Learning Lightroom 2: The Develop Module | David Miller | Skillshare
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19 Lessons (1h 1m)
    • 1. Welcome

      1:03
    • 2. Introduction to the Workspace

      3:11
    • 3. Exposure Tools

      2:34
    • 4. Color Adjustments

      4:19
    • 5. Black and white conversion

      1:22
    • 6. Detail Controls

      1:56
    • 7. Dev Lens Correction + Transformation

      6:21
    • 8. Grain + Haze

      1:52
    • 9. Adjustment Brushes

      3:25
    • 10. Custom Brushes

      2:05
    • 11. Adjustment Brush Options

      2:24
    • 12. Radial and Graduated Filters

      2:46
    • 13. Cropping

      4:22
    • 14. Red Eye + Spotting

      3:35
    • 15. Presets

      3:33
    • 16. History and Sync

      6:44
    • 17. Offline Editing and Mobile

      2:24
    • 18. Dev Editing A Landscape

      6:10
    • 19. Wrap Up + Project

      1:14

About This Class

Adobe Lightroom is the industry standard program for cataloging, editing, and finalizing digital photographs; its modules accommodate the creative workflow in the same manner traditional photographers would build a livrary, develop their work with craft and skill, and create prints or books or slideshows.  

In this series "Learning Lightroom" we tackle the modules one by one, breaking down all the features and explaining how they may be relevant to any photographer.  

This particular lesson focuses on the Develop module- full of powerful editing tools to get the best out of your photography.  At the end I show you how an experienced Lightroom user would utilize all the components in a real world scenario, in this case editing a classic black and white landscape.

Part 1 of our Learning Lightroom series, the Library module, is located here!

