Lightroom CC Made Easy! Find Out Where Editing Starts & Make Your Images POP! | Chris P. | Skillshare

Lightroom CC Made Easy! Find Out Where Editing Starts & Make Your Images POP!

Chris P., GIMP, Photoshop, Photography + Lightroom

Lightroom CC Made Easy! Find Out Where Editing Starts & Make Your Images POP!

Chris P., GIMP, Photoshop, Photography + Lightroom

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31 Lessons (2h 57m)
    • 1. Lightroom CC Intro

      1:21
    • 2. Check out Lightroom CC's New Interface

      13:21
    • 3. How To Setup Preferences & Why

      6:40
    • 4. How To Add Photos To the New Lightroom CC

      2:58
    • 5. How To Migrate Photos From Your Old Lightroom Catalog

      4:51
    • 6. How To Organize Your Photos In Lightroom CC

      9:38
    • 7. Learn Where To Start Your Editing - You May Be Surprised by the Answer

      6:09
    • 8. Editing Step #1

      9:44
    • 9. How To Use the Light Panel

      9:39
    • 10. How To Use the Tone Curve

      4:39
    • 11. Discover the Color Panel

      9:00
    • 12. Discover the Color Mixer Panel

      3:32
    • 13. Discover the Effects Panel

      7:58
    • 14. Discover the Split Toning Panel

      2:46
    • 15. Discover the Detail Panel

      6:58
    • 16. Discover the Optics Panel

      4:08
    • 17. Discover the Geometry Panel

      3:18
    • 18. Learn How To Crop

      4:57
    • 19. Learn How To Use the Healing Brush

      7:48
    • 20. Learn How To Use Local Adjustments

      8:57
    • 21. Discover the Linear + Gradient Adjustments

      6:49
    • 22. How To Copy & Paste Edits

      4:59
    • 23. Discover Presets

      4:18
    • 24. Free Presets

      4:33
    • 25. How To Share Your Photos

      5:27
    • 26. Discover the People Tool

      2:22
    • 27. How To Enhance Detail

      5:32
    • 28. How To Create an HDR Image

      5:32
    • 29. How To Create a Panorama

      4:04
    • 30. Discover Targeted Adjustments

      2:37
    • 31. Discover Histogram Clipping

      2:08
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About This Class

Have you ever wondered where to start your editing in Lightroom?  No worries, most photographers do AND you'll learn exactly where to start your editing.  The answer to that question may not be what you're expecting.

Not only will you learn where to start your editing, but you'll also learn how to edit and how to not over edit.  There are some hidden tools, in Lightroom, designed to assist in not over-editing.  Plus, some often overlooked tools you should be using on all images.... to edit like a pro.

Every tool/feature in Lightroom CC is covered in this class.  And you'll follow along as we edit my BFF: Echo.  Just download the resource files to practice what you learn.

Oh, and I'm available for questions too!  Just post your questions below.  I'd love to see some of your before and after edits too!  Feel free to post those below too.

Are you ready to learn how to edit your photos, in Lightroom CC, like a pro?

Let's do it!

Still not sure if this class is right for you?  Here are what some recent students had to say about this class...

*****

“This course is awesome, I learned tons of new tricks. Every single tool inside Lightroom is perfectly explained. I definitely recommend this course.”

~ Cristobal Ascencio

*****

“Great course and instructor. Everything is very well organized and explained nice and clear. I am happy i bought it. Thank you so much, Chris, Great job.”

~ Petr Sejkora

*****

“This course is just amazingly complete and precise! The teacher explains clearly each part of the software. It's just perfect!”

~ Guilhem Matarin

******

I liked the way the instructor broke the classes into small easy to understand learning experiences. It was very easy to follow along and work side by side with Chris.

~ Albert Dauphinais

Meet Your Teacher

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Chris P.

