkness going from top to bottom in the sky. That is so that's looking pretty good. Um, and if we click done and we see the before and after a completely different photo Now this is one of those photos where if you're standing there on this hill, it's probably not going to look like this because the dynamic range that our eyes see is a lot greater. And so it wouldn't look like this and it wouldn't look like this, either. I'm taking a more artistic approach to this photo to sort of bring back some of that exposure. We do have this super super bright area over here. There's nothing you can really do with it. You're just trying to do as much as possible now, going back just to my basics lighters. I want to just play around with the shadows just again, just to make sure that I'm not going to boost those shadows. And again, I think, trying to boost the shadows, get more information in here. There's just so much noise and green in there when I do try to boost those shadows. So I am going to leave that crunched down just a little bit awesome. I think this is a pretty basic at it. Crop wise. I'm happy with it. I like that. The rising is just below this third line. You know, it's maybe one of those times if you want a more artistic piece, you know, cropping right here and just get rid of that over exposure. But for me, since that's where the sun is, we're just gonna leave it as so something like that looks pretty good. Awesome. Thank you so much. for watching this. I hope you learned a couple things or enjoyed this. Edit at least. And we'll see you in the next one. 10. Photo Edit - Desert: welcome to this new landscape editing tutorial in this one. I'm editing this desert landscape. This is another photo from we saturate dot com. So thank you to the author creased off or the photographer Christoph. So I'm actually not. You might have gotten a glimpse down below really quickly, but I'm not going to show you what the edited photo looks like because I think I want to leave it a little bit of a mystery, because while I was editing this photo for the first time, it was actually a little bit of a surprise of what I ended up doing with this photo L East to meet. So let's get straight into it. So I actually like this composition. It's pretty, pretty good. It's got these leading lines that kind of go off into the distance. And whenever I'm editing a landscape photo, or even if I'm shooting a landscape photo, I'm still trying to figure out what this subject of that photo is. Sometimes there's not really a single subject. Maybe there's not a single tree or a single mountain or a single building or something that is your key subject. But in this one I like to think that the subject or the key focus of this photo are these footprints going off into the distance. That is the one thing from this photo that kind of makes it a little bit different than just a sand dune. Now, if these foot prints weren't here, I would say the subject or the main focus would be the peak of the sand dune, this line going into the distance. So if you're confused about what I'm saying, when I say what the subject is, it's really where do you want the viewer's eye to be drawn to? And that's our job as a photographer and even as a photo editor to enhance that. And that's ultimately what we're trying to do is get the viewer to draw their attention to some aspect of our photo. So actually, without really any mystery left, what I'm actually going to do is crop this in a much different way than what I typically dio. Typically, as you've seen, if you've been watching the whole class, I crop wide. But in this photo I'm actually going to crop as a portrait. So to do that, you can either just click the crop tool and changed the aspect to a specific vertical dimension. Or if you have one of these other dimensions selected, so say I have a 16 by nine selected. What I can do is click the corner and then just sort of drag all the way to the right or left, depending on what corner you grab. And as you see when I do that, ultimately it will jump into the vertical portrait sort of crop. I'm gonna make it the full with or the full height of this photo and a 16 by nine crop. It's pretty skinny, but what you'll notice is this is the perfect aspect for a lot of smartphone screens. So this is pretty skinny. But as you can see here, I move the crop over here to really get those footprints as the main focus. And when I do that, I'm trying not to crop this peak over on the right hand side because I like that, and I'm also trying to not crop too far to the right. Even though this feels a little bit more balanced down here, you see that what doesn't feel balanced to me is when the peak goes over to the left. I'm trying to keep that in the center as well as much as possible. So trying to balance this peak on the right side in the left side, I cannot like how that goes from right to left. And then these foot prints also are balanced on this third line, kind of intersecting right in the middle of the frame. Something like this is where I'm headed now. I might adjust it later on, but for now I can leave it at that. And actually, I didn't crop it like this until the very end. When I was practicing, I made all my color exposure adjustments. And then I realized, Wait a second. If I want the focus to be these footprints, I'm gonna crop it like this. So jumping to exposure and color adjustments, I want to add contrast to this photo with the shadows. I really want to enhance those and the colors of this sand dune. Beautiful sand dune. It looks like what this was shot at sunset or sunrise. I'm guessing sunset just the way that it looks to me. So enhancing that warmth as well. So with the individual tone curves. I think overall it's a little bit bright and so I'm gonna bring down everything like the shadows, especially the blacks. You can see if I go too far and I'm paying attention to the history ram up at the top. If I go too far like this, it starts to look a little bit to contrast e But going like this somewhere along there, bringing a lot of this down into the darks looks pretty good to me. Highlights I'm actually gonna bring down as well, which brings some detail in color into the sky. But to bring back some of that contrast, I'm gonna bring up my white moving this hissed a gram is you can see over to the right. Just bring back some that contrast. So just before and after you can see that this is actually a pretty good photo. I would be happy with this photo as is. And so let's move on to our presence Sliders De Hayes all I just want to show you I'm not gonna add De Hayes to this photo because there's not much detail in the sky that I want to bring back. I could do a graduated filter just for the sky and add some D. Hayes. But for this one, I'm going to skip that. I skipped over clarity, but I am going to add a little bit of clarity just toe, not make it sort of an HDR look going crazy. But just to make it a little bit more crispy and detailed, you can see as I bring up the clarity. What's interesting is that we lose a little bit of that saturation. So that's one thing Teoh just know in the future, if you're adding clarity, it can de saturate. So you might want to bring back that saturation somehow with a slider up