Transcripts

1. Welcome: Hey, guys. David Miller, Phoenix, Arizona multimedia artist Want to welcome you to part two of our light room class. Part one is elsewhere on my skill share channel, but this one is about the develop module, and the develop module is generally what most people wanna learn about in light room. If you're one of those people who wants to jump straight in the development, I understand I encourage you to look at my other skill share classes about the library module in the finishing modules, cause you're gonna learn a lot about it. And the more you know about all the other features of light room, the more effective I feel you'll be in your editing process. So you have a project for this class, and your project is to retouch a landscape. I show you all the development tools, and then at the end of this class, I will show you how I retouch my own landscapes to get that traditional black and white epic landscape. Look, this is going to be your project, so what you'll need for it is, of course, a camera the wheel to go out and shoot some landscapes and you're gonna need a light room so that out of the way, let's get started 2. Introduction to the Workspace: We're talking about the develop module now, but before we get into the actual tools of the develop module, we need to talk about what you should end it. Every photo is different, and many photographers have a particular editing style that gives their photos recognizable . Look, so think of Ansel Adams, David LaChapelle, Richard Abadan, Man Ray, etcetera, etcetera. A few of the more common editing approaches are number one, adjusting tonality to have detail on highlights and shadows. So this is similar to what Ansel Adams referred to as the zone system number two. Correcting color number three. Removing spots like dust from the sensor or skin blemishes. Number four. Reducing noise and noises generally caused by shooting with a high I S O. So if you are shooting with a high, I so and you have thes miss colored pixels, these strange artifacts that is the noise that we're talking about when we're talking about reducing noise Number five. Fixing lens issues like vignette ing or perspective issues cropping to make a better composition by either repositioning angles, coming out useless space or distractions and emphasizing movement. What makes editing in light room any different from editing and Photoshopped. Well, light room is non destructive, and it is based around common photographic tools, meaning it is a lot closer to what we had to work with him in the dark room, rather than having a huge array of graphic design tools like typography and compositing so you cannot work in layers cannot add text. You're not going to be cloning out shapes like telephone wires or cars. You can do some cloning, but it is very limited. And if you have a large thing you need to eliminate, I recommend working in photo shop. For that, all of W products interact well with each other, and it is a simple matter to right. Click the image on the filmstrip and choose edit and photo shop. If you need Teoh, use photo shop. And if you are subscribing to the creative cloud, even if it's just the photography package, you have both light room and Photoshopped to work with. So it is not a big deal if you need to do further fine tuning in Photoshopped rather than light room. I just want to talk about the different file types for a second common digital image file types are raw, like the Nef File, the CR two DMG, which is adobes version of wrong and so on. Then you have Jay pegs, tiffs, PSD files and several other file types. While raw files contain all the information the camera recorded through its lens, non raw images have a more limited set of data to pull from. This means that many of the editing features of light room work more properly with raw images. For example, recovering shadow detail is easier with the raw image with a J pick, because there's more data to pull from. All of the development done in light room is within the program and not to the original files, meaning at any point in the future. If you want to re edit, you can do so with no issues and minimal memory requirements. 3. Exposure Tools: Now we're going to talk about the tools in the right panel of the development module. Most adjustments in light room operate via sliders. Whatever adjustment you make can be easily reversed, even if the program is closed or if the computer restarts. So don't really worry about making many mistakes or over doing effects. Often it is the extreme application of effects that show how the effects work. So if I wanted to see how far I could push exposure, it's OK for me to jack it up all the way or turn all the way down just to see the range of what is possible when editing, it is highly recommended to zoom in on the photo, using the navigator on the upper left side of light room. That way, you can see exactly what is happening to your photo as you make adjustments. So the first section we will talk about are the tonality adjustments, and this covers exposure contrast and the hissed a gram. The hissed a gram is this graph in the upper right corner. It graphs where the tones throughout the image fall, the whites and the highlights on the right side of the history ram the shadows and the blacks are the left side of the history Graham, and then exposure is in the middle. However, the mouse over the arrows in the top corners of the history ram to see if there's any clipping in your image and clipping is the areas where it's either entirely white or entirely black. So the triangle in the whites area corresponds to white clipping, and the triangle that is near the blacks corresponds to black clipping. In general, clipping is something to be avoided because the image completely loses detail in those clipped areas. To make adjustments to the tone of the entire photo, you can use the exposure and contrast sliders to add or decrease stops of exposure. In contrast, you'll notice the changes in the history I'm as you make these adjustments there other ways to adjust the specific lighten dark tones. So Number one is you can actually drag the hissed a gram around. You can manipulate the sliders labeled highlights, shadows, whites and blacks, and you can manipulate the tone curve placed lower in the right panel tool list. And the tone curve is something that people who are used to editing these properties and photo shop would be very familiar with. You'll note that it is just a reshaped version of the history Graham, so you can see the light gray in the tone curve corresponds to the shape of your actual hissed a gram graph. 