Lightroom Classic CC: A Total Beginner Walkthrough | Tabitha Park | Skillshare

Lightroom Classic CC: A Total Beginner Walkthrough staff pick badge

Tabitha Park, Chocolate Photographer

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10 Lessons (1h 60m)
    • 1. Introduction

      1:36
    • 2. Catalogs Explained

      19:19
    • 3. Importing and Library View

      9:57
    • 4. Culling, Starring, and Color Labels

      13:42
    • 5. Develop Sliders

      21:05
    • 6. Cloning, Filters, Cropping and Brushing

      16:57
    • 7. Lightroom Presets: Import, Create, Share

      16:44
    • 8. Export Settings

      8:57
    • 9. Miscellaneous Tips

      10:09
    • 10. Final Thoughts and Project

      1:08
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About This Class

In this photo editing class I'll show you around Lightroom Classic CC, version 7.5

This class will take you through common processes and demonstrate importing, culling, editing, presets, and exporting.

**Included is 2 Lightroom Presets I made in the course. They are attached as a .zip file in the project section to the right of the project description**

I've packed this 2-hour guide with organizational tips, my exact workflow and settings, as well as a few editing sequences. To help you make the most of it, I've created a course syllabus below for your reference.

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Introduction: About this class

Catalogs Explained:
1:11 - What a catalog stores and why you want more than 1 catalog
3:17 - What Lightroom creates and a visual explanation about Non-Destructive Editing
4:50 - Backups
6:45 - My Catalogs, naming, and storing
9:32 - My backups, deleting old ones to free space
10:25 - Creating a new catalog and adding your main hard drive folders
12:45 - Moving files off your computer and into long-term storage
13:36 - Prepping a session for storage
15:15 - Disconnected drives, missing files, finding files
17:05 - Dates and organization and how it helps me with my taxes and mileage

Importing and Library View: 
0:46 - How to import
1:37 - Import settings
3:57 - Location of your previously imported photos within the Library
4:42 - The Navigator, grid view, thumbnail size, and Survey Mode
6:11 - Catalog Drawer including Quick Collection
7:56 - Building custom collections for organizing photos
9:23 - Metadata Drawer

Culling, Starring, and Color Labels: 
0:03 - What's culling? How do you decide?
6:19 - How to cull in Lightroom and my process
10:40 - Filtering first pass of 1 star images
11:34 - Color labels
12:43 - Adding Keyword tags for easy searching

Develop Sliders: 
0:34 - Develop Module: Histogram
1:51 - Slider Drawers
3:02 - Begin edit with light and contrast edits in Basic and Tone Curve drawers
6:12 - White Balance
10:08 - HSL/Color and Split Toning
14:34 - Detail, Noise Reduction, and Sharpen Masking
16:23 - Lens Corrections, Distortion, and Transform menu
18:04 - Vignetting and Grain
19:43 - Edit wrapup and a Dark and Moody tutorial

Cloning, Filters, Cropping, and Brushing:
0:38 - Basic edits before cloning and brushing
1:25 - Cropping
3:00 - Cloning Spot Tool for blemish removal
5:20 - Red Eye Tool
5:44 - Graduated Filter
8:34 - Radial Filter
9:43 - Adjustment brush
14:17 - Using spot tools on Chocolate/product photography

Lightroom Presets: Import, Create, Share:
0:05 - My personal feelings on Lightroom Presets
1:34 - Finding the Presets Menu and Lightroom's pre-loaded presets
2:27 - Online Lightroom Presets for purchase and download to get you started
4:28 - Downloading free presets from Greater Than Gatsby
5:21 - Getting downloaded presets into Lightroom
6:42 - How to create your own Lightroom Presets
13:19 - Making a Black and White Preset
15:00 - Sharing your presets with your friends
15:55 - Where to find the presets I made for you! (in the project section on the right!)

Export Settings: 
0:38 - How to export
1:07 - Instagram Export Settings
4:25 - Getting photos to my phone for easy sharing on Instagram
4:40 - Full Resolution photo export settings
5:57 - Creating Export presets
8:05 - Export and Open in Adobe Photoshop for further editing

Miscellaneous Tips: 
0:20 - Changing the Background color of Lightroom
0:55 - Copying edits, or better, SYNCHRONIZING a session
1:32 - Keyboard Shortcuts
3:25 - Changing your view options for library and develop tabs
4:38 - Map, Book, Slideshow, Print, and Web tabs (and why I don't use them)
5:25 - Creating a contact sheet
6:15 - Clone tool: Heal vs. Clone and feather slider
7:12 - Navigator zoom options
8:17 - Detail window and how to use it to check your sharpening
8:58 - Rotating a photo
9:34 - Keyboard keys for adding stars and colors

Final Thoughts and Project:
Wrap up, share your project, etc! Thanks for reading, hope this was helpful!