GIMP, Photoshop, Photography + Lightroom

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

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Transcripts

1. Lightroom CC Intro: Hello and welcome to the Lightroom CC made easy class. My name is Chris Parker and I'm a 30-year pro photographer and I've been using Lightroom since that first came out in 2007. In this class, I'm going to share with you my pro editing tips for using Lightroom CC with your images. Although I've included some of my photos to use as you follow along and learn. Plus, I'm going to answer one of the most asked questions photographers ask, and that is, where do you start your editing? Well, you're going to find out in this class before I answer that though, you're going to learn the basics of Lightroom CC, including a review of the Lightroom interface to learn where everything is located, how to add your photos to Lightroom CC, how to organize them and much more. Then you'll learn about all the editing tools and Lightroom CC and how to use them to edit your photos. Once you're done with this class, you'll be able to edit your photos like a pro. And I'd like to see your favorite image you edited after finishing this class. So check out the project and the resources section below this video to upload your favorite edit and to download the resources for this class. So if you're ready to master Lightroom CC, or let's do it. 2. Check out Lightroom CC's New Interface: Hello and welcome back. All right. In this tutorial, we're going to take a quick overview of the light room CC interface. And first, let's say hello to my little friend. This is Echo, and he's going to be the star of this video tutorial because he's going to help us out as we go through all the different tools and features and locations of everything in the late room CC interface. So if you're ready, let's get started up here in the top left, we have our first panel, and from here we can add our photos in tow. Light room. Unlike light room Classic, we do not need to create a catalogue toe, add our images. And as I had mentioned in lecture to there are some benefits to using a catalogue versus not using one in later MCC. So make sure you check out that video if you haven't done so already. Toe Learn why you may want to use late room classic over late room CC and then, of course, later on in this section, I'm gonna share with you some tips for adding your photos into light room CC. Next, we have an option for finding images. So right now I have a total of 88 images loaded into light room. Say, See, I can also view images by recently added by date and by people because light room will take the faces in your images, compared them to one another and then group them together based on that face. So we have five photos of Echo six of this guy seven of this one and eight of this one. But you may or may not have noticed that the people option or the people feature is not 100% accurate because this guy and this guy is the same person. So it's not perfect, but it's a great start to help organize specific people in your light room C C. Library. But we can actually take these two groups combined them, and we can also add a specific name to this person so we know who they are, and then we can search for those people based on their names, and we'll go over how to do that in an upcoming lesson. Now the own. Here we have an option called albums, which is a little similar to what we have in Light Room classic in Late Room Classic. We have what are known as collections, and we have three different variations of collections in later, um classic. So we're gonna learn more about albums and how to organize your images and albums and folders in an upcoming lesson. So our next option is this option right here, and this will allow us to share our images either through an adobe portfolio, which is free. Or you can share them to the Web. And light room is going to generate a private earl that will allow you to display that image or images on that URL through light room or through adobe for free. So if we click on and connection, you'll see some information here, and then you could connect, and you can see right here in the background. It's like a photo gallery of your images. So this is an easy way to share your images with friends or family or even clients. Or you can do it via the shared a Web option, which we will cover in an upcoming lesson. Okay, the other thing we have here is we have all this information right here, and if you're not seeing that. It's because you haven't turned off. So right here we have a little funnel icon, and it's basically the filter for searching for your images so we can turn that on or off right here. And we can do a search for photos as well from our search bar. So if I want to find all the images of Echo, I just type in eco click enter and then light room will search all my files and display just images of eco. We can also search for images based on the number of stars these options here, which our flag settings. So if we want to find rejected photos or favorite photos, we can do so by selecting those. We can also filter down to show just images versus video weaken search by keywords that will show a list of all the keywords used. We can also search by different cameras. If I turn this off, I actually have three different cameras. Location. If it's available in the metadata, you can search by location, sing status and then people. We can also do a combination of these as well, so I can select five star and it shows all the five star images. But if I type in eco up here, it's going to show all eco images with five stars. And it's these three images here, over here to the right, we have an option to save our edits or our files to our hard drive. We can also share them to the Web, which will give you the opportunity to create a photo gallery. This little icon here will provide some information about light room CC. The What's new option will show any new features or tools added toe late room cc. And then this little icon right here will show you information about your cloud storage account. So it's going to show how much space you've used out of the amount of space you have available, and then you can also upgrade from here. Now, in case you're wondering, I have 100 gigabytes, and that may be different from the 20 gigabytes you have, or the one terabyte or more space that you have. And that's because I have the full Adobe plan, which includes all adobe software. Plus, I only receive 100 gigabytes of storage versus 20 or one terabyte. We can also connect light room CC to our android or IOS devices. Or we can open up light room CC in a browser. And then we can edit and manage our images from here. Now this panel here includes all the tools available for editing our images. We also have keyboard shortcuts for these as well. If you hover over them, you will notice the shortcut to the left so you can access thes panels either by the keyboard shortcut or by clicking on the icon. So the available tools are very similar to what we have in Light Room Classic except for maybe a couple tools and features. And we covered that in lecture to So at the top. We have a history am, but right now you're probably not seeing that hissed a gram because it's turned off by default. If we click on these three dots right here, we'll see some options we have available for customizing our panels or to see different things within the interface. So this option right here, if I click on it, it will turn off and hide the hissed a gram. If I want to turn it back on, I can either click on this or use the keyboard shortcut, which is command or control, and the letter zero. And we also have another option here that I have turned on its called single panel mode. So let me show you that real quick. If I click on this panel, it shows all the editing tools for that panel. If I go down and click another one, it hides the last one and then shows the one I clicked on. If we turn that off, we can then turn on or expand every panel available for editing. So that's entirely up to you if you wanna have them all open or if you prefer the single panel mode, which I do so I'm gonna go ahead, turn that on, which will allow me to focus just on that one panel. And it will help reduce the clutter of all these different panels. Again, we're gonna go over all of these different editing tools in more detail throughout this section. So all of these editing panels here, and all these tools are what I consider to be global edits. In other words, any edit that you apply is affecting the entire image It's a global at it now, other than our crop tool right here, which you can select from here, you can actually crop your image rotated, etcetera. These next four tools or editing tools are what is known as local adjustments because they give you the precision and control to apply your edit exactly where you want it. With their healing brush tool, we can either clone or he'll to do retouching with their image, and I'll show you how to do this in an upcoming lesson. Our adjustment brushes will take some of these editing tools we have with our global edits , and it will allow you to brush on your edit exactly where you apply it. I love local adjustments. So let's say, for example, this part of the image is to break well. I could drop the exposure. I want to reset some of these as well, and then just paint in that one area to make it darker. Now this is to darker. Wouldn't do at the start. But this is just to show you that you can precisely control your edits with local adjustment brushes again, I'm gonna explain all of this and more detail in an upcoming lesson. All right, so we have to mawr local adjustment tools, and that is the linear. And the radio ingredient is the same thing as the brush adjustments. It's just applying it via a greedy int again. We'll go over that in an upcoming lesson. All right, so that's it for our editing tools Down here, we have an option to anarchy words, one key word at a time. Unlike Light Room Classic, where we have keyword sets and a keyword list from which we can choose from, we have to manually input the keywords one at a time or again in light from classic. We can auto apply these keywords during import as well. If we have a set of key words that we use for specific images all the time, you can automatically add them during import. So it's gonna take a little longer to and your keywords in late room CC versus classic. This icon here will show the metadata of your file. It's going toe list the title. If you add one, you can actually type that in. And your caption. This is good for Seo. If you're a pro photographer, you can also add some other information here as well. The one thing I'm not seeing is the ability to add your website address, which is important as a pro photographer, at least for me, because when people find my images through Google images, it automatically takes them to my website, which in the long run drives more traffic to my website and increases the possibility of getting more clients. So hopefully that's something they will add in late room CC in the future. We also see a list of albums and Web galleries that I've created for this particular file. Now, down here to the right, we have some options for zooming in. We also have a zoom tool available by default. When you hover over your image, you can click to zoom in, click to zoom out. We then have some options down here for rating are images. We will also go over this and more detail later on, and we have some different ways of viewing and sorting our images. Now the other thing we can do is we can right click on the interface and change the color according to our preference. We can also right click on the thumbnails of our images to do additional things like rating are images rotating, sharing them editing In Photoshop, you can also make a copy of that particular file and much more. All right, so that's it for the quick overview of our light room CC interface. In the next lesson, we're gonna take a quick look at the preferences that you can set for light from CC. And there's one setting in particular. You may want to turn on because it may speed up the light room app overall, so we'll go ahead and check that out in the next tutorial. 3. How To Setup Preferences & Why: Hello and welcome back. All right, so in this tutorial, we're going to take a quick look at our preferences. So to get preferences, you're going to go up to Adobe Light Room and select preferences from here. Or if you're on a PC, you're going to go to edit and select preferences from there. Her first stab is going to include our account information. It's going to show how much space we've used and how much space we have left. You can also click on manage account to make updates to your account as well. And then, under the local storage preferences, we have some options for managing the data that is created as we're working in light room CC. So late room Sisi will intelligently manage your photos for you so that your photos don't fill up your hard drive space as quickly. So it's going to allow you to save hard drive space as you work on your photos and if you delete your files on your hard drive, but they were uploaded to your cloud account prior to deleting them, you can still work on your files, even though they're not available on your hard drive so originals are always backed up to the cloud, so you have the option to store a copy of all the originals and the smart previews on your computer's hard drive as well. So the smart previews are the files that are created from your originals so you can actually see your images in light room. So you're not working on the originals, just a small or a smart preview of that original file. So clicking on the drive name will display your light room CC files in Windows or Mac. And then down here we have required space, and this shows you how much this space is required by the light room. CC database files the thumbnail images, as well as my previews and everything else that need to be stored locally on your hard drive, then with the photo cash. This shows the amount of space reserved for storing originals and the smart previews that light Room CC manages for you. Now down here under options. We have some ways to manage how much data is being stored on your hard drive, and you can type in a specific percentage of the remaining this space on your hard drive. So if you have one terabyte of space left on your hard drive out of, let's say, two terabytes, you can tell light room to use 50% of that or however much space you want to designate to light room CC. This option here will allow you to keep all your smart previews on your computer's hard drive. In addition to backing them up to the cloud, I would recommend turning this on and in case something happens to those files in the cloud . And then this option will allow you to keep all the original files on your computer's hard drive. In addition to backing them up to the cloud again, I would keep a copy of all the originals on a local hard drive in addition to the cloud. In fact, I would find 1/3 off site location for 1/3 backup of my images. You never know what's gonna happen, and it's always best to have at least 2 to 3 backups of your original files. And then from here, you can specify where light room CC stores your original files when downloaded from the cloud. So if you're out and about on your iPad or smartphone, and you're working on originals that you took with your smartphone and you come back home and you download them to your computer. You can specify where those images are saved. Next, we have our general options, and the 1st 1 will prevent your operating system from going to sleep during sink while connected to the power source and your Internet connection. So this is something that I would turn out because you don't want that sinking to be interrupted or stopped, because what happens if your hard drive crashes during that time? It's best to let the upload or the sinking finished before letting the system go to sleep. This next option graphics processor is used to enhance the functionality or the performance of late room CC. So if you have a compatible graphics processor, then this will help increase the performance of light room if it's compatible with light from C. C. So if you try and turn this on and it's not turning on or it's not showing the graphics information underneath here, then your system is incompatible to be used with this particular option. If it is, I would keep it on because it's going to enhance the performance of late room now. Previously, I mentioned that you can and copyright information to the media, however, from here you can and a copyright notice. But you can't put other information in there like your company name, photographer's name, your email address, phone number, website address, all that other information you can add from here on Lee. A copyright notice. So our last preference settings are for our interface, and we can make some changes based on how it looks. Some minor things, like the language. We can change the language. We can change the text size. You can change the edit panel layout from normal to compact, and you can also update how the panels are opened. You can set it toe automatic or manual, and then you can also turn on this option here, which will allow you to swipe between images using a mouse or track pad. So go ahead and update your preferences as needed. And then in the next lesson, we're going to take a look at how to add photos into light room CC, and even if you already know how to do so, I'm going to share some tips with you that will help streamline how you add photos in light room CC that you may not already know how to do. 4. How To Add Photos To the New Lightroom CC: Hello and welcome back. All right, so on the suspect, I'm gonna show you how to add photos to the new Adobe Light room CC cloud version, and I'm gonna give you some tips as well. It's real simple. Unlike the late room classic version, you don't have to import photos. Instead, you add them, and you can do that with this little icon right here. Just click on it. Then you'll get an option to select a folder of images. Just navigate to the folder of images you want to add to light room, then click on review for imports. You will then get a preview of all the images within that folder, and you'll see a little check mark next to them. The check mark means that those are the images that you're going to add toe light room. And if you want to remove any of them from being added, just click on little check mark and then that will not add those particular photos. You can also select multiple photos by clicking on one image and then holding the on your shift key and clicking on another image, and then all the images in between will be selected as well. Then you can uncheck all of those files. I'm gonna go ahead and remove these as well, cause I don't want to add these either. And then we can see that we have a total of 78 photos that are going to be added. If I add in another one. It shows that we now have 79. We can also add them to an album. If we want to create a folder, an album of images to help us stay organized. We can do that as well. If you decide after de selecting some that you want to add them back in anyways, you can click on select all and then that will add them all back in. And right now I have d selected all of them. So I'm gonna go ahead and select just the ones that I want to add in. All right, so we're gonna add 76 photos from that particular folder. Once you click, add 76 photos. It would then begin bringing those images in, and you'll see the previews of those images being added to the filmstrip. It's fairly quick because all light room is doing is creating small, low rez preview files that you used to work on to edit with. And then those high res images will begin uploading to your cloud storage account automatically, and it will start sinking them to the cloud account. And you can also pause that if you want to do that as well, and that's it. All your photos will now be added to light room, and then you can begin working on them. All right, so that's it. In the next lesson, I'm gonna show you how to add photos from your previous light room catalogs from the old version. 