4. Color Adjustments: the next set of tools will look at are the color adjustments. So we have a couple that are at the top of our left panel. These are the white balance and color temperature and tints adjustments. If you shot your image in raw, you have a drop down menu that features all of the white balance options that you have within your camera settings. If your images not in raw, you have a much more limited set of choices in this drop down menu. Oftentimes you think the white balance is a little bit off from what either light room or your camera. White balance told you, would be correct. So white balance simply means that if something is white in the photograph, it really should be that color and all the other colors will fall into place. Many photographers who are concerned with getting the proper color in their exposures will shoot a color checker or a 18% great card as the first frame of their series of photographs . And whenever the light changes, they shoot another frame of the white card or great cart. I personally don't think it's necessary to shoot a color checker or a great card. In fact, I haven't done it in about 20 years. But if I was shooting things for a commercial agency, I might be inclined to go this route. If you develop a good sense of color judgment and you're photographing people, you will get used to knowing what skin tones look proper on somebody. If you're not sure a picture is too cool or too warm and you're photographing people, I would default to making it a little bit warmer because at least you know the person looks good. If the person looks to cool, they will look sickly, and it will not be as attractive a portrait. Now we have an eyedropper tool, and the eyedropper tool encourages you to pick a neutral target. So if there's something that you think is supposed to be white in your photograph, click on it and it will reset your colors. Based on this particular spot you've chosen, you is the direct color. So if you choose green in the human, you and you slide it around, you can transform what is green in your photograph to something that is yellow or blue, so Hugh will let you adjust specific colors. Two other colors next to it on the color wheel. What you cannot do in light room is change a green to a purple, but that is something you can do in Adobe Photo Shop if you want it to be that radical with your color adjustments. Saturation is how much of a color is present. So there is a global saturation slider, which drains or amplifies color to the entire image. And then there is the saturation sliders in the age of cell section, which help you saturate de saturate specific colors in a photo and frequently in my portrait sigh, drain out a little bit of the yellow. I drain a little bit of the orange, and I might emphasize the red because I shoot a lot of models and they have red lipstick on . I would like that to pop on the face. That's when I drained out the yellow and the orange luminosity is how bright a color is. So if you have an incredibly bright blue sky against a scene on the ground, which is not so bright, you can take that blew down and make it a darker shade of blue. The vibrant slider, adjust the least saturated colors of the phone and then finally split. Toning emphasizes colors in shadow and highlight areas. This helps in mimicking certain looks, such as aged photo or a cross processed photo across processing is an effect that we did in my darkroom days. This is where you had slide film normally developed an E six chemistry, but you develop it in color, negative chemistry, C 41 or vice versa. You have color negative film that you develop in slide film chemistry, and it produces very weird and unworldly effects. 5. Black and white conversion: Now we come Teoh, converting to black and white and in the section labeled H sl Color, BMW, Pick B and W. This is where you can convert to black and white. Now your individual color sliders are black and white filter sliders. This is similar to the film days where we use color filtration like a deep red filter on our lenses, and it changed how light penetrated the lens went to your film. And in the case of Deep Red, this is something Ansel Adams and many other landscape photographer is used a lot because it darken the sky and you'll see as we adjust the sliders on this person, there is a wide array of effects that you can have. I do want you to know that there are presets in the left panel that will correspond to existing black and white filtration, so you might never convert to black and white in this panel if you get used to working with those presets. But it's good to know that it's here, and it's good to experiment, especially if you are not getting the results you want out of the presets that air in the left panel. This is where you can find to your black and white adjustments 6. Detail Controls: Now we're going to talk about the other adjustments that are available to you. Sharpening is something that you can do when you export, so I don't recommend playing too much around with sharpening. But you can do it here in the export menu. You have drop down menu towards the middle of this called sharpening, and it allows for screen, glossy paper and Matt paper. And if you know what format you're exporting for, I recommend doing all your sharpening here. Clarity is a slider I use quite frequently. It adds detail once lived in the positive direction and smears detail when going to the negative direction. It's similar to the word structure in other photography applications and Photoshopped plug ins. Typically, clarity is reduced in particular areas such a skin and emphasize and others like clothing and machinery. Just know that this is something you can do to really emphasize the detail in your photographs. But it's not good to emphasize detail on every single thing. And if you do it to a human being, you're going to make them look much older and much less attractive. We have a noise reduction slider noises, Theoden little equivalent of grain with images shot at higher ISOS containing more digital artifacts that take away from the unity of a photo. So I recommend adding noise reduction, especially in the color area, if you have color artifacts. If you have shot a black item or have darkness in your photo, but you have thes misplaced blue and green pixels, for example, slide up color until those air gone, most noise reduction will cut down on the sharpness of your photo. Given the options of having a sharp photo with a lot of artifacts or a little softer photo with no artifacts, I would default to the softer photo with no artifacts. 