here or down here with overall saturation. My things like that. All right, so now I have my vibrance and saturation sliders. I would not want to use the vibrant slider in this photo because vibrance increases the vibrance and the saturation of all colors, except for or at a lower level, the yellows and the reds and the oranges. So adding this is going to look kind of weird when you're trying to boost the actual yellows and reds. I can do the overall saturation just boost overall saturation. Or I could come down here to the HSE l panel. Go to my saturation tab, click on the color picker and let's just pick the specific colors I want to boost. So I'm gonna go in here where the orange is a little bit darker. The yellow is a little darker and just boost that orange, and that looks pretty good to me. You could also go into these individual sliders and see what that does, so boosting yellow. So it's mostly the orange that is being affected. But I'm just gonna do that. The other thing you could do, if that's not exactly the look you're going. If you want it to be even more warm, you could just change the temperature and make everything warmer. That's adding a little bit of warmth. That way is also a nice stylistic approach. All right, so this is looking pretty good in terms of the detail. We don't have a lot of noise, but we might just add a little bit of noise reduction just to get rid of some of that DEET that, um, that grain that you see in the sand it's something that I added clarity. So adding clarity is going to increase the noise. But actually, as because the edges are pretty sharp already adding some noise reduction to make it as clean as possible is actually pretty pretty nice. So you can see if I increase the clarity a lot. You get some that noise back in there actually thinking about that for this at it, I'm going to decrease the clarity. And I'm just going to have that noise reduction actually be a little bit higher than I normally would. Just get everything soft and clean. All right, so this is looking pretty good. I like this going back to this idea of the footprints being the subject of my photo. What is one way as a photographer or a photo editor that we can further enhance further guide the vision of our viewer focus. So this can either be done in camera with a lens and dropping the aperture or the F stop so that you have a wider, open aperture, shallower depth of field. This step, the field. It does start to fall off in the distance. It's little blurry. The focus, you know, really goes pretty far, though from basically the camera where they're standing, too. Maybe that's 2030 feet away. So further enhance that effect. What we're actually going to do is create a graduated filter and drop, or actually create sort of that shallow depth of field effect. So oh, on my keyboard so I can see what my A mask overlays and then click and drag down. So we're affecting what's above this? Oh, to turn that off. And I'm just going to decrease our sharpness and also decrease our clarity just a little bit decreasing The clarity too much makes edges glow and not look too good. But decreasing clarity a little bit actually helps with sort of that blurred look. So I'm going to increase this feathering of hoops come back under, increased this feathering of this effect quite a bit because that's typically how lends would look, you wouldn't have, like, this sharp sort of focus, focus, loss or focus change from in the distance from like 25 feet to 26 feet. So it would be a more gradual sort of thing. So I'm gonna keep it like this. We're gonna keep most of these footsteps in the bottom half of the frame in focus, so that's looking pretty good. We can click done, so we can kind of see what this looks like if we want to enhance this even more. What we can do is let's go back to our graduated filters. We could either create a brand new one or a cool trick if I haven't taught you this already is right. Click the filter that you've already added and click duplicate. So see that duplicates it. Now for the 2nd 1 I'm going to actually make the feathering even more larger and then move it up just a little bit so that it's a little bit more blended into the background. This entire effect we're going for. So now, if we see the before and after, or if we do this, why, why, before and after. I think this photo on the right is a lot more dynamic. The colors are a little bit more punchy, and the your eye is drawn a little bit more to the bottom half of frame. Now I think that for me, my eyes naturally drawn towards the middle to the top of the frame, typically. So this is one where if it was printed out, it might look a little bit better, but still on the computer. I still think that my eyes drawn down till it's the bottom. The crop is a little skinny, and I think on my computer it looks extra skinny on my phone. It would look amazing. I might go in here. I might just change my aspect ratio to like a standard five by seven to get a little bit more with. That might be a better print, something like that. And I think that looks a little bit better for me before it looked a little tight and squished and something like that looks pretty good. So if we compare and contrast this to our original photo that we had, lets reset this other one, and so here you could see on the left and the right are original photo to our edited photo , and I think definitely the crop helps, at least in my opinion, it helps looks a lot better and, ah, the other effects, we added. I might just boost the contrast just a little bit more this time, with the tone curve dropping down our darks and then bring up the highlights just to bring up some of that contrast, make it pop a little bit more. When I do that, the saturation starts to look a little oversaturated to me. So because of that, I might just undo some of these h sl at its Sometimes, you know, you go back and forth with these different things because I don't want it to look unnatural . But I think this looks pretty good. And with the graduated filter effect, I think that actually makes it look natural. A natural, shallow depth of field, especially the layering of those graduate filters. So keep that in mind as an option when trying, direct your viewers attention to a specific part of a photo. All right, thanks so much for watching. I hope you enjoyed this one and we'll see you in another lesson. 11. Photo Edit - Boats on Water: Welcome to this photo edit. Today we're editing this other landscape or Seascape photo. We're turning this photo on the left into something like this on the right, you can see that I really was artistic with this one. Used that artistic discretion. Teoh, add some color and vibrancy to really make it pop. So if you're following along, this is, uh, this photo called Water and by Rick James Thank you for posting this to we saturate dot com for photographers and photo students like us to follow along with this original photo right here is honestly not anything really special on. And there's a lot of things that we can do to make it pop a little bit more. So that's what we're trying to do. We got It's a great scene, you know? You're on this beautiful. Looks like ocean with these boats. Got the hills in the background. But aside from that, the setting is itself is beautiful and the location, but the photo itself just doesn't pop, at least for me. It doesn't wow me right now. So the first thing I'm going to do its crop this photo So a big thing is, we have the horizon right here. That's not level the easiest way and quickest way to straighten that horizon is using the straight and tool Click that level right there. Click and drag across the horizon. It helps if it is a body of water, because those are automatically going to be level. And there we have a level photo in terms of the aspect, I think because the main focus of my photo is and I want to be these boats, there's to much negative space in the sky and in the water. So again, I'm going to crop it a little bit thinner. 