Lightroom CC Essentials - Taking You From Zero to Hero!

1. Introduction: Hello and welcome to the course. My name is Adam. I'm a designer and photographer from the UK on this course is all about Adobe Light Room Classic. This course is a zero to hero course. If you've never used light room before, do not worry. This course is aimed at you. We're gonna cover absolutely everything in this course. So we're going to start with importing your images, organizing them along with ranking them. And then we're going to spend the majority of this course going through each and every tool that light room has toe edit your images and to get the most out of them, we're going to go through all of them individually. Then I'm gonna explain what they do and how best to use them. Then, once we've done that, we're gonna have a look exporting these images. So it's all good having them in light room, but you're gonna want to share them of everybody else. So have a look at the different former options and what is best for certain social media. One of the images that I'll be using in this course are available in the resource files. So you guys will be able to follow along with the exact images that I am using. I'm not sure how to download those in the next video. I think it's probably it been out, so let's jump straight in. 2. Resource Files: Hello and welcome to the second video in this video, we're gonna have a look at the resource files. Like I said in a previous video, I provided a whole bunch of photos that we're gonna edit throughout this course so that you guys can follow along. So we're gonna do is gonna hop onto the computer. We're gonna have a look at where to find those on West. Download those now. How does have jumped onto the computer now, Andi, depending on where you're viewing this video, the link will be in a variety of different places. If you're on skill, share will be somewhere below the video. If you're on YouTube, it will be in the description. But somewhere there'll be a link to Dropbox and what you need to do, you need to go to that link. You will see a screen like this. What you're gonna do is head up to the download and click direct download. Now, what that's gonna do is gonna start to download those files and will probably save them in your downloads folder. So, in this course, thes resource files are quite big. There's lots of images in there. Some of which have been shot in a format called Raw that would touch on later but makes the foul size quite big. So this may take a little while to download, and I'll come back when this is finished. When that's finished, downloading where you want to do drag and drop it to your desktop just for the duration of this video is we're gonna be looking at these photos quite a lot on. Do you want them in a place that's easy to access inside of the resource files? There's a few different folders that top one is a bunch of presets that will install later images is the important folder, So that's got one of the resource images in that we're going to use in this video. There's images for your new skills. This is for right at the end of the video. I've got some images for you to have a little play around with, and last four we've got this light room organization, which is a couple of slides that you'll see in a video later on. Massive for this video, nice and quick, but just make sure you've got them downloaded so that you can follow along as we go 3. Understanding the structure: right now that we download course files, This one more thing we're gonna go through before we hop into light room. And it's only a quick one. Promised civil get straight into the action soon. Something I want to talk about first is the structure of light room, and it's made up of three main things. One is the catalogue, one is folders on, one is collections, and it's good to get an understanding of what each them three things up before we hop onto the computer. So I've done is I've made us too little slides that were quickly run through and they will get straight into light room Right then. So we have a little bit. We look at this first alive on the left hand side. We've got a hard drive. We've got three different folders, each of a few images in and then on the right hand side, we have a light room catalogue, so a catalogue could be made up of both folders and collections so you can see that it's split in half. Here on the left hand side, we have our light room folders, so light room folders mirror your hard drive so anything that you changed your hard, drive these folders or update anything that you change in the light room. Folders work physically change your hard drive, and that's quite important because that's the main difference between folders and collections. So moving to light room collections of what is a collection, it's a little bit like a virtual folder. These folders aren't really, and any images that you put into these photos it doesn't actually move them from where they are on your hard drive. Now you might be wondering what's the point in that? So there's quite a few reasons why you might want to use light room collections and we'll go through them in practice in a minute. If you have a look, look at the next light dance. This is what we're actually going to do. So we've got the hard drive on the left hand side, and then three folders represent our resource files. So resource files a split. The General Hey, HDR and Panorama is on the right hand side. We have our like room, so we're gonna create catalogue first. I'm gonna call it coffees course, and then the first thing we do is we import images. So that's unlike room folders will have a little bit of a play with them. And I'll show you how anything you change with your light room folders physically affects your hard drive. We're then going to spend a little bit of time looking at some light room collections to the first thing we're gonna do. So I got a manatee create one called Beach Dragon. Drop some images in that on our show. You how it doesn't affect your hard drive, where they're going to create the iPhone and get what time to go and collect these images for us and then late to run in the videos. We can have a look at favorites. Favorites is gonna be our collection of images that we really like. So we're gonna at some point in this course, have a look at flagging and ranking our images and anything that we rent. Maybe four or five star is gonna land inside that favorites collection. That's it with the slides, snow we're gonna do is gonna hop into light room. We'll get cracking 4. Folders Collections and Catalogs: right then welcome to my desktop. So let's have a quick little look first at the resource files said this folder here that we downloaded in an earlier video. Now, the important thing about this really is to do this images folder and the fact that it's broken down into three different folders one called general images one called HDR on one called Pano. So what we're gonna do first is we're gonna open up light room Classic. So this course is all about, like, room classic. Not like you see, See, they're very, very similar is a very good chance that light room Sisi will make perfect sense to you as well. Right then. So here are inside of light room. Now, if you've used lightning before, there's one thing I'd like you to do first. And that is to go to your catalog settings at the top here now, like you can only have one catalogue open once, and we're going to create us. It was a new catalogue called Gadhafi's Project, or Gadhafi's course. That'll mean when you open up like room next time it will open up this catalog first, and you might then lose where your old catalog is being held, so I'd have a little look at this location here and make a note of that so that you can revert back to your catalog once you finish doing this course. So if we head up to file and click new catalogue, this will open up a window on my desktop. I'm going to save this. I'm going to call it Gadhafi's Cools. You can call it whatever you like. Click create. So what that's going to do is gonna shut, like, room and reopen like room now, looking at this new catalogue now, make sure you in the library top hit. Then what should see is no photo selected because we've no important anything over on the left hand side. We've also got all photographs. Zero Now, down on the bottom left. We have this import burns. If we select that on on the left hand side, navigate Teoh folder. This is our resource files on two images. Well, I want you to do on the left hand side is select images and you'll see it's still not showing us any photos in here as because we know including sub folders and all of our images are currently break into separate folders. So if you collect include sub folders that would now show you all of the resource files. So this up as a kind of left to right. So on the left hand side, we have our hard drive, and that's what we've just done. We're just gonna found these resource files in the middle. We kind of have the images we want to select on. On the right hand side, we have a catalog that we've created. So across the top there are four options. One is copy as DMG ones copy ones move ones add, We're gonna ignore copies DMG for now. But let's talk about these three. This start with copy. What this does is it takes a copy of the images on your hard drive and light room, creates its new folder structure and will make a duplicate of each of those. That can be quite good. If, for example, you're meeting bars from the same SD card because you're probably clear. That s D card off. So you do want to make a copy of them files, so move is kind of similar to copy, but what that's going to do is going to take the files from their current location and add them to a new light room folder that this move is probably actually better for an SD card because this is going to move the images off of the SD card into your folder so they're no longer on the SD card. The last option we have is add, So what that's going to do is gonna add your photos to the catalog, but it isn't going to move the and that's what we're going to get with because we've already saved the images on our desktop. I'm quite happy with them in that location, and I don't want them duplicated somewhere else. So we're gonna go at at the top now. This screen here shows you all of the images in all of them photos. We've got a random little selection here that I've picked for this course now. Currently, you can see that all like gray, and they've all got six in the top corner. If you untech them, this will mean like we won't import them, and it would just ignore them. For this course, though, we do want all of them. It might be quite hard from this view that you see here to decide which images you do and don't want. So what, you can do it? You can click this little box down here and they will show you it in full screen, and you can use the arrow keys to flick through the images, and you can click this tiled view to go back to seeing them like this. There's something else that you can do is you can make these thumbnails bigger sequins, zoom in on them and see them a bit clearer, and you can also make them really quite small. I tend to have them somewhere in the middle where I can kind of eyeball the photos that I do and don't want. You can also sort these images generally, I'd have them in phone, name or capture time order. So over on the right hand side, we're gonna nor smart previews on the light room is quite clever in, If you've taken two of the exact same image, it can purposely ignore one of them for you. Now, this is especially important if you're shooting in raw on D J. Peg, what likely will do here is ill import the raw image for you and not the J. Peg will touch a lot with more on shaved head and was a bit later on. But I normally have that box ticked. At this point, we're not gonna added to it a collection which is gonna import them as they are down at the bottom. Right here you can click import. So over on the left hand side, we have our catalogue folders and collections that we talked about earlier. City, start with our folders. We have literally the exact same folders that want a hard drives. We have our images folder. We have general images HDR, Pano. You click on each of these and it will show you the images in each photo. So the first thing we're gonna do is gonna create ourselves a new folder. So we're gonna click the images here. Now we're gonna click at Fota, gonna click new photo, and we're gonna cool this new photo cars. See, you'll see here. We now have this folder called Cars. I'm gonna drag that into the images photo. Now, if we go back to images, so what we're gonna do is We're not gonna go through this and we're gonna quickly highlight every so that we can see that clearly has cars. And so, holding down the command key control key on Windows, we're gonna go through, and we're gonna highlight every one we can see that has cars in it. There's a fair few. So now that we've selected them, what we're gonna do is we're gonna drag these images. We're gonna drop them into the cars photo, and this will warn you moving files on disk. So this will cause the corresponding files to be moved. If you proceed, this can't be undone. So let's click. Move now. Importantly. Earlier on in our previous video, we talked about how folders are physically affecting your hard drive. If we go back to my desktop on the inside of this photo, you can now see under images. I do now have a car's folder that has thes car images in They have actually been moved out of general images into cars. So the changes we just made them was physically changing the makeup. If these photos let's hop back into light room. So the next thing we're gonna do is gonna create ourselves a folder of beach images. So I want to do is I'm gonna command or control click again all the images that I can see of beaches. I think it's just them three. And then we're gonna go to this collections in the left hand side and click create collection. I'm going to call this beach. Now. What this has done is it's created a collection of just three images that we had selected. Now, importantly, if we go back to our hard drive, nothing has been created here. We haven't just created ourselves a folder called Beach. This is something that's only recognized by light room. So the next thing I'm going to do is create a smart collections. We're gonna go back to images. Then this time we're going to click collection and then create smart collection. I'm gonna call this iPhone in. The first thing we're gonna do is in here. We're gonna select camera. See, It's probably didn't say camera to begin with, so it's camera info camera contains iPhone and click create. So you will have to type iPhone in there if it wasn't there for you or ready, and you can see what this has done is this has made us a new collection down and left hand side called iPhone. And it has the two images in this series of images that shot on the iPhone says lots of different smart collections you could do, and we'll touch a little bit more on them later on. But if you get back to our Images folder he took that had a search through some of these cause you're quite often end up in a position where you have hundreds and hundreds of images and you may want to search for something. This is where these filters come up across the top. So start with text so you can such any searchable field. Let's say iPhone again. So that was our two images from earlier. You could key in here. Sony. I'm not showing you all the images that was shot on a Sony, and you could also search in here file names. So I think some of these are called CEO eight. Yeah, so there's different ways of searching. You can search by attributes, which is the flagging and rating that will cover in another video. You also have meta data so meta data is actually held information inside the image. So you can see here the photo itself holds different dates. Thes of the different cameras. They were shot on set free click that say, This is my Sony a seven mark three. Sure, the 20 images show on there can also then picked by lens and back to none. See that you can see everything. So that's this video. So in this video, just to recap, we've created ourselves a new catalogue we've imported are images, and we had a look at the folders to create a new folder called Cars. We move some images into that and notice how that physically affected our hard drive, then had a little play with collections. We created a manual collection the first time, which would beat you, re selected out beach images. And then we created a iPhone collection, which is being automatically populated by light room of any image shot on an iPhone 5. Ranking Rating and Flagging: Welcome back. The next thing you know have a look at is ranking flagging and labelling images on why you might want to use each slice top of ranking, as I think that's probably the one that makes the most sense. If you have over any of the images you can see, there's these five little dots of the bomb, and if you collect one of them, you'll see that trucks out a star rating. So it's kind of up to you how you rank your images from 1 to 5 now. Personally, if I reckon image is five starts, probably in the top 5% of the images that I create suit our mark. Only the very best images is five star and then my guide below. That's kind of a little bit, to be honest, a little bit hit and miss, but it's up to you how you kind of go through that so you can go through each of your images. If you want earned, you can break them at different star ratings. But having a look at them in this tiled view is quite hard because you can't really see what's going on in there. Can you. So there's two options. One is to double click