5. How To Migrate Photos From Your Old Lightroom Catalog: Hello and welcome back. All right, So if you use light your own classic previously and you have a light room catalogue and wish to add photos from that catalogue into the new light room cloud version, you can actually migrate that catalogue to light room CC. So in this lesson, I'm gonna show you how to do that. And the information that's going to be migrated is going to be limited. And not all of the data in your light room catalog is going to be transferred to the light room. Cloud version in the following data will not be available in the new leg room CC after migration and that includes snapshots, custom metadata, creations like books, slight shows and your print and Web creations. Any type of shares that you've done in light room for the Web, any type of mapped saved locations, folders and folder hierarchy and smart collections. All of those things are native to the light room classic version and not available in the cloud version, and therefore that data can be transferred over. Now, if you have other types of collections versus smart collections, those collections will be added to the cloud version and will be included in the album section of the cloud version. All right, so here's the stuff that you need to take in order to migrate your catalog to the new cloud version. The first thing you're gonna want to do is you're going to want to optimize the catalogue. So we're gonna go up to file and select optimize catalogue. Go ahead, click Optimize. And as it says here, it could take several minutes. All depends on the size of your catalog. Once it's done, you're gonna get a little message here that says that you're catalogue has been optimized. You're gonna go ahead and click, okay? And then we're gonna go back to the new light room CC version and we're gonna click on file and select migrate light room catalogue. Then go ahead and click. Continue. And then you're gonna get a couple of messages here, and the 1st 1 is pretty important because it says you can Onley migrate a catalogue once and once that catalogue has been migrated, you cannot migrate it again. And then if you have older versions like late room CC, 2015 or light room six, then the sink options will turn off in those versions. So you're gonna need upgrade to the light room Classic CC to continue sinking the migrated catalogues if he have these older versions, and if you're okay with all of this and you're all set to go, go ahead and click on Continue. Then you need to select the catalogue that you want to my great and you're gonna get a list of some here. And if there's others, you can also browse and search for them on your computer with this option and then click on Start Skin to start the migration process. And then, throughout the process of migrating, you might get what is known as a my greater report. And it's going to tell you if there's an issue with migrating some your photos, because light room can't locate some of the photos included in your source catalogue. So if you're storing photos on an external drive and it's not connected, then you're not going to be able to migrate until that external drive is connected. So that light room can access the original source files because it has to upload your high res files to the adobe cloud system. And if those photos air not available, then you're going to get a message stating that the process can't be continued and you can either select continue anyway. If you don't want to add those photos, or you can select migrate later and then begin the process after you reconnect your external hard drives and make sure that all your original source files are available for light room to upload to the cloud. Once the skin is complete, you're gonna get another message that says Catalogue, ready for migration. Then you're gonna click on start migration. And then once the migration is done, you're gonna get another message that says that light Room CC has completed the migration. And then you just click on the done button and you're all set to go. All your images should now be in light room CC and should be uploading to the cloud. All right, so that's it for migrating your old light room. Classic CC catalogs to the new light room C. C. In the next lesson, we're gonna take a look at how to organize your images now that you have them in light room cc 6. How To Organize Your Photos In Lightroom CC: Hello and welcome back in this tutorial, we're gonna go over some additional tips for managing your files and organizing them and then finding those photos later on once you've gone through and you've rated your images and added keywords. So we have two ways of organizing our files either when we bring them in, when we add them to light from CC, or we can do it after. So my recommendation is to try and get your images organized as you're adding them toe late room cc. And, as you know, once you bring those in for review, you can add them to a specific album or you can create a new one. So what I would do is I would create a new album for the images you're bringing in at the time of that particular project. This way you can keep them organized in that particular album, and they're not going to get mixed up with other photos. Now, if you decide not to do that or you forget to do that, you can always come over here and create a new album from here. And then as you begin shooting more and more, you will begin shooting the same type of events. You could have multiple vacations. You could have wedding photos of your wedding photographer. If you're a portrait photographer, you could have portrait clients. If you're just taking pictures of your kids, you can have another folder just for them. And this will help keep everything organized so you can find what you need when you need it versus having everything combined in one folder or one album. So just remember that an album is going to be specific to that particular event. Then a folder is going to be a placeholder where all your similar events are kept together so you can have a folder for a vacation. You can have a folder for all the weddings that you've done in 2018 or maybe just a folder of your kids. And then within that folder, you could have 20 different albums off your kids as they begin to get older so you could have an album of your kids at age one h two h three etcetera. But they're going to be all organized or all together in your folder kids or whatever you call it. Family, family photos, vacation photos, whatever you want to do to organize your images, to help you find what you need when you need it. So that's the first part of managing your files and getting everything organized. The next thing I would recommend doing is before you begin editing. You want to do this before you start editing, because if you don't, you're gonna forget about it and you're not going to do it later on. And then, you know, a year two years from now you're going to wish that you did do the key wording and the rating of your photos, and you might have 10 20 30,000 photos that you need to go through and add keywords and rate them. It's a lot easier to spend five minutes before you begin editing your photos by adding those keywords through this option right here and then typed them all in. Then once you have that done, you can begin the rating process again. We're not developing or editing our photos until we get everything organized as much as possible. So what I would do then is I would begin rating my files. So here's some tips on how I rate my files as quickly as possible because I don't want to spend all day organizing my photos. I want to find the best images so I can begin editing those images. So what I do is I place my right hand along my arrow keys. I'm a keyboard on the right side and that will allow me to navigate to the right or to the left side without using my mouse. Then my left hand is on the left side of the keyboard next to the Letter X, and this will allow me to reject any photos. So I just pressed the letter X and you're going to see a little pop up here that says Rejected. So again, I rejected that one, and you can see down here that I selected the rejected flag. Then, as I'm going through, if I find an image that I really like, I will give it five stars if I think it's the best of the best. If not, I will give it three or four stars, depending on what I think. The quality of that image is. Anything less than three stars to me should be rejected, and it should ever see the light of day, so your rating system should be developed based on your own preferences. And most of the time I don't even bother with three or four stars. I just do five stars and reject everything else, so that's just my personal preference. But this is basically how you do it. I would just go through these, and I would continue going through them. And if I see something with a five star quality or possibility, then I will press the number five key on my keyboard, and it will automatically and those five stars to that image. So I'm just going back and forth between the X key and the five Key. If I'm not really sure that it's a five star, maybe I'll give it four stars so I can look at it again more closely later on and get into the image a little bit more by zooming in to see maybe if the image is sharper than I initially think. Because if it's not crystal sharp, then I really don't want that image, especially when I'm shooting for my clients portrait clients, wedding clients. If I'm just shooting for myself, my family, my kids vacation photos, then I'm not as picky as I am with my clients. So again, I'm just going through and I'm using my arrow keys to navigate, pressing the Letter X and the number five key as I go along. And this just makes it so easy to go through very quickly and reject and keep your favorite photos. So that's how I rate my images. You're gonna have to come up with your own system for rating, and once you do, you just need to get into the habit of doing your rating before you do your editing. Once you're done with all of that organizing and albums and folders and ending keywords and rating, you can then go through and filter out your best images by selecting five stars in your filter here. If it's not visible, just click on this little icon here, and then I would go through and begin editing my favorite or my best images. So this way I've narrowed down my favorite 10 15 images out of 40 50 maybe 100 photos. So instead of going through and editing all 100 photos, I'm only going to edit my favorite or the best images from that particular event. Then you have to decide. Let's go ahead and take this off and select rejected. So now I have a list of all my rejected photos. So what do you want to do with these rejected photos? Well, if you want to keep them because you may want to come back to them later on, you could create another album or another folder or both to keep track of all your rejected files. Or if you're like me and these photos are so bad that they should never see the light of day, then I'm gonna go ahead and delete them. So I just hit the delete key on my keyboard and it says, Remove photo. So do I want to remove the photo from the album? Yes, I want to remove it from the album, but I don't really delete them from my hard drive or from light room Sisi because they can still be found in all photos. So if I want to delete these images permanently, not just from late Room CC, but also for my hard drive, I have to right click on the thumbnails and make sure that I select all the ones that need to be deleted, and then I can select, delete, delete the number of photos here. So I have eight, and now it says, Do you want to permanently delete the photos? So it says it's going to be removed from the following locations, so you delete those eight photos. They are removed from the cloud from light from C C and any albums and shared galleries. The only problem is because I wanted to delete thes from my actual hard drive as well. It's not doing that. So in that case, if I do want to remove them permanently from my hard drive, I have to navigate to that particular folder on my hard drive and then delete them manually from there. So that's how I would get organized and managed all my photos. That way you can easily find them based on the search filter. Options here, or by adding in a specific keyword, appear to find that one specific image. In the next lesson, the fun begins because we will now begin learning how to edit our images in light room CC 7. Learn Where To Start Your Editing - You May Be Surprised by the Answer: Hello and welcome back. So one of the most asked questions I receive about editing photos is where do I start my editing? There are so many different options and tools available to help us edit our images, and the answer may be a little bit surprising. Or maybe not what you were expecting. So here's my answer. Editing your images does not begin in light room CC or light room classic or Photoshopped or any other type of editing software editing starts in camera. You have to be able to capture all the detail in camera. If you do not, then you cannot bring that detail back in light room or Photoshopped because it wasn't captured during the time you took the photo. If you get the exposure wrong, which you can see I did here it's too dark. Then you have to fix it in light room and photo shop. In any time you try and fix something, depending on how bad it is, you're going to end up with a lower quality image because you're trying to fix something. And because he didn't get the exposure right in camera, you end up losing detail. There's a lot of detail in the shadow here that I didn't capture. So when I go to fix this, I'm going to begin introducing digital noise digital artifacts, and it's going to lower the quality of the image now online on your computer. You're not going to notice it as much. But if you decided to print out this file with all this digital noise and digital artifacts , then you're going to start seeing it more likely in a print than you are online. Because when you're looking at an image online, depending on the size of your screen, it's going to minimize those digital artifacts because it's not that large. But once you start zooming in, you will then see that digital noise much closer. So if you're doing small prints like wallets or four by six, maybe five by seven, you're not going to notice it as much. But once you start doing eight by tens 11 by 14 and larger, the digital noise and artifacts are going to become more parent Now we can still try and fix some of that in light room by removing some of that digital noise and digital artifacts . But then again, you're trying to fix something that could have been done in camera. And now you're spending all this time to try and fix something, and you're still going to end up with an image that's not going to be as good as it could have been if you did your editing or you captured the exposure properly in camera. And the same thing applies to our white balance. Right now the image is very green, and that's something else that I'm going to have to fix. And it's not as big of a deal if you shoot raw photos. But if you shoot Jay Peak files, it's going to be much harder to fix that white balance versus raw files. And if you have people that have the wrong white balance and you try and fix it with a J pic file, then the skin colors are going to be unnatural, and they're going to look almost alien light, depending on the color cast that you have in your image and is going to be much more difficult to fix it. So you always say, try and capture the exposure perfectly in camera and the white balance. That way, you will spend less time trying to fix something in light room, and you'll end up with a higher quality image. Now I know it's not always the case or possible because you're on vacation and you're just going out and you're having fun and you're not really worried about it as much. And you just may have your camera set up on auto, which is fine. But I would still try and shoot and raw format if possible, because it's going to be easier to. Like I said fixed that white balance and they were all file is going to capture more detail in the shadows, and the highlights versus a J pick because of Jay Peak file is compressing your image and throwing information out and making a creative decision for you. It's saying you don't need these details and the highlights of the shadows, and I need to compress this file. So I'm going to get rid of some of this detail for you so I can compress the Jay Pek file based on the image that you're shooting. And once that information is gone, what is compressed and deleted from the file, you can't get it back. That's not the case with Rafael. All that detail is captured during the time you take that photo, and it's easier to get some of that information back in your image if you got the exposure wrong. So to sum it up, let's try and get our images edited or properly exposed in camera, and you will begin editing much less. Or trying to fix your image is much less than before. So now the next question is, Where do I start with all of these different tools in the light room CC, I would start appear at the top. I would do all by global edits first, and then I would work on cropping my image, retouching my image with my healing brush and then making local adjustments to do custom edits, dodging and burning of my image. And then I would finish it off with a linear or radio obedient if needed. I don't always use these tools. It's just select photos that I want to add these types of effects, too. So that's the order in which I would edit from top to bottom. Now, once you open up this particular panel, we now have all these other panels inside. So again, where do we start? Well, again, I would start at the top and work my way down in the next lesson. We're going to go ahead and begin editing this image here, which is available for download. So if you want to follow along, go ahead and download that image and we will begin editing from top to bottom. 8. Editing Step #1: Hello and welcome back. All right, let's go ahead and get started on editing our photo of Echo. So we have a lot of different options for editing our photos. And this is the very first step that I dio before I touch any of the panels, and that is to turn on my hissed a gram by coming inside of here and selecting show hissed a gram or using the keyboard shortcut, which is command or control and the number zero. And the reason why I start off with the history Graham is because it's telling me what I need to fix with my image. So let's take a quick look at this image in the history Graham. So we can see there's a lot of peaks and valleys and different colors, which represent the three different color channels, which are red, green and blue. But we can also see that the peaks and valleys go from the far left to the far right. In this image. Here, we can see a huge gap, and this means I didn't capture all the detail in this image, and it's too dark. So when you have a large gap on the right side, your images under exposed. And it's telling you that you need to fix the exposure of your image by making it brighter . If I go in here and move this to the right, we then see that the valleys and peaks moved to the right, and then we have a gap on the left side. Now my image is over exposed, so I like they have my host a gram on, as I'm editing to make sure that I'm not over editing, and what I want to do is I want to move. That hissed a gram to the right to start to fill in the details in the highlights. So here's the finished edit, and we can see that the hissed a gram fills up the area much more than before. It's not all the way to the right, which is fine, because if I go too far, I will start to clip detail in the image, and I'm going to show you a little trick. Once we get to our exposure on how to make sure that you're not over editing and clipping any data, and this technique is hidden, can't really see it, so I'm gonna share with you how to use this specific tool so that you don't over edit your images so real quick. Let's go over the history and just a little bit more, and I want to explain the different peaks and valleys as well. So on the right side we have our highlights and our white points on the left side. We have our shadows and are black points. In the middle is all the detail and all the information in the mid tones of our image. Now, if you come down here to the light panel, what we have, we have highlights shadows, whites and blacks. So the white points in the black points are the outer edges of the history Graham, and that's where you begin to clip your data. If you go too far to the right or too far to the left, you can also have peaks that go too high, and you will then begin clipping that data as well. So if I move this to the for right, we can see that this particular peak, the Green Channel, is being clipped. So the colors in the detail in the highlights in that color range are being clipped from the image, and I over edited the image because now it's over exposed. So this is why we want the history Graham on so we can make sure that we do not over edit our images by clipping detail in the highlights and the shadows now just below the hissed a gram. We have some auto options to help us get started on our edits. If you're brand new to editing and you've never edited before, you may be tempted to