Transcripts

1. Introduction: Hi, I'm Tabatha. In this photography class, we are gonna talk all about Adobe Light Room. But light room is such an incredible, intense program. There's so many things that you can do, innit? Teoh, Really? Take your photos to the next level. I never share images that I haven't edited and light room is king. So we're going to start with how to cool a session, All the different developing tools that I use and the cloning exporting settings and a little bit about presets and everything that you might want to use. When you are editing in light room, this class is targeted toward be dinner lightning users. So if you've never used light room before or you've only opened it a few times to run some stuff there, you don't know what all the tools are. You're in the right place. If you're very seasoned light room user, you might get a little bored. But who knows? Maybe I do something differently than you do when you find it interesting. So, yeah, just so we're on the same page there for the class project will be sharing photos that were are raw files. Next door edits maybe a couple different edits. Maybe you can't decide between the light and area or a dark and moody at it. We can kind of compare at its to our originals. See what we did, hopefully showcasing tools that you've never used before. My name is Talitha. I am a lifestyle photographer, a content creator and a teacher here on skill share. I have been using White Room for about eight years now, and I finally feel like an expert. So hopefully I can convey these tools and tips to you in a way that makes sense to you and helps you grow as a photographer. So, yeah, I'm really excited. Let's do this. 2. Catalogs Explained: in this section, we're gonna be talking all about catalogues what they are, why you use them. Everything. I'm going to interrupt myself really quickly just to cover some light room basis here for you. I am using Adobe Light Room Classic See, see if you have the Adobe Creative Cloud suite. I have the whole suite. If you just have the photography, uh, version, which is light room in Photoshop. That's great, but you'll notice there's Light Room CC, which is the cloud based photo service on There's Light Room Classic CC. This class is all about light room. Classic CC. I am using version 7.5. It is September 26th 2018. OK, so if you're accessing this in the future, consider that this is current today, but it might not be current in the future. When I first started using light room, no one really sat me down and explained like, this is what a catalogue is. Four. And this is why you should have more than one. I just thought Wouldn't it be convenient if I had a place where I could view all my photos from beginning of time and I very quickly over Ah year. So realized that that wasn't going to be sustainable because the catalogue stores the information about the photo doesn't store the photo. It restores what it looks like when you've edited it. And so if you have hundreds of thousands of photos that one catalogue is trying to store, it's gonna get bogged down. It's gonna get really slow. It's gonna make every edit really, really slow. And so if you feel like you've been using light room and it's super slow, it could be because you have too big of a catalogue and you need to start a fresh one. It is a little annoying to have to organize a lawyer catalogs like Here's all the photos I took in 2015. That's its own catalogue. Here's 2016. Um, pretty much the beginning of the year. If I haven't started one recently. All start up a fresh catalogue, you know, New Year new light room catalog. And then, like, obviously, if I have some Christmas sessions left over from the year before, I have to like close my current catalogue and go and open up a older catalogue at it. Those and then, like switchback until I get fully transferred over to the brand new catalog. But it's nice because now I'm not, you know, opening every photo ever, all the previous from the beginning of time. I am just looking at what I'm currently working on. So because my computer is a 500 gigabyte hard drive, I can't keep everything on it all the time. And so I've got my, like, 20 most recent sessions that I'm editing. And then, as soon as they're done and delivered to the client, I delete the pictures that I don't want to keep or ever look at again. And then I will move everything through light room from my computer's hard drive to my long term storage drive. I can show you how to put your storage drive in light room so it's viewable and then make that transfer really easy. But yes, everything you know from my previous life from catalogues, everything has been transferred over from what my computer recognizes. The hard drive Teoh, my long term storage. And then that's just kind of how I keep everything organized. Um, a catalogue is I mean, I like to think of it is like a scrapbook it. You don't want to have all of your memories in one scrapbook because the house burns down. There goes all your memories. Light room does not store your individual photos. So basically, light room knows where your photos are because you tell it when you import them and then it basically just makes a map for you. So basically, light room keeps all your edits on a little transparency and then all its stores. It's the transparency. So you have your original raw file, and then you have your transparency that goes in front of it. And when you export a photo, it glues those together and sends it on its way. So that's how you get final photos and light room. But light from Onley stores like the top data, it only stores the edits that you've made. And so that's how you can look at Sony Pictures all at once without it. Getting Boggs down is because you're not looking at the actual photos. You're just looking at a preview with kind of a screen in front of it. If that makes sense, the light from Store six Lightning stores the transparency, the the edits that the screen, and then your computer is where your photos are, and then the process of exporting it. So's them together. And then you have unedited photo that you can't remove the edit from. But if you haven't sewed it together yet, or if you want to do another copy, you can change the edits and then sew it together kind of a thing. So, yeah, that's like how I like to think about it. It's a little confusing, cause when you're editing and Photoshopped, you're editing the image, Um, light room. You're just editing the idea of an image, and then when you're done, it's like, Okay, let's grab the image and then stick it together. Sylvia like room catalogues Super awesome. It's important that when you're working on the catalogue, you have a backup of it. Light room will automatically back up over time. You can kind of set it to remind you every couple weeks, and then that just stores the edits that you've made. And it just remembers those that way. And then when you're finished with a light room catalogue and you want to start a new one, it's important to put the old catalog somewhere that is going to be safe. So I wouldn't just keep it on your desktop forever. Because if your computer crashes and has a huge traumatic error, you could lose your whole life room catalog, and then you would just have to re edit all the photos that you edited that you didn't exporter to. So yeah, keep your light arms and keep your catalogues in a safe place. If you're accessing an old catalog on a new computer or if you haven't access the catalog in a really long time or you don't have the back of folder that goes with it, it's gonna take a really long time for a white room to kind of remember what your edits look like. And so your photos will look all raw until they load the edit. And so just keep that in mind, especially with larger catalogs that, you know over time it's gonna be it's gonna be more of a pain musically. So, yeah, let me just show you my leg room catalogues kind of how I keep them and how many I have and what my sort of organization is for that. I want to warn you ahead of time. I'm not super organized. And a key thing to think about when you're having multiple catalogs is to change the name of the catalogue so that you know what they are. I would even go beyond, like, 2016 catalog. I would just, like, say, like, what? Computer it waas. And maybe if you just did a bunch of Christmas sessions all at once, you could have one catalogue for your Christmas sessions. Like, I'm sure some people work with much smart catalogues than I do. But anyway, altering catalogs I haven't kind of like why I named them when I named them and how it helps me make sense of it all. Let me introduce you to my light room catalogs. This is my light room folder. It automatically