an image or one is to click this little square button down here. So let's start with this top on. So now we can have a good look at this image. And if you click on the image, you can zoom in and get a little bit of a feel of how good the images. And I'm gonna make this one of five star. Now you can use the arrow keys, or you can click through the images across the bottom to give each of them a star rating. So I'm just gonna randomly click on a few images, give themselves friend of star ratings. But if you were doing this, you'd go through this and mark the images as you'd actually want them to be. So that's ranking images, and it's all to do of a star rating now. The other thing you can do is you can flag images, so there's thes two little flags down here. If you hover over them, it tells you what what it's suggesting you use these flags for. So oneness flags. Pick one is flaggers rejected? Now you can go through your images, and you might look at this image and go, Oh, I do like that one. C might flag it on. Do you might go through and say, We don't like this one and flag it is rejected. Now the other option is labelling, and labeling isn't something I do very often, and you might not have the option down here as by default, See might need to click this little arrow and click Add color label, and you'll see these colors down here. What you might want to do is you might want to sort your images by color. So let's use this image. And it's worth noting that one image can use all three of these. So this image you're looking at now, currently I have flagged it as rejected are giving it a four star rating and of color labeled it is green. So what's the real reason behind you ranking images One of the missile that you confined images that you've labelled or ranked quite quickly. Another is you might want to use these to help you know what to take forward into what we edit later, and another one might be linking back to the collections were talking about earlier. So if you go through and you give some of these images some star ratings, it doesn't really matter what you give them. But if we go back Teoh collections over on the left hand side, we might want to create a new collection. So let's click, plus Arrow and create eight Smart collection. We might call this five star images. We don't want to put it inside of one of our over collections, but if you then go on here and click rating, we're gonna get anything that is five star and click create so you can see that I'm currently inside of my five star collection. And if I go back to the tired view that is only one image that I gave a five star rating. Celeste quickly changed that. Let's back into our images. Let's say what I really like this vote of myself. It's a bit bane, I know, but you'll see now straight away. Our five star now has two images in it. It's automatically updated that for us, So that's ranking flagging and labelling images. In the next video, we're going to start hopping into the developed up 6. The Develop Module: Hello And welcome back in this video, we're gonna have a look at the develop module and get a bit of an understanding of how the interface works. So so far in this course, we spent our entire time in the library module where we've seen that you can important organize your images. So what we're gonna do next is if you can find this image of Santorini to double click it and see it in full screen and then select the develop module. When you select the develop module, what you'll see is the tools down the left hand side and right hand side have changed. I'll quickly focus on the right hand side, so there's a bunch of sliders, and when you move these sliders, it changes what you can see in your image. So randomly move a few of these around just to show you how it changes. If you click the arrows next to the headers, it collapses and un collapses. The tools and what we're gonna be doing in the next few videos is going through each of these tools and explaining how it works. So let's have a quick look at the tone curve If I drag some points around on here, you'll see it's changed my image and there's a little switch up in the corner. If I click the switch, it turns the effect on and off. So that could be handy. If you've had a play with something and you decide. Or actually I don't like that can quite quickly turn it off by clicking Switch in the corner. So let's collapse thes back down. They were on the left hand side. The most interesting one of these is history, so you can see every change that I've just made to The image is listed here at the bottom. We have the import through to me, changing exposure Contrast highlights during the little points on the curve then, and turning the tool on and off as well. Now the good thing about the history is you can revert back to any one of these stages. It's every click. Import does put us right back to the start, and we could start again if we know that we wanted to go back to where we changed the highlights. We construct the highlights and I'll take us back to their two, said the history is very good for reverting back to a previous point in your editing. So we're gonna be doing for the majority of this course is going through each of these tools on the right hand side and we're going to start off by looking at cropping, and that's in the next video. We'll see you there. 7. Cropping Rotating and Horizons: Hello and welcome back in this video, we're gonna talk about cropping and horizon leveling. We're going to talk a little bit about some aspect ratios to. So if you go back to your library, tap on back to your tiled view screen should look something like this on. I'd like us to select the image that looks like this. This is of Low Worth Cove. If you double click, it sickens, sit and full screen. It's this image here, and we're gonna hop to the developed tab. Now. The first thing we're gonna do is going to do a quick basic adjustment because this area of this image is way to dark. So let's hop into basic and we're just gonna drag the exposure up a little bit just so we can see what's going on. There's something frustratingly wrong with this image, and that's how one keep this horizon. It's that horizon slopes down and ends somewhere over here. What we want to do is they want to straighten that up. You might want to get rid of some of this kind of blank space over here by cropping the image of making it slightly smaller. So if you click this little button here, This will bring up the crop tool. Now the first thing we're gonna do is gonna look at leveling this horizon. Now there's three wasted it. One of this dip manually by dragging this slider on, lining it up with the grid that you can see on the screen. So that looks about right. We're gonna undo that of control said The other way of doing it is clicking Auto on that, let's like room have a good doing it. This could be quite hit and miss, but in this scenario, it looks like it's done quite a good job. We're gonna undo that again with controls. That and the other way to do it is to use this little spirit level tools. If we click that, you can draw a straight line across the horizon and light room will straighten up for you. So that looks about right. So I think we'll stick with that. The next thing to talk about is cropping so you can crop herself by just dragging this box around on dragging the image behind it. So sits where you want it to sit. Another way of doing this is in the tools ever hit. You've got some different aspect ratios safer. Go one by one. That's a perfect square. Now, when you dragged this around, it will keep that square, former. And if you click through a few different ones of these, we've got four by five, which is quite good for Instagram, but not in landscape, but in portrait. And we got 16 by nine. That's like widescreen TV. This is good. If you're gonna use an image in a video, for example, a lot of videos. Aaron 16 by nine format. But all of these have been landscape so far, and that's because when we did our custom box in the first place that was in landscape. So we click back and go back to custom and click the little unlock birth and this time draw our shape so that it begins as a portray orientation. Then you click through these ratios. You'll see that it keeps all of these in portrait format since 16 by nine a little bit odd . So I think what we're gonna do for this is we're gonna go back to custom, and we're gonna click the unlock so that we can freeform this box and we're gonna get with something that's kind of like this. Let's go one of these pre made for months. We're gonna go 16 by nine and we can then drag this to where we want it to be. And when you've got it, where you want it, hit the return, Keith. And there's that image. So it's now nicely straightened and cropped in just to show parts of the image that we weren't. 8. White Balance: Hello and welcome back in this video, we're gonna talk about color, temperature and white balance. So if you help back to our library module on again, click the little child view. This time, we're looking for a picture of my dog, Max. This one here it double click that and then select the develop module. No, this image is very, very, very orange, and that's to do with the light that the shot. And so this was shot inside and a lot of interior lights. But the old tungsten lights are very orange in color. Now your camera has to try and work out when it's taking the image. What the temperature is of the light in the scene and to give you a couple of different scenarios like candlelight and sunrise is a very, very orange color, and that can produce an orange cast on your image. If your camera doesn't calibrate correctly and if you go through to sort of like the middle of the day, that tends to be quite blue, cold, sort of light said generally, when you shoot of your camera cameras. I got really quite good at getting the white balance right, but in this image, which we've got here is clearly got it very, very wrong. So I want to make these colors look a little bit more natural. So if you have a look over on the right hand side, white balance is this section here now. The first thing wanted is this image is clearly to orange, so I want to direct this slider at the top. We want to move it towards blue, and the further you move it, the more it will become a natural color. I think if we leave it around there, this looks a lot more real now. The other option here is tint, so your temperature controls off the warmth of the image. So from cold toe war and the tin is kind of the green to the purple, you drag the slider along. You'll see how this affects is. Our image was about right where it was. That's how you do it manually. But there's quite a few options that allow, like room to do this for us. So there is as shocked this was how my camera took the image, which got it very wrong. There's auto, so let's let like him have a go on like rooms don't quite a good job here. Often, like room is better than the cameras at doing this. And you've also got some of the different scenarios, bit like we mentioned earlier said Daylight and Cloudy and Shada. Quite blue lights, tungsten, fluorescent of Flasher, slightly more towards your warm orange light. Now what we've done with this images, we made it look an awful lot more realistic, and that might not always be what you want to do. So if we go back to the library, Click told view and find this image here and collect back on developed this as shot looks quite orange, but what we might want to do is you might want to be slightly more artistic. With this, we might want to drag the slider to make it look slightly more blue, and you can see this given a little bit of a pinky purple tints, so you might want to move it slightly more towards the green. But you might want to make this sunset look even more orange, so it's as much as you might want to get the color ballots correct. Sometimes you wanted it for artistic effect and sliding this slightly towards warm can really make sunsets look better than they did in person. That's it for this video. In the next video, we're gonna have a look at exposure on the hissed a gram. 9. Exposure and Histogram: Hello. Welcome back in this video we're gonna talk about exposure, and we're also gonna talk about how the highest aground fits into this. So if you head back to your library module, select the tower of you should have a screen looks very similar to mine. We're going to use this image here. Yours might be somewhere else in these files, but if you can find this one that will click it and select the development your no, the hissed a gram, which is what this graph up here is called. It shows the brightness of each of the pixels in your image on a graph. So if we have a look at this from right to left, which what the words down here say So you've got blacks on the left through two shadows through to exposure, often called mid tones through toe highlights through toe Whites said this graph goes from pure black three to pure white. Now we have a look at the graph. As it stands, there's an awful lot of the graph is down in this section of the image, which is blacks and shadows. And if you have a look of actual image that does make sense. Most of this image is quite dark, and some of it is very close to being pure black. The middle chunk of this graph barely has any information in it'll which feels about right . There's not much of a graft is almost a gray sort of tone. But then, at the very extreme, right up against this edge here we have a cost big spike of pure white, which would be this part of our image here. Now, when you're trying to expose an image, probably ideally, you don't want anything to be pure white, and you don't want anything to be pure black, and you want to have a good balance of tones throughout. So you should have a decent amount of mid tones to now to change these. Each of these hit has its corresponding tour down here in this section now exposure if we raise the exposure, what this is doing this is bringing the brightness values of everything up all at once. So as I move this slider, watch how this graph ALS slides towards this end and makes even more build up on this pure white side of the graph. Next up. We'll have a look at highlights on whites. So the white section of a graph is this bit right up against the edge. And, as you can see, anything against the edges pure. Wait. So there's an awful of our image now that is very, very white, and that will be this chunk up here. We dragged the white slider and pull that slightly towards the darkest side. What we'll see is the information in this part of a graph move slightly towards the middle . What you can see in the image is doesn't awful lot less now that is pure white Now highlights is very similar, but it's kind of this section of your image. So as we track the highlights down, it's doing the same thing to the graph is it was before now for this example, let's track the highlights all the way down to the bottom. You can now see we've got we have an issue, that there's nothing in this section of the graph anymore that's near white. And if you look up here that if it was about right, even this trunk here isn't pure. What such a slight cost of great So we put the highlights down, let's move the whites back up so that it gets close to this edge but doesn't touch now. The dark side of our image. Yeah, we don't have anything thing up against this edge. There's nothing on this image that's pure black. What we might want to do is move the shadows slightly towards the middle as you drag the shadows. Slider. What your image. It's made our image brighter, and it's moved the shadows over towards the middle, which sport the overall brightness of our image up. So what the blacks and whites sliders is a little trick you can do, and that's holding the key whilst moving the slider Ella. So when you're moving the white slider to screen or go black, and if you move the slider along, you get to a point where a white blob starts to appear. That white blob is everything that's pure white when your image. So what you want to do is you want to get this slider to the point where it goes from a pure black screen, too, a little bit of weight, and then get rid of that bit off What? So what we have now is we have values that are very close to pure white, but they're not pure way. And you could do the same of the blacks, too. So let's do that now. As you drag the slider, hold down low key, and you can see this parts of the image now that are pure black, this little specks around energy. Drag that up. They will start to disappear and let it go at the point where they just about disappear. We've done quite a big improvement to this image. We've fixed the exposure on it, so we don't have anything now that's pure white. We don't everything that's pure black, but there's one slight we haven't spoken about, and that's contrast. So how does contrast actually work for an image to be? More contrast, eat. There's more areas of dark and light as you drag this contrast slide up. What it's doing is it's moving the dark parts of your image or making them even darker, and it's taken the light parts of your image, making them even lighter. So when we drag this slide up, you'll see like a gap appear in the middle. A stuff means left and right, and then the other extreme. To remove contrast from image. You have less blacks and shadows and whites and highlights, and you have nearly every part of your image in the middle. So if we drag back, contrast slider down the other way, you could see everything converges towards the center. You get a very flat looking image, this image. Let's just have a little bit of a play. I think somewhere around 12 looks about right. So that's what these tools do