16 by nine might be what I end up with. I think that's what I did for my original edit, but I think I'm actually going to just do a custom crop, try to cop it in even more just so that the water and the the sky aren't overpowering the subject. Something like this looks pretty good, and even if I want to put my horizon on the lower third, that looks actually like a much more balanced photo and pleasing to the eye Now, depending on the quality of the photo, what let's actually lock this aspect ratio. Now, I might crop into these boats and we have the boats on the intersections of the thirds line . So actually, this is looking pretty good. And there's a lot of detail in this photo. It's a big photo. So something like this cropping in this much is actually completely fine, I think especially we're gonna be posting online if you're gonna print this out too big. And my the detail might not be as crispy as you want, but anyways, that being said the crop, I think this is better, at least in my mind. So the overall exposure of this photo, as you see here in the history Ram is it's a little flat, So usually what I like to do is boost that contrast. So I'm gonna make sure that the blacks are more pure, black or closer to peer black and the whites are pure white. We got a lot of highlights, so I'm gonna bring down a lot of the exposure by bringing down the blacks, bringing down the shadows, even bringing down the highlights and then boosting the whites to bring back some of that contrast. Now, this looks a little bit too dark when I do that, because I actually when I see some of that detail in the boats, So there's some ways that we could maybe bring down the exposure of the hills behind. But make sure that the boats are as as dark and those air with some individual filters or maybe with R H s L panel below, but as a starting point, actually bring up my shadows so the boats are exposed properly and then bring back down my blacks. That's actually closer to where I wanted to be. In terms of the overall saturation, I think that it also needs a little bit of a boost. Ah, so I'm just gonna bring up the overall saturation just a little bit. I'm also gonna probably go into my a trestle panel on bring up individual colors in a minute. De Hayes is also going to help a lot with this photo because with the clouds, which I can tell, there's a lot of detail in and in the water. If we want to bring in that detail, you can use the D. Hayes tool like this to make those aspects pop. But when I do that, you can see that it starts to make the boats and the hills like a little wonky. So I'm gonna wait to do that until I use some individual sliders moving down, skipping over tone curve, which I'll use at the end to play with my contrast at the very end, if I want, we get to the HSE l panel. And here's where I can play individually with specific colors so I might go in and with the slider, boost the greens, hoping that there's some cream in the background that will be boosted. Seem with the aqua now with the blue. I'm not going toe add blue saturation, but with the aqua you get a lot of that green in the background and in the water. So doing these two things look pretty good. You kind of see the before and after. It's very subtle right now and then I just might go in here, boost the yellows so you can get a little bit of pop on that boat. Same with the red. Just little little things. Teoh. Make it pop a little bit more. All right. Subtle, but we're getting there next. I think I'm just going to jump right into our graduated filters. Let me just zoom in here really quickly. Sharpening Everything's pretty sharp. Might boost this a little bit, just so edges are a little bit crispier. If I didn't want to do that, I could actually go back up, which I skipped over the Clarity slider because I didn't think I was going to add clarity. But actually, for this photo might look a little better just to use that clarity slider that's looking pretty good. All right, so now let's go in and try to boot. Make that sky a little bit better. So with the graduated filter right here Oh, to see where I'm editing, I'm just going to create a filter along the horizon like this. Now I just want to choose the sky so I can use a color or luminous range mask. I think for this one color is going to work better so you can click my eye color, pick eyedropper, click and drag to create a selection of my sky, and you can see that automatically selects the sky. It does a pretty good job right then and there. I don't even have to play with amount. I'm going to increase the d. Hey, slider to bring out that detail that maybe drop the temperature just a little bit to get it to be a little bluer. I'm gonna blend this in just a little bit, but increasing the feathering of this graduated filter you can see here. And I think that looks pretty good. Something like that. All right, click new. Now I'm going to do the same, but for the ocean, So select just the bottom. And again, a range mask. Four color will work. Well, color picker. Select our ocean. This time I am going to decrease my mouth. Actually, might redo my color picker. Okay, so now just selecting one part of the ocean works a little bit better. Selecting the whole ocean ended up picking a lot of the blues and awkward that are in the boats and the hills behind which I don't want, so something like that looks pretty good. All right, now what are we going to do? This? I think I'm going to try to make the water and enhance that teal color. So I'm going to drop the temperature and also drop the tent. So you get that nice teal look, I've been to I don't know where this photo was taken, but it reminds me of going to the Philippines, where the water truly is this kind of teal color. It's beautiful. All right, so that's looking pretty good now with the Heys, The decision is, Do I want more detail or do I want it to be a little bit less detailed? I think for this photo a little bit more, but if I go too far, you can see that just starts to look distorted. So you got to be careful with these things again. Sometimes it's good to look away, walk away from the computer, then come back and see actually, how good it looks. And as I do that right, the second I see the color of the water is a little bit to teal compared to the clouds. So either I go up to my clouds and add a little bit of green tint to it. Because obviously the water that clouds air going to reflect off each other and should match a little bit in terms of