7. Dev Lens Correction + Transformation: At this point, we're down to lens, corrections and lens. Corrections involves having profiles of particular brands of lenses. So we click, enable profile corrections and we can choose our brand of camera and even which lens we've shot with. If that isn't already included in the metadata, which it should be, you can see I can correct some perspective distortion and then getting is caused by having a circular lens image projected onto the rectangle of your camera sensor. So there is a little bit of darkening the corners you can see happening on, and I can also remove that. There's another section below here for specific vignette ng if you want to introduce it on purpose and that's under effects. So in this picture we can introduce some pretty serious vignette ing, but we can also feather it. The main difference between these two areas the genuine effects vignette ing and the lens correction vignette ing, is that the lens correction vignette ing is based on camera profiles on and it is something that is meant to be a correction. The other one is meant to be a deliberate artistic tool I would recommend against going haywire with the vignette ing because I have seen many, many pictures with good compositions, good color, good expressions essentially ruined by having this very heavy dark corners. And it's often hard to tell what's too much when you're in the editing process. But once you've looked at some of your past work and you've seen heavy vignettes on it, you tend to regret that you put them on it all. The manual section of lens corrections involves something called the fringing, Now different. Jing happens when you have a cheap lens and the light strikes in a particular way, it actually adds a purple tinge to the edges of areas that have highlights. If you see this happen in your own work, very simply crank up this to fringe area until you see it go away. When we're in lens corrections under the manual setting, we have an option called distortion, and you'll notice that this is actually correcting some of the wide angle nature of this original picture. It's correcting the perspective. It's making you look a lot flatter. It's also introducing this weird white edge. If you click this button constrained crop, any distorting you due to the image well, get rid of those white areas. You also have this option in the crop tool. We'll get to that in a minute. But for now, know that if you shot something wide angle and you want to try and eliminate some of that distortion using the manual lens correction, constrain crop will do that for you. Similar to the distortion tool is the transformation tool. Now Photoshopped has a very powerful transformation tool, and it allows you to transform specific sections of your photograph so you might not end up using this area of light room and all If you have both light room and Photoshopped what you would have if you're subscribed to the creative cloud, the main upside of light rooms transform to the main upshot of light rooms. Transformed tools also involves perspective correction. So whenever you shoot something that is tall and sort of recedes to the sky, one option is first used distortion in the manual section of lens corrections, and we're stretch it out so it looks a little more normal and not so skewed toward the sky . Then use the vertical tool here. I'm going to choose constrain crop and I'm going to show you before and after. That is a selection you have in this middle section of your develop module. It's not a major difference to train the original and are remixed version, But it did emphasize the Wonder Wheel, and it looks like it was shot from a little higher perspective. Once I've done my corrections. For people who are interested in architectural photography, this kind of adjustment is pretty important. They would like the buildings represented mawr as they are in reality, as opposed to what you get when you're just stuck on the ground and shooting from the only angle that's available to you are other transformed tools include some horizontal manipulation rotation changing the actual aspect ratio. So you have a variety of choices. Under the Transform tool, Auto does its best Full will look at this picture and determine what is building and how it should be straightened out. So as you can see, this probably is the best tool if I want to make my architecture look like I'm shooting it directly straight on, instead of shooting it from the ground having perspective lines receipt to the sky in this case, I would also use constrained crop, but that's going to cut off quite a bit of my photo. This is where you need to make a few choices. What's most important to you having the entire picture, having things aligned properly, having things a particular perspective, when you know the tools of light room, it will eventually change the way you shoot. So if I knew that I wanted these, if I knew I wanted to see the entire building from the correct perspective. But I also knew that shooting from this distance would involve a lot of cropping. Then I would probably shoot from a much further distance to make sure I got all of the building in even after I used this transformation tool. 8. Grain + Haze: So in the final effects area we've already mentioned vignette ing Grain is essentially a way of recreating old film looks by introducing on artificial grain. Look so we can turn up the amount. You'll notice that there is a Scalea grain effect. You can certainly change the size of it and the roughness. And at this point, this photo looks like it was something that was submerged under water or in a very old magazine that pages have kind of rotted over time. This is a look that I use a lot, but in moderation. So I think it is fine to introduce a little bit of rough texture and grain in a digital photo. It makes it feel like it has a little bit of an age to it, and I think that's the reason why most people apply old film filter looks anyways. But going out of control really softens the overall image, and I've noticed people who are more commercial minded do not like the grain Look at all. They prefer things as clean and clear as possible. So this is a tool that I really like. It's going to be up to your own personal aesthetic and the purposes of your photo, whether you'll ever use the grain sliders at all. This final tool, De Hayes is something that traditionally you would use if you were shooting mountains far away. But I want to show you what it looks like on a human being. It's very similar to adding contrast in the plus direction, and if you go in the minus direction, it's essentially like adding a foggy effect to your photo. So not a tool that I use a lot. It's possible that you may have purposes for it, but if you're a landscape photographer, it definitely would emphasize that you have this tool. Even if you shot without a haze filter on your lens, you have something to remove the haze from your far away mountains capes. 9. Adjustment Brushes: Now that you know the effects that we have that affect your photo globally, I want to introduce you to adjustment brushes. And these are three tools at the top of your right panel that instead of affecting the entire photo, they infect portions of your photo. And the reason why we went through all of these first is because as we opened up an adjustment brush, you'll notice that most of these options are exactly the same as the global tools we have listed in our right panel. The difference is as you mouse over, you have a certain size brush, and whatever affects you have chosen, that's what's going to happen over here. So I'm going to go to the general exposure, and the preset on the exposure brush is minus 0.35 stops. I'm going to change that to something close to plus two stops, and I am going to enlarge my brush by tapping the bracket. Now there is a choice down here to change your brush size, but one way you can speed up your workflow is to get used to using the shortcuts on your keyboard and on the keyboard. It is a bracket that grows and shrinks all brushes a quick