and how it also fits into the history ram at the top. There is an option if you want to let light room do it by clicking auto, and that will have a get doing it itself into facts. Don't quite a good job that tone. I personally wouldn't use auto because a lot of what we're doing here could use for artistic effect as well doesn't have to be about getting the exposure right. Maybe you want to really dark or really like image, but that's what each of the tools does 10. RAW vs JPEG: Welcome back in this video, we're gonna have a little talk about shooting involved and shooting in JPEG on what the difference is. So if you've never really shot on a proper camera before, you may never have heard of these terms and what they mean. But what we're talking about two different file formats that you have the option on most cameras to save your images in Now. The main difference of these is that raw images has far more information in than a J peg. So when a camera saves a file is a J. Peg. Part of what it's doing is actually trying to condense down the size of the file and make it smallest possible without losing too much detail. But importantly, some information is being lost. Now a profile is actually the information directly from your camera sensor with nothing else being done. So something else that's happening in A J Peg far is that your cameras, actually doing a little bit of editing itself, is trying to make the image look as best as it can. Now, this can be good and bad news. The bad news is rolling the camera. Do the editing here rather than yourself, and if you want the ultimate flexibility, don't really want it to be doing that. But if you're not planning on editing the photos yourself, there's a good chance that you're J pig images or look nicer, because even that wasn't you. Your camera has tried to make the image look better, whereas a war photo is completely unedited. Now, one of the big downsides of shooting it draws the file size, so raw images are often 5 to 10 times bigger than the J peg equivalent. So as somebody that's editing in light room, there's a good chance editing the image yourself. You can have a wish you'd shot in raw. We have acrylic now at the difference between shooting and raw and shooting in J pic. So to do this, let's go to our library, get back to our tiled view. Now, on our told view, you might notice that there is two versions of this car here. So this is a Ford GT 40. If we scroll down, there's another one here. Now, one of these has shot been shot in J pick One of them has been shot in raw. Now what we're gonna do so that we can see both of these at the same time. Click the little box. And if the image it will mark this one is yellow and we'll go up. Teoh this one hit, but also mark that one is yellow. Then we're going to do. Is this using this little sort box of the mom? We're gonna sort by a label color and you'll see that's gonna put two yellow ones together . And let's double click the 1st 1 and then select the develop module. Now, up here, you may or may not have some information showing if you don't press the I key and filter through until you can see the file name. So this one Oman and the one that we do want to start one is called J Peg. If you ever look at the other one, Quick is called dot cr two. So let's start with a J peg image first. Now what we're gonna do is gonna trump bring out the information down here in this grill. So to do that, let's up the exposure just a little bit and pull. The shadows are lot on. Let's go live with further if you click down. Here it was. Zoom in and you see down here it looks a bit funny. It's a little black with just some specks of great, but there's no real detail down there. Probably couldn't tell me that that was a grill there unless I told you that. So let's quickly hot to the other image. We're gonna do the same thing it may already zoom in for you. Click to zoom out and again we're gonna up the exposure. We're gonna up the shadows and they're gonna click and zoom in This time you can actually tell there is a grill down that you can see the individual holes. You can see this far more detail down here. If you hot between the two, the difference might be quite staggering. So you cannot tell that is a girl. But here you can, and that's some of the trade off was shooting in J pegs, as opposed to raw Raw has an awful lot more information in it. And when you're editing, you might want to be playing around with information, especially like in this image where we brought the brightness up. So how do you decide when you're out shooting images, what to shoot in. So my advice would be if you have no plans on editing the images, shoot in J pick so that there's some editing being done by a camera. If you know you're going to come home and you're gonna edit the images shootin raw, and the only other real consideration to take into account is the fact of file size. So if you're quite limited in memory cards and you know we're gonna be shooting loads and loads of images, you might be better off shooting in JPEG if you've got lots of memory card space and it doesn't really matter shooting and more makes perfect sense. 11. Presence: a little more. Come back in this next video, we're gonna talk about D. Hayes. Clarity and texture. We're gonna hop back to the image we're using a couple videos ago, which is this one here. So go into your library, makes you looking all photographs and find this image and then head to the developed tab and you'll be left for where we were previously. It's now we've got the image up. We're gonna have a look at these three tools down here under the presence header. So we've got texture, clarity and D. Hayes. Texture and clarity both add kind of a bit of sharpness to your image. Texture does it without really changing the light and dark values of your image. It doesn't really affect the colors, either. Clarity does have a quite a big effect on the light and dark areas of your image, and that's quite a lot of contrast, whereas D hes actually has quite a lot of difference to the color. So let's go through these one by one. It's let's play around with the texture first, and if we put this to the both extremes, you see the colors in the light and dark areas. The image stay very similar, but your image goes from very blurry down this end to really quite shop. At this end, if we have a look down here, it's some of the grass and the rocks, and we put it back to the middle of this is what our image look like normally, and we put it all the way up. You can see quite a lot of details come out textures, one. Like I said earlier, that only really changes the sharpness of your image. Clarity, on the other hand, acts a little bit like contrast does. The more you add, the more effects, the light and dark values of your image. As we move this up, you can see it makes quite a stark effect. We've now got really bright areas and really dark areas. No, de Hayes is an interesting one, kinda does what it says on the tin. So of our image up here is really quite hazy. You can kind of see where the lights coming through, and as we increase the amount of D Hayes were using, you can see it's quite a contrast up here but is rapidly changing the color of our image as well. So these clouds are showing is blue and purple and kind of like a re dark greyish or color over here, because when we put it back to how it was initially, there's almost no blue in this image. It all my advice when using these sliders is all three of these should be used in quite small amounts and almost in the order that they're in, so texture apply it liberally. De Hays barely used any, so let's have a little play with this image. So I do like the sharpening effect that texture abs as it brings out a little bit more in the gravel down here. Clarity. Anything you want a really little bit on here. Otherwise, it starts to get bit overkill on really look like a doctored image. And with D. Hayes, I think we'll do it just a tiny little bit to try and get rid of some of the rays up here, and that's probably where we'll leave it 12. The Tone Curve: Hello and welcome to the next video. In this video, we're gonna talk about the tone curve. So this is one of the more complicated parts of this course, but we're gonna try and get through it, and it's linked a lot to this. Hissed a gram at the top. If you're tone curve is collapsed, click the little arrow so that you can see it like this. Make sure you're on linear and if this is showing down here, click the little box. So it's hidden. Now this graph in the background here is exactly the same as the one up here. It's just a square. It's quite hard to see. But there's whites peeking up there, which that bit thes little spikes up these spikes this big spike this chunk. So it's exactly the same thing now, initially, what we're gonna do is we're gonna keep this on RGB, so this is going to affect every channel that image. So all images are made up of red, green and blue. Now what this line across the middle is doing currently it has no effect applied to it too . But down this end again, we've got the blacks on this end, we've got the white parts of our image. Now what we're gonna do is if you click along the line, put a little point on the curve. And if you click and drag this, what this is doing is it's taking the mid tones in our image and making them brighter as we're moving them up. If we took this point and dragged it down, what we're doing is making the middle tones in that image darker. That's something that you'll see a lot of something called an S curve, where people put three dots along the line. They'll have one in the middle at this side. They'll raise it up a little bit, and down this end they'll bring the dock down a little bit, so you get a really shallow s. Now what this is doing is, I think, quite a contrast to our image. If we refer back to hear what it's doing is it's keeping our mid tones right in the middle exactly where they are taking some of the highlights in our image to remember using this kind of chunk up here. This chunk is highlights taking our highlights, and it's making them slightly whiter reported up. And this chunk down here, which remember, is our shadows. We brought them down, so we've made our shadow slightly darker. On escape is something that people often do to add contrast to their image. That's one of the very common graphs that people draw. If you double click a point, it will remove the point. And if we removal three, we go back to a straight line, and it puts that image back to how it was. Another line on this graph that you'll see quite often is something called Crushing the Blacks. Now what this does is people would drag this point off the bottom so that it's no longer touching this bomb corner. What that's done is it's stopped. Any part of our image being black, even where we think it's really duck is actually a gray color is if you think this up here is white and this down here is black. We've moved slightly up to gray, this concave you a bit of a flat image and news. A bit of contrast of what a lot people do is they'll give yourself a bit of a curve that looks something like this to just smooth that out a little bit. Now that's something that people do a lot, and it gets your image a bit of a film look, especially if there's people in the image to go extreme and showed the other side of this just to prove a point. This up here is whites. If you click this and drag this down, you'll see, and we'll go really quite extreme of it. There's no part of our image that's white anymore, and I think that is pure. Is now this really middle gray color. So put that back. That's just to show you what's going on the same down this end, if we drag this right up, you'll see there's nothing in this image that is black anymore. Everything that was black is, Gray gives it. They have a faded film sort of look, we'll leave this tone curves if we double click to get rid of everything, drank that corner back down. So if we clear that off by double clicking all the points again, dragging the bottom one into the corner, what we was doing there was using RGB channels that was affecting everything red, green and blue. You can change this by color if you'd like. By changing the Red, green and Blue Channel individually. I suggest you have a play with this because it can have some quite odd effects. What this is doing is adding this color into your image. So if you lift this off the bottom, what is actually doing is it's making the shadows slightly blue. We undo that, controls that get back into green. We drag it up a little bit. You see that the shadows becoming quite green. So if we go back to RBG, that's all that most people would do. If you want to have a little play with colors, it's generally for artistic effect on D. I suggest you just have a go and have a play around. So that's the tone curve. And that's one of more complicated parts off this course. If you followed along with that well done 13. Hue, Saturation and Luminance: in this next video, we're gonna have amending colors. So if you still got this image open, good. If not, head to the library top, click the tiled butter and scroll and look for it. Double click it and then head back to the developed tab. Now, in a previous video, we spoke about this history on the side here. What we're gonna do is let's revert this back to imports and do everything that we've done and then what we're gonna do if we scroll up to the top, let's just increase the exposure a little bit. The shadow is a little bit, and we're gonna drop them highlights for right down so you can see what's going on in the sky. And then I think we'll just increase the brightness just a little bit further. So what we're gonna talk about next is we can minimize the tone curve. We're gonna talk about vibrance saturation, and they were gonna have a look at this hue, saturation and luminant section. So vibrance and saturation both increased the intensity of color in your image. They do in a slightly different way. If you up the vibrance, you see it as a lot more of a subtle effect, but our greens are a lot brighter. Skies come out and sees come out quite a lot of blue in it. Saturation is a lot more extreme, and as you move this up, we'll have a big difference to your image. My advice would be for these sliders is to have a bit of a play with them, but use them quite sparing. They don't go overboard with them where your image will look fake very quickly. We quickly return these back to zero, I think, for a bit more of a realistic fact. What up the vibrance? A little bit to make some greens quite a lot richer than maybe what the saturation. Just just a little bit as this image was quite flat in terms of color, we'll look at hue, saturation and luminous if it currently on selected on color, click hue, saturation and luminant, and you should see this unfold. So we're gonna go through these individually, that's what let's talk about Hugh Now. If you think about the color red being the first slider now, reds a little bit of of a color, isn't it? The red could be very close to pink, and it could be very close toe orange, but would still call it red. This is the same for an awful lot of colors, so there's a point at where green becomes blue. There's also pointed where green becomes yellow. So I think a few is controlling whichever color you pick in your image and changing what's hone of color. That is saturation we just touched on a minute ago is changing how intense that color is. So if we up the saturation of red, we could push it to a more vibrant color. Whereas if we pull the saturation of a color down, we're turning it closer towards gray. Luminous is how light or dark that color is, so you can control how bright that color comes through in your image. So let's focus on yellow. First is there's quite a lot of yellow in this image. Even the grass is green. A lot of it in this images yellows. As we move this yellow slider, you can see the effect it has. We've moved our yellows towards orange and all of the yellow, and our image has become orange. If we move our yellow towards green, you'll see that all of a yellow has turned exceptionally green. That's what he was doing. So he was changing almost how yellow the color yellow is, and you can move yellow towards orange and towards green. So sticking with that yellow, let's talk about saturation again, sir. Remember if we move yellow took down, That's gonna turn yellow grey. I mean, we're all way to the bottom. You can see all of the yellow in our images turned to gray. If we move it the other way, you can see that the yellow is becoming very, very vibrant. Class put it back for a second, and luminess was how bright the color is in that image. So if we move yellow up, you can see it's becoming quite bright and we move it down the areas of becoming dark. Now these air pretty much only used for artistic effect, so you can have a good play with these to change. How your image feels in some image is a bit like this one. That yellow does feel quite overwhelming. So what you might choose to do you might check. Choose to change the color of this yellow, slightly more green as it makes the image look a little bit nicer. Then you might actually bring the saturation of it down just a little bit, so that yellow doesn't stand out quite as much as it did before. In terms of Lou, Minutes on a grass is quite dull, so maybe would benefit from just adding a little bit of Luminant. Try yellows to make them pop a little bit more what we'll do now. So I have a bit of a play with blue as well, cause it's quite lot blue in our sky. Now let's do two different edits here. Let's increase the saturation of ab blue to make it even more obvious. Now you can see our blue sky has become really blew