Hue may bring back down the hue of our water overall. So this is looking pretty good. I like that. Now, At the end of all this, I might come back and actually decrease the original saturation that I did because it looks over saturated to me. But for now, I'm just going to keep going with the style and going for to make this even mawr of an interesting photo. I noticed that we have the sun coming in through the clouds over here on the right hand side, it's reflecting over here on the water, over on the right hand side. But it's sort of just like a white light, maybe as a creative sort of thing. Let's make it warm. So to do that, what I'm gonna do is use an individual brush and just brush over the horizon over here. We're gonna leave auto mask on because we don't want to select too much of the mountains with land. And as I brushed over, you can see that it's selecting pretty much everything over here except for the mountains. I went a little bit too far with that one was enable toe get just amounts of the and maybe connect over here. I can take my eraser. Something like that looks pretty good. Now, let's just see what this looks like when I add some more. So if I go too crazy, that starts to look a little bit, uh, wonky, but just a little bit of warmth. A little bit of a tent to make The what we're doing is basically creating a sunrise is pretty good. Ah, with this Ah, slider. Now I think I want to blend it a little bit better. So I'm gonna take my race brush, make it really big, decrease the flow and just brush over the edges. And that's going to kind of do the reverse of painting on it paints off some of ah, the a mask over mascot we painted on originally. All right, so that's looking pretty good for the horizon. What about the ocean over here? What I'm actually going to do is use a radial filter and I'm going to create a big sort of circle like this. We're going to invert it. And this time we are going to do a range mass for color and we're going to just pick some of this ocean. Try that again. Just one spot again, just playing around. Get in the right spot. Something like that looks pretty good, and we're gonna add some warmth to that as well. So we have this sort of sunset or sunrise that's being applied to the ocean as well as the sky, which makes sense, right? So that's looking pretty good. We can play around with how big this is again. Sort of increasing the size of these overlays in these mass with the feathering can make it blend a little bit better. We can even increase our fathering, which will make it even a softer transition and look a little bit more natural to me at least. All right, that's looking pretty good. So that's pretty much what I'm going for. I could play around with the colors of things a little bit more, but as I go through this, I realized that I do think the overall saturation looks a little bit too saturated, so I'm going to go back. Drop are sat overall saturation just a little bit. Bring back that sort of natural color. One thing that I want to just play around with is the Luminant or the exposure of these hills in the background. I want the boats to pop even more so if I go to my HS cell panel, click on the color picker and let's go into these mountains of the background. Yeah, see, That's the thing I was worried about. His. Depending on where I pick, it's going to increase the blues of the background or the sky. So what I could do if I really want Teoh play with this? Let's create a brush. Make it big. Let's brush over these mountains with this. There's lots of ways to do what you want to do in light room, so that's looking pretty good. Now let's see if we could erase now, you could go in here and spend a ton of time. Let's increase airflow a ton of time, making these selections perfect. Now I'm not going to do that in this lesson, because that's going to take too much time. But something like that I can work with. And then what I also might do is a let's do a luminant selection range mask and decrease this. So it's just selecting some of the darks, which decreases some of the selection in the boats increased the smoothness just to smooth it out a little bit. All right, so now if we do this, let's just take our overall exposure up just to show you what I'm doing. And if we do that, you can see that. Obviously, that doesn't look good, but increasing exposure kind of helps our boats pop out a little bit more. Maybe taking our shadows bring those up. And again, I think I would want to mass this out, spend a little bit more time asking it out just so that it the boat parts of the boats aren't being affected as well. Just want to see what happens if I drop sharpness. Not much color. Maybe make this a little bit greener and warmer. That's pretty cool. Actually, that's pretty cool. All right, so there we have that at it, and I think I'm happy with that. And then the last thing I'm gonna do is just play with my overall tone curve again. Maybe make the everything pop just a little bit more in terms of contrast, just subtle. Just settle something like that. So now if you see the before and after of our original photo to this one. You can really see a major difference in the photo, and I think it looks a lot better, at least in my opinion. Ah, it's Ah, definitely more eye catching. I think I would go back and play around with the brushes and maybe smooth out this Ah, and play with the color of the sunrise color because I think it looks a little bit unnatural at this point. But just maybe play around the color blended and a little bit more to the sky above. Um, actually, let me just quickly go in there and just I want to see something really quick if I go into this graduated filter that selecting the sky What if we made that warmer, huh? It's something to think about. Definitely something to think about. If I want to blend that in, maybe another sort of brush over here. If we take our brush, you can take this brush right here. And then let's decrease the flow and density. Turn off auto mask and just brush over a little bit into the sky just to add a little bit of warmth. There looks a little bit better, I think may blend it into the mountains on the boats on the bottom of the sea can see as a brush on. It's a very light Russia at this point, and that's starting to look a little bit better. Maybe decrease our tent. I could play with these things for hours, but I think you get the point of what I was going for with this photo. Definitely a big change from the original one. I hope you enjoyed it. I hope it gave you some good ideas for what you can do with your landscape photos in the future and we'll see you in another lesson, cheers. 