sweep over the door behind my daughter added two stops to it. If you have trouble seeing what you're brushing, we have something called show selected mask overlay. Whenever you have the brush activated, this is the tool in the middle here. It gives you this red glowing area. That is where I have been brushing. The downside to having the mass turned on is you can't actually see the effect as it's happening. But one recommendation I have is to simply have a very extreme effect if I know I want a bright in this area a little bit. But I want to see where I'm hitting and see what effect it looks like. I won't have the mask overlay turned on. I will simply brush with my effect all the way up, and then I'll back it off. And if I want to see what it looked like before I did the brush, we have an option in the middle panel called the Foreign. After you have various ways of seeing things side by side. So this is with the brush, and this is without. You can do a lot of your editing in this mode. It's often helpful to see where we came from and where we're going at the same exact time. The adjustment brush has an inner circle in an outer circle. The outer circle is feathering, and that is a dithering of your effect. So if I had feathering turned all the way down, you can see very hard, harsh line where that effect takes place. I generally do all of my editing with the feathering turned up. It definitely looks more natural when you have the feathering turned up. When you want to turn off the before and after segment, all you need to do is go over to the very first box in the middle panel. Click that, and it will fill the panel with your original image. 10. Custom Brushes: getting back to the brushes. There are a few brushes that you're going to use quite frequently now. If I open up this custom menu, we have ones that are already there. And then if you're looking at your own light room, you will not have the majority of what I have here. You will probably have softened skin, teeth whitening iris enhance burn, which is darkening and dodging, which is lightning. Light room comes with a number of brushes, but just like the library module and just like the left panel, which we will soon address, you can create your own custom preset brushes, which allow you to save a lot of time and to have a tool kit, which is suitable for you the way that we create custom brushes. Step one. You need to have the sliders on settings that you like. So currently I have added contrast and added clarity. I'm going to remove saturation a little bit because I plan on using this on her clothes. I feel like her red shirt really takes away from the overall seen. It draws the eye too much when you need to be looking at the person with those three options chosen my mouse over her clothes. You can see how I'm really de emphasized the red. But I've also added contrast and also added clarity. I think I've de emphasize it too much to the point where the shirt looks old. I'll raise the saturation a little bit. With these three effects in place, I'll go to my custom menu, save current setting XYZ new preset name it something you'll remember. And now this is a brush that I can access any time I want, and now I have a brush that I can access whenever I feel like it. 11. Adjustment Brush Options: When you are editing a photo, you're likely to use more than one brush in a time. For example, you might use a particular brush on her skin. You'll use it. Brush in the background area, and you might use the brush on her shirt. Each time you want to place a new brush, click new. Choose the effects that you want. You'll see a pin place down, and the other pin has gone gray. If you want to delete a pen, select it when it is black. If you hit, do lead on your keyboard. That pain is gone. I'm going to control Z so it comes back. If you want to alter an adjustment you've already done, select that pin. Make your alterations. And if you want to get out of the adjustment, brush entirely hit done in the center panel, and now you're back to your regular global edits. We have brushed options at the bottom. One is color, so this is where if you want to paint a color onto a photograph, you could do so for coal. Three. Saturation. One downside to the light room adjustment brush is that you don't have different shapes of the brush your essentially stuck with a circle, and you can change how much it affects an area. You can change the feathering of it, which is this dithered edge if you want to have a very soft look, but you are unable to draw a selection around the face around the wall and Onley paint in that area. That is something you can do in photo shop, And I recommend if you want to do some of these colorization effects that you go ahead and just go straight over to photo shop and create those effects there rather than trying to do them in light room, you haven't erased tool. So if I switch over to that tool, I'm able to cut out some of the chunks of what I've just done. This is useful if you want to zoom in and do you define your edge a little bit 12. Radial and Graduated Filters: are other adjustment brushes are in different shapes, so the radio filter will create a circle within which you can do your effects. And if you want your effect to happen outside of the circle, we have an option that says Invert mask. When it's unchecked, your effect is outside of the circle. When it's checked, it's inside the circle. Now this photo has a problem with it. Where there was light from a window in one segment, and then this area did not get the lights. So there's a major fall off of light here, and the next tool is ideal for the next tool will talk about is the graduated filter, and that is ideal for correcting this kind of issue. I can draw my filter area, and then whenever effect I apply is going to happen from the area I drew and dither to the area I went to when I did my drawing. You can see I can darken the segment where the window is. I can also create a new graduated filter, drank it over and lighten the area behind her. So it's a much more even exposure all around. I will show you before and after, Of course, I added a little general global exposure just to brighten the entire scene. But you can definitely see the difference between the graduation of light to dark in the before picture and something that looks pretty even all the way around in the retouched photo. A graduated filter is something you'll use a lot if you are doing a landscape photography. Because the sky is generally illuminated a lot more than anything on the ground is, we will have a landscape developing example later on. But for now, I want to show you how I would deal with this scenario. I would add exposure to the ground, back it off significantly just to balance out the difference between the two and because this picture has a mountain in it that wasn't touched by the graduated filter, I would switch to the brush and I would hit that mountain like done in the center panel. And there you have and edit 13. Cropping: the last of our tools in the upper toolbar and the right panel of the develop module is the crop