on. The waters become a bit of a funny blue color as well, so this was probably a bit extreme. But another alternative in this image that might look quite nice is to completely remove blue from our image. Do we want the sky to look, blew it, or do we just want it to look very gray and overcast? So let's grab our blue one and drag it down and you can see what this has done. This is completely taken, the color blue out of our sky because there's no the blue in. Our image is not affected. Anything down here, skies looking a bit dull. So what we could do now that we dropped the blues all the way down is actually increased. How bright them blues are, You can see it's lined up our sky a little bit now. What you often find is it's quite hard to identify a certain color, so we might look at this area down here this like, round section of grass and think to ourselves which one of these sliders is it? This is where this little tool comes in place, so if you click it so that it selected so we're looking at Hugh first. If you put the curse on and click and drag, watch how the bars on the right hand side of moving. As I move this up and down so you can pick a color out of the image so free in this case, drag up a little bit. You can almost completely remove that color from our image. Same of saturation. So let's say we're looking at this bright green. But graphs down here and we don't know which one of these sliders it is. Just click on drag and you can see that's taken all of green and yellow of our image. We're gonna undo that one because I don't like how that looks. So there's two different ways of doing it. One of them is looking at the image and playing around with the slider that you think much is that color. If you're struggling to find that color, you can always click on these tools and click and drag, and it will do that color for you. So I think what we gonna do in our next video is gonna actually have a good addition, an image ourselves. We've learned quite a few tools here, and I think we can put them to good use and just have a bit of a play 14. Over To You: and this video is over to you. I'm gonna select a photo for you and you're gonna edit it. So I think we'll pick this photo here. So we double click it and go to the developed tab. I'd like you to run through each of the settings that we've already covered and have a good editing this image for yourself. Now the most important thing with this is there is no right or wrong, said it's all down to taste. But once you have had to go in the next video, I'll run through these and do them myself as well, just to give you an idea of how I would have done it in terms of order. I'd have a go of exposure first, then have a better go of white balance and then run through each of the individual tools one after the other and see where you end up. Don't forget to have a go a few saturation and luminant, and if you're feeling adventurous, have ago the tone curve. What's all that is done? Have a play with the crop tool because it looks like that horizon isn't straight, so that's it for now. But in the next video, I'll run through it from start to finish 15. My Turn: welcome back. I would be going well and had a bit of fun doing that. Then you've ended up with an image that you do quite like. So if you're gonna follow along, what you need to do is revert your image back to the start again. And to do that if you've got history here, like I have scroll to the bottom in Click Import on that revert back to how it was in the beginning. So, as I said, the first thing I'm gonna do is I'm gonna increase the exposure we have a look at by hissed A gram barely got anything in the white regard. We've got nothing until in the white We've barely do anything in the highlights. So let's boost our exposure up to the point where we get a nice stretched out hissed a gram . The next thing I'm going to do is look at the shadows. So parts of this image still feel quite dark to me. So especially down here, So I'm gonna raise thes shadows up quite a bit. And the next thing to do is I'm gonna play around with white and black slider, and we're going to use the old key like we did in one of our previous tutorials. At this point, it started to clip. So we're gonna bring it back ever so slightly. We're gonna do the same of the black, so we're gonna drag that down and it's starting to clip here, so we're gonna bring it ever so slightly back. So this point, we've got quite nicely exposed image. We've got bits over near pure white, but not quite got bits over near black, but not quite. My image is already looking an awful lot better. Now, the next thing that strikes me about this image is how bright this guy up here is. This still an awful lot of white and not a lot of detail. So if we tracked the highlights and bring them down and see, we can now see the sky a lot more clearly. So the next thing we gonna have a look at his white balance. Now, this photo looks about right to me, but just have a bit of a check. We're gonna click auto and like him, have a go. Celery is actually made this really orange, and I don't like it. So we're gonna undo that. I have a little bit of a play by myself just to see what I think. Yeah, I think it was about right. Anyway, the next thing I'm gonna do is have a look, a textural clarity and D. Hayes. So we'll start with texture. There's an awful lot of rocks around the edge of this image and swell with the sand. So I think they'll benefit from a bit of added texture. So you see, these are a lot clearer now in a lot more sharp image does look quite flat. So I think a little boost of clarity will look quite good. De Hayes. Let's just apply a little bit and see what it does. It might bring out a bit more detail up here in the sky. It does, but it also made the image look quite dark. So I'm gonna undo that as well, when I'm gonna leave the haze. So the next up vibrance and saturation, This image doesn't look quite dull. So I think we're gonna up both for these. Think about this or point. I quite like how vibrant the image becomes might just add a little bit of saturation. So Did you have a go? The tone curve? There's two main methods that lots of people use. One was crushing the blacks. Enormous adding an s curve. So let's start with an S curve. Put our three points on the curve or bring out shadows a little bit darker. I will bring our highlights a little bit brighter. Must added a lot of contrast to the image. But to be honest, I don't really like it's probably added a bit too much. So I'm gonna double click the points to undo them. Go back to a straight line. I think what we will do is we'll try. The other option on that was crushing the blacks. So we're gonna drag this up a little bit. There's no no part of our image that is black, and we're gonna add a little bit of a curve on just to keep a little bit of that contrast in there. I quite like that. So for in the image is now looking a little bit dark again. So I think what we're gonna do is I'm gonna increase the brightness. I'm gonna ignore the sky for a minute and expose for down here so this is now a little bit blown out again. But I think if we drag the whites back down, better bring that back. So next up, let's scroll down to the hue, saturation and luminant. Something that I don't like about this image is the grass along the edge is really quite yellow and not as green as I can remember it being. So what we're gonna do is we're gonna change the hue of the yellow colors on. We're gonna move them slightly towards green, and that's made my grass lot greener. I think we'll play around with the saturation of that just a little bit as well. I'm just looking at the color here of the sea, and it is a bit of a funny color blue. I'm not really sure whether it falls under Akwa blue or purple. So I'm gonna collect this little icon hip and I'm gonna click on a nice blue bit of sea. And how big of a play and you can see the slide is moving on the other side. As I move my mouth seven downs, it gives you a bit of an idea of what's happening. So I think I prefer that from a luminous point of view, I'm not sure there is anything I want to do. I might make the grass just a little bit brighter, and I might make the beach as well a bit brighter, maybe a little bit on the orange that's just brought out the colors, made the dull colors down here just that little bit brighter. And then the last thing we're gonna do is going to go to the crop tool. And that horizon looks pretty wonky to me. So I'm gonna click the spirit level and we're gonna click on draw a straight line across the horizon and then you go, you can see it straightened up the image for us from a cropping point of view. I don't think I want this part here, so I think we'll just drag it in a little bit, I think won't get rid of a little bit of the sky to and hit enter. So I think that's probably how I would have edited that image. But like I said before, there's nothing right or wrong about yours or mine is all personal taste. It's always interesting to see how the same image can have two completely different looks based on who's edited it. So I had a good time doing that on putting your new skills into use. In the next video, we're gonna talk about some of the more advanced tools further down the list. 16. Before/After and Reference Images: Hello and welcome back. This is a quick one. So this lesson is to quickly show you how to do a comparison of before and after two. This is the image from the last video which we edited quite hard to remember what this image look like in the first place. Now, we've already spoken about the history on one way of doing it, I guess, is to click back to the import and then scroll back to the top and click the last thing that we did. But that isn't the easiest way of doing it. Now you see this button down here, yours might look slightly different as this toggles between different views, but it totals between different before and after views. So if you click it once you can you might see this view. And if you do see this one, it's kind of it showing you a split screen of the two. You click it again, we'll show you in a different way. And if you tuggle through these, you better see different versions of before and after. So this could be quite handy. And you can still edit here so you can be doing edits whilst looking at the original image . If you'd like to get back out of this view, you collect back on this button down here that takes you back to a single window. Now, if we click our and a now, what this does is this shows you the image that we're looking at on a different image. So if you want to, you can click and drag any of the images from down here. So we're gonna go this Ferrari and drop it on, and that will show you your reference image here and again. If you click this button, it so goes through different versions of that. And if you want to go back to your original view, you just collect this one. That was just a quick one, just to show you how to do before and afters. And sometimes it can help. When you've been looking at an image for quite a long time, when you're not really sure where you started 17. Sharpening and Noise Reduction: and I'm Welcome back in this video, we're gonna talk about sharpening and noise reduction. So let's start with sharpening. So where we have spit turning before? Underneath that you've got a group of things called detail. Now, by Defoe, sharpening will already be applied. To some extent, your numbers might look very similar to mine. And this box up here is showing you a sample of the image zoomed in that you know what's going on now in this image. Our reference is a bit rubbish is out here somewhere, and we can't really see any detail anyway, If you click this little button here, you can then pick somewhere on your image that has more detail in it. I think we'll go with quite like this edge here. And if we put it around here, you've also got the sea in there so we can see what's happening to the sea onto the rocks. Now, inside a sharpening, there's four options. One is the amount, so that's the amount that is being sharpened and how intense the effect is. One is radius. So what sharpening is doing is it's actually finding edges in your image and making them more defined. The radius makes that line thicker, so sometimes it will give edges a bit of a thick look to them by Defoe is on one. And to be honest with you, I really ever change it. So detail is the amount of lines that it is being applied to. So down at 25 only some of the thicker lines in our image will be being sharpened. Whereas if we move this all the way up, even the little tiny thin edges will be affected by the amount we're sliding a slider masking is an interesting one. So marks King allows us to pick what parts of the image are being sharpened on what parts aren't. So let's go through. These in order I'm gonna do is I'm gonna sharpen this up all the way to the end. And this image doesn't look quite so bad because it's a landscape image. But images of people, for example, this might have a really funny effect of how they look if we zoom in on a part of the image and it might be hard to see on this video, but you'll bear to see it on your computer. Is we get an effect called worming, and if you have a little little look, there's he's funny, sort of worm like effects, little tiny squiggles that caused by the fact we've over sharpened. So let's bring this back down to a level where we think it feels reasonable. Yes, I do think around the sort of 80 mark is the point where things are looking sharp, but we're not getting that weird wormlike effect. Zoom back out for now, Radius. We're gonna leave that one. And like I said before, I really ever change it. As you increase, this lines will look a bit thicker. But I'm gonna put that back down toe one. The next is the detail. Have you ever play with this slider? It depends an awful lot on the image that you're looking at. We've got quite a lot of little details in here, so you might actually want to increase the amount that we're doing. So if you zoom in on an image or use this reference and just have a bit of a play again, if you go too far, you start to get that horrible worming effect. So just trying to find that perfect balance point now. Masking as I said before is the where on the images being sharp and often you don't want everything to be sharp. And in this image, for example, I want these rocks to be sharpened. But I don't really want the clouds to be sharp. And I want them to look quite soft as you drag this slider. If you hold the key, this shows you what is being sharpened on. What? Not so Everything that is white is being sharpened so you can see it. The star nearly everything on our images being sharp and other than a little bit of the sky . And as we move this up, you can see we get to the point now where the skies almost completely black. So nothing up there is being sharpened. A lot of the seas got sharpening being applied and all the rocks around the edge. And if we keep on going will get to the point where nothing in the skies being sharpened. But you can see all the rocks are, and that's probably where we want it in this. So at this point, all of this Skype here is being left untouched auras are sharpening. Effect is only applying on this area down here. So that's sharpening. And like I said a minute ago, don't go to town too much on this. It can be tempting if you've got a slightly blurry image toe, pull the shopping, All the wept towards the end. But be careful when you zoom in and have a look at the details on what that's actually doing. So next up, we're gonna have a look at noise reduction. So this image was shot on quite a nice bright day. So there's not too much noise in this image. If we head back to the library back to the tiled view when we scroll to this graffiti looking image, double click it and go to the developed tub. No, this image is currently quite dark. So what we're gonna do, I'm going to scroll up to the top and we're gonna increase the exposure scroll down to here . And what we're gonna do is gonna take off all of the sharpening effects, so drop the amount to zero and I also want us to take off the color. This is what the image looks like before any processing has been made. And if we zoom into the darker parts of the image, you can see that there's lots of funny colors in here, like red blues and greens that are really undesirable on the in the dark of the part of the image. The worst this gets now, this is a way of the sensor in my camera was really struggling to pick up what's going on here, and this is called noise. So what we want to do first, to use this color slider to try and get rid of some of this weird, funny color in here. As you drag this slider up, you'll see that color has gone. So now we're left with is off white and gray specs rather than the weird color shifts that we had going on a minute ago. So that's step one. Step two is let's try and get rid of some of these spec lei bits. So even though there's no color to them now, there's still a lot of white and grey dots going on here, and that's what we use luminess for. So as we dragged this slider, you'll see that this part of the image starts to become smoother and smoother. Now, if we go too far with this, when we get all the way to the end, you'll see this looks very, very smooth now. But also on the zoom out has taken all of the details out of our image this luminous and noise reduction in general. You need to be quite careful with that because as you're moving this slider up, smoothing out some of these pics, it was down here. But you're smoothing out the images a whole. So as we put that up, you're trying to look for that point. You're getting rid of some of the noise, but you're not taking