12. Photo Edit - Long Exposure Beach: welcome to this new landscape foto at it. And this one we're going to be editing this long exposure that I shot in Kyla, Hawaii. I got up early one morning while my wife and twin sons, who at the time were a little less than a year old, were still sleeping and was able to sneak out for some of these photos. Just a quick tip to If you are actually shooting landscape photos or sunrise photos, I would definitely recommend getting there before sunrise. We talked about Golden Hour and for sunrise. It's the most beautiful skies typically happened before the sun actually rises above the horizon. The colors were incredible, had this beautiful magenta and on the right hand side it's a little bit of that enhanced look. But it really did look this magical in the morning, Um, because of the long exposure on left hand side, it's the colors and a little bit gold down. But really, what we saw was something more along the lines off the right hand side, which I enhanced through through editing and same goes for sunset. Stay after sunset because you'll get those deeper colors in the sky so Let's go ahead and start editing this photo. So the first thing you notice, what I did was did a vertical crop similar to what you saw in my photo edit for the desert landscape. The sort of the best part of this photo was this leading line of these rocks going towards the horizon. And when I shot it, I thought I really liked this composition. But when I went in and I actually edited the photo, I ended up cropping it like this. Now I cropped in, and then I actually cropped in quiet a bit because I wanted that top horizon line to be on this third. And I wanted to be a little bit more cropped in because I think this part right here is little pool of water that's on these rocks was really the most interesting aspect of this photo for me. And then you got again like these, like this leading line of rocks. It sort of zig zags into the distance to this hill where the sun was just peeking about to peek over. A lot can be done just simply with exposure in this photo part of the magenta that I got with this shot was due to just the long exposure the nd filter that I was using. Sometimes you get a little bit of magenta or color from those lenses. When you do a long exposure that you would have got in just with a typical exposure. Let me see what this actual exposure was, which we can see in our metadata. It was eight seconds. So it was not too long, but long enough. And really, I was going for that long exposure to get that those magical sort of waves that were crashing over these rocks. But now it's that blurred long exposure Look. All right, So as I mentioned, just playing with things like the highlights bringing down the highlights bring up the shadows to bring some that detail back in these rocks, maybe bring down the blacks just to create more of that contrast. And then the whites think I'm gonna leave the whites about where they were. Actually, just doing that brings back some of that detail that we lost in the sky and in the darkness of the rocks. Another thing I liked doing to this photo was boost my clarity because I like getting that sort of detail on the rocks down here. Especially. You can see if I take away this clarity and boost it. You get contrast edges. The edges of things look pretty good now in terms of D. Hayes. This would bring a lot of information. Ah, detail back. But I don't want that to happen to the entire photo because the bottom half looks pretty wonky if I do that. So I'm just going to add some D haze in a graduated filter in a second in terms of the color with the vibrant saturation. I'm also going to play a lot with this. Overall, though, I think I'm just going to boost the temperature just a little bit. I could also take this eye dropper and try to get a pure white from the ocean. But when I do that, it starts to look a little bit to de saturated and not really what I'm going for. So I am going to actually boost my saturation just a little bit overall, with vibrance and saturation, I'm also going toe boost that in terms of the color temperature, I didn't mean boost saturation is meant boost the warmth. All right, so that's a good starting point for us. Next, I'm going to skip all the way down to our detail. Now, I did get a lot of green from this photo, because is a long exposure, and it was pretty dark out, So my i s o was a little bit higher, I believe. And so getting rid of some, that noise with noise reduction is going to be good. But of course, that goes against what I was doing with sharpening with the clarity. But I think actually, this time it looks pretty good because it kind of makes the rocks look a little glossy, but smooth. But we still get that detail that we got from the the Clarity in terms of sharpening. I think we are actually pretty good with sharpness. Everything is good there. All right, so now I'm gonna scroll back up. Next. What I want to do is really play with the color. So there's a few things I want to do. I want to play with the color of the sky. I want to play with the color of the water and I want to play with the color of the rocks. So first things first, let's play with the sky with the graduated filter set to the sky like so o on the keyboard to see what my selection is with a range mask for Luminant, we're going to select mostly the sky. Not as much this this hill in the foreground. We're going to add some D. Hayes. Get some of that detail back in the sky. Like so. Think I went a little bit too far with my overall warmth down here. I'm just gonna Bruce, that just a little bit, but not too much. So now with the Heys on this filter that's looking pretty good might bring down my why it's known on my whites my highlights just a little bit more even pretty good if I want to increase the magenta, the red enhanced that. I could do that if you want. You might even want to go the opposite and make your sky a little bit bluer. But I think for me I'm going to make it even warmer. Blend this in pretty good. Something like that. Looking pretty good. It might be a little bit too much, so I might actually in here drop the saturation just a little bit, so it's not overpowering. That's looking pretty good. I'm going to click new, and I'm going to create a selection of the bottom half or the bottom and beneath the horizon. This time I'm going to create a color mask, and I'm going to pick the ocean over here. Now that's selecting most the ocean, which looks pretty good to me now. This time I want to make the water blue a little bit blue because it was actually more blue when I was there so I can take my temperature slider, drag it to the left. That could help. I can also go into my color and starting with this blue on the right by clicking their That adds a lot of blue, but I might just decrease the saturation with the slider, and that's looking pretty good somewhere in the middle like that. Then, of course, you can play with sort of the Hugh or the type of blue by dragging this square to the left or to the right. But I'm going to I want to leave that right there in the original blue that we selected. So that's looking pretty good. So the colors here are a little bit different than my original edit, but I'm actually really liking them. So now I'm going to go back to my basic slider. My basic adjustments go down to H S L here I can try to enhance or de hands colors. I don't even know if that's a word. Enhanced colors or kind of mute them down. And so under saturation, if I take my color picker, go into the water and I try to bring that up, that's selecting mostly the blue. You get a little bit of blue, Adam. If I want to play around with the color of or the saturation of the rocks, I can go in here and decrease those I see that is selecting a lot of orange. I mean, these rocks