or relate tool, and when you turn it on, you have the rule of thirds grid appear. This helps you compose your photo. The idea being that interesting stuff would go where these intersections are. So this particular photo has a lot of dead space on the bottom. Not to mention that it's also the end of where this cyclorama cuts off. I'll bring this up. I'm currently working in a free hand crop. But if you wanted to keep a specific aspect ratio, such as a 46 inch image aspect ratio, that's what commonly comes out of your camera. There is a drop down menu for that. His custom you choose before my six and now whichever direction I move, my crop tool that keeps the same aspect ratio. If I need to switch to a horizontal, you basically force that into the shape. But because you have your rule of thirds grid, keep in mind where you position your intersections if you want toe work with that kind of composition, her particular pose is ideal for the rule of thirds. I can put her shoulder in this intersection, and I can put her waist in this intersection when cropping. It's a good idea not to cut people off at the joints or, say the corner of her elbow the edge of her fingertips. That's generally considered bad photographic composition. If you find you're unable to change your cropping aspect ratio, it's probably because you have this particular object checked, and that is the lock. So when you unlock it, this is where you can freehand your crops style. One of the best things about the crop tool is that it stays within the frame of your photo , unlike certain other crop tools that you might find in old photo shop program, for example. So even as I repositioned this, when I manipulated side to side, it shrinks my crop overlay within the boundaries of the photo. So I'm going to show you this photo because this one has several problems to it that involved the tools we just discussed above Number one. It's not a very tight composition. My wife in front of a flag on a beach and my shadow in the corner and a bunch of dead space all around. Go ahead and use the crop tool. Get it? So the horizon is aligned much better, and I'm going to cut out anything that's irrelevant to the photo. So all of this blue area added nothing to the picture. If there were clouds, if there were helicopters or something else in the air, that might have been a different story. But the blue space is currently dead and empty, and it doesn't emphasize anything in the photo. It doesn't help tell the story better. It needs to go same with all this sand on the bottom and certainly don't need my shadow in the photo. Now I'm going to use this spot tool, and I'm going to click Visualize spots and you'll notice there are a lot of spots in the air. The reason for this is I was shooting in a very windy, sandy beach, Coney Island in New York, Coney Island in Brooklyn, and that sand somehow found its way into my camera. Not sure if I change my lens on the beach. That's usually a very horrible idea, but the result is tons and tons of spots. If I turned off the visualize spot tool. You definitely can see these. But visualizing those spots on Lee emphasizes how crazy it was out there. I'll spot there was a way with the heel setting. The majority of my spotting is going to be done with healing. Cloning is really when you need to replace a large object or you're hitting the edge of something like the edge of someone's jaw because this is out in free air, I really only need to heal. 14. Red Eye + Spotting: Our next tool is red eye reduction, and you really only get red eye if you have bounced a flash directly into the eye of your subject. There is Red Eye and Pet I as an option. This Chihuahua has a red eye because I did bouncing flash directly in his eye. But oftentimes, when you photograph a animal, they don't have red that's in the eye and might be gold. Or it might be blue reflecting back at you. That's what Penn eyes all about. I'll go ahead and show you red eye on this financial wawa. I have my target. Select it and it fills it in. If it feels it in incorrectly, you can a reposition your black spot. You can also change its opacity level and people size. We have a spotting tool, and this has multiple purposes. One is to remove flaws on a person's face. Another is to actually remove dust that might have ended up on your sensor or was on your lens when you made your photograph to remove spots on a person's face, you set the size and you set the feathering very similar to the adjustment brush and you click on a spot. Well, uh, you can also draw lines with this spotting tool. I'm going to hold my mouse down. It will grab pixels that it thinks will work well with what you're trying to clone or hell out. And at this point, I want to describe the difference between cloning and healing. Cloning will literally grab identical pixels and paste them over, so this part of her eyebrow covers this spot, and it's an exact replica. If I switch to healing, it will be a blend of what's already there and what you're grabbing from. Oftentimes, this tool will grab from areas that you don't like that you think are not correct. You can pick up the area and is grabbing pixels from and drag it around. This tool is also not particularly useful if you're trying to clone or he'll out large objects such as a car in the background. So I would recommend doing that kind of work in photo shop as far as cleaning up people's skins or getting rid of dust that appeared on your sensor. This tool is perfectly fine, so now I want to show you how you can actually find the spots in your photos. A lot of times, the dust on the sensor is not obvious, especially when you have sort of a bland generic background. I definitely see this spot, which is not on my sensor, but something that was on the ground. There is a tool down here called Visualize spots. You only see this when you're in the spot removal option. Click that, and as you changed the threshold, you'll see other spots appear and you can actually work in this mode so you don't have to worry about trying to remember where things were once you click out of it, because they won't be as obvious. This tool is not perfect. I tried its with some large water spots that were on my lenses, and it didn't recognize them as being spots. But it is a good guide to start with. It's still a good tool for finding those pesky little spots, which you need to clone or hell out 15. Presets: in the left panel we have our preset filters on light room comes with many, many, many preset filters. You can also create your own in the same sense that we've created our brushes. I have a large number of presets that I've created over time. I always name them things that I'm going to remember so things that are named Aqua Video preset black and white action photo, black and white, grainy look good at the Salton Sea looked great at the Salton Sea. These air things that I created by virtue of adjusting my right panel sliders, I found something I liked, and I saved it as a new preset. This is also a stepping stone to creating your own style. So even though light room comes with presets, if we