creates this folder in my pictures. So if I go to my pictures, light room is in here. And this is where my catalogue is in my backups are and all the light room settings and everything. So this is where my other catalogues are. I keep these on long term storage because I don't need to access them all the time. So this is Ah, these air. External hard drives keep in mind they won't launch off of the external hard drives. So if I ever do need access these files, I drag him to the desktop and it's annoying and I have to click and open them. But they're safe over here on my long term storage. You'll notice that with each catalogue, it has a corresponding data folder. This is important because if you're running an old catalog without the data folder, it doesn't know about all your thumbnails. So this just keeps your thumbnail data so that when you go access an old folder and might feel a little dusty, but you'll still be able to see everything that's going on, you can still access a light room catalogue that doesn't have a corresponding data folder. It just takes a lot longer to load. Is all these these catalogs for my my from my past? Obviously, their name. This one's named 2015 basement dwellers. This is when I lived in my parents basement. Eso I had a different computer at that time, and so it had a different catalog. This is my dawn of time light room catalogue, and it's exactly what it sounds like this is all the photos ever before I realised I was supposed to have more than one catalogue. You'll see. This is 2.28 gigabytes for context. My basement one is only 281 megabytes. Do not let your catalogues get this big. This is insane s. Oh, yeah. This is my biggest catalog, and I will never let them get that big again. This is a bad example of what? To name your catalogs. This is called New Catalogue. Clever. I updated it eventually to say that it was March 2015 which is good, cause now I have some context. This is a tiny catalogue, 85 megabytes. So these air just I guess my reference catalogs in here in my current folder, I have my backups. So this these are all the different folders that have backed up. Um, it has, you know, my current my current 2018. I mak cat. That's what I'm running right now. It has two different data folders. This one's called 2018. I'm a cat helper, and this one's called previews. This must be new because I don't have the helper folder for my other ones. So I'm guessing with the new update in light Room 7.5 added the Helper folder, which probably makes our lives easier. This is called lighter and catalog previews. This is before I renamed my 2018 i mech catalogue so you'll see in my old backups. It's still called light room catalog, but in the back of my dress did it's called 2089 Mackey Cat. I have a lot of backups in this folder. If I look at my info, it says this is one gig you do not need to keep the whole gig of backups. I'm gonna keep my two most recent backups and I'm gonna delete the rest. We're gonna move those right to the trash can and empty that. I don't need old backups. I dress need the most recent backup. So here we are, back in our Lightman folders. If I launch light room right now, it's just gonna pull up whatever catalog I access to, most recently. So if you access an old catalog and then close light room and then you go toe open Lytham again, it's going to go back to that old catalog so make sure that, you know, if you if you're switching back and forth, you click on the actual catalogue. But this is the one I was in recently. So I know if I launch light room, it'll pull up my 2018 catalogue. So here's my 2018 catalogue, and it has quite a lot going on. So I'm actually going to start a new catalogue with you guys. This is gonna be so exciting. You have to have light room open to start a new catalogue. We go file new catalog. What are we gonna call it? We're gonna call it, Uh, man, let's call it Autumn 2018. And then, you know, maybe I'll start a new in the beginning of the year. Um, we're gonna add a wow in there just for fun. Well, okay. At saving it in my pictures folder with the other one. So we're gonna hit. Create It is opening. Look at this fresh catalogue. You guys, it feels so clean in here. This is so exciting. We're going to start by adding some reference photos. I'm gonna hit import. I'm talking a lot more about import in the next class, but I wanted to show you what it feels like. So right here we have my hard drive on my computer and everything ever forever in my 2018 folder. And these are all my sessions that I've taken light room, keeps it nice and organized for me. This is today 9 26 I'm gonna add today's folder. Today's folder has two videos that I took, which you already saw. So now what we have over here in our folder section says Macintosh HD, That's my computer. That's my hard drive. And it has the one folder that I've imported so far. Light Room does a really good job automatically organizing things. This says 2018 9 26 That's today. That's today's date, and it is in my Macintosh HD folder. This will tell me how many gigs I have on here. So it says I have 73 of 500 free, and so that's nice. I love that. It tells me what's going on so that I know if I have enough space to import more photos. So if I want to transfer the these two videos to my hard drive, I need to have my hard drive in my folders list. So I'm gonna press this and go add folder, and then I'm gonna click on my shared, which is this guy. We want a new folder. I'm gonna call it 2018 Part three. Create. Here it is. I'm gonna click. Choose. So now it seems that I have this drive is called Tab. That's my drive that sits on my desk. It's my external hard drives which are plugged in. So I have 2018 Part two. It has nothing in it right now. When I am finished with this session, I can move it. I just click on it and drag it right into that little folder moving files on disk. This will cause the corresponding files to be moved. If you proceed blah, blah, blah, it can't be undone. Okay, so that's kind of a lot. It can. It can be undone. But anyway, I'm moving files from my computer to my external hard drive, and this is how I do it. It takes a minute. Cause videos. Air big light room is not meant to process videos. If you click on, it's like no preview available. It's not a video processing program. I just picked this folder because it was small and it was recent. So it moved one of my videos. It took a minute there, removed the 2nd 1 So now I can see these two are on my other drive. So this this is a big drive. This is a computer. That's how I kind of keep those organized. So let me show you what it looks like when I do that in a full session. Okay. I switched back over Teoh my 2018 catalogue so I can show you what this looks like. So normally, when I go through a session, I one start the pictures that have potential and I to start the ones that are actually gonna be finally delivered. So if I come down here and I sort them, I can see these are the pictures I liked. So it's saying that it's greater than or equal to one star. So if I click, reading is equal to one star, then I'm seeing just the one stars. And if I click on one star again, it's showing me just zero stars. So what I do when I'm done with this session is I filter to my zero stars. I shift, click all the photos and then while I'm hovering over a photo, I right click I click Remove photos. It's like, Whoa! Did you want to delete these from the disk or just from light room? I say delete them from the disk. I do not want these. They're gone. So they get Chuck to right into my trash can. And then before I empty my trash can just for sanity, I check rating is greater than or equal to. I still have my eight photos right here. So that's good. That's what I want. On I go and I empty my trash can. Yes, I want to empty my trash can by so that clears up space on my computer. These eight photos that I want to keep I want to move to my other drive. I'm gonna close this navigator really quick so I can see this the session right here. I'm just going to drag it right over 2018 part two because that is my long term storage. And it's like moving files. Yes, move them. That's what I want. And it's gonna move this folder of eight photos to my long term storage. And that's going Teoh, give me a little bit more space here on my computer to edits more. So that's how I clear up my space. I've got my Macintosh HD, which is my computer, and I've got TAB, which is my long term storage. And then this actually also accessed my previous long term storage drive. Silmi close this you can see Nass share is my old long term storage. So this this has a directory that can access photos all the way from the very beginning of 2018. So the first half of 2018 is on my