click the auto button, which will automatically edit your image. And it does a fairly decent job, at least for this image. And we can now see that the hissed a gram is now filled in some of the areas over here on the right, and we have more detail from the left to the right, so this may be a good starting point for you if you're brand new to editing, but I wouldn't rely on it for every photo because it's not going to work perfectly on every image. In fact, I'm really not liking the settings selected by the auto option because it's reduced the contrast. I prefer him or contrast e type image. At least that's my personal preference and my style. The other thing is, we don't have enough shadow detail in this area here, so I can either go back and fine tune the edit for that particular area of the image, which I think looks much better now than what light room gave me originally. So you still may need to come in and tweak the settings for best results. Now, I'm just gonna quickly go through these and reset them simply by hovering over each name of the slider. We will get a reset button to reset everything. And then, of course, we have an option. Appear to convert our image to black and white and then below that we have profiles, so a profile will allow you to control how the colors and the tonality, or the contrast of your image, is rendered based on the profile that you select. So you have to think of profiles as a starting point for your editing of your images. In fact, this is another type of edit that you can do in camera, especially if you have a D S L R type camera, because within your camera you should have options to choose different types of profiles based on what that manufacturer is giving you. So Nikon, Canon, Panasonic, Sony and others are going to provide you with camera specific profiles based on your particular camera. And they're all going to be slightly different from each other based on the l go rhythms that they're using. And if that wasn't enough, Adobe also includes additional profiles from which you can choose from. And again. These are not going to be exactly the same as the ones you get from your camera directly. So personally, I would recommend capturing your profile of choice in camera and not during the editing process. So let's take a closer look and some of these profiles to get a better understanding of what it's going to look like. So right here I can click on this and then I get a drop down menu, and from here I can select all profiles. So at the top here we have adobe role profiles, so if we hover over them, we will then see our image over here update based on that particular profile. So this particular profile, the neutral one, is very flat compared to, let's say, vivid, which is much brighter and has more contrast versus neutral. And then portrait and standard are going to give you a different starting point based on which one you select. And again, the contrast levels and the colors are going to be different from one color profile to another. So I would recommend choosing and camera, of course, but if you're going to do it at this point, I would select the profile based on what I'm shooting. So in this case, I'm shooting a portrait of my little guy here, Echo. So I would probably pick portrait in Light room CC or in camera, because my camera also has a portrait option as well. And I would rather choose my portrait option from my camera manufacturer because it's going to better reflect what was captured at the time it took the photo, and we can see that compared to Adobe, this is much brighter and much more vivid than the adobe profile. So if I decide that this is too much and has too much contrast, I may end up going with neutral, which is flatter but not as flat as the adobe raw option. Now, in addition to the camera and the adobe profile options, we also have some additional options to use that arm or creative versus the other two options. So we have some artistic, some modern and some vintage profiles that we can use as a starting point based on our creative vision. The other thing that you need to know is you can choose or change your profile later on if needed, and it's not going to affect any of the sliders that you apply during the editing process so I can increase my exposure and then I can change my camera profile to something else. But the exposure setting that I set here doesn't change. So once you have all of this done in your first step, you are then ready to begin editing your image by adjusting all the options in the light panel, which we're going to do in the next lesson. So if you're ready for that, well, let's do it 9. How To Use the Light Panel: Hello and welcome back. All right, let's go ahead and begin editing Echo. So again I would work from the top down, and then I would go back and adjust any other of the options as needed once I've set all the other sliders. So again, I'm gonna start with the history. Graham, I know that this image is under exposed and I don't have a lot of detail in the highlights . So if we take our exposure slider and move it to the right, it will make that image brighter to the left. It will make a darker so we need to increase the exposure so that we can make it brighter. But how far do we go? Well, obviously that's too far. It doesn't look that good. But we can also see in the history, Graham that the image is now over edited and over exposed based on these peaks going beyond the top of the history. Graham. So we want to come back and make sure that we're not clipping any data and that we are filling in this gap on the right Now at this point, is going to be dependent on personal taste on how far you fill in that gap. Technically, you could fill in the gap all the way to the right. But I find it to be too bright in the highlights, especially in the Green Channel. It's almost clipping at the top here. The other thing we can do. And this is another tool that can help us determine if we are over editing. And that's by holding down our ault, or option key, and then adjust the slider accordingly. Your image is going to turn black, but once I go too far, you then see these little color pixels over here. And that's letting you know that the pixels in that area has now been clipped. The detail in the area is gone, so you've over edited. But again, we can see that in the history Graham as well. So if you don't want to have that history Graham on, you could use this. But even then visually, we can see that it's not very good. And personally, I prefer to have the history grandma. So that's just another little quick tip to help you determine if you're over editing your image. So I'm gonna bring this down to around plus one, even though I didn't fill in the gap entirely. I do have my white point, which is part of the highlights as well, which I can increase toe, add more brightness to the highlights. But I also want to adjust my shadows to bring back some more detail in this area by making this area braider. But first I need to adjust my contrast because I'm working from top down. But personally, I do not like to add my contrast with this method. Instead, I like to use my tone curve, which is available through this icon here, and we're going to add her contrast and talk about the tone curve in the next lesson. So for now, I'm just going to skip the contrast slider and jump into the highlights. So the highlights reside on this side of our history. Graham, and what it allows us to do is bring back detail in while the highlights so I can bring back detail in this area and other parts of the image that have highlights by adjusting the highlight slider to the left. If I move it to the right, then the image gets brighter and I start to lose some detail, so I'm gonna bring this down to around minus 75. Now, the one thing you may have noticed is the overall image became flatter when I adjusted the highlights to the left. And that's because it's taken those pixels and bringing more detail in, which makes the overall image flatter. And that's why we're going to use our tone curve to adjust the contrast specifically in the highlights in the shadows. So I'm gonna show you how to do that in the next lesson. Now, the other thing you may have noticed is the hissed a gram moved to the left. If we move it to left here, we can see that the peaks and valleys have changed. But the overall gap has not increased that much. So I'm gonna do minus 75 for the highlights. Next, I need to bring back some detail in the shadows. Now check this out. This is really cool. It looks really dark and it looks like it's black in the eyes. And this area here, if I zoom in, it looks almost completely black and some parts, But take a look at your history and what is it showing you? What is it telling you? Well, it's not under exposed to the point where there's no detail in the shadows or the black points, and we can see that because the peaks and valleys of the shadows and the black points of our history. Graham is right in the middle of the hissed a gram. So that's telling me that I have a lot of detail in the shadows that I can bring back, and we can do that with our shadow slider. If I move it to the right, it's going to make those shadows brighter to the left darker. So we want to move it to the right because we want to bring back detail in that area of the image, and I'm gonna go all the way up to around 65 and overall, that makes the image brighter as well. And again, you can see that the peaks and valleys are moving more to the right. So we're starting to balance the overall exposure of the image by filling in the gap and bring in detail back in the highlights in the shadows. So this is how you properly edit your image by making adjustments, according to the hissed a gram. And based on what it's telling you, I'm not just randomly moving my sliders toe the left and right to see visually what I like . I'm taking the information given to me from the history Graham to make sure that I'm not over editing my image and all the edits that I do begin with this process. Even if I'm going for a creative, artistic edit, all my images begin right here. I want a clean, classic edit to start with so that I have the highest quality image possible for that particular file that I captured. And then I can use my other tools to be more creative. All right, so we're not quite done yet. We have our white and black points, so these will make our pixels either whiter or darker or blacker, so we can take our pixels in the highlights because of white's reside on the highlights and make them brighter or darker to the left. It will make it darker, and it will make your image flatter. Less contrast to the right. You will begin seeing that your image is already increasing in the contrast of the overall image as you slide the whites to the right. But again, I'm starting to clip my data in the history, Graham, because I went too far. So that's a cue to let you know that you're over editing that part of your image. The white points again, we can use our ault or option key toe. Also see visually, if we're clipping data and right there, we can see the color pixels, and we know we've gone too far. So I'm gonna bring this down to around plus 21 and then we can do the same thing with the blacks. Hold down your fault or option key, and this time it turns white. And any black or dark pixels like that lets you know you've gone too far and you're starting to clip data. So I don't want to clip data. And I'm also taking a look at my history, Graham, to see the results that I'm getting based on how far I slide it to the left, it's going to make it darker to the right. Brighter. So in this case, I want to add a little bit more darkness to my pixels in that area. I don't want to go too far, So I'm gonna go around minus 10. And again, this is adding a little bit of contrast to the overall image. So now that I have all the sliders set where I want them based on the history, Graham and what it can see visually, I can either go back and make adjustments as needed to the other pixels. And maybe I want to make the highlights a little bit brighter than where they are currently . And now I'm just looking visually at the image and not so much the hissed a gram. And I will adjust this according to my personal editing style. So I'm gonna bring this down to around minus 50 so that the image is not as flat versus being ant minus 75. So go ahead and make these edit adjustments based on your own personal preference. And then in the next tutorial, we'll go ahead and get started on the tone curve 10. How To Use the Tone Curve: the next step in our editing workflow is toe work on adding some contrast to our image or maybe removing some now, as I mentioned before, you can adjust your contrast from this lighter, which will affect only the mid tones of your image. And I prefer to adjust my contrast via the tone curve which could be activated through this icon here. And then you're going to notice a history Graham in the back of our grid here. And this is basically showing you the same thing appear we have. Our highlights are mid tones, white points, black points and shadows here as well. And you're going to use this linear line here to control the amount of contrast where you want it. Maybe you want more contrast in the highlights or maybe the shadows. Or maybe you want to create contrast and both the highlights and shadows. So this gives you the precision and control to apply the contrast exactly where you want it . Now, here we have five circles that will allow us to control or edit our image along this tone curve based on these different options. So these air pretty obvious. We have red green and blue, which are our three color channels. So we can also use the tone curve to adjust color casts or maybe add a color cast in our image. So we're going to manipulate this linear line in order to make our edit adjustments. So this first option is known as a parametric curve, and it's more rigid than are other option, which is this option here, which is the point curve. So I like to use this option, and then when I click and drag up, I could make the image brighter. Down will make it darker. I can also adjust where I place my starting point, because when I click, I'm adding a pin along that line. And then I can manipulate that particular part of the tone curve by moving it up or down or left right, depending on what I'm trying to achieve right now, I'm just using commander control in the Letter Z to undo what I've done by adding those points and then it's removed by using that keyboard shortcut. So what I like to do for my images when I want to add contrast is add what is known as an S curve which will allow me to evenly apply contrast and both the highlights and the shadows . And it gives the image a more dynamic end result and makes the image pop more so then just adjusting the contrast in the mid points. So to create the S curve, I'm going to start off in this grid area, click and drag up. Then I'm going to start down here in the shadows, click and drag down. And now I have what looks like an s and that tone curve. But I have to be careful and not do it too much because again, I don't want to clip any data, and I can see whether or not they do that in the history. Graham, as I adjust the tone curve because you can see that the hissed a gram is changing based on where I'm setting the points for the tone curve. So for this particular image, I'm not going to do ah whole lot of adjustments. I'm just going to do a slight bump on either side of the tone curve, and then I can take a look at the before and after of this particular tone curve edit by clicking on this icon, and then I will click it on and off just to see if maybe I over edited and added too much contrast. We can also do other creative things with our tone curve as well, by manipulating different points of the tone curve as well as our endpoints on either end here. And by moving it up, we can reduce the contrast in the shadows. And this gives the overall image a flat, Matt like effect. And there's many other types of effects that you can create with your tone curve as well. We're not gonna go over those at this time. We're just doing a basic clean edit. And now that I have my contrast set, I'm all set to move on to the next part of my editing, which is doing the color edits for my image. So we're gonna go ahead and work on that in the next tutorial 11. Discover the Color Panel: Hello and welcome back. All right, we're now going to work on the color for our image, so we need to work on the white balance first. So what exactly is the white balance? Well, and photography and image processing. The color balance is the global adjustment of the intensities of the colors. And depending on how the image was shot in regards to the color of light, it will show a color cast in your image is, and depending on your final creative vision for that image, you may or may not want that color caste. So, for example, in this image, we have a green color cast on the image, and the white balance is not. While it's not balance, it's not correct. I want my blacks and my whites to be blacks and white. I want them to represent those colors. I don't want any color caste like greens or blues, or whatever the case may be to be in those neutral tones, so I can use my white balance options to remove that color caste. But then again, sometimes we may want that color cast in our image because maybe we're shooting at sunrise or sunset and those colors from the sun at that time of the day are much warmer. And if we were to remove that color cast in the neutrals, then it's going to look unnatural. So you have to decide when to remove that color caste based on your creative vision. Most of the time, I want the white balance to be well balanced in the neutral tones. I don't want a color cast on my portrait's my landscape photos or other types of photos that I'm shooting so in. Camera again weaken. Do this in camera before we do it or fix it in light room. And if you take a look right here under white balance, we have an option, it says right now says as shot. So I didn't capture the white balance correctly in camera. It's green. So in order to fix it, I have to either make selections from here. If I click on this, I get some options here, or I need to adjust the temp and the tent, or I can use this eyedropper tool, so I'm gonna show you how to do all three to fix the white balance of your image. Now, here if you're not seeing this in your images, that's because this is only available for raw files. And these options may actually look familiar because you should have these options on your camera. If you have a DSLR and you can select these based on the lighting in your seen as you're shooting, so you have daylight, so you're going to select that if it's during the day. If it's a cloudy day, you're going to select that. Then we have shade, tungsten, fluorescent and flash, and these are going to adjust the white balance accordingly based on that particular timeframe. So now my image is much warmer than it was before. If I select cloudy, it's even warmer because when you're shooting under a cloudy day or in the shade, the color of that light, the color caste that's coming from that light, is going to be much cooler. So now with our white balance, it's compensating for that and making the image warmer. Now, this was not shot in the shade was natural light coming over here from the right side, and in this case I may want to choose something like daylight. Personally, I find these just to be a starting point, and I will end up fine tuning my white balance with these options here. So instead, what I like to do is I just like to manually adjust the sliders according to my personal preference and what I like, because I like a much warmer image. So the other thing I could do in camera is I can take this number, and Aiken, dial that number in directly in my camera so that I can capture the correct white balance at the time that I'm shooting. So I don't have to do this after the fact during the editing process. Now this number real quick is called a Kelvin number. So if you want to die alone in a specific temperature based on the Kelvin number, then you're going to have to find that option within your camera, and it's usually designated with a letter K or the word Kelvin, and then you can dial in the exact temperature that you prefer. And then the third option for fixing the white balance is to select our eyedropper tool. So once you click on that and come over to your image, you're going to see a large circle and a cross hair and the top left, so the cross hair is where you're targeting for the white balance, and the circle represents the zoomed in area that you're hovering over. So the goal is, or what you want to do is you want to find an area that should be neutral gray. Once you find that area and you click on it, it will then automatically remove that color caste and adjust the temperature and the tent accordingly. If I come down here and click on this icon, we can see the before and after. It's kind of hard to see the difference with the color cast because it's showing all the edits before we started and after. But we definitely did remove that green color caste that we had before. I'm gonna go ahead and undo that with Commander Control and the letters E, and you can definitely see it's green again. So make sure you just find that neutral gray color in your image, usually in the blacks, the whites or the greys of your image in order to set the white balance in that manner. But again, personally, I'm gonna come over here and I'm going to warm up this image because I prefer a warmer image. So I'm gonna go ahead and adjust my sliders here so that my temperature is according to my personal preference. So go ahead and adjust the white balance to your personal preference. And then we'll talk about the last two options here, which are vibrance and saturation. So the vibrance and the saturation is going to adjust all your colors in your image globally. Now the other thing were quick to get rid of the eyedropper tool. Just come back over here and click on it to de activate that tool. So with vibrance and saturation, they are going to adjust the colors in your image slightly differently. So if we take our saturation and move it all the way to the left, it removes all the colors in our entire image. It's a global edit, and it's removing colors in the highlights, the shadows and the mid tones. So when we move it to the right, it's actually increasing the saturation for the entire image again. So that's something that you're gonna have to play with and determine how much saturation you want to add or remove. I'm gonna go ahead and leave it right there at zero for now, because I'm not really interested in increasing the saturation for this particular image. Now, when it comes to vibrance, if we move it all the way to the left, it's removing colors as well. But unlike saturation, it still has some color in the image. So this is the difference between vibrance and saturation. Saturation. Adjust the colors in all three areas. Like I mentioned, Shadows highlights mid tones. Vibrance, on the other hand, is on lee, affecting the colors in the mid tone. So in other words, it's removing the colors from the shadows and the highlights and leaving the colors from the mid tones. When you adjust the slider to the left, or if you increase it and you go to the right, it's adjusting the colors in the mid tones and making them more vibrant versus the shadows and the highlights again. I'm just gonna leave this ant zero so we're done with our basic clean edit in regards to the white balance. But there's another option in this panel if we want to be more creative, and that's called split toning, which is available right here, and we're gonna cover this in the next lesson. 