apply them such as read high contrast filter, we're not stuck with that effect. We can go into our right panel sliders, make some adjustments to our happy work with adjustment brushes to fine tune the photo. And if we've created a look that were excited about and it's something we think we're going to use more than once, I recommend you go by the preset. I recommend you create a custom filter and save it by the word preset. In the left panel, there's a plus button. It has all of your options, including graduated and radio filters. Whatever you want to have built into your preset, have those boxes checked and then name it something you will remember. I might name this Coney Island Black and white click create. It shows up in your user preset menu. If you want to export this preset to another computer or a friend, right click on it export. And now you can save this preset of something that you can email or dropbox or put in a collection and sell on a website. You can also import these kinds of filters and presets. Many light room users export their presets and trade them. There are people who create packs that they sell. They are also available on Adobe Zone site. There is a section called video Presets and in an appendix to these lessons, I will show you how to apply presets to video. But there are certain effects on the right panel, the develop module that do not work on video, and the majority of those are the ones that are grain transformations, vignette ing. These are not things that you can apply Teoh a video. When you are trying to give it the same look that you give your photographs, you can adjust color, you can adjust exposure. And again, this will be a lesson in the appendix. In the meantime, these video presets, even though they're labeled video, they work as well as any of the other presets that come with light room. 16. History and Sync: We're getting very close to the end of our tour of the develop module. I want to show you a few of the other features that are here underneath the presets. We have areas called snapshots and history, and they're both very similar. But history essentially shows you everything you've done to a photo and a few mouse over it . You'll see in your navigator what is actually happening and where you started from. If you need to back up to a particular part of your history, if you wanted to move back to say where this brush stroke was added, you click it. And if you make any further movements over here, it will negate everything you've done since that adverse stroke. So if you have multiple photos such as these that were all shot in the same environment with the same exposure settings and you wanted to edit them all at once, this is similar to the feature in the library module where you could synchronize your metadata, simply highlight all of those. And if I wanted to paste the settings I did to this photo onto the other ones, I click sink and these air all the choices I have that I can paste onto these other three highlighted photos Click, synchronize and the same editing was done to all three. This 1st 1 doesn't look like these three because this one was shot with vastly different exposure settings. But if you shoot in manual, say these pictures of the globe, they're all shots with the same exposure settings on the camera. If I edited one, say gave it a, uh that you a primary punch filter and a synchronized that it happens to all four if I wanted to, in effect, to take place on all four simultaneously. If I knew from the get go that I wanted all of these to be entered of the same, there is a switch that is auto sync. So whatever I do now will happen to all four images that are highlighted so raised, converted to black and white, and I'll as clarity as you could see it's happening toe all four of these at once. One mistake that is very common is for you to have a bunch of photos highlighted. Think you're only working on one. Forget that you have auto sync turned on and then you find that you actually cropped. Ah, whole bunch of them, even though the objects in the photo weren't all at the same place. So as you could see, this crop might work for this particular Globe picture. But it doesn't work so well for the other three. It's a little awkward. Some of those if you get to the point, you find you've been auto sinking, a bunch of stuff that you didn't want to have happened. One way to solve the problem is to look at the history with all four photos selected and then back up to where you were happy. So I didn't mean to crop all four photos, and we did it for the purposes of this tutorial. But I could back up to where it's white clipping, and now that crop is removed from the floor in the films, if you get to a point where you've done a lot of editing and you want to see what the photo looks like originally, or if you have a client who asked what the photo looks like originally or you even want to make virtual copies. So let's say I created all these black and white iterations, but I wanted to have color copies, too. I could create virtual copies. If you click Reset, it will put all of your sliders to zero. So now I have my editor did. Black and white generation. I have my original same for everything else that was highlighted. Reset is a very powerful tool, and I use it quite a bit. A lot of times when I do my editing, I go into areas that I don't really like. I end up with a photo that I'm not happy with any of the editing, and it's better to start from scratch. So that is what reset will do the previous button. I will return your photo to its previous state, and an easier shortcut than previous is controller commands E on your keyboard that allows you to back up any number of steps in your history. One of the things that separates light room from a photo shop is that your history will always be with your photo. So if you do editing and photo shop and you close the program when you open it up, that history is erased. But in light room, this history menu will be with it forever as long as it has its sidecar file, which is being read by the library catalog. If for some reason you want to get rid of the history, you can, there is a little X next to the word histories is clear all not really sure why you would want to do that, but just know that option is there. Snapshots are similar to history. It allows you to take a picture and you can have the date and time. So, you know, when this iteration was created, it's not a tool that I use that often. History is pretty much all I need, and it really does a good job keeping track of what you did with your photo when you did it . Just a couple more features in the develop module. I wanted to show you one is soft proofing. Essentially, this shows you what your photo will look like against a white background because generally only print. That's the way they come out. You have a reference view next year, before and after, and this just allows us for comparison. Between two photos. There is a similar feature in the library catalog. It's useful If you're trying to match some attributes of the two photos like colors or exposure, that is