away from the images are whole. Now noise really creeps into dark photos or parts of images that were dark, that you've made light by increasing the exposure. So watch out for areas like that. So the two bits that we used was luminant so luminous affected how smooth the noise was and color, but rid of the weird color shift that we had in the dark parts of this image 18. Lens Corrections: Hello And welcome back in this video, we're gonna talk about lens corrections. We're currently back in the library module and we're going to select this photo. So it's the image of two motorbikes. We double click it to open it and go to the developed up on the right hand side. We scroll down until we find lens corrections. If you've got it collapsed, make sure you unq. Elapse it and hear it in the profile view. So we're gonna come back to chromatic aberration in a minute. But for starters, let's have a look at profile corrections. If we take that box, you'll see the image changes quite a bit, and it's gone already found for us. What lens? I shot this on. I shot this on a lens made by cannon. It was the cannon E F. 100 to 400 it's applying the adobe fix for that. Now, what is lens correction? So lenses aren't perfect, especially towards the edges of images. Things become less sharp. Sometimes the corners are a bit darker on what light room is doing for you is trying to fix some of the physical restrictions in your lens. So we UnTech this again and re ticket. You'll see it makes quite a big change, and it fixes the distortion in the middle of the lens. So every UnTech can you see how it's kind of helping helping to flat on our image. So if when you selected enable profile corrections on a photo of your own, the lens wasn't automatically found for you. What you can do is go through each of these and point to it yourself. See picked the make of the lens, pick the model and pick which profile you want to use. So distortion is to do with how the lenses taking in the light and how it's having an effect on your image. But this is being done for us because we've got it and it's found the lens and vignette ing is to do with how light and dark corners are. We're gonna touch more on being getting in another video, but just to have a go. If you scroll up to the right, that corners get lighter. If you scroll down to the left, the corners get darker, but we're gonna leave it where it was. Now the other part, we haven't touched on is chromatic aberration, and this image doesn't really have any minute. So what we're gonna do is we're going to move to a different image, and we're going to move to this image of a Ferrari. There's two Ferrari images. Make sure you're on the one that's more zoomed in, and it's called L 100 to 147 Chromatic aberration is another issue that some lenses have it to different extents. Now, if you zoom in on this alloy here of this Ferrari, you'll see that along this edge. Here there's a little bit of a purple tint to it, same up here. And if you scroll up to the roof of the Ferrari along this top edge, there's these little purple blocks. Now this is what we call chromatic aberration on along edges. There's sometimes a green or purple edge that you don't want in your image. I've currently got this ticked and do not undertake it, and ticket light room isn't actually able to find this for me, which is a bit of a pain, but we can do ourselves if we get to the manual tub. We have this d fringe here and as you drag this up, it will remove the amount of purple fringing in your image. If you had green fringing used this green slider. So, having a look at this ally here as I drank this, we get to the point where that purples disappeared. And if we scroll up to the roof, it's also disappeared. That might be still a little bit more there, so I'm not gonna take out just a little bit more now. What it's doing is it's taking these purple edges and it's moving them towards gray. It's down here on the alloy. Can't really notice when the lines go gray. If you look closely at where these purple dots where a minute ago you can now see they've been replaced with a grader when you're zoomed out looking at the image. A grey dot hides itself a lot better than a purple dot does, but it's still worth bearing in mind. So that is how chromatic aberration on profile corrections work. So we hopped back to this image, and we have a look down here at profile corrections. If we click, remove chromatic aberration. That country see any purple edges in this image and then click enable profile corrections. Look at the difference it makes to this image. So toggling this on and off the difference is pretty big. Now we've got and spent some time editing this image already, and when we click, enable profile, corrections, the image. It changes so much that we may now have to go back and change our edit to get it back to how we want it to look. So my advice with Ben's profile corrections is to do them right at the start of the ways the time and effort do you spend. Editing might be undone once you've gone through all of these and get down to lens corrections. That's it for lens corrections on, we move onto the next video. 19. Transform Tools: Oh, welcome back again. So in this video, we're gonna have a look at the transform tools. We head back to your library on. We're gonna open up this image here, double click on it and head to the developed tap. And if you scroll down under lens corrections, we have transformed again. If it's collapsed, member UN collapse it. Now let's have a look at this image first. So this is an image I took while stars in Belgium on holiday. And if we have a look at this building that looks a bit funny, doesn't it sit? This building looks like it's falling away from us. The top of the tower, it looks like it's too. It backwards. And buildings are a bit one key to the woods, the right as well. Now this is all to do with this being shot on an iPhone. That's quite a wide camera lens. I'm stood flat on the floor looking up, so this part of the tower is further away from the camera, and it's kind of given the effect. Everything's tilting backwards Now. What we can do is we can use these tools over on the right hand side to try until the tower , so it looks like it's standing up straight, and we can probably also fix that. Thes buildings also look like they're sloping towards the right Now. The awesome also options up here, which you can have a go with. But we're gonna focus on these first. So doing it manually. Let's go through these one by one. So that's how I play with vertical for us. Now, as we move this slider, you can see it's quite literally tilting the image further away from us, and you can see that it's kind of doing this by distorting the top of the image. So it's quite literally taking the image and moving it on a plane away from us. So we're now looking at the image from a slanted perspective. If we move it the other way, however, is doing the same. But in this scenario it gives the effect that the tower is being straightened up, and if we get to about this point, the tower now almost looks like it's up straight. The problem is when we finish with this image, we're going to crop off all this white space, so it's much better to try and get this done in camera. Or if you know, you're shooting something like this and you know it's gonna look slightly odd straight through the camera. Try and get it with an awful lot of space around the edges. So you fix the first bit. We've made it stand upright. Horizontal does this. But on the other axis, that kind of took the photo from right and so left. So I feel this image. I don't really think we need to do that. I have shot this quite straight on Rotate does what? What it sounds like it does is gonna rotate our image left to right. So I think we're gonna rotate it ever so slightly to the left and using the guide, we're gonna make sure that the top of this building and our guide line up nicely. So I next slide is aspect on. What that's going to do is ever gonna pull the image from the top and stretch it up and down, or it's gonna pull the image from the side and stretch it left to right. So if we move the slider towards the right, you can see this is making out image look longer if we move our slider to the left is making a image wide up. And I think about hit. It was about right now Scale. This is our opportunity to try and get rid of these big white bars down the side. So scale zooms our image in and zooms that image out. So we're gonna try and get rid of these white bars down the bomb, So we're gonna zoom in a little bit. At this point, you might be looking at evidence saying Yeah, but now we've lost the top off our tower. So this is what X and y offset. Does Movsar image from left to right and up and down So the X axis moves left to right. So I think we're probably about right in terms of that and in terms of up and down, we want to bring a little bit more of our image in and for me. I'm gonna have to tweak a little bit because we still have a little bit of weight in the corner. So I'm just gonna zumar scale and ever so slightly more on Think about move is so just a little bit tweaking, we can get it where we want. That's one of the main applications of this transformed till, But you can see what it's doing is it's taking the image. Vertical and horizontal are rotating the image away from us and left and right rotate the spinning. Our image aspect was stretching out image in both horizontal and vertical plane, depending on which side of the slider we used scale zooms in and out of our image. X moves our image left to right and why moves are image up and down. By clicking on here, you can see that this image looks like it stood up, and this image looks like it's slanting away from us. It's quite big improvement, but to do this we've had to crop an awful lot of the image out. So you can't see any of this building here on this image on the right. If we hope back to a single view so you can just see images are whole. If you'd like, you can have a go somewhere using some of these automatic tools, although I do find it's a lot easier to do this sort of effect yourself courts. That's it for this video. In the next video, we're gonna have a look at effects 20. Grain and Vignette: in this video, we're gonna have a look at the effects tab. So from the library, if you scroll or find this image of the two motorbikes, double click on it and again head to the developed up. Now on the right hand side, Ugo, Quite near the bomb. We've got effects again. If you've got it minimized, click it so that you can see everything going on says two things going on here. One is vignette ing and one is grain. We're gonna start off looking at vignette ing now, Vignette ing is how light and dark the corners of your image are, and you can use it to help focus the viewer's eye into the middle of your image. So let's start with the amount we're gonna go really extreme with this just to show you guys how it works. As you have decided to the right, you'll see that the corners have gone very white. If you move it to the left, the corners have gone very dark. I'm gonna leave it on very dark for the minute. We're gonna have a look at midpoint. So as we moved the midpoint slider from right to left, the midpoint is affecting how big the area in the center of the image is. So we might want this out towards right near the edges. And it's only doing that the very tips of the corners. Or we might want it all the way in where we're only looking at the action that's happening in the center of the image. Put that back so sort of the middle. For now, next one is roundness. So currently you can see that this vignette because this is a landscape photo, the Vigna has automatically filled this with an oval shaped vignette. As you move this, it moved it towards a circle or a square. So generally you do want you around us to be in the middle, because you do want it to have, like a uniform effect from the edges round. Vignette looks very weird if you've got a rectangle photo like this, if you had a square photo, it probably fit quite nicely, and it be very weird to have a square vignette. So let's put this back to the middle, and the feather controls the length of time it takes to go from the light part of the image through to the dark. If we moved the feather towards the left, you can now see it goes from light to dark almost instantly. Whereas if you move it to the right, you'll see it goes from light to dark, right by the corner of the image. What we're gonna do is we're gonna undo each of these were going to do it. We're gonna do it, probably this time. So in terms of in yet you rarely ever see any image of like corners like corners tends to be a lens problem that people don't desire, whereas dark corners is also an issue of lenses. But you can use it to help focus the viewer towards the center of the image. So we're gonna bring in that a little bit the midpoint because the actions happening over here if we made the midpoint all the way towards the center of our image is making the viewer look here. But really, we want a midpoint to be quite big so that it covers everything that's going on here and in terms of roundness, we'll leave it as the oval Vigna as we've got a rectangle photo in terms of feather think will bring this down a little bit. So again, if you bring this right in, you can see this is the effect it's doing. It's going from light to this dark, whereas if we had a bit feather in, can blend that so that it's not so obvious to the viewer. So that's vignette ing. When we were dealing with lens corrections earlier in this course, lenses quite often naturally vignette. And when you select your lens correction, it will remove the vignette from the image. If you do select lens corrections to get rid of distortion, but you want to keep the vignette, you'll have to come down here and add it manually. So the next thing going to talk about his grain almost as a bit of a sandy look to your image and grain features a lot in sort of analog film images where you can kind of see a little bit. If we zoom into this guy here on start adding grain, you can see that adds this like picks early sort of effect to our image, and sometimes that could be really good. If you're trying to create sort of a vintage feel so these guys are racing on very old bikes attract enemy called Goodwood. It's adding a bit of a vintage feel, but adding in a bit of a grain, does that quite a nice effect to this and makes the image looked like it was shot on a much older camera than the one I was using. Size changes how big the individual bits of grain are. So if you increase this up, you can see Now we've got really big bits of grain because if you go towards the other end , you see you get tiny little bits of grain. My advice with tiny little bits of grain is sometimes it could just look like a noisy image . And sometimes it looks like it might be there by accident. So if you are gonna add grain, leave about where the default was, where it looks like a purposeful effect, and roughness kind of controls how obvious that grain is. So if we increase it and see that the grain of quite gritty now, if we up the size, you can see it even more. And if you zoom out, it has made a weird sort of feel toe our image but it is quite nice venom. I like I said, These are really old bikes, and it kind of makes it look like it was taken on a much older camera. Well, no. Now we've changed the grain like we have. You can see the vignette might be a little bit too prominent, so you might go back now and create amid points that increases the size of the vigna and make it feather. So it's a bit less easy to see where it's going from light to dark. So there we go. That's been yet. Ing and grain souvignet ing is how light or dark the corners are. And you can control how big that is, using these various sliders in terms of grain grain ads just like sandy, sort of effective image, very reminiscent of shooting on older film cameras and in kind to give your image a bit of a retro feel. 21. Camera Calibration: Welcome back in this video, we're going to talk about calibration. We're gonna use this image here again if you haven't got open. If you go to your library top, look at the tiled view on If you hunt it down, I'm struggling to see it. There it is. Double click it click develop on if you scroll to the bottom. The one of the bomb is calibration at last. Video is effects. We can minimize that now. Now what is? Calibration said. There's two real parts to this. So every single camera manufacturer and even between their different cameras, will interpret different colors slightly differently. I think I mentioned before. Canon is an example of a company that is very good at getting skin tones right now. That's partly down to how they handle reds differently to other camera manufacturers. So if obviously have taken this photo at the exact same time with two different cameras, the colors would have looked slightly different. And a lot of it's due to how the manufacturer decides to render each color in their camera . Now, when you open up a image, especially if it's a raw image, light room is the one that's interpreting the colors so it will take the raw file, which is just censor information from your camera and, like cream or interpret that into what we see. Here is our photo. If we have a look at this table on the right hand side, there's process here now. Light room has bean upgraded many times over the course of its life, and each version of raw processing has been saved so you can go back through each one. Version five is the process. Er that like room currently uses, turns your war files into images that you can see and you can see that has been currently five versions. Now, if we go to