12. Discover the Color Mixer Panel: in the last video. I misspoke when I called this split toning split. Toning is actually in the FX panel, and we're going to cover that in a future lesson. So this is actually known as the color mixer in Light room Classic. It's known as the H S L panel, which stands for hue, saturation and luminant. So we're gonna go over some information on how to use the color mixer to edit your images. So from here we have color selected, which will allow us to choose which color channel or the colors we want to target based on the one that we select. And then we can make adjustments to those colors via the hue, saturation and luminous lighters. Or we can navigate to the Hugh panel, which will show all the colors plus a slider for each of the colors. So they both do the exact same thing. It's entirely up to you on which one you want to use. I'm just gonna leave it on this for now, So let's go over how each one of these sliders will affect our colors so the hue color will change the color. So if I select orange or the yellow because I have those colors in my image, I can change them to a different color. So now the yellows are more green versus yellow. Same thing with orange. If I change that, it's going to make it a different color by slide to the left. That's going to give me a different color versus the right side. So Hugh changes colors based on the colors that you choose. Saturation works just like we had talked about previously, and that it's going to affect the entire image from from your shadows, highlights and mid tones. But you can target specific colors, and in this case I have orange selected and I can remove all the orange from my image, and it still looks like there's orange in there. But these are the yellow colors. If I go in and select yellow, I can then remove all the yellows from the image, and then we have loom in its luminant is going to allow you to increase or decrease the brightness of the colors that you select so I can increase or decrease the orange colors or red colors or whatever color I want to target. Based on what I select. So that's how you use the hue, saturation and luminous it's. And I tend to believe these particular colors as is, unless I'm doing something creative or I want to target a specific color to enhance it. You could also use the hue, saturation and luminous for color correction as well. So if you're not able to get the white balance exactly the way you want it and you still see a little bit of color cast in your image, you can target that specific color and then change the hue. Or you can remove that specific color from that color caste by adjusting the saturation accordingly. So those are my tips for using the color mixer. In the next lesson, we're gonna go ahead and take a look at the effects panel. 13. Discover the Effects Panel: Hello and welcome back. All right, we're gonna go ahead and take a look, Aunt, The editing tools in the effects panel. We have clarity D. A's been yet in grain. Let's go ahead and start off with clarity first. So when you apply clarity by either removing it or adding it, it's going to either make your image softer or it's going to make your image appear to be sharper. So it's kind of like sharpening, but not really. It's a little different works differently, just like our vibrance and saturation affected the image differently. So, too, does clarity and sharpening so in detail we have sharpening, which is going to be a global edit. Clarity, on the other hand, just like vibrance, is going to affect mawr of the mid tones than the highlights are the shadows. So when you remove clarity or move the slider to the left, it's going to make your image look softer. If you move it to the right, it's going to make that image look edgier or sharper. But again, it's not adding that clarity or that sharpening anywhere else, but along the edges or the mid tones of your image. So you want to make sure that you don't go too far to the right. Otherwise, the edit is going to look unnatural. Unless, of course, that's what you want. And in this case, it has a very strong, edgy type feel to it at plus 100. So when I'm adding clarity for Portrait's, especially for people, I'm going to increase my clarity between 5 to 10 at the most. Otherwise, I find it to be too much or unnatural when I start going higher than 10. So you're gonna have to experiment to find out what you like for your own creative vision. So for this image, I'm gonna go ahead and go a little bit more. Let's go up to plus 15 and I think that helps add some sharpening along the edges increases the contrast just a little bit, but helps make that image pop just a little bit more versus not having any clarity. So next we have D Hayes, which will allow you to add or simulate a haze type effect. Or you can remove haze. If you have Hayes in your image, and you'll notice that if you have a image that was backlit with the sun directly behind your subject or even off to the side. It kind of adds a little bit of a haze effect to the overall image, and you can use that to decrease someone that haze if you want to. Now, for this particular image, I don't need to use the D Hey slider because it's not going to help the image it all by adding Hayes, and there's no haze in it. So I'm gonna go ahead and grab an image here just to show you how it works. So here's an image of a couple back lit from the sun over here on the left, and it's kind of made the image a little flat and created a little bit of a haze across the entire image. Now the thing is, we can actually remove that Hayes, with our other tools in the light panel, we can adjust the contrast. We can make some changes into the tone curve, but the great thing about the D. Hayes slider is it's taking those tools and applying them all at once. So when we didn't have this particular tool available, we've only had it for maybe a couple of years. I had to make other adjustments in order to get the same result. And now I can easily slide this toe, the left toe and hes, or to the right to remove some of that Hayes and you can see as I go to the right, the image is beginning to get more contrast. And that's because that Hayes is being removed. Okay, let's go back to Echo. A shame to go inside the album here because I have fewer images there. So the next thing we have is vignette, and this will allow you to brighten up the edges or darken up the edges. And this will help bring your viewers attention to the main subject of your image or subjects of your image. There's also some additional tools that you can use with your vignette to fine tune your edit. So if we click on this little black box with this arrow, we will get some additional sliders to help us pinpoint thevenet that we want for our image . So the midpoint will increase or decrease the center point of the vignette. So to the left, it's feathering in that vignette, more so than if I were to go all the way over to the right and we can see it's just barely touching the corners with that vignette. Edit roundness is going to also affect the centering of Devin. Yet based on how around you want it to be, and then you can increase or decrease the amount of feathering of that vignette. So right now I've removed all the feathering and I have a hard edge around my subject now versus a softer one. If I go all the way over to the right by default, it sets right in the middle, which is what I prefer. Okay, I need to go back to my wedding photo to show you this last one. So I'm gonna and even yet and the highlight slider is going to affect the vignette in areas where there's a lot of highlights like in this top left corner here. So I'm gonna answer Morven yet so you can actually see it. So these three corners here are pretty similar. And then this one here is not as dark as thes, and I may actually want to remove the vignette from the highlight all together, and we can do that with our highlight slider. The last option we have is green, so grain is going to allow you to increase the amount of grain in your image. And I like to use this particular slider if I want to create a vintage feel for my particular image. So the higher you go, the more green you're going to see and this assimilating what you would have gotten with film back in the day. And we can also make some further adjustments to our grain as well, by clicking on this icon here. And then you can increase or decrease the size of the grain as well as the roughness of the grain so it becomes less round in more random along the edges. Okay, I'm not gonna add any grain for this image. Someone go ahead and leave. That turned off. But I do like, have been yet for this particular image, and I'm going to set it at minus 25. Okay, so that's how you use these four sliders for editing your images in the next tutorial will go ahead and take a look. Aunt split toning 14. Discover the Split Toning Panel: Hello and welcome back. Next up, we have split Tony, which is a very underutilized tool in late room. There's two main things we can do which split toning. We can use it to manually remove the color cast in our image versus using the options in the color panel. The other thing you can do is you can change the colors directly in the highlights or the shadows, and you can see right here. It says shadows and highlights, which again will allow you to adjust the color balance in the shadows or the highlights. Or, if you want to get more creative, you can create cinematic type effects by adjusting the colors in the shadows and the highlights, or just to create something completely different from the normal classic type of edit. So this particular tool is only limited by your imagination and your creative vision, often times in movies. They will use contrast in colors to help the subjects pop from the background. A lot of times you will find that in the shadows, the colors tend to be more blue. That might be a little too much, but maybe something like that, and then the highlights will get a contrast in color like orange that will help make that image pop and give it that cinematic type. Look, now, the other thing you can dio I'm just gonna make this a little warmer is you can balance the shadow colors and the highly colors with this bar right here in the middle. If I want the shadows to be more dominant or brighter than the highlights, then I can tell light room. I want to shadows to show more vividly versus the highlights by moving this to the left. And now I'm getting less orange in the highlights and more blue in the shadows so you can change the field, the mood of your particular image by using split toning for this particular image. I'm not really interested in adding a split toning, so I'm gonna go ahead and turn that off. But I'm gonna go ahead and leave all these settings here because maybe later on, I do want an image that has a more cinematic feel to it, and I can come back and explore that later on because it's going to save those settings for me. So go ahead. Play around with split toning, and when you're ready, we'll go ahead and work on the next part of our editing panels, which is the detail panel. 15. Discover the Detail Panel: Hello and welcome back. All right, we're gonna go ahead and take a look. Aunt are editing tools in the details panel. So we have sharpening noise reduction and color noise reduction. Let's go ahead and take a look at sharpening first. And of course, as you increase a, you will sharpen your image. If you go too far, it's going to look unnatural. It looks very pixelated now and doesn't look very good. So again, we do have our fault or option key to help us determine if we're over sharpening our image , and it will turn it to black and white to help us see if we are over editing. We also have some additional tools to help us sharpen our image as well. We can increase the radius of that sharpening, and if we hold down our altar option key, it changes it into this gray overlay type effect. And that's just the help of see if adding or reducing the radius is going to be problematic for the image, or to make the sharpening perfect exactly the way we want it without adding additional noise. The problem with Radius, though, is it tends to remove some of the detail in the image, and you can then use your detail slider to bring back some of that detail. Now, this last option is my favorite. I really don't use radius or detail, and I'm gonna go ahead and put this upto 1 50 just so we can see what's going on a little bit better at this higher setting. So let's go ahead and hold down our ault option key again and begin sliding to the right. Now our image is turning to a black and white outline, and the more we go to the right, the less white is visible. So this is what is happening with this particular masking tool. It's taking the sharpening edit that we applied up here, and it's confining that sharpening to any area of the image in white. So this is giving you precise control over where that sharpening is being applied. So if we don't want the sharpening in the background as much and we want it more in the highlights of our image, then we can use the masking tool to do just that. So, as you can see, it's applying it along his face and around his body or the edges of his face and his body, and I prefer controlling my sharpening in this manner versus applying it globally or to the entire image. But then again, I wouldn't do 1 50 either. That's way too much. So between 40 and 50 for this image would be just fine. Let's go ahead and close this and take a look at our noise reduction options. If we zoom in, we can get a better idea of the type of digital noise that we're working with. So there's two main types of noise. We have the noise here, where it looks grainy or pixelated. There's another type of noise, depending on your camera that you may encounter. And that's where all these little bits of grain and pixels are full of colors red, green and blue. So the three color channels when you see those colors much more visibly than what we have here, then you're going to want to use the color noise reduction. But I'm gonna go ahead and show you how that works as well. In just moment, let's take a look aunt noise reduction. So this is going to remove the loo minutes or the brightness of the grain or the pixels by smoothing it out. So as we slide it to the right, you're gonna notice that the grain is disappearing and it's becoming smoother. But you want to be careful that you don't go too far. Otherwise, it's going to make your image look unnatural, or it's going to give it a painterly effect. Now, just like before we can hold down are all ash and key to see it in black and white to see if that will help us, not over reduce the amount of noise. Now we also have some options and this lighter as well to help us find tune the noise reduction now, like I mentioned as you move it to the right, you begin to smooth out your image and you begin to lose detail. But you can use the slider here to bring back some of that detail or to remove it as needed . You can also use the contrast lighter to help bring back some of that detail and reverse that smoothing effect as needed. Typically, I don't mess with ease. I just leave them at the defaults, and I will just adjust the noise reduction accordingly. So I'm just going to drop this down to 25 and then let's go ahead and close it and then take a look and colored noise reduction. Now this option here, we're not really going to see much of a difference because I'm not seeing those red, green and blue pixels in this particular image. But if I did, what would happen is as you increase the color noise reduction, it's going to take that digital noise or the color of that digital noise and begin to reduce the color saturation of them, and you can reduce it until they're pretty much black and white. But the rest of the image should still be in color, even though you're adjusting the saturation of that digital noise. But then again, depending on the image, it's always dependent on the image. You have to be careful on how far you go, and you may not want to reduce it all the way to the point where you don't see any of those colors at all, because it may be affecting the other colors in the image, its image dependent. And again we can use our detail slider to bring back any detail that was lost with the color noise reduction. And if you want, you can also smooth out that digital noise like we did up here with this lighter with this slider here. So for now, I'm just going to leave my noise reduction Aunt 25. And we are all done with the detail part of our editing. In the next lesson, we're going to take a look at our optics panel. 