older set of drives, which I have since moved out and upgraded. And then that's why this little thing is great. It's great because it can't access thes if I were to try to access these, um, it shows me my preview file. It's like, Yeah, here's what it is. You guys remember my my backdrops class. These are the videos I took from a backdrops class. So it's like, Yeah, we know what these photos are because we have the previews, but we can't access them. So if I wanted to like export these I can't. So if I go and to develop, it's like, Oh, this file couldn't be found. And it's true because the file is no longer connected to my computer. It just has a reference. So it remembers that it used to know where this was, but it doesn't know where it is now. And you can see that's what the little what the little exclamation point is. If this ever happens to you, you can click on that exclamation point and be like, Hey, it tells you, you know we can't find the original file. Do you want to locate it? You compress lo que and you can dig through and find the actual files. This is what you have to do if you move a folder, Um, not through light room. And so I recommend, if you are moving files around, do it through light room because then light room is going to know where it is. If you are moving files through finder, it's it's gonna get lost, and you're gonna have to redirect everything. Usually if you redirect the one, it can connect the whole session, and sometimes it can do multiple sessions, but you know, just to keep things simple. Move your files throughout light room. Okay? So I don't do anything special when I name my file. So when I click import, it just adds automatically this date of the of the session and then account of it. And so I have in my Macintosh HD, I have a 2018 folder, so let me just show you that. So here in my pictures, I have 2018. This is all of my raw files right here. And light room knows where these are. See, that's one Neff, This is Ah, whole folder of NEP since and movies. So the Neff is my original, like, raw file and light room knows where that it see it knows it's in 2018 and it has the dates . And so this folder I do not touch. I leave this here. I don't less of it because this is what light room needs. Tiu have to know where all my photos are. And then everything else that you see in here is sessions that I have exported. So these are exported photos of my sister basically. And so she has her own folder, Brenna. And so These are J pegs. They're not Roz anymore because they've been stitched together with my light room. That it's okay. This is just how light room natively organizes things, which is super nice, because now I have a record. Everything. This also helps me with my taxes because I can click on a session and see Okay, I drooped. Drove to Tunnel Springs Park for the session so I can calculate my mileage when I do my taxes, and that's super super nice. So I hope this makes sense on how I've got things organized. I have my hard drive on my computer and my two external hard drives, one of which is currently active, and the other is inactive. And when I started a new light room catalog, you saw that I had to. I had to add those manually. So if you don't have these showing up, you just need to import a photo from the source basically so I could add Kingston. This is a stick. A USB stick that's in plunged into the back of my computer so I could add this as it drive . If I add one of these folders to it, basically so it's going to automatically know if I add this mystery folder, it's gonna add Kingston above it and then mystery folder. And then whatever happens to be in that mystery folder, all right, In the next section, we're gonna talk all about importing files. 3. Importing and Library View: All right, This section we're talking about importing. So, basically, how do you get your photos into light room? You use the import tab. When you're importing a phony can change the location. You can add metadata, which is super helpful. If you ever want Teoh search for a specific photo and you don't want to keep track of dates . And so if I'm doing a photo for my dad, he has a wood turning business. I can type in Deadwood, turning and attack anything that I've taken off his. That way. If I'm like, oh, he needs some pictures real quick, I'm an email some over. But I can't remember when we did that shoot instead of like, hovering over trying to figure out what date we did that shoot Aiken type deadwood turning it pulls up his wood turning stuff from all of the folders that this light room catalogue has access to. And then I could easily click on them, export them and get them on their way here in light room. I will show you how it goes. So typically I would just stick an SD card right into my SD card reader and then light rooms should automatically prompt the import. Yep, Here it is. If it doesn't automatically prompt it, you compress the little import button, and then it should detect your memory card. So what we're seeing right now is a memory card that has lots of pictures on it, and they're starting to disappear. That means that they're already in light room. You can wait for them to all disappear where you can uncheck all photos and then scroll to the bottom to get just the photos that we're here for. So it looks like it already filtered out everything from before. So I'm gonna click on my first picture, click on my last picture with the shift button highlighted so that it highlights all of them. And then I'm gonna press the check mark, and it will check everything, and then I can hit import, and it will import it before import. I wanted to just double check a few things right here. We have copy as DMG or just copy. I always just have coffee selected. So basically, it's going to take. It's gonna make a copy of the photos on my SD card, and it's going to put them on my computer in a new location and that catalogues. So over here is where we figure out where exactly that is. So right now has destination the destination drawer open. I can see that I have it too. Organized by date. And the date format is parent folder 2018 Child folder date of shoot. So you can verify that by looking. This is my computer users. Me pictures 2018. And then it will make a folder within the 2018 folder, which is exactly what I want. It automatically does this for me. I never have to touch it. Soaper Super nice. The rest of these drizzle breeze through really quickly file handling. I never touch. It always has. Don't import suspected duplicates checked, which is good file renaming. I never rename my files, but you can apply during important. This is like if you wanted to apply a bulk sharpening toe all your photos while they're being imported, you can adjust that you can come into here and click sharpening, and you can add a bulk sharpening or whatever happens to be in these little check boxes. I have never used this down. Here is the key words section, so this is helpful if you want to be super super organized. So, for example, I would put smoke and then comma, and then I put plants. So this session has small cat and plants, and so I wanted to all a sign that at the important, it will automatically add those tags to the photos when they end up in my catalogue. So now I am ready to go and again, keep in mind, I never have to touch anything. I usually just stick my card in and press import, and it does all the work for me. While these air importing, they will slowly trickle in. I do not recommend editing while it's important, because it will use up lots of ram on your computer and it'll make things really slow. So I was just wait for them to end up here and then at it right here is the sort it's currently set to capture time, but sometimes it's added order, and then the pictures will be all mixed up. If that happens to you, just know you could just sort it to the capture time, all right, it said. Ejected card after important that means these air old done. My little progress bar disappears. So that means my session is here. If I scroll to the top over here, it shows my catalogue, and it has previous import highlighted. So right now it's showing me all the photos that were previously imported. If I scroll down to where my photos are categorized, I can go down to the very bottom click on it, and it shows me everything that was taken today. So these pictures were not in my previous import. These videos, these were from earlier today and you'll see this little exclamation point. That means they're not here, remember, Because we moved them from my previous catalogue to my long term storage. So we have all these photos and they they know where they are. So we are going to just kind of start at the top. I wanted to just talk