Version two, for example, which I thinks from back in about 2010 and scroll back up to our basic panel, Attles have changed. These used to be called something along lines of exposure. Contrast highlights. So in changing your the version you're using, it's also reverting your light room back to the older tools and the older two names. So in general, you always want to leave this on the current version, and it's the version that light room themselves on Adobe themselves feel is best. So we're talking a second ago about how different manufacturers interpret their colors. So these are the three main colors that all images are made up off. And you have heard it probably in the phrase RGB before red, green, blue and a little bit like a human saturation earlier. You can change how the process er is interpreting red. Let's give it a go. As you move the slider along, you can see this red bikes turned orange. He did it the other way. You can see that our red bike is turning pink. So you've also got Remember, though, that other colors that aren't red, green and blue are made up of a mixture of all three, so sometimes changing the red like we just have towards a pink. Also, if you check other parts of the image has changed the color of I grass. Any of our grass that has a little bit of red in it is also now being interpreted as pink, so these sliders have a very big effect on what's going on. So again, if you move, I'll read to the other side. You can see that are red bike has turned orange like you'd expect our grasses also changed its tone. This is the same for all of the other sliders as well. As you have a play with them, you'll see that you get some quite interesting colors, and I would use these mainly for artistic effect. If you want to really have, Ah, play with some of the colors in your image might be asking, Why is this helpful? Now imagine we had actually taken these this photo on two different cameras, and for some reason we wanted too much them. What we might do is open the pair of the images in our reference mode and then play around with one of them to try and match, say, and Nick on image of a Sony image. Personally, I pretty much only used this for artistic effect and not really matching two images. But that is one of the reasons why you might want to use this. The saturation sliders do what they say. That's hot back toe, one single view. So here's our red bike again. If we drag this slider down, a red bike becomes rather muted and quite grave, so that's it will camera calibration, and that is us at the bottom of these tools. So in the next videos, we're gonna have some fun with some of these little tools up here as we've gone through all of the panels on the right hand side. 22. Graduated Filters: Hello and welcome back in this video, we're gonna have a look at my favorite soul in light room and is extremely good for landscape photography. So we're gonna dio if you head back to your library and open up this image here, double click on it and then head over to the develop tab. Andi, I've got my before and after switched on, So I'm gonna click down here in the bottom left to go back to my single view before we get started using this graduated filter. The first thing we're gonna do is we're gonna sort out this image here because it looks a bit wonky on. We've got so much sky up here, I think will crop some other out. So if you select the crop tool and using the slider, we'll straighten up that horizon on will crop it down so that we've got a little bit less sky in our image. So now I've done that. What we're gonna do is we're gonna expose this foreground bit here, so ignore the sky. We're just gonna make this bomb part of the image, the brightness that we want it I'm gonna The brightness quite a bit. I'm gonna give it a little bit contrast. I think the shadows just a little bit. Then we're gonna cook me. The white slightly would drop the blacks to add a little bit of contrast down here. Maybe just little squeak of clarity. So that's made that image look an awful lot better. But there's a big problem with this image, and that is the sky. This guy's completely blown out. It's almost pure white. Now, this is where our new tool, the graduated filter, is gonna come and help us. So if you select it and what you're gonna do is you're gonna drag and draw a line and I'm gonna leave this down so we can see what it looks like. But you can see here we've got the central line. If I don't on it, we've got a line towards the top and towards the bottom. If we put this line across the middle across our horizon, if you have anything on these tools already moved like I've got color temp content changed DoubleClick them to refresh them. So currently this filter is doing nothing. But if we drop the exposure, what you'll see it's doing is changing the exposure on this side of the filter, but it's leaving this side completely as it is. So what we've been able to do here, but the line across the horizon is we've been able to darken the sky. What's not affecting this front? Part of our image Now the good thing with this is this isn't just for exposure. It's for any of these options here. So if we want, we can drop the exposure up the contrast a little bit. We might want to add some shadows into them clouds. And one of the options that we spoke about earlier was D. Hayes. And we said how good it is for making skies look a bit more dramatic. Let's add, a bit of D. Hayes were doing that are affecting the bottom part of our image. Know anybody that's into photography might have used a riel graduated filter, and it's a glass guilty put in front of your lens where the top part is tinted on. The bottom part is clear, and it's to do exactly this in camera. Once it's drawn on the screen, you can drag at the top on the bottom to increase the area of graduation. So what this is doing is this is the point where we start to darken. But it takes this long for the the effect of Philly kick in. To make this really small, it becomes quite clear that this side has no effect. This site has the full effect. Personally, the way I did is I put my line on the horizon. You can tell it by using this middle line, but make sure you have a decent area for it to go from light to dark over. Otherwise it becomes far too obvious. Something else to watch out for is, even though we're putting this across the horizon, this part here, this cliff up here, is also having the effect applied to it, which is what sometimes good to have the graduation spread over. Quite a big area don't go to extremes of ways. It's very obvious that is only affecting the right at the top of the image. Just try and find that sort of happy medium to come out of this tool. When you finished using it, just re click the graduated filter icon on. You'll see our tools revert back to how they used to be. And again, we can just continue editing our image and this will go back to affecting the entire thing all at once. If you have a quick look at the before and after, you can see how much better this looks. We've managed to expose the bottom part of our image. So it's nice and bright, and we can see what's going on. We've been out to keep the details in the clouds. We had another image earlier on that. I had almost the exact same problem. It was this one from the Isle of Skye. I'm gonna get back to full screen. I'm gonna reset this image back to import. So again, what I'm gonna do is I'm gonna edit just the foreground of this image and just ignored the sky. For now, let's up the exposure. Think I'm gonna up the shadows to get rid of some of the dark patches in here. A little bit of clarity and then I'm gonna take the graduated filter I'm gonna draw on. And this time I'm gonna do a bit of an angle. I'm gonna undo the color time and do the tent that is being applied. I'm gonna drop that exposure down. I'm gonna drop the highlights as well so that we can see some of the sun up here. Might apply a little bit of D. Hayes. I mean, I think we're gonna do is I'm gonna stretch this over a bit more of an area because you can see the effect this is having up here in the top corner. I'm just gonna spread this out a little bit further. There we go. If we have a quick look at the before and after once again, you can see we've taken this image that was kind of exposed for the sky. I'm really dark in the foreground. We've now what? Quite nice rounded image. Hot, back to single view. We have a nice spread out tones throughout the image. And even still, I might Now we're back. Teoh, viewing this image as a whole and not the graduated filter on might drop the highlights even further to bring even more detail up there in the sky. If you want to hop back to that graduated filter cause you want to tweak it, click the graduated filter conflict the dot and it will let you go again. You can also draw multiple graduated filters to, so we click the new button. It will let you draw another one, and you can keep drawing more and more on your page. There is no limit to how many you can do. I typically find myself only ever using one or two, so I just undone them. So that's the graduated filter as honestly one my favorite tools in light room, especially as a landscape photographer. Sometimes it's really hard to expose for the foreground and the sky at the same time, so this, especially when shooting war, gives you that edge. 23. Radial Filter: Hello. Welcome back in this video, we're gonna have a look at the radio filter. It's very similar to the graduated filter we used in The last video does the same effect. But instead of doing it against a straight line, it does it with a circle. So for this video, we're going to open up the image of my face. So if you come back to the library module and double click on it and develop So we want to do this images you want dark in our background. So what we're gonna do is gonna select our radio filter too. We're gonna start from the center, my face and your outwards. A circle. I'm gonna make it slightly bigger than my face if you need to. Using the little dot in the middle and dragged into place in squeeze decides down the top basin, the boxes on the edge. Now, if we drag the exposure down on this, you can see this is doing the opposite of what we want. So by default, this is making the center of the image darker. We want to make the edge darker. So instead of having it on the inside, if you come down to our tools and look at the invert button. If you untech that you'll see it's now swapped, so it's now darkening the edge of our image. I've got a little bit too extreme with that slipped, but the brightness just a little bit. And there we go. We've added a nice duck background to our image feather. We've come across this before with some of the other tools. That's the distance in which we're going from the light to the dark part of our image. So if we play around with that, too, you'll see we've got a perfectly hard edge here. What? We got it on zero. You put it up to 100 you get nice soft fade, the same a graduated filter. You can apply any of these effects to it, so that's the radio filter is exactly the same as the graduated filter. But rather than affecting a line is applying that in a circle shape on the same of the graduated filter you can ADM. Or more of these, you can have as many as you'd like Sadio up in the brightness that they're just remember if it's doing the opposite of what you want it to do to click Invert so that it works in the opposite direction. But that's all for this one. And the next thing we're gonna have a look at the healing tool. 24. Spot Heal Tool: hello and welcome back In our previous video, we added a filter on to hit on, and we're going to remove that. If you head over to your history on the left hand side, scroll down and go back to import. That reverts us back to the start. Now, if you see him in on me a little bit, you can see there's obviously imperfections in my skin. So what we're going to do is we're going to get rid of those using this tool over here called the Spot Hill Toe. You can change the size of your brush, the feather on the A pass ity. So in terms of removing spots from images, where you want to do is try. Make the brush that same size and we have to do is find a area and click on what you'll see is a second circle appears on. What that is doing is it's taking this circle from here, this part of the image and it's actually placing it on top of what we're trying to remove. Unlikely was trying to just reference an area that it think matches up quite nicely if you slide the a pasty brush from left to right, you'll see that what it's doing is when it's copying. This image over the top can choose how bright or dark that is when you put it up to 100% is literally taking this putting on without trying to do any blending. So sometimes it's good to drop their pasty little it on the feather like before, is just kind of how the edge back into the existing image underneath. So if we d selected, you can kind of see that there's a little bit of an edge there, but when you zoom back out, it's almost completely gone. So feel free to have a go a couple of other areas as well to try and get the brush the right size click, and you can see it's using this as a reference capacity. You put it on 100% and take it off. You could be quite obvious. Sometimes there's a circle there in this image, it looks quite good. I'm rinse and repeat. Sometimes you find that you don't get the best reference image, and it's worth undoing and having another go. But I think that would do for that. It's every zoom back out, you can see that they have been removed, especially from a distance. This effect looks really good, and it's quite clever and how it works. So that's the spot Hill. It'll you don't just have to use it for people. It could be quite good just to remove odd blemishes from images. Let's say, for example, in this image, were unhappy with some of the rocks down here at the bottom. But we can do zoom in and say, We don't like this rock here again, using the Spot Hill to make sure the brush of the right size they've got a little bit bigger for that. Well, maybe just a little bit bigger. It's probably too big now, one extreme to the other here, and when you click, you see it's using this. Here is a reference can play around with the tools a little bit to try and get the capacity in the right spot that once elected and you can see that we've removed that from our image . This could be really good. If there's something that standing out just a little bit too much in your image, say, for example, you have like a bright red stone or something down here that you didn't like. You can get rid of it using the spot heel toe. Another example of whether spot he'll talk can be very helpful. If we get back to this image that we edited earlier, where we've applied de Haze, you can see these odd dots on the image. Now what? This is this is actually a little bit of dirt from my on my sense up, and they're coming through in the final shop. So again, what we can do is zoom in on that duck crap the spot held. So meet a brush, the right sort of size click, and you can see that this is referencing up there somewhere with the pay city quite low, like we have it here. It's 60. You can still see that dot So we're gonna do is just increase that a little bit to the point where kind of disappears and select. Zoom back out and you can see that's far less obvious and there's a few areas of our image where this is happening. So let's have a bit of a clip that we get rid of that one get rid of that one and select it . Scroll up this two more here. So again we'll select that one. Select that one. I think that's about it. On this image, this one here looks like it's still showing through just a little bit. So what we'll do is we'll go back to it and I think we'll play one of the tools, just like we're up their pasty, just a little bit more to ensure that is gone. There's quite a lot of opportunities to use the spot Hill it'll on. It's a great tool for removing just little blemishes from your images. The possibilities really are endless. With this tool, you might have a look here and think, I don't really like that wave There in the middle, it stands out too much. Let's zoom in. Select the Spot Hill to it's the right size click. And just like that, it's gone. Using back out that way is no longer standing out. We might also have a look over here and go, Ah, I don't really like that hedge. It's using the Spot hill that looks a little bit too small, so increase it just a little bit Now, when you click, it's using that. There is the reference. When you click, you can't even tell. We've now removed that from our image again. You might look down here, decide you don't like that rock. Make sure it's the right size click and you'll see in this scenario that is actually clipping this rock here so we could change the size. Drop the size down a little bit and then you go. We've got rid of that rock from my image. It's really helpful to, and it's one of those ones. The more you play around of it, the more you realize how helpful it is and you'll end up using it all over the place just to tidy up images and remove the little imperfections. 