16. Discover the Optics Panel: This next edit is an edit that I apply to every single one of my photos. And here's why. In optics, we have two options. We have removed chromatic aberration and enable lens correction. Regardless of the type of lens that you use on your DSL, our camera, it's going to create some type of lens distortion. This distortion is going to be visible in the corners of your image if your camera recorded the lens used at the time of capture, and it also captures the make and model of your camera. When you click on enabled lens correction, it's going to automatically gather that information from your metadata about your camera you're making model and the lens used. It's going to take that information and fix the lens distortion. I'm gonna go ahead and zoom in here so you can get a better view of it. So I'm gonna turn it off and you're gonna see a little shift in the pixels in my image here . And that's the lens distortion being stretched, so it's not as distorted. It's not as visible with this particular lens, but you will see it mawr in wide angle lenses. Now, once you activate it, you're gonna get a little pop up over here with additional options. And then when you click on this little area right here, it's going to show you the make and model of the camera and the lens and the profile that Adobe has created for your particular lens. And it's applying that profile or that algorithm to your image to fix the lens distortion. Now, remember, I said, if your camera captures that information in the metadata, if it doesn't, then you will need to fix that distortion manually with these options here. So not only do you have an option to fix the distortion, but some lenses will add a vignette to your image in the corners as well. And you can then begin reducing or adding, if you want the amount of lens vignette ing for your particular image now because my camera is capturing all this information in the metadata, I don't need to come down here and do this manually, and I will just turn on enable lens corrections. Now this option here remove chromatic aberration is something that occurs with lower quality lenses because they're not coated, the lens isn't coated the same way as a higher quality lens, and you're going to end up with these things called chromatic aberrations. And it's going to look kind of like a rainbow of colors in different parts of your image, depending on where the light is coming from and the colors are going to be dependent on your lens that you're using. It could be green. It could be purple. Could be yellowish. Could be a combination of all three. So if you see something odd, that kind of looks like a small rainbow you can use remove chromatic aberration to try and remove that. I really don't have any sample images to show you what it looks like. So you're gonna have to keep an eye out that for yourself. If you are using a lower quality lens. If you're using a name brand lens like Nikon or Canon, then that's something that you're not gonna have to deal with. So again, this is something I recommend you do for every image you edit. Make sure you enable lens corrections her hate. So that's it for optics. In the next tutorial, we're gonna take a look at geometry, so if you're ready for that, well, let's do it 17. Discover the Geometry Panel: hello and welcome to the geometry lesson of later home. Now, if you're a little worried because we're talking about geometry, don't worry. We're not doing any math light rooms going to do all the hard work for us. And if you've used light room before the cloud version, this particular tool was called the Transform Tool. And basically what it does is it changes or fixes the perspective of our images. As you can see here, I took a picture of this building with a very wide angle, and it's now distorted. We can see that the vertical lines are leaning to the right over here and leaning to the left over here. So we have a perspective and a distortion issue with the geometry panel. We can fix that. There's a couple of different ways we can do it. We can do it via a guided method, or we can let light room do it for us automatically. So the guided option will allow us to plot vertical and horizontal lines, and then it will make an adjustment based on where we place these guides. So, as you can see here, I have a horizontal guide and a vertical guide, and it's made adjustments based on where I place those guides Now. I played around with this for about 10 15 minutes, and it's very difficult to use. I'm not quite sure how to use it for this particular image. Maybe it's easier for another type of image and based on the perspective of the building. So I'm gonna go ahead and undo that with command or control in the letter Z. And then we can also make adjustments manually with these sliders here. And we just need to increase or decrease the different options based on what we're trying to fix. And then light room will adjust the photo for us based on the adjustments that we make here . And we can now see that the vertical lines are not leaning as much as they were there. Still a distortion. I probably went a little bit too far on this axis point over here, so that's why I like using the automatic options because it's so much easier. So let's go ahead and select auto and presto, it's fixed now that's pretty awesome. If I do say so myself. It took a matter of two seconds to select auto in light room adjusted the vertical lines for us so that they're no longer leaning to the right or to the left, and our image is basically fixed. A perspective of the image has been fixed. Let's check out level again. Not very helpful. Everything is still distorted. We also have vertical, which is much better for this particular image and also full, which will do something very drastic to our images. So always start off. I would recommend with auto see where that takes you and then make manual adjustments as needed after the auto setting is applied. All right, that is it for RG Almond Tree lesson. In the next lesson, we're gonna take a look at our corrupt tool. 18. Learn How To Crop: Hello and welcome back. All right, so the next step of our editing workflow once we have all these global at its done is to do are cropping. So crapping is again something that weaken due in camera by composing the image before we take the actual photo. So again we want to do as much as we can in camera, so we don't have to do it in our editing workflow. So about 90% of the time, I'll get it right in camera, and then for the rest of the times, I will come in and choose my crop tool either from here or by using the keyboard shortcut, which is the letter C. So down here we have some options to rotate and flip our image either horizontally or vertically. And then if I need to straighten out the image because the horizon is cricket, I can come up here to one of these corners and rotate the crop guide until I have it straight. Or we can come up here and strain out the image with this slider. Or we can click on this auto button here to see if light room can determine where the horizon is, and if it can, it will automatically straighten out our image for us now. In this case, it couldn't find a place or horizon from which to reference to straighten out the image. So we have to do it manually. So in this case, I could just move it to the left or to the right, until I'm happy with the end result. I don't need a crop it. I like the way it's composed and cropped at the moment now. The other thing we can do is we can change the aspect ratio of our image in the event we want to send this out for a wall enlargement. So if you click on this drop down menu here, you'll see some options for by 58 by 10 5 by 72 by 34 by six These air some other options here as well, or you can select a custom option, and then you can come in here and drag your corners accordingly to crop the image any way you want. Now, right now, the way that the crop is being applied is in free transform mode. If we want to keep the aspect ratio over image. We need a click on this lock icon to constrain the aspect ratio now, because I locked it before I reset the aspect ratio of the crop that I applied. It's now locking in that aspect ratio, so we need to come up here and select as shot. And now I can adjust the crop, and it's going to adjust that crop with the original aspect ratio. If I want to switch from a vertical to a horizontal crop, I can click on this icon here. And then if you have a horizontal image, you want to crop vertically again. You can just click on this icon and it will switch it to that aspect ratio or that orientation for you. Once you're happy with your crab, all you have to do is hit your enter key to apply it. I'm gonna go ahead and undo that with Commander Control and the letters E. And then I'm gonna grab my crop tool again with the letter C. Just a couple more things. I want to show you real quick if we go in here and select a five by seven aspect ratio for the crop. Our crop overlay will adjust to that size, and any area on the outside of it is where the image is going to be cropped so we can see that the overlay is a darker color now. And if I want to change how that is viewed, I can right click and change the opacity of the outer parts of the grid overlay. You can adjust this to your liking. I just leave it at the default of 50%. And then, of course, you can come in here and click and drag it to crop the image according to your preferences based on the composition you want for that crop. I can also come in here and adjust this five by seven aspect ratio to get a tighter crop. If that's something I want to do, and then when I hit, enter or return, it will apply that crop. Now, this is nondestructive because we can go back to our crop tool and reset it to as shot, which is what I'm going to do. I don't need to crop this particular image. Now that you know how to crop, we're gonna go ahead and move on to the next part of our editing workflow, which is to do any retouching required for our image, and we're going to learn how to use the healing brush in the next tutorial. 19. Learn How To Use the Healing Brush: Hello and welcome back. All right, so the next step of our editing workflow is going to be retouching our image. So we have a healing brush right here we can use to retouch are images. You can grab it from here or press the letter h. So the healing brush is very similar to the healing brush we have in photo shop. So if you're used to retouching and photoshopped, the tool works exactly the same. But if you've never used photo shop or retouched in like room, I'm gonna go into great detail in how to use these tools in this lesson. So we have two modes for our healing brush. We have a clone and a hell option. So what's the difference? Well, when you apply a clone brush, what is going to do is it's going to take the area that you click on or brush on. And it's going to find an area in your image to use to clone exactly those pixels to cover up the area that you clicked or brushed on. And light room is going to make this selection automatically for you. But you don't have to accept what light room gave you. You can actually adjust it based on the results that you want. I'm gonna show you how to do that in just moment. Let's go over the heel option first because it's slightly different. You're going to apply the hell brush exactly the same way as a clone tool, either by clicking or brushing on. And then, just like before. Light room is going to take an area of your image as a source to retouch your area that you clicked on. But it's applying that edit differently than clone, so clone is an exact copy or a clone of that area. The healing brush is going to take that area that it suggests for using as retouching that particular area, and it's taking the texture and the colors off those pixels, and it's blending it in together to cover up the area that you want to retouch. And it's much more natural than the clone because the clone is going to be an exact copy. So why would you want to use clone over hell? Well, the hell tool is not always going to give us the results we want. In that case, we can switch to the clone brush to see if it's going to give us a better result. So let's take a look and how we apply our clone and healing brush tools. So before we apply it, we can adjust the size of our brush from here, and I can either do it from this lighter. I can also make that brush larger or smaller, with the scroll button on my mouse. Or I can use my left bracket key to make it smaller and then my right bracket key to make it larger. Now, if you take a look, aunt the brush. Right now there's two circles. There's an inner and outer, and that outer area is the area where the brush will feather the information that it's applying, and it will feather it from that outer edge to the inner edge. And we can adjust the feathering size with this option here. So now we have more feathering, no feathering, so we're gonna have a hard edge for that particular brush, and we're not really going to get the results we want with that type of feathering. So I usually start off with 50 for the feathering, and then I can adjust it according to the results that I need for that particular edit. I can also adjust the opacity of that edit I'm applying, and I always keep it at 100. But I may want to drop it if I want to show some texture or detail below where I applied the brush. So this is something you're going to have to experiment with in the more you use it, the more you're going to know which settings are going toe work best for you and which brush you should start with. I always start off with Huell Brush and the feather and opacity set at the defaults, and then I can go in and adjust it as needed. So let's go ahead and start off with the clone tool and then I'm just going to click right here on Echoes. I and we can see another circle over here, and this is the circle. That light room is saying okay, based on this information over here, I think this would be a good match to retouch that area. If you don't agree with it and you're not getting the results you want, you can click and drag that circle to another location. Now, if you take a look at that circle over his eye, you can see that the pixels are an exact match for a clone of this area. I can then come in and adjust the feathering for that brush, either higher or lower. And I can drop the opacity if I need to bring some of that detail back in from below, where it's being retouched. I can also make this brush larger or smaller if needed, by navigating to the outer edge of the circle, clicking and dragging, and that will make the brush larger or smaller. Okay, if we add a brush in the wrong place and we need to remove it, just hit your delete key or backspace key to remove it. Now, in addition to just clicking and applying an edit, we can also click and brush in that area as well. And then it will create these little blue pens to show us that we brushed on that area. And then this area over here is an exact match as faras the shape and the size that we're going to clone or edit from, and we can move these just like we did before. So the healing brush tool works exactly the same way you can click and apply in light room is going to say Yep, let's use this area right here. If not, you can move it to another location or you can brush on. Now you may notice that it's applying it a little differently, And that's because, like you mentioned, it's blending in the colors and the texture from this area versus cloning in that area. We also have an option here that will help us visualize dust spots. Once we turn that on, our image will turn into a black and white outline, and this will help us see dust spots easier versus not having it turned on. And you can also increase the threshold, which will also help you pinpoint any dust spots, and then you can use your heel or clone tool to retouch it as needed. Okay, I have one last quick tip for you. Like I mentioned, I'd like to start off with my healing brush to apply my edit. Now, if I don't get the results I want, I can come into my mode here and select my clone tool and it will switch to the clone brush automatically for us so we don't have to start over. So that's how you use the healing brush to retouch your images and for this particular image when you really don't have anything to retouch. So go ahead and grab one of your images that has a photo of somebody with blemishes and go ahead and practice what you learned in the next tutorial. We're gonna go ahead and do some dodging and burning with our local adjustment brush. 20. Learn How To Use Local Adjustments: the next step of our editing workflow will consist of doing custom edits, and we can do this with our local adjustment brush, which is located right here. Or you can grab it with your keyboard shortcut, which is the letter B. Now, as I have mentioned previously, all the edits we did in the original editing panels were global edits. Our local adjustment brush will apply Ah, lot of these same similar edits directly where you want to place them on your image. So, in other words, it gives you the precision and control to apply these specific types of edits exactly where you want them. So let's see how this works now. To apply these edits, we're going to use a brush just like we did in the previous lesson, where we used our healing brush and just like before, we can adjust the brush size from here with our brand keys or are scroll button. And then, based on what I want to achieve with my custom edit, I can begin adjusting the sliders accordingly. So for this particular image, I want to do what is known as dodging, which is making an area brighter. Burning is a term used for making an area darker, so dodging and burning our two terms that come from the old days when we worked with film. So now I can go anywhere on my image and begin brushing on that edit. So right now, it's probably hard to see. But I am applying adjustments in this area where the brush is going, and once you're done painting, you're then left with a pin that represents where that brush was started. If we hover over that pen, we will get a red overlay showing where we applied that brush. So now we have some decisions to make. Do we want to find Tune the edits being applied here? Or do we want to continue working on the image in other areas? Because I can click over here or anywhere on my image and apply the edit somewhere else as well. If I decide I made a mistake and I do not want it in that area, then I can hold down my ault or option key, and that will activate the eraser tool now. It also would help if we could see that overlay as we're working. So what? I can do is I can press the letter O to show the mask overlay as I'm working, and now I can hold down my alter or option key and erase the areas that I want to remove for that particular edit. Now you may have noticed that it's not removing that edit very well. We're very fast, and that's because it's applying a flow to the area that we're applying it. So think of it like an airbrush where if you open up the airbrush and make the opening larger, it's going to allow that paint toe flow through faster. The same concept applies to our local adjustment brush. As I'm adding that adjustment in that area, it's going to gradually build up in the area that I continue to paint over until it reaches 100% of that amount of edit being applied in that area. If we come over here and click on this, we can see some additional options where we can adjust the feathering of her brush, the density and the flow so you can increase or decrease how fast that edit is being applied with our flow. So by default it's set at 50. If we go to 100 I can then quickly erase all of that edit with one stroke versus doing it over a period of time as it builds up and removes or adds. So if I want to add it back in a specific area with the flow set, the 100 is just going toe. Add it 100% with one stroke. I can continue going over it, and it's not adding more because it's already added the maximum amount for that brush. So I like to keep mine Aunt 50 so I can slowly build up the edit in the area that I'm working on versus applying it all at once. We also have an option to apply an auto mask, and in this case, light room is going to take a look at the area that you're applying the edit and it's going to try and keep it in a certain area. So if I click right here, we can see that that edit is being applied just to the right of echo. If I come over here to the left, it will begin adding it on this side, so it's taking a look at the contrast levels between the site and this side. And because my cross hair is on the inside of this area here, it's not going to apply any edits over here. So autumn asking is very helpful if we want to keep that edit in a specific area and then we have density, which is very similar to flow. If we lower the density, it will then apply that amount of edit at a smaller amount based on that density level. So even if I continue going over in this area, it's not going toe. Add that edit any more than it currently is right now unless I increase the density and then it will apply that amount to that specific area based on the new density level. So now I have a decision to make. Do I want to continue editing or do I want to update my current edit? If I hit the letter o again, it's going to show the pin because it's going to hide it when you hit it the first time you have to hit oh again to show it. But that will then hide the overlay. So from here I can apply different types of edits if I want to, I can increase or decrease the shadow slider accordingly to get the final result that I want. Now you may remember when we were working on this image in the light panel, I increased the shadow slider here. But because this is a global edit, if you go any higher, the entire image becomes brighter, and the result is the overall image is now flatter. And that's what I love about local adjustment brushes because it allows me to control exactly where I want to apply that edit. So from here, if I'm done with this particular section, I can actually come