the main purpose of the reference view, so 17. Offline Editing and Mobile: in the develop module, you only have access to the collections, and this is the same in all the other modules that we will talk about. If I wanted to access photos that aren't in my collections and their in folders in my library, I need to return to my library module, select the folder I'm looking for, then bounce back to develop and continue my heading. Now in my collections, I have a lot of photos that are not currently on my computer hard drive there, actually on an external hard drive, and you will get this notice that says this file could not be found. One option is to build smart previews. You need to do this when you have the hard drive or wherever the photo location is connected. But once you have smart previews, you can edit the images without having that hard drive currently attached. So I will back up Teoh this Wonder Wheel photo underneath the hissed a gram. You see something that says Original photo as I hover over it says, build a smart preview for this voter to allow offline editing. This is a really cool way to work on your photos without having to carry all your external hard drives around with you. Another option is to use light room mobile and light room Mobile is an application for your smartphone or tablet. If you have the mobile function turned on, it is up here by the name. You have an option that says Sync with Light Room Mobile, and then you have next to your collections a little check box. The ones with the check boxes are currently sink to an application. I have both on my phone and my iPad. There's not a complete set of editing tools in that application, but there's quite a few. And certainly there's enough that if I wanted to work on my photos just on my phone while I'm waiting in line at the grocery store or in a doctor's office or public transport or the library or the playground, I definitely have that option, and it is a huge time saver. The alterations you make in light room mobile will sink up with your actual library catalog and the editing you do in the mobile app we pasted over the original photos. As soon as there is a good WiFi connection 18. Dev Editing A Landscape: so I'm going to do another live at it. This one is going to be a landscape, and it actually is a photo that has started off as a panoramic. So first thing I need to do is get rid of this white area around here under my crop tool. I have on option that says, Constrained to image. I get that it automatically cuts into my area, but it's still a little off kilter. I need to crop it further. We have these lines that help me align with the horizon, and that looks a lot better. Now. I want to go ahead and make this a black and white traditional landscape format and by mouse over my existing black and white presets, The Green felter looks like something I might like definitely not the blue, and definitely not some of these extra bright ones. The yellow one is probably closest to what I'm looking for. Let's go ahead and click the yellow Filter. I want the sky to be more contrast, E and pop mawr, and then I'm going toe want to add detail to the shadow areas here and have the red rocks show up a little bit better right now. This whole section of the photo looks very dark, and this whole section looks very light. There's not a good contrast between the two. So first things first graduated filter drag it down over my sky, going to add clarity. Let's see what happens if I add contrast. Really, Pops. Wow, Go ahead and click done there. I'll use the adjustment brush, and I'm only going to affect the shadow tones. Let's see what happens if I boost the shadows and boost the clarity for these other areas to make my adjustment brush a large enough size to affect these areas. It's gonna be pretty big. I'm leaving the feathering all the way out because I'm only affecting the shadow areas. It's OK if I go off my target a little bit because there aren't really shadow tones to this sandy dirt area. It's only going to really matter on the fence. Boost the blacks a little bit too gray when you make your adjustment brush really obvious. It doesn't look great, but what if I boost the blacks and then boost the contrast? Still little fake gray looking? Take the blacks down, then one more adjustment brush, but just contrast to this area over here. I want to make every area pop. I also want to have every area have something worth looking at. Okay, let's do a comparing contrast with what we started with and where we're at now. I'm pretty happy with it. I feel like this area of the desert is pretty bland and doesn't add anything to the photo. And if you feel that way about something you're editing, I advise you to just go ahead and be ruthless and cut it out. There's no reason why this image needs to be such a stretchy panoramic. In fact, if I wanted to print it out on a standard size like an eight by 12 4 by six, I'm probably better served by setting the aspect ratio to that, even though it started out as a panoramic image. If ultimately that does not help tell the story any better, there is no reason to keep that. There's no reason to keep the panorama, And now that I have him now that I haven't cut down to a four by six, I'll see what happens with a little added clarity. I'm gonna pull the whites down a little bit because I know in my hissed a gram that the whites are touching the edge. When I turn on the white clipping, I see that one little bit there. If I take down the exposure, take down the whites with an adjustment brush that knocks that out. I know I have detail in that cloud space. And then a final touch for me would be to you add the slightest event yet and the slightest bit of grain. So maybe you vignette of minus six, feathering it 100% and that looks like a good, complete landscape to me. 19. Wrap Up + Project: guys, thank you so much for sticking with this portion of our learning light room classes. I want to see your projects so you get your camera go out good time. A day is usually early morning or late afternoon, and if you can get some weather in the sky and get some storm clouds or regular clouds, that's ideal. Otherwise, you have big blank areas in your photo. You don't have to shoot them his panoramic six, but I definitely want to see that you've used some of the tools we talked about in this class. So if you have a filter that you apply if you use the retouching tools, if you use the adjustment brush is or the great and filters by all means, apply those post that J pig to the skill share Project page and then tell me about your process. If you thought it was a fun product, if you feel like you are effective, if there's something that's missing, I want to hear about it. So let me know what skills your product page message me any questions you have and check out the rest of my skill share channel because there's a lot of other light room classes there. There's the rest of this series, of course, and I have many other multimedia photography video editing classes that might be interest to you. Once again, Thanks for watching Talk to you next time.