are naturally pretty, de saturated. They're black or brown, and so trying to get those to look natural is important. That's looking pretty good to me in terms of overall colors, and now I'm just gonna go up to the tone curve. See if adding boosting saturation just a little bit can help just going to some specific parts of this this time I'm doing a little bump, a little hill in the middle of boosting some of the exposure in the mids. But not so much in the highlights and the white because I want the sky to still have that detail. And I think I lost a little bit of that detail. So I'm gonna go back to my graduated filters, Make sure I'm selecting the one for the sky. And there we are. And let's try increasing the D. Hes just a little bit bring down our highlights just a little bit more. That brings back some of that that pop Now, with this at it, I have a little bit more of some natural colors because my overall tint was adjusted to negative 15. The original was this plus nine. This was a little bit closer to what I shot. I am going to kind of split the difference. Put this right in the middle to get I want a little bit of that magenta back in there on something like this is looking to me pretty good. So with this photo at it, it was a lot playing with colors specific to different areas of the frame. Ah, big change was the overall crop, which is a complete change from the wide landscape to portrait crop, playing with clarity and detail to get Ah, the rocks toe to really pop and listen. Ah, everything's pretty sharp, added a bit of clarity, but also added some noise reduction to smooth out that noise so that it looks a little bit softer and and better anyways in terms of the noise but still looking pretty crispy. So I'm happy with this edit. I'm really happy with this photo that I shot. Um, I hope you you like it too. And if you are editing the photo, I hope Teoh to see your edits as well to see what you do with this one. Because I think there's a lot of different ways to take this photo in terms of style. Thank you so much for watching and we'll see you in another lesson. 13. Photo Edit - Milky Way: welcome to this new landscape editing tutorial. This one's a little different. We're editing this photo of a night sky, but I wanted to include it in this series of tutorials because I think you might be editing a night photo that includes some stars or the Milky Way as part of your landscape photography. So, really, the point of this was to enhance the Milky Way and make it pop. So let's go ahead and start editing. We're gonna go from something like this on the left to something like this on the right. If you're following along, you can open up the Milky Way photo and follow along. So the main thing with a night Sky star or Milky Way photo is that you have to play a lot with the exposure and potentially even the color and sharpness and clarity to make those stars pop. Now this is a photo that was shot and shared on we saturate dot com. It's to be completely honest, not the best photo toe work with, because things are a little bit soft. The the focus. I'm not exactly sure where it was. These trees in the foreground. Ah, and the stars in the sky are not completely sharp, so we're dealing with that. But that might be a situation you're in. So as an editor, it's important to know how we can play around with those with any sort of night sky or even Milky Way photo. I like having foreground elements that help us set the scene and also help frame the photo . So I like how these trees right here kind of frame the bottom of this photo. I might go in and just crop in just a little bit because I don't like how that little tree on the hedges popping out a little distracting and maybe even rotate just a little bit so that it's a little bit more across the bottom street instead of kind of curved up the side . That's a personal preference for you. Ari's analysis jump straight into our exposure editing. So what do you think we're going to have to do with this photo? We're going to have toe crush the blacks the darks, but also boost the whites. This is one situation where dragging up and cranking up the white slider is actually what we're going to probably want to do to make those stars really pop. So that's the first thing I'm doing is drying up my whites dragging down my blacks dragging down my shadows And then also, I'm gonna bring down my highlights, really creating a lot of contrast Now, this is also a case where I might just go ahead and crank up that contrast slider to get ah , that contrast. Ah, and enhance that even more instead of just the sliders down here overall exposure. I'm gonna leave as is, and that's looking pretty good. I don't really like the with any sort of long exposure. Wherever you are, you get this light pollution. Uh, typically, this could be the moon. It could be the sunrise sunset from you know, im a few hours ago and you still get this light pollution or it could be a city in the distance. So playing with some graduated filters and things like that will also help along with this highlight slider. So just seeing the before and after we see a lot of difference and the stars start to pop even more, I'm going to increase my clarity. And as I do that, you really start to see these stars start to pop, and I'm gonna crank this really far farther than I typically would. Also De Hayes. I'm going to do that as well, because these two sliders are just going to bring out some of that more that detail in the sky. Now I think this is a little bit dramatic. But instead of toning this down, which will get rid of some that detail when I'm going to do later is some noise reduction, which sort of softens what I've done but still allows us to have the detail of the stars in terms of overall color. I think that this is going to help a lot by decreasing our temperature to make the sky a little bit more just plain blue. All right, so this is looking pretty good. Lets trump down to the noise reduction. As I saw in the detail panel, you see that there's a ton of noise we can zoom in here just a ton of noise in the sky. And so, while we're balancing trying to sharpen things, boosting the sharpening is going to help with the edges of these stars. Make them a little bit more crisper rather than soft. But when we do that, we add noise. One thing that you can do is if you crank up the sharpening and then also crank up this masking. What it's going to try to do is soften the background, the colors that are sort of similar, which in this photo is the night sky. But it's also so going to try to make the individual elements of this photo, which are the stars, and keep those sharp but still a ton of noise reduction natural to get. When you are shooting the Milky Way, you have long exposure potentially higher. I so and so what we're going to do is crank up the noise reduction. Now, as you saw, what automatically happened was we lost some that detail in the stars here. So we want to be a little careful with this one other thing you can to just if you want Ah , really kind of cool effect with NYTPhotos is just to crank the noise reduction all the way up, which softens everything completely. But you still have these stars really popping out so you can see before and