to you a little bit about this library tab and just show you around before we dive into the cooling process. So right here is our navigator. This is showing you anything that is selected. If you click on it, it will make this photo full screen. If you don't want this to be full screen. You can click down here, you contol go back to the grid mode or press G, and it will show you the grid again. You can adjust the size of the grid using this little thumbnail slider. You can make it so that you can see all of your photos all at once, or you can only see a few at a time. This is helpful. If you wanted to just snap a picture and send it to someone to be like, Hey, which one do you like? Better? Instead of adjusting the grid, you can also go to this X. Why? If you quick on this, it will show you the image that selected next to a candidate. So if you were trying to decide between two, you can look at them side to side. You can say no to this one or flag one or star one or start the other. I don't usually use this feature. Let's say you have five or six photo selected, and then you go over into this survey view. This is going to show you them all at the same time. And so then this is kind of helpful. If you're trying to decide between several photos, you could be like, Oh, I don't really like this one X and then it will kind of re sort. Oh, maybe I don't really like this one either. Okay, we're down to four. We're gonna take this one out down to three, and then it just kind of leads you through till you find, like, the one. Essentially, I don't use this feature Really, either This little person's face, this is if you have people mode set up, people view I don't have people Have you set up? I've never used it, detects faces, and then you can build an index. But yeah, I don't know. I've never really used it. So I'm gonna go back into a grid view. Next up, we have this catalogue drawer. This catalogue drawer is where it tells you kind of what's happening in your catalog. So right now, if I click on all photographs, it's gonna show me everything. And it's telling me I have 10,954 photos in this catalogue. That's a lot that's intense. Next up we have all sink photographs. It looks like I don't have any photographs inked with light room CC, which is normal. I don't use light room CC Quick collection is an awesome little feature, So let me show you about quick collection. If I go back into my into my photos and I click on this one, there's a little tiny grey circle in the top corner, and it only shows up if you're hovering over the photo. If you click that little gray, circle it. That's the subtle box down here, which means that the photo is in the quick collection. You can also right click on a photo and then go down to add two quick collection, and then it will put it right in your quick collection. So now if I scroll back up, I can go into my quick collection and these air just assortment of photos that I happen to put this little dot on because I wanted Teoh. Look at them all together, and maybe you're building a portfolio and you save your portfolio pieces to the quick collection. But if you don't want a photo in the quick collection anymore, you can just click that dot and then they disappear so I honestly don't use the quick collection very much. Sometimes I use it. If I'm trying to collect photos for my website, I can put just my favorites in the quick collection and then see them all at once and see if they're gonna be cohesive. Next up, we have previous import. This is where it's gonna take you after you import photos. This is just showing you everything that came in the last time you imported. Next up, we have the folders drawer. This is where we keep everything organized. And I kind of went through this earlier, has all your different folders and sections and has all organized nicely. This is a collection section you can build collection. So let's say you wanted to have a collection that was just your portfolio. You press plant. Plus you click create collection and use a port folio and then you create it and it will take the selected photo. I had that check so this puts it in my portfolio collection. So if I wanted to add more photos to this collection, I would scroll Teoh my desired. I would go in and find the photo that I want it, and then I would select it and then scroll down to my collection that I wanted in right Click and then say Add selected photo to this collection and so I can make my own portfolio collection within my collection section. You can see that because it only has the one I just created. I don't actually use the collections featured, but it's here if you want it published services. I don't use any of these either, but I think you can set them up to publish for Flickr or Facebook or whatever again. I don't use those sections. Alright, starting at the top. Over here we have our hissed a gram, so it's going to show you the history ram of the photos selected, as well as some settings that you had when you took it. The quick developed top is away. Teoh edit pictures pretty quickly, but I honestly never use this. I have my key wording list here. You can see I have these this photo tagged with plants and small cat, and this photo does not have any keywords. We have a keyword list you can see. Those are the only two key words that I have plants and small cat, and then this is the section for metadata. This is the only part that I use over here in the library section. Because the metadata is actually really useful. You can see exactly what time the picture was taken. You can see what your settings were, what lens you used and what camera you used. And it's really, really nice, especially if you have someone who's like, Oh, wow, what are your settings for this? You could just pop right over here. Look at your settings and you know exactly what is happening. So that's pretty much it for importing your photos and the library tab in the next section . I'm going to take you through my cooling process. 4. Culling, Starring, and Color Labels: all right, This section is all about cooling. Cooling is so important in the workflow. If a photographer, it's where you decide what photos air good enough to actually edit and which ones are trash . And as a photographer, I'm sure, you know, we take a lot of trash images. We take so many garbage images that no one ever sees. We just get them out of the way marked, um, delete them. Nobody has to know they exist. It's safer to not delete anything until after you've delivered a session. But if you have a really terrible picture like get that out of there, no need to look at that. The reason you might want to save stuff is if you have some background elements that are good in the photo, and then you're missing it in the good photo, you can clip edges out of bad photos and paste them onto good photos. Or you can use data from some to kind of fix others. Or, if you're doing a head swap in one person spaces like this and then in the next photo it's beautiful. But the other dudes face is kind of weird. You can head swap. So, you know, don't throw away all the bad images before you start doing any head swapping, because it might be a piece of the perfect photo in the end. But yeah, so calling. When I first import a session, I go through and mark all the one stars. And so, basically, if it's ah, if it's any good at all, if it's a photo that has potential market as a one star. So if I've taken I've taken 300 photos, I probably will have 101 stars. So about 1/3 of my session, I would say, is good enough to continue to think about. And then once I do that, I go through and mark them to stars. If they're good enough to edit on. And so then I can really find Tune. Usually it means I've selected multiple of the same pose. And so it's like happy and then just slightly turned happy. So they're, like, almost identical, and I switch back and forth trying to decide which one is more strong. Which one is better, or just pick one, you know, because they're not gonna want both. They're gonna want one of each pose or one of each dynamic angle. They think they want all 100 pictures they don't and they you really shouldn't give them all 100 listen. Every picture is dynamically different, showing a different mood and excitement to them. And they are a blogger and you've done an incredibly dynamic session. They're not gonna want all 100 pictures. They're gonna want 30. So, um, yes. So basically, we go through and we pick out our absolute favorites. And then that takes it usually down to, like, 50. And then from there, I actually do my edits. And I decide, you know, fifties good. If I can take it down to 40 or 30 that's even better. And so, while I'm editing, if I come across the photo