25. The Brush Tool: Hello And welcome back in this video, we're gonna have a play around with a brush tool. In the previous two videos, we've looked at the graduated filter and the radio filter. Now them to a great if you want to apply effects in either a circle shape or a straight line. But if you want to do anything other than that, then you need to use the brush tool and said to begin with, we're gonna hop into this photo here. So if you're not in the library, head to the library, make sure on the tower of you find this image double click it, head to the developed tab and select the brush to up here at the top. Now, what we want to do is you want to brighten up this part of the image If we try to do this using the graduated filter, but end up doing something like this up in the exposure on the problem with this, we made the sky really bright. We could I guess, try and draw another one on here and make that one darker to try and bring some of it back . But with straight lines, we can't achieve what we want. And if we select the radio fields up on, draw that onto our image on up the exposure. This is kind of giving us the effect we want, but it's also gonna affect this area in here. So instead, we're gonna head to the brush tool, gonna click the brush toe, make sure everything set to zero. And in this case, we want to draw on and not we want to do on exposure. So we're gonna take a brush and the exposure, say one stop down here you have your different sizes. You can change the size of the brush. You can change the feather on the flow. So now we've got this. So let's start drawing over our rocks with the mouse and you can see that where were drawing with up in the exposure. Let's give that bit of a draw around. Try and get the edges. There we go now, whether dot piers, if you offer over the dot, it will show you where you've drawn and if once you've applied the effect, you don't think it's bright enough, you can still go in and change the brightness of the brush by changing these sliders over here, so you might decide you want it to be slightly brighter. C'mon, some clarity to them rocks. So that's one way of using the brush tool. You might want to use it to brighten up areas of your image. In one of the other images that we've used. This one, we kept talking about how this part of the images, often too dark sea, could select the brush tool again. Make sure you've got a bit of exposure being added. Make sure that brushes the right size and paint over that part of the image, and you can see we have nicely exposed. That area the image. Now, Now you don't just have to use it to Brighton and dark and areas of an image. If we head to this picture of me, what you could use it for us is to retouch skin. So what you can do, so make sure you got the brush tool selected. We're gonna undo the exposure, but this time paint on a reduction in clarity and painting that over areas of my face, and you can see that that's retouching my skin, just taking the edge off of it, making it look a little bit less sharp, which is often an effect that you want. Now that we've done it, you can have a look at it. We can offer the brush tool and have a look at the before and after. See that this has made a big difference to the image. So that's the brush to. It's very similar to the graduated and radio filter. The differences, though, that you're painting on the area you want to effect rather than doing in a circle or a straight line. 26. Panoramas: Hello and welcome back In our previous videos, we had a look at the brush tool and the brush tool Pretty much completed every tool available inside of the develop module. So in this video, we're gonna have a look, something a little bit different. We're gonna have a look of panoramas. If you head back to the library on on the left hand side. Have a look in the folder. Pano. You'll see there is a selection here. Of 16 images. The 1st 1 to 7 are Panorama that stretches from left to right. So this is one field. This photos from the left slightly over to the right. Again, again, again, again and again on what that's doing is each of these images overlap ever so slightly and give us a nice long stretched photo when we stitch them all together from photos 8 to 16 these nine photos are like a three by three grid. So 89 and 10 on my screen. Our top left top, middle and top, right? 11 12 and 13. Ah, the Middle Strip. And 14 15 and 16 are, But I'm left middle and bottom, right? So the important thing is these images overlap, so 8 to 16 all have an overlap somewhere 1 to 7. Again, all overlap. So for the first panorama, we're going to start with images 1 to 7, and you have to command click them. So select the 1st 1 command click toe, highlight them or right click and select photo merge Panorama. This will open up a little preview of the image so you can see this is what that image looks like when it's stuck together from left to right. If we antic auto crop for a second, you'll see how it's actually stitched the images together. And it's left a bit of a white border, which we don't really want. So if you make sure auto crops selected, it will crop off them edges. For us, there's three different ways that light room can go around making your panorama toe have a play with each of the three of them. I tend to leave on spherical. I personally also leave auto settings on ticked. If you give it a tick, you see that light rooms applying some sort of edit to the image. I leave that UnTech on and and edit the image myself and I leave. Create stack on Tick. Now, when you click merge, is this gonna take a little welfare, the panorama to create and you'll see the time bar up in the top left. I have a reason. Respect my book, and it still takes a couple of minutes to make. So don't be concerned if it starts to take quite a long time. So I'll speed this up and I'll be back in a second. So that's just finished. And you'll see here at number eight from my screen. That is our new panorama Now. The important thing with this this has created a brand new file for us. So if again, have a look in the finder or in your files. Inside Pano is we've just stitched together at seven raw files, so this file is huge. It's 450 Meg, and if we head back into light room, double click on it. You'll see that this image is nearly 20,000 pixels across from left to right. Now something else you'll see what this image is. It looks kind of blocky. You can almost see where the lines are for each of the image it's merged together. Now this is one of the problems when shooting a panorama is that if the exposure changes and you can see in this image that the day was quite overcast, I've used I've left my camera in manual settings, but the sun's just come in and out as I had taken each of the seven images. So when you take in a panic, that's something to be wary off on. If there's changing light, panoramas aren't a good idea. Now, if we head back to the library and have a look at these images here, these nine again, if you command click to select all nine of them, right click. So to merge Panorama again, this will open up our preview. Here's the preview, and you can see when I took these nine images that the light didn't change and you can't see where each of the image starts and begins, something I forgot to mention last time just to check up here. So this is showing us that all nine images have successfully merged. If we'd had a random tempt image that wasn't related to this like room would have noticed and kept that to the side and not try to build it into our panorama. So I'm gonna leave auto crop on and don't want auto settings. I'm gonna click merge, being nine images rather than seven. This is gonna take even longer than before, so I'm gonna let it run. Will be back shortly. That's now finished. And you can see I've got this panorama down here. If a double click on it, there it is. And you can see this one's an awful lot better where the exposure didn't change between each of the nine photos that I took Something to be wary of is how big this images is. 10,000 by 5000 pixels. And if we had go and have a look at the file size of this, its 346 megabytes again, this image is huge, which isn't always a bad thing. If you zoom in, you can see this so much detail in this image where there's so many images combined to make it. And if you head to the developed tab, you can edit these just like you would any other image. Just be wary where these files are so big, your computer might struggle, and it might just take a little bit longer to do than usual. But all of the normal edits apply. So that's panoramas panoramas, a great fun they're great for if you don't have a wide angle lens and you want to get a nice wide field of view, anything to be careful of is that you do shoot them correctly and tried to make sure each of the nine images has been exposed the same. And it could be very challenging to do that in changing light conditions. But there you go. So that's panoramas. In the next video, we're gonna have a look at HD ours and how you can merge three of the same image at different exposures to create an even better photo. 27. HDRs: Welcome back In the last video, we had a look at panoramas on how you can stitch together multiple images to make one big image. Now there's another thing you can do. A photo emerge called HDR, and their hatred, er is a high, dynamic range image. Now, this is something that most phones do with pretty much every photo they take. Now, if we have a look at the image, have a look at this image on gonna reverted again by going to the developed tab to history and back to import this image. It was very challenging to shoot because the sky was very, very bright on the foreground was quite dark. When you're taking a photo, you have to expose for something, even though I've tried to expose somewhere in the middle, maybe slightly towards being too dark. I've still blown out the sky, and a lot of the off terrain in the foreground is still very, very dark, and I have lost some highlights, so clipped some highlights and it looks like my blacks were actually about right, and this was taken on a Canon one DX, which one of the top of the range canon cameras. And even with a sense of like that, this image still wasn't possible. Teoh take without clipping something. So this is where hatred ers come in on what you can do it. Hey, HDR is you can take multiple photos at different exposures and then merge them together to create one. So as an example, using this image, what we could have done is we could have taken one image that exposed the sky something like this. We could have done another image that exposes all sort of our mid tones, and we could have done another one that was bright, which brought out these dark areas and then merged them together in something called a Hey HDR. Now iPhones in particular do this with nearly every image they take. So when you're on a bright sunny day and you're taking a picture of someone's face on this sky in the background, what your phone is doing is it's taking one picture exposed to the person in the foreground , and it's taken one picture of the sky and really quickly merging them together in post. You can do this in light room, so if you head over to the library module. Go to the tiled view at the bottom and head to hey, HDR, you'll see here I've taken three of the same image. If we flick through these images one by one, you'll see that in this image I've exposed for the dark area here at the front. In this hedge, the next image is somewhere in the middle, so exposes these trees sort of like a medium distance away in the last image of exposed for the better right in the back. Now what we're gonna do is we're gonna take these three images and we're gonna merge them together. So to do that, if you head to the tiled view few command or control, click all three of them, right? Click, go to photo, merge and click HDR and give it a few seconds. It will create us. A preview now would leave on auto align. So even on a tripod there'll be maybe a couple of pixels that like room or try and fix it will also, if you have shot them by hand, it would do its best that trying to line up the images. My advice would be they definitely shooting on a tripod. And also they can't really be any movement in your image because if there was a person walking through my frame, for example, would have a picture of person here, another one here and another one further down the path so they can't really be any movement in your image, either was talking about iPhones earlier in the way they get around, that is, they take three images very, very quickly in quick succession to try and remove any movement out of the image. So leave AutoAlliance turned on. I don't select auto settings as we don't want the image to edit for us. We'll do that ourselves. And then there's different levels of de ghosting. I typically find going for medium gives the best result. I might have a little look in a minute or what ghosting is. Somehow the previews bill. You can show a D ghost overlay if you want, and you can see where it's trying to fix some of the areas of our image. Andi, I don't click, create stack. Once you applied them settings, he select merge bit like panorama about the top left. You see a progress bar on this gun again take quite a while to do so. I will come back shortly. Course that's now finished. So you can see I've now got this fourth image and again a bit like the panorama. If you head to your folders, you can see this has created us a new image. Hdr one. If you double click on it, you can see it's done what we had expected. This part of the image still has detail in it, and so does the really bright part. The image, the still detail down there and you can like with anything else, still hop into the settings and go even further with this so you could drop the highlights down and then you get you can expose for their and if we raise the shadows up, you see we can bring all the detail back in there. Now. One of the challenges of hate guys like I said earlier, was movement and is potentially something quite bad about this image. And that's that I've shot in a bunch of trees on a reasonably windy day, so this image won't lined up perfectly. If you do, zoom in and have a good look at the details you'll see there are some funny effects in here , and that's where the leaves have moved between the three photos that I took and that's really what you want to use this for static subjects. A lot of cameras do have settings called bracketing, and they will take the three photos for you at different exposures. And that's a way of getting them images in quick succession rather than you having toe take one photo change the settings. Take another change of saying to take another. Cameras often have a feature called Bracketing that would do that for you so the images will come much quicker. But from a zoomed out perspective, you can't really see that the details look a bit funny. So that's a HDR, and it's really good if you have a very bright and dark parts of your image on whatever's in this frame isn't moving very much 28. Face Tagging: Hello and welcome back in this video, we're gonna have a look at face tagging. That's quite handy feature that lightning has built in on why have chose some of these images to demonstrate, as I think, this is a couple that we haven't used yet on the library module. If you head down to this button down here, I think it's called face tagging or face mapping. It says, Welcome to the people of you, so it gives you an idea of what's going on and you can click start finding faces an entire catalog, and if you click that, you'll see that we'll start to process up the top here has face detection is now turned on . It's gonna go through every image in your library and try to find people. And when it finds a person and it finds a face is going to start tagging them up here so you can see that light room is actually very, very good at finding faces. Some of these images I have in this library are just me taking photos, a car show, and it is finding pretty much everybody in the background and asking me if I know them. Now that's a bonus of you guys. I don't know any of these people other than this chap here. So once it finds somebody where it's got a question mark, you can click the box type in a name. So that's May. On what it would do is make a new collection of meat. Adam. What like Room does is like imagine he gets better at finding people once you've named them . So now it's seeing me up here what it might do, and it's looking through other faces in images is it might spot me and go. Is this Adam? And rather than having a question mark, you can just take a box and say, Yes, that's me. So we might do is have a little play with these and see if any of these guys come up more than once. So if in there, let's call this guy Steve, and you can see you now like room has refreshed. And it's starting to ask me, Is this Adam? And you can say no where you can say yes. So in both these cases, No, that isn't Adam, and you see all is this Steve stood that one for example, might have bean Steve. And if you just click the tick, how at him up there, the more more photos you haven't each of these collections, the better it gets. Its spotting people. I've just gone through doing this process with a whopping 20,000 images on my advice to you would be if you're creating a new light room catalog to do this early because it's painful to do. Once you've got thousands and thousands of images. It took me hours to go through, and it also took, like, three hours to go through and find all the faces. So if you haven't got this turn on currently, when you turn it on, be prepared to spend quite a lot of time playing around with this. If you're just starting a library, advise you Is there something you want to turn it on quickly so that you just do this periodically as and when you add images? I personally love this feature. So now that I have gone through all them 20,000 images and tagged everybody when people are like, oh, have you got a photo of me? All I do is I come to this screen on. If it's say my sister, I'll find my sister. Click on it and I'll show all of the pictures I've ever taken with her in the frame. This could be quite negative, but another feature that's really good with this is say, for example, if there's