after, but you lose too many stars and for me. I'm not going to do that for this photo, but it could be a cool sort of effect for a future photo of yours, so that's pretty good. But how do we make the Milky Way, which you can Ken Isi going across the sky like this? How do we make that pop even more? One idea I had was even Evan yet. So originally I went down here I additive and yet to try to focus in on our our Milky Way. But the size and shape of the vignette wasn't really what I was looking for. So I decided what I wanted to do was create a custom than yet with a radio filter. So clicking radio filter, I'm going to create a sort of very skinny oval rotated. So is going the size of our and shape of our Milky Way see what it's selecting? We actually have to make this quite bigger, so we're not really affecting the Milky Way as much crank up that feathering even more. Something like That's pretty good. And now we can drop the overall exposure and the highlights even more so. We're not getting as much of that light pollution and is creating a nice sort of effect here in this guy. And here we can even ah increases noise reduction filter for this specific filter, even while even more to soften the edges. That's looking pretty good, but I want to use the same sort of effect in hands our Milky Way. So what I can do is duplicate this invert it, reset all the effects by double clicking effect, And here we can play around with our individual filters to edit just the Milky Way. So see, here now we are just affecting what's inside. I'm actually gonna make the smaller crank up the feathering even more spring in the edges just a little bit just like that. Cool. So now what can we do to make our Milky Way pop out Can Our intuitively you might think that creating more contrast will help, and maybe keeping contrast is good but actually boosting the overall exposure of this part of the sky As you can see as I do, that starts toe, make it pop and look more like the Milky Way. Now, when I do that, though, we lose a little bit of, uh the contrast that I like so increasing the overall exposure but then bring back down are blacks is going to help a lot. Also, the Milky Way and these kind of NYTPhotos tend to have a little bit of magenta in them, so increasing a little bit. Some people go a little bit too far, and then their stars Milky Way look completely purple. But adding a little bit actually helps here. We can also play specifically with clarity on this part of the photo so increasing that can help now going the other way is going to make it sort of a little bit blurrier. Maybe that's the style you're going forward for me. I want to add some sharpness and detail. So I'm increasing the clarity now. Same thing with the haze that can help. But here, you gotta be a little careful because, as you can see as a crank up D. Hayes, it gets rid of some of those stars in the sky. So I want to just go a little bit, something like that. And then here we can also go a little bit wilder with our sharpness crank up with sharpness just for this portion, which doesn't add a lot of noise to the entire photo, which is a good thing. But it makes the edges of our stars a little bit better too. So here we have our Milky Way like this. Now I'm looking at this. I think they've been yet overall for everything else looks a little bit dark just up here in the top right corner. So I'm my move this up, something like this. See, I like the vigna on the bottom, but the top is a little bit dark. So to reverse that I might use a graduated filter for the top part of this photo like this , she's boost exposure just a little bit. Something like that. When I'm selecting and editing if I go too far, you can kinda see. But I don't want the vignette to be who much think that vignette I created was a little bit too powerful. So bring that up and what I could do also is instead keep that vignette a little subtle like that and also do a graduated filter for the bottom half where we bring down my highlights and I'm going a little fast in this tutorial But by now, if you followed the entire Siri's of lessons, I hope you are kind of capable of falling along. All right, so that's looking pretty good to me. We can see before it's to the before and after before, after you knew side by side, before and after in this edit. I don't think I have asthma much of the magenta as my original at it, but I think this looks actually pretty good. Sharper things. Look, um, just that pops I like for this photo. This is a good way to kind of see left to right the before and after and really on the right, you can see that the Milky Way pops a ton more, So this was a really fun at it. I hope you enjoyed it as well. There's so much you can do with these photos, even though it's pretty simple cranking up that Contreraz, playing with the clarity, probably wouldn't have had to play with the clarity and sharpness as much if this was a sharp image and the focus was more perfect on the stars but nevertheless was able to, I think kind of fix this another thing that you kind of have to pay attention to. And I'll just mention is that with that noise reduction that we did and playing with the sharpness and caring about the noise and grain that you have, it really depends on what your uses for this photo. If it's just gonna be a thumb now for a video, if it's just gonna be on your instagram, you don't have to worry about that too much compared to if you are printing it out. Or you're putting on a big screen where you'll actually see a lot of this noise that you might want to. You know, crank up that noise reduction even more and get rid of. Anyways, I hope you enjoy this lesson as always and have a beautiful day. 14. Exporting Photos from Lightroom: Before we close out this course, I want to show you how to export your photos from light room if you don't know how to do so Already, here are all our edited photos. Lots of great ones, I hope the hat. At this point in the course, you feel confident in knowing how to use light room to edit photos, specifically landscape photos, and that when you go out and take photos of your own, you know exactly how toe go back and edit them. Now how do we export them so you can export them individually by just clicking one of them and then going to the export menu? Or you can select multiple by selecting one and then shift clicking the next one or selecting one and control or command clicking. If you're using a Mac, the ones that you want export, or if you have all the ones in your photo stripped down here. Ah, that you want to edit Expert. You can just press command A to select all of them. I have this filter to five stars and above, because I have given a rating to all of my edited photos as five stars I'm in the library tab. You could also be in the development module. It doesn't matter, because what you're going to want to do is go up to file export on a Mac. It's shift Command E is the keyboard shortcut. And now we have the window for exporting our files. Ah, quick overview. The 1st 1 is the location. So typically, this is going to be to a specific folders E click choose. And then that opens up a window where you choose the folder you want to export to or there's some fast ones like Dex Top