that has interesting lighting, that's just not working. I'm trying to get it to edit, and it's just the colors air coming out weird, and I'm just fighting it and fighting it. I just want star. I'm like, Nope, I can't deal with you right now. I'm just gonna keep going. Unless it's like such a striking photo that it's worth the work. I usually just kind of say Hey, we don't want that. Or maybe the third time looking through, I'll be like, Oh, you can kind of see her double chin there. She's gonna hate that, and then I just take it out. And so it takes a while to kind of go through your photos. And then, you know, if you have less than you promise you Oh, you get 30 pictures and you've got 28. You're like a little I gotta find tomb. Or you can go back to your one stars. They're already sorted, and then you can pick from those. And then at that point, I will deliver the files and then I will filter it. So it shows me only the photos that have exactly zero stars. So these air photos that I didn't think were worth even thinking about editing. And then I will highlight them all, and I will delete them. I will delete them. And then I know if they're like, Oh, hey, so did you happen? Have any other photos that are just, You know, I'm thinking maybe a slightly different angle of this pose or my hair is doing something weird. You still have all your one stars. You got 20 more one stars that you can still go through and be like, Yeah, How's this one or Yeah, How is that one? But you know that the rest of the stuff isn't any good. And so you deleted it, Made more space on your computer. Um, so yeah, And then once I'm done with the session all the way, then I will just drag that folder into my long term storage. And then that clears up space on my computer so that I can get to editing more sessions and this cooling process. I can usually do it in one setting. Unless it's a wedding, usually for a wedding. I'll do like 100 photos a day. I'll call through 100 photos at a time because I end up taking, like, 800 pictures or 1000 pictures for a wedding, and I just It's very daunting to have to sit down and ended a whole wedding. And so I'm like, OK, if I could just do 100 photos today, I'll be happy. And so I'll go through Cola 100 usually I get caught up in it. Ended up calling 200 then, like Okay, I'm done. I'm going to stop And then the next day I'm like, Okay, let's do a few more. And so, by breaking it up, it helps kind of keep you focused so that you're not like, I don't know, hating and pulling your hair out. I also like to use color labels, color labels, air helpful if I do multiple sessions in one day, so basically light room organizes my photos by day. And so if I'm doing like a chocolate shoot in the morning and then I have a family lifestyle session in the middle of the day and then the evening I go for a drive up the candy with my sister, I have multiple sessions to keep track of. And so I don't want to just use the starring because then if I've start some from the chocolate, some from the lifestyle in some from the drive like I don't know how many pictures of each I have and so usually I'll go through before you even start anything and I'll click on the first photo of the morning session and the last one of the morning session, and I will turn them all one color. You like to use all the colors except yellow. For some reason, I don't really like yellow, but I do use yellow as a delete marker. So if I mark something seven, that's yellow. That means I should just delete it. So then, if I'm feeling like I need to hurry and get some space out of here, I could just filter out all my yellow photos because I know I don't want them. And so, yes, I'll do like a green session next to a blue session next to a purple session. And then if there's any yellows throughout the whole day, I will just delete them because I don't want them. That's why they're yellow. I don't like you yellow. Sorry. Okay, Now that I talk to you through the process, I'm gonna show you how I do it here in light room so you can see that I am in the library tab right now, we're going to switch over to the develop tab. The reason to do this is because it makes the photos nice and big, and you can really tell if they're sharply and focus and it helps, you know, kind of figure out what's going to be best. So I start off at the beginning of my session, and what I'm gonna do is I'm gonna use the arrow keys to navigate to the next or back, and then what we want to be able to notice here is this filter section right underneath the photo. So what we have here is little flags, and then we also have stars and color labels. So what I'm gonna be doing is applying one stars and a yellow filter. So I put the one stars on the photos that have potential that I might want to edit later. And then I put yellow labels on any photo that is just completely bad. And basically that, to me, constitutes photos that are like mistake shots, like where I accidentally press the shutter. Or maybe the picture is completely blurry or out of focus, or it's super overexposed and way too bright, and there's no way that I can fix it. Or if it's in a portrait session and the person is like, got one of those half blinks, we don't want half blinks. I just get rid of those right off the bat to help, kind of clean it up a little bit. So we're going to start here and I'm gonna use the arrow keys, and I'm gonna press the one key and I'm gonna press the seven key so one will apply one star like this, and then the seven key will apply a yellow label. And that is so that I know any photo that's labeled yellow again is a photo I don't want. So I'm gonna press seven again to take that yellow label off and I'm going Teoh, continue this photo. I think it's OK, but it's a little confusing because it feels like maybe it sideways. So I'm just going to skip it. I like this photos. I'm gonna give it a one star this photos really pretty. But it's very similar to this one, and I personally think that I like the tall crop better. But I'm gonna click on the photo to zoom in and just double check that I'm super super sharply and focus. Let's look at the previous photo again. Yeah, this one. It's got really good focus right in here, but up here, it's a little soft, so I don't know I think for now, I'm probably just gonna one started this one and then come back to it if I need a different alternate. This one's a really cool shot. I'm just gonna kick up the exposure a little bit just to check it. We've got some focus in here, but because this point right here is out of focus, I'm going to say it's probably not the best, and then this shot is interesting, but I don't know. I don't know if I like it, so I'm just gonna leave it not rated. All right. Next up, we have this shot, this one the super dark, you can tell. I was still trying to figure out my exposure as I was going along, and so I might keep that one, but probably not. Okay, here is a perfect example. So her face is out of focus and her hand is reaching. It's kind of interesting, but she looks like she's struggling. I think that this picture is probably not the best, so I'm gonna go ahead of market a seven. All right? This one's pretty decent. This one's cute. I wish that her noses and focus I'm using a super, super shallow depth of field you can see over here underneath my hissed a gram. I was set to 1.8. That was my aperture. So it was really, really wide open. Which is why there's only like a pillar in this picture that's in focus. It's really narrow. Um, let's see, that one's cute, but it's mostly blurry, so I'm probably gonna believe that one. That one's is kind of an off shot. My hand is way over exposed, and it's not really capturing a good expressions. That one's gone, too. I'm sure I got a good one. There we go. That one's cute. I'm gonna one start that one. Oh, she bit me. I'm gonna once or that one, too. Oh, she's so cute. Okay, I love that. All right, So we're gonna one started that one. Oh, that ones. The ones A seven. I love this cat. That one's a seven. It's totally blurry. I don't want that. Okay, we've got something else going on here. This picture is interesting, but there is so little that's in focus. I'm just going to get rid of it. Sounds OK. Yeah, these ones. I wasn't really in love with this one. I do love those. So I'm gonna give that one a one star. This one too. This one almost looks completely blurry. I'm gonna pass on it and not get rid of it, though, cause it's kind of artistic. Okay, so now we need to figure out what exactly we have going on. So I'm gonna click on this 1st 1 star here in the filter section, and this is going to just show me all the pictures that I think were a one star. And so it's got it says eight out of 58 