somebody that you don't want to see in your images anymore. What you could do is also delete every image that contained a certain person, so that's face tagging in light room. It's great feature. My advice would be turning on early if you are going to use it, because it is painful for Bayview and White Room to do this a much later date. And just remember that light room is extremely good. Most of the people you'll see in images, especially if you're taking photos that car show, for example, you won't know, and you will be deleting as you go through and saying, You know, I don't know who that is. Yep, that's not Steve. Um, but there, there you go, 29. Exporting Images: Hello. Welcome back in this video and have a look at exporting these images. So one of the important things about light room is all of the edits that you're seeing aren't affecting the files in the background. If you go and have a look at the background files, all of your images look exactly as they did the day you took them. So we have to do is export these images to go to share them and actually create the files. Now there's many different ways and go around selecting. Which for is you I want to explore. One of the easiest ways I find of doing this, especially if you're in the library, is to sort by edit time. And what that would do is that I'll show you all of the images that you edited. Know what you can do is you could command, click or control. Click the images you want to export. You could do command A or control A to highlight all of them and just export the lot. Oh, using some of the other features we looked at earlier, you could have a look at sort by rating and only export the images that you gave five stars . So however you want to find the images you want to export is up to you that once you found the images that you want. So let's just take a handful. So I'm gonna command click a few images and then go to the export button down here. You can also right click and select export here as well. So we're gonna go through each of these screens that one by one, I'm gonna flatten the more first, so festival export location. So where do you want to save them? So in this scenario, let's choose my desktop. Now I've changed my desktop, asked me whether I want to put it in a sub folder. So for these, we're gonna call this Kofi's course. So this is now going to say on my desktop in a new folder called Coffees. Course this option here, ask what to do. So if it finds an existing file that's already got the same name, rather than just doing something, it will ask you what to do. You could choose this toe over without warning to be warmed that that could overwrite your images without you knowing. So I personally leave it on, Ask what to do, just in case something does happen. Next up, phone aiming so you can choose what to name these. So typically I do go over custom name sequence. Say, for example, if we gave with coffees course again. What is going to do is it's gonna save the images called coffees. Course one and you pick your start number that away up until I kind of have an image of effect. I think we picked six C every exporting six files, so these images will be called Goofy's course. 12345 and six you want to do. You could change that start number 200 so now they would be called 100 12345 and six. Um, and you can also change with that. The extension at the end said dot j Peg in this case is put or lower case. It really doesn't make a difference. So that's close. That next up is video, so we don't actually have any video files here. If you were exporting videos, you could pick performer on the quality. So next up is file Settings says various different settings that you can choose to export your files in. So J. Peg was one of the ones we spoke about earlier. Because this is gonna be a final image. Saving is J pegs. Generally fine. You're not going to re edit these images. If you wanted to, you could save them as a PSD Sassa Photoshopped file could save them as a tiff. Tiff files a huge and they hold lots of information. D N g. I think it might have been made by Adobe on. A lot of companies have adopted it. It's the last week you could just save it and whatever former is currently in. Typically, when I'm exporting images, this will be my final export, and I don't plan on doing anything else, so I'll save them is J. Peg. When you do choose J. Peg, you have a choice of quality. Personally, I don't want my images to be compressed too much solely. That 100%. As you move this down, the image will lose its quality. But at the same time, the Fowler size will become a lot smaller. So that is a bit of an option there, so limit file size is kind of the same as quality. Rather than sliding on along a slider, you can say to light room make sure my images are never over 100 kilobytes, for example, and you can keep whatever number you want in there. But I'm gonna get equality as the slider makes a bit more sense. Color space are pretty much always leave this an s RGB. I'm not gonna get into detail of each of these. If you'd like, you can google them that to do with formats. Release s RGB is quite good for general use where As display p three, you won't see this and printed images, but you might get a little bit of extra color on certain displays. We're gonna leave. It s RGB Next up, image sizing. So if you wanted to, you could choose a pixel height and whip on a resolution. I leave this all a default. I want my images to be whatever size I've made them. If you wanted to, you could apply a bit of sharpening toe all of your images on export. So personally, I'd have done any shopping that I want to do actually in the edit, and I wouldn't want to be applying anything. At this point, we talk a little bit about what meta data was earlier. So that's kind of camera information, location information that saved within the file. So some of these images have been taken at Low Wealth Co. For example, and they may hold information that says that's where it was taken. In that case, what you might want to do is remove some of the meta data so you might want to remove the location information so people don't know where the image was taken, maybe for security reasons, the same with person information. So if you have a camera where I asked you to keep your name and at some point, what it might do is hold your name against your images, which could be quite good for copyright reasons. But sometimes you might want not want people to better trace that back to you. So I personally leave meta data is almost a data because I'm not trying to hide anything with my images, and I'm not interested in copy writing at the moment. So water marking, if you've ever seen an image with someone's name either plastered across it or down in the corner again, Normally for copyright reasons. People like to put their name on things that the showing on the Internet is a lot of time. It's a symbol is copying and pasting for people to steal your work. He did. Once out of watermark creates the simple watermark, or you can create new ones again With these images, I'm only going to sharing them with friends and family, so I don't want a watermarks. We're gonna leave that UnTech post processing this after export, you can get like him to do a few things for you. One of them is showing finder, which, personally I find quite helpful. So once it's gone through and exported or six images, it will open up the documents folder with them in So on a Windows machine that like it, he says, something like Show in my documents. Other options are to open straight away into Photoshopped or other applications, so I'm finished with these images now. So what I want to do to see them in documents on That's the lot. So we've reached the ball as we've gone through all of them settings. The only ones I typically change every time is export location and file naming and maybe image sizing and file settings. But generally I don't look at many of these things. It'll normally just the name and naming convention. It's now that's done. If I click export, you see towards the top left. Now it's exporting them. Six files that would turn away in the background is still able to have a play around in like room, if you want, will quickly wait for that to finish as we tick that box earlier. Now it's finished. Is open these files up. Andi. These air now J peg images with a naming convention that we chose, and you can do what ever had like with these on, because there J pegs just about anything except them so you could send them to your phone. Social media put them on the Web. Jay Peak, supported by just about everyone, is the file format for images 30. Presets and Copying Settings: Hello And welcome back in this video, we're gonna talk about copying and pasting sayings and presets. So in some of the previous videos, we've applied some edits to some of the images on what you might want to do it times it's just copy and paste them settings from one image to another. So on my screen. Currently, these two images here were taken on the same day. Same sort of location says a good chance that whatever we do toe one image, we might just want to pick up all the settings and paste them on another. So let's do that now. So that's hoping that this image here this is when we've edited earlier, but for the sake of this video will quickly reset it on, and it it again. So on the left hand side, if you go to history and get back to import, this is our image. Looked like initially, we're gonna quickly edit this image to get it looking good again. So we're gonna apply crop, So festival, We're gonna straighten out that horizon, we're gonna squeeze this. Uh oh, I'm gonna unlock that original ratios. I could make it the shape I want and we're gonna make it that sort of size We're gonna up the exposure and I'm gonna expose just for the foreground Something up The exposure, the contrast quite that Raise the shadows a little bit Ring the highlights down to bring some of the details back in on the cliffs I think up the clarity as well. I don't really wanna de haste the foreground. We might de Hayes this guy in a second Let's up the vibrance just to give the blue and the green a little bit more kick Then we're gonna do is gonna take a graduated filter I'm gonna draw on the top but it across the horizon straighten up a little bit. Um, drop the exposure down to bring the detail back in the sky. I might add a little bit off. Gonna fix that D Clarity said I'm gonna add a little bit of D. Hayes might have just a little bit exposure Backings saying it looked a little bit too extreme. And there we go. I think that would do with this image. What? I'm gonna do this quickly. Get rid of this little bit of dirt on my sense up using the spot Heel, toe, Find it point click. Done. And what we're also gonna do is gonna add a bit the tone curve onto here to crush the blacks a little bit of contrast into them Shadows bring the highlights up just a little bit . That we're also gonna do is change some of the settings in here as well. I don't like the shade of the green. So I'm gonna change that a bit more of ah, back Krystle of color and in terms of the blue of the sea as well just kind of want to tweet that it looks a little bit unnatural at the moment. Cool. Let's put a little bit of in yet on on a stick a little bit. Grain on now purposely applied a lot of edits to this image just to shoot the next steps. So one of the things you can do now we've edited this is good toe edit and click Copy. Now this will bring up a box and you can take untech settings in here that you want to copy . So we've done on awful of adjustment and by default most things that tipped in here. So anything that is ticked, it's gonna copy anything. That's UnTech. It isn't going to copy them settings. So something I quite often leave UnTech his white balances that can change a lot between images. And you speak that yourself. But everything else you probably do want ticked. We haven't done any brushes. If we wanted to copy our graduated filter of the sky, we could take that box and it would copy up gen. Generally, though, your sky will be in a different place in every image. So you'll be forever moving that graduated filter anyway, So I'm gonna leave that UnTech But you can see this is gonna copy all of the exposure settings, the tone curve, texture, clarity, the D. Hayes sharpening. We don't want it to copy that spot removal because we got rid of that bit of lens dir the bit of sense of dirt here, but the good there's a good chance the other images won't have that same piece of sensitive in the same place. So we're not going to do that same. A crop is a good chance. We don't want to straighten that horizon and crop the exact same way we crop that image. So when you take the things you want and I think this is about right, you can connect copy. Then let's head to this image. And if you go to edit and paste, that would paste all of the settings we just applied. Even the photos were taken on the same day. They are inherently quite different. So what you want to do once you painted the settings is still have a bit of a tweak, so this image still looks too dark, so we might want to do is up the exposure and again do the foreground. And we know we haven't copied our graduated filter, so you might want to stick that back on and drop the exposure down of the sky. But you can see you end up with images that look quite similar really quickly doing things this way. Now that's how you can copy and paste sittings in between images. If you're used to keyboard shortcuts, command, see or control, see on windows to copy and command V or control V to paste and help speed that up even more . But there may be some scenarios where you think to yourself. I really like how have edited that image. And I may want to use this going forward. And you can save these sayings in something called a preset Every time you see an image and you think, Oh, I wonder what that edit I did for Low Worth Cove would look like. You can just come over to this side, click presets and apply with the settings. So let's have a quick look at that. So with all these settings applied, if you head to the left where it says presets and click the little plus and click create presets Now, this looks very, very similar to what we saw a minute ago. So I'm gonna leave the same sort of things ticked on antics, so I don't want white balance. I don't want my graduated filter. Don't want any of the transform stuff, and crop isn't even on here Up here. We're gonna call this something we remember. So I'm gonna call this Low Worth Cove preset Click create. Now, I have quite a lot presets. But if we minimize Aled these and have a look at the use of presets, we now have one down here called Low Worth Cove. preset. That's when we just made. Now, whenever we get any image, let's just say this one. You can click Longworth Cove preset, and it will apply it. You can see for this image. It really doesn't suit it. But what you can do is you can create lots of these presets for yourself so that you can apply quick edits toe your images. Now what often you see people advertising their presets for sale. So is an example. Here I have a pack from someone called Peter MacKinnon. You might know him from YouTube and someone called Marcus Villa. So I've also included some precepts in our folders. If you had to your resource files, I have given three free presets in this course on. I'm gonna show you how to install these now. So when we is in this screen and we click the little plus, it did give us the option to import presets, and you had to the preset photo. You can highlight these insect import, and you let me to find them presets in here. So one of the ones in that pack is the dirt or door. Andi, you can find it just here and that's what that preset looks like. That's what presets are set. Presets are a good way of saving a bunch of settings that you may want to use our multiple photos. My advice to you would be created decent bunch of presets because what you'll find so if we have a look at these P and MacKinnon ones, is that some presets will look good on some photos, someone terrible. And if you've got good selection of different ones, then sometimes you can get some inspiration from just going down the list and seeing your image looks like under quite a few different scenarios when I can find that can really help give you some ideas on where to go with this. So for this one, for example, I think that frontier looks quite nice. Most important thing with presets, though, is the on a one click solution. Once you've applied the preset, you'll still need to go in and make a few adjustments to get the most out of them. 31. Thank you and goodbye: Hello. Well, that is it. That last video, it was the last lesson in this course. So this course has now finished. I hope from this course that you've learned lots of new skills and you're able to edit your images in light room. Now, all by itself, I have included a few more images in the resource files there in a folder called Images for your New Skills. Inside there, you'll find 45 images that you can import edit Andi have ago using these new skills. If you're watching this on skill shapely Chevron below, I'd love to see them. Everybody has a unique tastes when it comes to editing images. And I'd love to see what you're doing with my images. If you'd like to see more for me, please follow me on social media. I'll stick my socials on the screen now said that you guys can follow me if you'd like. Importantly, if you're I have watched this course and you've enjoyed it. Please leave a review if you're on skill share or drop a kind below. If you're watching this on YouTube, it's been great to have you along for this video. Thank you guys for watching cheers.