up here and click and start a new adjustment wherever I want it. And then I get a second pin, which is independent of this one, so I can come here and make this area darker if I want to. And it's not going to affect the edit over here because the edits are contained within that pin. So if I wanted to, I could come in and sharpen up, just echoes face versus the rest of the image. So again, this is awesome for controlling your edits, exactly where you want them to go ahead and bring my sharpness down a little bit. I don't want that much. I'm just going to do a little bit, and I think that looks awesome. So the last thing we can do with our local adjustment brush is applying colors in specific areas. So once you click on this little icon here, you will get a color box from which you can choose different colors. It's not really helpful for this particular image, but I like to use this particular tool for my landscape photos if I have a nice blue sky. But I want to make that's guy more intense, darker, more vivid, more blue than I can come in here and choose a darker blue color toe. Help enhance the color of that sky. Or maybe I have a sunset photo, and I don't like the colors for that particular image. I can come in here and choose a different color for that sunset. So that's how we use the local adjustment brush to custom edit our images in control exactly where we place our edits. In the next tutorial, we're gonna take a look. Aunt, our Final Two edits that we may want to apply to our images, which is our linear and radio ingredients. So if you're ready to learn how to use those, well, let's do it. 21. Discover the Linear + Gradient Adjustments: Hello and welcome back. All right, so the last step in our editing workflow is adding a linear or radio radiant. It's not something I do for every image. It all depends on the image and the creative vision I have for that particular image. But before we get into that, I want to go ahead and delete this pin because I don't want that edit right there. So I'm just gonna hit my delete key or my backspace key to get rid of it, just like we did previously. All right, so are linear and radio ingredients are very similar to our local adjustment brush, but we do not apply them with the brush. Instead, when we apply it, we are going to be adding a linear line or a radio ingredient. And then that greedy int is going to be feathered from 100% of the edit being applied down to 0% of that edit being applied. So let me show you how this works. Just like before, we can select any of these types of edits that we want to apply. And then we can click and drag out our linear Grady int So right Now I have 100% of my edits being applied over here on the side, and then it gradually works all the way down to zero so that none of that edit is being applied here and it's feathered along the way. I can go ahead and move this pen and re direct that greedy int anywhere I want. I can click in the center of the Grady Int or clicking on that middle line and rotating it as needed. I can also make the outer line larger or smaller again, depending on what I need to achieve for that particular edit. I can then go back and make other adjustments to that edit, just like we did with our local adjustment brush. I can then use a brush on the inside of the ingredient to add to it or holding down the alter ocean key to remove from it. That's not something I want to do, some going to undo that with Commander Control and the letter Z twice to get me back to the original linear ingredient. We can also go over here and select Invert to change where that Grady int starts and ends from and then if we want to add a radio radiant, it basically works the same way. But if I want a perfect circle, I need to hold down my shift key. Otherwise, it's going to be an oval shape. So shift and move and it will switch to a perfect circle. I'm going to do an oval. I need to select invert as well so I can create a spotlight type of effect where the inside of that oval is not getting the edit and then it gradually adds that edit to the outside of the oval or our radio ingredient. I can also increase the feathering of the radio radiant as well with this option, and now we have a hard edge, and the further right we go, the softer and the larger the feathering becomes. So I like to use the radio tool to create a spotlight type effect on my images instead of using Arvin Yet that we used in a previous video, which is very helpful for images like this, where I want to apply a vignette around the couple and not necessarily around the image itself. So I'm gonna go in here to the effects to grab my vignette and reset it, and then I'm going to apply a radio radiant exactly where I want it. So something like that I can click in the center and move it. And then I can also change the size of that radio ingredient by clicking on one of these four inner circles right here, and I can drag it out to any size or shape that I want. Go ahead and reset some of these and just make it darker. And now I have more of a spotlight on this particular radio Grady int versus what I had before. The other thing I may do is I may apply a linear ingredient for this as well, so I can create mawr of a tunnel type of fat, so I wouldn't necessarily use that spotlight on this particular image. Instead, I would create a tunnel or a funnel of light coming this way to correspond with the direction that the sun is shining down on them. And then, in addition to this, I would use my local adjustment brushes to apply some dodging and burning on the image as well. Because the sun is over here, they're being backlit I want this area to be darker, so that's a little bit too dark. So I'm gonna bring this down. So maybe something like that for my dodging and burning, I may want to go in a little bit more, touch it up a little bit, making a little bit darker and some other areas. So that's how I would use my local, just my brushes as well as my linear and radio Grady INTs go back to Echo here. I actually need to go back into the albums because I have specific photos and this album here is there a little guy? I'm gonna go back to my radio Grady int. I'm going to select it and delete it with my delete key or my backspace key. And I'm going to get rid of this edit as well. I'm gonna go back to my vignette hero quick and see if maybe I want to use this. Or maybe I want to use a radio ingredient instead. And I think that's what I would prefer using for this particular image. So let's go ahead and apply a dark exposure around the edges of our little guy here. I'm gonna go oval right about there, and I'm gonna make the starker and I prefer this type of effect versus the vignette. I think I want to adjust the feathering a little bit as well, so that there's more light on echoes face than there currently is. Now let's try going a little bit darker and there we go. So that's how you use the linear and radio Grady int. In the next tutorial, I'm gonna share some additional editing tips with you to make your editing much faster versus trying to do each image individually. It's pretty cool, so check it out. 22. How To Copy & Paste Edits: Hello and welcome back. So this next tutorial I want to share with you a pro tip toe help you edit some of your images much faster. And this is going to be very helpful when you have a photo shoot or an event or vacation of images that you're shooting under the exact same conditions. So, for example, maybe I have a 10 20 images of echo in this location under the same type of lighting, and I want to edit all the images. Now, we could go through this image and make all these edits that we just did. And it might take 5 10 15 minutes to do that for that one image. Now we have to do that for the other 10 images. So now we're looking at two hours of work toe edit all those images while I'm gonna show you a little shortcut so you can edit all 10 images within 10 minutes or 15 minutes versus two hours. So this is what we're going to do. If you want to follow along, go ahead and right. Click on your thumb. Now down here in the filmstrip and select. Make a copy. We're just doing this because I don't have multiple images of echo in this location. And now what we're going to do is go up to photo and select, Reset to original. We also have a keyboard shortcut here for that as well, Which is shift Plus are. So go ahead and click on that. And now we have the original image straight out of camera with none of the edits that we've applied previously. And now we need to go back and select this image again, the one with the completed edit. Then we're gonna come over here to these three dots, click on it and select copy edit settings. Keyboard shortcut is right here, command or control. And the letter C. Once you do that, gonna go back to this image, and then we're gonna come back over here, and we're going to select paste edit settings. Keyboard shortcut is Commander Control and the Letter V. Once I pays that boom, all the edits that we did here are now applied to here, except for the local adjustments that we added with our local adjustment brush and the radio Grady int. But guess what? I can actually copy those two edits as well to apply to this image. So let's go ahead and undo the edits we just pasted to this image. And we're going to use our keyboard shortcut, Commander Control and the letter Z. Now we're gonna go back to this image back to the three dots, and we have an option right here, says Choose Edit Settings to copy. And now we have a new pop up window showing all the edit settings being copied for this particular image. The only thing not selected is geometry and tools, and if we expand the tools, it will then show the other edit settings we need toe add to the copy. So I'm going to select Radio Ingredient and the brush tool. We can click copy, and now we can go back to this image and apply all those settings that we copied from here with our keyboard shortcut, which is Commander Control and the letter V. How cool is that? So we can instantaneously take edits for morn and apply it to another image so we can quickly get through editing all our images. Now, if the light situation has changed from one image to another, that's fine because you can still go in and make adjustments or tweak that edit according to that image that you're working on, which is still 10 times faster than doing all these edit settings from scratch. Now real quick. I just want to share one more tip with you. As you know, if you come down here and click on this icon, you will see the original image, and if you click on it again, you will see your final edit. So this is a great way to see the before and after, but you may have noticed inside of here. We do have a keyboard shortcut to show the original, which is this key right here, which is the back slash key. So I can just press that on my keyboard and navigate to the before and after. Now that you know how easy it is to apply. Edits toe multiple images. I now want to share with you in the next tutorial. How to save those edits so you can apply it to future images. It's pretty awesome. I can't wait to share that with you, so if you're ready to learn how to do that, let's do it 23. Discover Presets: So at this time you've completed your edit. Not only have you completed the edit your in love with the edit, and you want to be able to use those edit settings for future images because you may be shooting under the same conditions, the same lighting conditions, the same location, things like that. And what you can do is you can actually take all these edits from the global panels as well as your local adjustments, and you can save them as what is known as a preset. The preset is nothing more than a file that includes all the information from your editing panels saved to that file. And then you can select that preset in the future toe apply to any other images that you want to. So let's look at how we can save this particular edit to a preset so we can use it again in the future. It's very easy to do. We're gonna go down here where it says presets. Click on it and then we're going to click on these three little dots and select, create preset. Then we're going to give it a name, and then you have to decide if you want to put it into your user presets, which is the default for your presets, Or you can actually put it into a new group, which acts like a folder. Let's just call it eco click create, and then you have to tell light room, which edit settings you want to save to this new preset. So by default, everything is selected except geometry and tools. It's really hard to apply tools to another image because the composition has to be the same because if you're applying a linear or a radio ingredient, chances are it's not going to apply it to your new image like you did previously, because because the layout of the composition may be different. But you can still select the Radio Grady Int and move it as necessary based on the composition of your new photo. So I would still save my tool. Edits to my presets because I have that flexibility now. The only thing it's not adding is our local adjustment brush is. So once you apply the preset, you would then need to go ahead and apply those local adjustments. Now real quick. I just want to mention as well that presets are not going to work 100% of the time on all images because not all images are going to be shot exactly the same unless you're in a controlled environment like he's studio and you're using the same type of light and settings to capture that light on your camera. So if you're shooting outside, chances are the intensity of that light is going to be different day to day, and you will still need to go in and tweak your edit settings accordingly to get the best results for that particular image. But presets are a great way to get started on an edit versus doing it from scratch. So once we have everything selected, we can then click save, and then you'll find your new preset in the new group in this panel here. Now, your panel is probably different from mine because I do have a lot of pre made presets that I've created already installed in light room CC. There are some up here provided by Adobe that you can use as a starting point, and then you can take those and save them as your new preset simply by creating a new presets and to get you started on using presets, I'm going to include these five pre made presets that I've made for my own work. And you're going to be able to download those and install them for yourself in the next tutorial. So if you're ready to get started on that, well, let's do it. 24. Free Presets: Hello and welcome back. All right. Now that you know how to create your own presets, I'm gonna show you how to install presets that you can either download from other photographers for free. Or you may find some presets that are available at an additional cost that you can download and install into light room CC. So I've included five of my favorite presets that I like to use for my create division on my own photos. Go ahead and download that file, unzip it, and then you'll find a folder like this called Parker Photographic. Now, to add them to light room. It's really easy. We're gonna go up here, click on these three dots and then select import presets. Navigate to the folder selected click Import and then you're gonna find your new group of presets right here. And then all of the presets inside will be included. Now, the one thing you need to understand about presets is one which we've talked about previously is that presets are a starting point and they will not work 100% of the time on all photos and you will find yourself making adjustments to the edits being applied from that preset in order to get best results. The other thing you have to understand is if you make edits on your image first, like we did with Echo here and then you go to apply a preset, you will notice that all the edit settings are gone, and that's because the edit settings in the preset our overriding the edits you made while editing. So, depending on your editing workflow, I would recommend applying a preset first and then tweaking it to your tastes. Now, if you're not sure which preset you want to use, you can simply hover your mouse over each preset, and then you will see a preview of that preset on your image to the left. But the thing is, it's not really applying the preset as intended, because I do have a lot of edits in here that are not being overridden by this preset or any of the other presets because those edits weren't applied and the preset that I say it. So it's better like I mentioned to start off with a raw file and then apply that preset based on your creative vision. Once you're happy with one of the presets and you want to select it, just click on it, and then it will apply all those edit settings directly to your image. You can always go back and pick out a different preset, because it's going to override the adjustments that you selected originally. And then, of course, you're going to want to go in and adjust your edit settings for best results. Now, if you want to get rid of a group of presets, you can manage your presets by either right clicking and selecting hide. You can rename or you can even delete it. And then it will ask you if you want to permanently delete those from late room CC and all your sink devices, or you can go up here and select manage presets, and from here you can de select any presets that you do not want to show up in the presets panel. Once we go back, this is all we're left with. And then, of course, you can always go back in and turn them back on if you need access to those specific presets. So this is just a great way to manage all your presets because, as you add more and more. It's going to be harder and harder to find the preset that you want. For example, in my user presets, I have tons of presets. And if I were to organize thes by new groups or folders, if you will, then it will make it that much easier to find the specific preset that I need at the time I'm editing a set of images. We also have some free presets from adobe as well, so you can use these presets on your images as well. And then, if you want to tweet the presets and save them as your own, you can do that as well. Okay, so that's how you install pre made presets and adjust them for your own use. In the next tutorial, we're gonna take a look at how we can share our images with the world. So if you're ready to get started on that, let's do it 25. How To Share Your Photos: Hello and welcome back. All right, now that you're done with your editing, you're ready to share that image with the world. And we have three options. The 1st 1 is saving this file as a J peg file that you can then use to print with your in home printer. Or you can send it off to your professional lab. Or you can upload it to your adobe account, and you will get a special Earl that you can then share on Facebook via email or any other method you want to share that link with. And then people can navigate to that URL to see your image. Or you can create a portfolio or a private photo gallery of one or more images, so I'm gonna show you how to do each one right now. So if we go up here, we can click on this icon and select save, too, to save it as a J peg file. So we have some options here. The 1st 1 is original plus settings, so it's going to take your original raw file, applied the settings and then save it as a new role file. You can then specify where to save it. If you select J Peg because you want to do some printing, or maybe you want to share it online by yourself without using the built in galleries provided by Adobe, you can select different sizes, so we have small, full and custom, which will allow you to type in a specific size based on alongside so 1800 pixels wide will create a four by six print or file at 300 DP I but light room will export or save your file at 240 d p I, which is going to give you an image size of five by 7.5. Now I bring this up because if you're going to send out to a professional lab or even your in home printer, they may prefer an image at 300 dp I vs 240 dp I so we don't have that option of specifying the dp I for printing. In that case, you're gonna have to switch to light Room Classic in order to get the proper DP I for that particular file that needs to go out to the professional lab or even your in home printer. The other thing is 240 d. P. I is way too large for Internet use. You want those types of images that are going online or being shared online to be a maximum of 72 dp I again. You can't do that in light your MCC, so you'll need to either switch to light from classic or Photoshopped. So here I have three images, and this is the small option that we have available in that drop down that I just showed you. And the small image will give you an image that is 5.6 by 8.5 at a