photos. So eight pictures. I decided we're good enough to keep. I'm gonna uncheck the one start and then press the yellow label. So it's it sections out the photos that are all marked yellow. These are the ones I know I don't want. So I'm gonna hold down. I'm gonna select the 1st 1 and hold down, shift and select the last one I'm going to, right click remove photos, and I'm just going to delete them from the disk. So that's gonna chuck those in the trash can, and then I can uncheck the yellow filter and check the one star filter again and see my one stars. So at this point, I would now go through these and pick out you know, my favorite two or three that I would share on Instagram and then edit those. Let me show you kind of Maura about the color labels. So I'm gonna hop back to my library and go to a session that I know has a lot of color labels going on right here. So I'm gonna I'm gonna sort this by green, blue, purple and I'm gonna sort of by two stars, too. So there's less photos here. So you can see this day. I had three individual kind of different sessions going on. I had a product session in the morning. I had kind of a miscellaneous sort of moody session during the middle of the day. And then in the evening, I took a drive with my sister and her friend. So I have labeled all of the first session with the blue, the second with the green and the third with purple. So now if I'm like, oh, man, they want me to send him pictures from our drive. All right, let's look it on Lee the purples, and we're gonna look at all the one stars. So now I have sorted out. So I have 63 of the 300 photos that I took and kept that day so I could go to the top. I can click on the 1st 1 scroll to the bottom shift, click, click on the last one, and then I can export thes and just said just these ones over so it sorts it out for me. So it makes it really, really easy to just send the photos that I want. And then lastly, I wanted to show you that you can add keywords at this point. So if I go into the key wording section, I can type in here, Brenna. So I'm adding a keyword. You don't have to add it. Just that the import you can add at any time. So all of these air selected and I typed, Brenna, I'm the click enter. So now all of these have a keyword tag, and they're all under the brenna category. So then if I want to go to my keyword list, I can check small cat and then presses little arrow does. There's 42 images. If I press this arrow, it'll take me Teoh. Ah, sorted page where? It's all photos with just the label. Small cat. So it looks like these ones. I didn't remove that small cat label. Yep. So I can go in here, click these take out small cat keep plants and then that will re sorted for me. Perfect. So, yeah, that's all my small cat pictures. And that's kind of how you would use the keyboarding in the next section. We're going to talk about how to make our adjustments in the developed tab. 5. Develop Sliders: all right, in this section, we're gonna talk about how to actually at a photo in the developed tab. And this is kind of part one of that. This is just gonna be all of your basic slider adjustments, and then the next section, we're going to talk about our spot tools. All right, So to start editing a picture, we are going to switch over to the developed have. This is where all the editing and fine tuning happens. I would like to edit. I want to end it. This picture. I think it really has a lot of potential, and I like the feeling that it is. So, um, let me just show you around a little bit. So we have our history, Graham at the top. And if you don't know what a hist a gram is, it's basically just a mountain of colors that lets you know what your picture looks like. Aziz Data. So down here is darks. In the middle is your mid tones. And then up here is your highlights. And it will tell you that if you kind of hover over you Comptel, see how this this little mountain in the corner this little triangle is blue. That means there's some information in my photo that is so dark it's getting clipped. So if I click on this little mountain and then pull my exposure way, way, way down, you'll see that parts of the image start to turn blue. This is where the picture is 100% black. So if I do the opposite, if I take my picture all the way up and then I click on this other triangle or hover over it, it'll show you in red anywhere that is 100% pure white. And so that is any place. Like, If you were to print this out, that's where no ink is gonna go. It's just gonna be paper that shows through. There's no information there. And so the happiest a gram is one that is somewhere in the middle that hopefully doesn't clip off any of the top or the bottom. But you know, every photo is different, so it doesn't There's not like an ideal hissed a gram. It just kind of depends on the photo. So next up we have again these air, the settings that I took for my picture and then these air the spot tools, which I'll talk about in the next section. So we have our different drawers and I'm gonna close all these just so I can show you what they are called. There's a few. Okay, So in our basic and our tone curve drawers, these are where we are going to do the bulk of our light and contrast edits. This is where most of the magic happens. So we have, you know, different exposures and shadows and everything as well as temperature. And then in the tone curve, we have more of the same. We have highlights, lights, darks and shadows. And so this is where most of your editing is gonna happen in the next two. This is kind of more fine tuned. Color edits. So we have the hue, saturation and luminous on this side, and then you can click color, and then this is where you confined to in your coloring. And so we have different. You know, Hue, saturation limits will go over this more, but this is where a lot of color adjustments happen. And then also in the split toning section split, toning is a little strange. It's It's more for, like, effects afterwards, and I don't typically use it. But I'll still show you how the rest of everything in here is basically fine tuning and corrections. This is where you sharpen pictures or smooth pictures. Fixed lens distortions add vignettes, etcetera. So we are going to start at the top. This is how I would edit most of my images. Is I'm going to start here with exposure? So looking at this picture, I need to decide. Do I want to do a moody at it or a light at it? We're going to start with a light and airy at it, and then we'll do moody after, So I'm bringing my exposure up just a little bit. I don't want my highlights to be too bright. Usually, my Rafael, straight of camera lack a lot of contrasts, so I find myself adding quite a bit of contrast when I'm editing. So I pull up the slider. The contrast later and then, from there on, I think that I've already made quite a lot of a difference in this photo. Over here on the left side, in my history drawer, you can see everything I've done so far in order. So if I click import, it will show me what the photo looked like at the very beginning and what it looks like now . So I can kind of see, you know, if where I'm at now is better than where I started. Next up, we have our highlights, shadows, whites and blacks. And you'll notice that these force lighters are pretty similar to these ones down here. And so it's kind of a game of playing with both sets of sliders to get the photo to do what you want. So typically, I'm bringing my shadows up so that I get more information in the dark's and then I'm gonna bring my blacks down. This is gonna add a lot of contrast. I can see this little blue section popping out. That means I still have my triangle clicked. I'm gonna unclip that so it doesn't show up in my image. So again bringing some blacks down and then whites, I'm gonna bring up a little bit. The best way to know what your photo needs is to just kind of play with the sliders. If you don't know what's happening, you know, crank it up all the way or crank it down and just see what's happening. That's the best way to see kind of what you think of photo needs. So right in here, I can see that the highlights on this leaf are pretty pretty hot. So I'm gonna bring my highlights down a little bit to help bring some information back into this area so you can see kind of what that did. It's super, super bright, and here you can't really see what's going on. And then when I bring my highlights down, I can start to Seymour in those areas next up. I'm gonna just jump down really quick to my tone curve and do a little more fine tuning here. I can see a lot of the image, has a lot of dark areas, and for a lighter airier at it, I would want to bring this up. So I'm gonna bring my darks up a little bit and this