Pictures folder, etcetera. Next is the file naming convention. So here we have. Ah, you can choose a custom name, for example. We can call this landscape photos and maybe actually, what I'll do just so you can see a lot. Put this in on the desktop. And I'll put it in a sub folder for Landscape at its Okay, So file naming landscape photos and then it's just going to create a sequence. Typically, what i'll do is create a sequence, and right there it will start with number one and then go toe 2345 However, you want. You could also just name it as the file name itself. If you want to keep it as the file name video, skip that we're not doing anything with video. So next is the file settings. Here's where you choose a format. J. Peg is a great format for posting online sharing online. If you're posting the Instagram Facebook, any sort of photo sharing site putting it on your website. J Peg is a great file tight because thes size is going to be small over on the right hand side of this quality slider. I would just leave it at 100 so that it's the best quality. If you do have a specific file size limit that you want to keep it under, you check this box and then you type a number, so there's 5000 kilobytes. So if you need it to be, so that's five megabytes. So if you need it, for example, on your website to be a little bit smaller file size, maybe you needed to be under 200. That's gonna be quite compressed, but you want your photos to be pretty small if they're on a website, unless it's like a portfolio, and you really need them to be high quality. Um, I would limit it. It definitely under 1000 but that something to play around with, depending on your website and Internet speed in all that, if you're just posting to somewhere like Facebook or Instagram, I would leave that off Facebook and Instagram and all these websites are going to compress your photos somehow. But I'd rather start with the full quality file now Printing from a printing your photos is also another topic. Printing a J Peg photo is should be fine. It will be a good quality. I typically just print my photos out as Jay Peg. But if you want the highest quality for, like a print shop, they might ask for a tiff file. So you just said it as tiff. Um, and depending on the print shop, depending on ah, the printer, everything they'll tell you if they need a different color space, I would just leave this as is. But generally you'll be fine getting away with this just editing or exporting as a JPEG. Now, this is the quality and file size. The next one is image size, so typically I would have this checked off and the resolution you can set to whatever you want, but 1 50 is a typical resolution for prints or for posting online. 300 is sort of the higher end. Anything above 300. At this point, most phones can laptops, computer screens. You won't really be able to tell the difference. Um, but you can also go down to 72 if you are trying to save, um, space or file size and that kind of thing to, ah are just in terms of resolution, depending on how big the photo is going to be displayed, 1 50 is fine. Um, in terms of the pixel with or height. This is also something that comes in handy. If you are specifically creating a photo for a specific use, maybe you're putting it in an email or you're putting it on YouTube as a thumbnail, and you only need it or want it to be, for example, 1920 pixels wide. Then you would put your with there, and then if this is set toe width and height then and you leave the height blink, then it's just going to make the height match. Whatever the right height is for the aspect ratio, you have said it, too. So if it's, for example, a square image than the height would end up being 1920 pixels. If it's a 16 by nine image like I edited a lot of my photos in light room. The with will be 10 80 pixels, and these air just aspect ratios that I know because video production and common uses for these pixels. Typically, though, unless you want Teoh have a specific width or height, I would leave that off, and it's not even going. Teoh Adjust this at all is the last one output sharpening? Um, sometimes you may want to add a little bit of sharpening for your print sometimes, and this is a good thing to test your your own photos because every camera is different and depending on how much sharpening you added within your edit, you may want Teoh check this on Sharpened four and I typically print on Matt. Photo are Matt paper and I just used the standard, but I would do some tests yourself, um, and just see what looks good. I There's also it's sharpened for screen, but I would just leave that off because you've probably added some sharpening in your photo . Anyways, the last one that you might be interested in is the watermark. So if you check that on and then you click, edit watermarks is going to open up a little window, and you could add your name or even a logo over here with this option, and you can change everything here. It's pretty self explanatory. You could change the size. You could change the position, all that kind of thing. If you are interested in doing that, and if you click this drop down up here, you can actually save it as a preset so that in the future you can always just simply use your preset, and it will apply that watermark on your photos. Personally, I'm not a fan of water marks. I think they detract from the photo, and it's pretty easy to crop out or even remove with the clone tool if someone's trying to steal your photo. And that's why people typically use watermarks is to prevent that sort of ah theft of their photos, and I totally get that. But in terms of sharing your work or especially printing, I would definitely leave the watermark off. And then this last post processing is just what happens if you want after exports to show up in the finder If you don't want anything to happen. If you wanted to open up in photo photo shop itself, you can do that. Then you'll just click export. You'll see up in the top left that there is this Progress bar, and as it starts to go, it will start to go through. And when it's done, it's done. And then it will open up all these files in Finder. All right, so it popped up this folder on my desktop. So here we have all of our exported photos, great quality. And now I'm gonna go print and share some of them. Awesome. I hope you enjoyed this lesson. And I hope you've enjoyed this course. If you have any questions, let us know. But otherwise we'll see you in the next video and hopefully in another course 15. Thank You: Hey, Phil. Here again. And I just want to say thank you so much for taking this class. I really appreciate that you enrolled, and I hope that you enjoyed the class. I hope that you learned some new tips. Tricks, things that you can implement in your own landscape. Photo editing, as always. I know the courses I put out aren't going to be perfect for everyone. So please let me know if there's any ways any way I can improve this course for you. If you haven't done so already, please leave a review for this class. And while you're at it, go ahead and check out my profile. I have a lot of other classes on photo editing and photography and other topics that you might be interested in. Thank you again and have a beautiful day.