resolution of 2 40 Then the full size will be much larger, going to be 15 inches by 23 inches. And then I did a custom option as well at 1800 pixels tall, which is the long side here, and it gives me an image size of five by 7.5. So that's your options for saving it as a J. Peg or a raw file. We also have an option here to share this single image to the Web, and when you click on it, it's going to create an earl for you that you can then copy and share it to whoever you want. The other option is to go into your sharing options here and clicking on Add Connection to create a connection with Adobe Portfolio, where you can create a photo gallery of multiple images. Just click on Connect. It's free. Once you have the connection connected to the adobe portfolio, you then need to select an album that you want to share. So you're going to select all the photos, create an album, make your connection and then you can share that L. Boehm in your adobe portfolio. And then you can share that link with your friends and family or your clients or whoever needs to see it. So to do that, we're going to right click on the album that we want to share and select share Toe Web. Once the URL is created, you can then right, click and select view unwed or select copy link to share that link with somebody. And then that portfolio will be created in your light room adobe account with this URL that's created for you, and then you will have your photo gallery which you can then navigate through the slide, show her head. So those are the three ways to share your photos with the world? In the next lesson, I'm gonna share with you some tips on using the people option for managing photos with people you know. 26. Discover the People Tool: Hello and welcome back. All right, we're gonna go ahead and talk about people a little bit more. We briefly touched on it in the first video of the section on the interface. And I just want to give you some tips for managing your photos of people. So, as I mentioned previously, light room is going to take a look at all your images and try and find people based on its algorithm and the face of that person, and is going to try and group all the people the same people in the same set of photos. But as I mentioned previously, this set of photos and the set of photos are of the same person, but it didn't recognize those photos as being the same person. So what we can do is we can actually merge these two sets of photos into one set. So to do that, we're gonna come over here and click on these three dots and select merge people. Now all we have to do is click on the two sets that we want to merge or multiple sets and click merge, and then we have the option to anti name for this set of photos and then just click to merge. And now all the images are together. We can also, and a name to the other sets as well simply by clicking on our thumbnail here. And then we can type in the name appear and we also have some options under here is well, to manage her people. Okay, we can go back by clicking on our arrow here and now Echo has been renamed accordingly. One last quick tip. Before we move on, we can actually right click and select Rename person or hide person. If you accidentally hide somebody, you can go back up here, select show and hide, and then select the group of people that you need to re show. So those are my tips for using people and all my tips for using light room CC. I hope you enjoyed this section on late room. See, See if you have any questions about anything, please post them in the Q and A section. And I'd be happy to answer your questions. Thanks for listening and have an awesome day 27. How To Enhance Detail: Hello and welcome back. All right, so Echo and I are back because we have a brand new feature in Light from C. C that was just released in February of 2000 and 19 and is called enhanced detail. Now, even though it's cold in the hands detail, it's not available in your detail panel here, so you may miss it. So where exactly is it? Well, if we go up to photo and scroll down, you'll find enhance details right here. So a couple things you need to know about this particular new tool it only works on raw files. If you selected J. Peg file, it's not going to work. The other thing we need to know about this is once we enhance the details and save it, it's going to convert that file to a new file in a different file format called D and G, which stands for digital negative. So it's not going to replace your original raw file. It's just a new raw file format and just real quick. If you're interested to learn more about DMG, we're not going to cover it in this course because it's well beyond the scope of this course, and that's because entire books have been written on the DMG format. So that's something you're going to have to search on your own toe. Learn more about it. So once we select enhance details, what is going to do is it's going to create a preview to show you the before and after of applying this new tool. So, in essence, what is going to do is it's going to try and take the artifacts, are the digital noise in your image and try and reduce it as much as possible. Even though we have tools available in our panel's over here on the right to do that, this is another option for trying to enhance our images by reducing those artifacts. Now, once you click on enhanced details, the preview that is going to generate could take 10 2030 seconds or more, depending on the file size and the speed of your computer. Now, over here to the right, we have a small message that basically goes over what I just explained, and it's basically an algorithm is being used to enhance the details of your image by reducing artifacts. And it also says in most rural files. So not all raw files are going to benefit from this feature of this tool. And then, just below that, it says the enhanced result will be saved as a new DMG, which is basically another type of a raw file format, which stands for digital negative. Now. I'm not going to go into a lot of detail about the N G in this course because it's well beyond the scope of this course. And in fact, entire books have been written on D and G alone. So that's something you're gonna have to look into yourself. If you're interested in learning more about D and G files, you can also click right here to learn more. And right below that we have an estimated time to enhance this particular file, which is 37 seconds. And then, just below that, we have another message, basically says that this particular feature will perform best or faster with a fast GPU. We talked about GPU in the lecture on preferences, so if you haven't gone through that lesson, you may want to go ahead and go through that and set up your GPU. So over here to the left, we have a preview of our file zoomed in. Of course, you can zoom all the way out with this icon right here, and right now it's showing the enhanced details being applied by this feature and to see the before we just click and hold our mouse button to see it without the enhancement. And then once you release your mouse button, you'll go back to seeing how it's being applied with the enhanced detail. So once I click enhance, it will begin the process of applying that new tool or enhancement to that file, and it's gonna take around 37 seconds. So I'm gonna go ahead and speed up this portion of the video so you don't have to sit here and watch this for the next 40 seconds. Okay, so that took about 45 seconds to complete, and I really can't see much of a difference. Maybe if I zoom in here, I can see a difference, but I'm not quite sure if it's enhancing. My role filed that much. If it is, I'm not really seeing it visibly unless I zoom in 102 100% or something like that. So you're gonna have to experiment with your own raw files to see if it's actually making your raw files better than they were before. Now, if you take a look at your filmstrip after you apply the enhanced details, you're gonna see a number two here. So this is basically stacking the new D N G raw file format with the original raw file. If you click on this number, you will then see both the DMG file, which is this one here and the original raw file. All right, so that's how you used the enhanced detail to enhance your role files. So check it out for yourself and let me know if it helps or doesn't help your raw files. Thanks for listening and have an awesome day. 28. How To Create an HDR Image: Hello and welcome back. All right, so we have a new feature again in late room CC. Again, it's February 2019 and this new feature is called HDR Merge. So I want to show you how this particular tool works with two or more images. So basically what you're going to do is you're going to take multiple images, add different exposures. I find it tends to work best with three or more photos. I only have two for this demonstration, but that's all. It's for us just to demonstrate how this works in. What we're going to do is we're going to create a new file when we merge these two images together. So the reason why we want to do this is because we want to create an image with his much detail in the highlights and the shadows as possible without having to worry about making those edits in our editing panels. So you can take a picture of a scene and capture 345 or more images at different exposures , thereby creating more detail in the highlights and shadows. So this image is very overexposed. But what I did for this particular image was I exposed for the shadows, and we have a lot more detail in the shadows than we do in this image here and then for this image. Instead of capturing an image for the proper exposure for the shadows, I decided to capture an image that was closer to perfect for the highlights. Now it's still a little bright, and I do have 1/3 image that is better exposed for the highlights. But again, it's just for demonstration purposes. So once we merge both of these images together, we will see more detail in the shadows and the highlights. But it will be better overall because the exposure will be closer to perfect. And then we can adjust the settings in our editing panels to tweet the image for best results. So to start, we need to select both are images and then go up to photo and select photo merge and then HDR merge. So late Room is then going to create a preview based on the images you select, and you can see it's already better than it was before. So, up here at the top, by default, we have auto align and auto settings selected So when I took this image, I didn't use a tripod. So the images are off just a little bit. So by selecting auto align, light Room is going to try in line up all the elements and the images so that we don't have this ghosting effect. So right here, this big tree in the back, we can see two trees. But if I turn on auto align, it aligns those trees so that there's only one tree. And then, just below that, we have auto settings, which is going to automatically apply. Edits to the image based on light rooms algorithm. Now you don't have to choose the auto settings because you can go back into your editing panels and make tweaks to the different sliders according to your particular image, to get best results. But I don't mind, in this case to use auto settings to get me started. Now, just below that, we have an option called the Ghost Amount. Now, ghosting happens when you have a problem like I have here, where the elements in the scene don't line up because I didn't have a tripod. Or maybe if it's on a windy day and the trees and the branches air moving, they're not going to line up. So you're gonna want to turn on auto align, and then you can increase the amount of de ghosting to ensure that all the elements line up as best as possible. So if I move this up to medium, we can see that the elements line up much better than they did before. Now, right below that, we have an option called Show de Ghost overlay. And this is the area that may or may not be lining up properly. And I have some ripples in the water. So it's probably not lining up those areas as well as it could if I had taken the images much faster back back, which I could have done with a tripod. So I'm gonna go ahead and turn that off. And then once we click merge, it's going to begin emerging those images together and adjusting the editing settings for that particular image. And then once it's done, it's going to create a new file with the two merged images. All right, now that let your room has completed the merge, we now have our third file right here on the end. And then I have to decide if I want to tweak the settings that light room applied in order to get best results. I find it's still a little bit overexposed. I'm gonna bring this down. And I may also want to adjust the white balance as well. So I'm gonna go into color, and I'm going to make it just a little bit warmer. I prefer a warmer image, and then I need to go in and maybe bring out some more details in the shadows by using my local adjustment brushes. I'm gonna go ahead and make this a little bit brighter, and then I can just go in here and paint in this area to bring it out some additional details in the shadows. So that's how you use HDR merged to create HDR images to get as much detail in the shadows and the highlights as possible 29. How To Create a Panorama: Hello and welcome back. All right, we have another new tool in light room Sisi called Panoramic Merge. And in this tutorial, I'm gonna show you how to take multiple images and stitch them together with panoramic merge. So the hardest part, of course, is selecting our images because light room is going to do the hard work for us. Once you have the images selected, you're gonna go up to photo and then under photo merge. We're going to select Panorama Merge. Now, at this point, light room is wondering if this is an HDR panorama image as well. So, in other words, that I take multiple images at multiple exposures plus images to create a panorama image which would be an HDR panorama emerge, which is a different feature or tool in light room cc. Now, in this case, it is not so. I'm going to select No, continue with panel. Now, if you do have a situation where you did both HDR and panoramic images, then you're going to want to select that third option under photo, which is right here. Photo merged. HDR panorama merge Now, just like with our HDR image and the last tutorial light room is going to create a preview image of all the files stitched together. And then from here, we have to make some decisions before we do the final merge. So when light room takes these images and it starts to stitch them together, what it's doing is it's aligning the elements in the scene to make sure everything lines up properly. And because we are doing a panoramic and did a full 3 60 we're not going to get detail in the entire document, So we're going to end up cropping part of the image in order to create that full panoramic image from all five images. Now these three options here are going to allow us to stitch them together and give us more or less white area to contend with. So spherical is the default option, and then we have this option here, which is going to create a new preview and is going to try and create more detail along the edges so we have less white. We also have perspective which may or may not work, depending on the type of photo that you captured. So in this particular scene, there's real no perspective in the landscape photo, so I can't really use it. So in this case, I think the first option is the best option. We can then use boundary warp to increase the amount of detail where it's not currently visible, which is the white area. So if I increase this than light, room is going to use its algorithm to begin to warp the outer edges of the image to fill in that white area. And I think it does a pretty good job, so I can go all the way up to 100 to complete my panorama of those particular files. But if it's not working out for you, you can use auto crop, which will then crop the image accordingly. Personally, I like boundary war better for this particular image because I'm getting as much detail as possible in other areas of the image. I'm gonna go ahead and select merge, and then again, it's going to take a few seconds to a few minutes, depending on the file sizes and the number of images that you're trying to merge. Then once it's completed, you will then have a new file separate from the other five and Now I have my panoramic image. How cool is that? I love this feature. So the next time you're out shooting, you may want to consider doing a full 3 60 of the entire scene that you're trying to capture and then merge them together in late room. 30. Discover Targeted Adjustments: Hello and welcome back. All right, we have another new tool in late room Sisi called targeted Adjustment tool. So this particular tool will work with the tone curve and the color mixer tool, and it allows you to target specific colors and make adjustments directly on your image versus using the editing panel over here on the right. Soto. Activate it. We need to go to either the color panel or the light panel to begin working with the targeted adjustment tool. And if we navigate to the tone curve, we can see a little circle right here. That's the target adjustment tool. It looks the same on the color mixer, so once you select that tool, you will then get a new panel right here that will allow you to switch back and forth between the tone curve and the color mixer. So if I want to work with the tone curve, all I have to do it is click and drag to the left or right, and then my tone curve will be adjusted over here. So what it's doing is when you click in an area on your image, it's targeting the colors of that area. that you clicked on. And then you can make adjustments accordingly. And that's part of the targeting tool. It's targeting specific colors. So for me, I'm not quite sure that I like it for the tone curve. But for the color mixer, I do like to use it because it allows me to target specific colors. And then I can adjust the hue, saturation and luminous. And yes, we do have sliders over here in the color mixer, and we can select individual colors. But sometimes it's hard to determine exactly which color is in a specific area. We may select yellow, but it may actually contain more orange or green colors or red colors. And what we really want is the targets a yellow color. So it's a lot easier sometimes to come in and just click in an area, and then we can adjust that color accordingly. Now, for that area I just targeted, I just changed the hue. If I undo that with Commander control in the letter C, I didn't come over here and target the saturation of that area or the luminous, which is the brightness of those pixels. So that's how you use the target adjustment tool to target specific colors of your images so you can then change them and the color mixer, or to adjust them based on the tone curve. 31. Discover Histogram Clipping: Hello and welcome back. All right, so I have another new tool that I want to share with you. And this is actually a feature of the history, Graham. So let's go ahead and check it out. So I like to use the history, Graham, when I'm editing to make sure that I'm not over editing my image and I know him over editing, if one of these peaks ends up above this line right here, and it starts to clip that peak. So when you begin to clip a peak, it's actually clipping the data in your image. And you start to lose detail in the highlights, or the shadows, or even the mid tones, depending on where that peak is as she being clipped. Now, visually, we can see that with the peaks. But we now have a new feature of the history, Graham that will allow us to visually see it directly on the image itself. So if we take a close look at her history Graham, we have two arrows, one in the upper left and one in the upper right. So this is brand new. And if you turn these on, what is going to do is it's going to show whether or not you've over edited your image, either in the shadows or the highlights. So if I increase my exposure, I can see that this red peak is now very close to the top, and I really haven't clipped it yet, so I can continue increasing the exposure. But if I go too far, we condense. See a red overlay in the area where the data is being clipped. So this is pure white. There's no detail in the highlights in this area, and the same thing applies with the exposure. If we begin to clip data in the shadows, then we will get a blue overlay. Now, visually, I can see that this is an under exposed image, even without that blue overlay. So the clipping feature of the history Graham will work better for some images versus others, but I still recommend turning them on so that you can see if you are indeed over editing your images. So that's how you use the clipping masks in the history. Graham