reduces the contrast. I'm gonna bring my shadows down. I'm gonna bring my lights up just a little. I feel like this lights slider in the tone curve section is very sensitive, so it'll really just like wipe out your photo if you're too heavy with that one, and then the highlights here kind of do something different than the highlights. Later, in the basic section, I feel like they kind of add a lot of gray like Look at that. I don't I think that looks good. It also I barely ever touched this highlight slider. I just kind of control my highlights with one up here. And then once I feel happy with my tone curve, which, by the way, you can edit it directly in this photo. If you like, click and drag around, you can you can actually edit with the curve. But that's confusing to me, so I don't usually do that. So I'm gonna go back, and then, um, come back up here and do the rest of my kind of color adjustments from here. So up here we have our temperature intense lighters. These ones are so important, these air going to dictate the color of your image overall. And so I shoot with my auto white balance. My camera's always said toe auto, white balance. I don't ever touch it. I feel like it doesn't really good job nailing the white balance and camera. And it's one less thing that I have to worry about messing with with my camera. So if I ever have white balance discrepancies with my images, I edit them here in light room. So what we can do is we can adjust the temperature. If I had to adjust it right now, I would say maybe a little bit cooler. I would take it a little bluer, so that just took a little bit of those warm colors off. And then I would say that my tent is probably right on. This is a picture of really it's it's really green foliage. And so I don't think it needs to be any greener Pinker. Yeah, if you start to do Pinker, it pales out the green, and then it makes the background kind of purple. So I'm gonna undo that. You could make this a lot warmer because we've got some sunshine in the back. And so really, anywhere between these two temperatures, I think you'd be golden. Another fun thing that I like to do is use this eyedropper tool. So if I've got a section in my photo that is white or grey or black, I can usually get a pretty good reading. So this little picker tool, this eyedropper, this will pick a target neutral. So it brings up this little this little grid and you can kind of go over different parts of the photo. And if you pick a neutral color so like a gray or white and then click on it, it will tone the photo. Assuming that that is target neutral. This is really helpful. If you're actually using, like, a great card or color checker passport, you can click that spot right there in the photo and know that this is what the real life toning would be. So you can see my white balance changed ever so slightly it got a little warmer, and then my tits got a little more to the pink side. I think I like how this looks. Except maybe it's just a little warm for my taste, so I'm bringing that back down. If you want to do some super fine tuning, you convey. Drag the slider like this, but it's like, very abrupt. You can also hover over the number and you get a little hand with an arrow that pops up, you can click on the number and then dragged up and down, and I feel like it's a lot easier to get more fine tuned results that way. So once we're happy with our temperature, we've got a few more things to cover in our basic tab. So we have clarity. Clarity is adding a lot of crispness and contrast, and I think if you overdo the clarity, it really makes your photo seem unrealistic. So, like, this picture has just a lot of intense contrasts going on that I think detracts. Sometimes I'll use the clarity never really on. People use it a little bit on like products or plants, but usually I don't need to touch that. The D A slider is perfect if you're shooting with a lot of some shine and backlighting. If your picture looks really kind of grade out, you can use the D haste to add more contrast. I usually save the D haste later for situations like that, but in this particular situation, it actually looks kind of cool, probably because this is a backlit photo. If you go all the way down the other way, you got this really kind of like glassy looking photo, but anyway, we'll add a little bit of D. A's just for fun. Vibrance and saturation are exactly what they say. They're basically the same thing, but a lot of people find that the vibrance has a less intense look. So this is 65 in the vibrance. You can see it's it's pretty green and pretty intense. And then here it is in saturation, so it's just a lot. It's a lot more like me on looking with the saturation. I usually do a combination of both, so I'll pull up the vibrance maybe like a and then all saturation will be like four, just to add a little bit more like juice to the picture, all right, And that pretty much covers it for our basic and tone curve. At the top of the very, very top, it says treatment. It's selected to color unless you click black and white, in which case it will make your photo black and white and then the vibrance and saturation . Slater's don't work anymore, obviously, because those are color specific sliders. But everything else should work, and you can still do a combination of those If you want to go back to color, you just click color. So we are going to scroll down Teoh the H SL color drawer and split toning. So H sl color is where you can really find Tune your colors in an image. So in this picture, I've got some kind of like blue colors in the background. If I wanted to make those completely gone, I would adjust that here. So in my saturation section, if I go over to blue, I can drag this all the way down and it takes the blue hue out of that little section right there. I'm gonna undo that so I can show you this little tool right here. It's tiny. Might not have ever noticed it before, but if you take this guy, you click on him, you pick him up. He's a little bit of a selector. So you can select a spot in the photo that has, I don't know. Maybe you're not sure exactly what color this is. You can click on it and the dragon, and then you'll notice over on my sliders that they are adjusting. And so I'm dragging it down, and that pulls the colors out, and then if I drag it up, it puts more color in. And so I confined tune parts of my image just by doing that. So if I did it to the green section, uh, I'm clicking on a green area and then dragging down it will take all the green out of my photo. I can also drag it all the way up in at a ton of green, and you can see that it is adjusting my sliders accordingly. If you don't want to use this little tool, you can always adjust thesis letters by hand. But again, that's great. For if you just have a weird color in the picture and you just want to take it out, you just hover over it. Take it out. Now we have a lot cleaner looking oven image because we don't have much of those weird blues in the background or that weird spot of brown. So that's just kind of a fun little tool that I like to use. The huge section. If I click over to the Hugh section, maybe let's say that I think these green plants or to yellow I can go to my green slider and slide it more toward the blue. It'll turn anything that's green Mawr blue, or I could do the opposite and turn things more yellow so you can really, really find, too in the look of your images and adjust the colors this way. And then, if you want to take your slider back down to zero like maybe you can't get it quite close enough, you can just double click on the word and it will reset it for you. And that works for any of this lighters. So DoubleClick DoubleClick and it just cleans it all up. Next up, I want to talk about Lou Minutes. Luminant is kind of the lightness or darkness of a particular color, So here we have all of our green. If we take the luminous up, it adds a brightness to that particular color or a darkness. And so it just is how much light is in the color, particularly and then same thing goes for this guy. You can take the little hand selector, and you could turn things down or up, or whatever you want. The all tab is going to show you everything all at once, so if you really if you want to edit them all together, you can do that. I pretty much just keep it at saturation and do minimal edits here if needed. Next up we have the split tone section. The split toning reminds me of some of the old school Instagram filters. You can add different toning to your image. That kind of gives it a specialized look and feel. I don't usually mess with the split toning, but when I have in the past, I will bring my highlights up to like a warm color. I haven't set to 51 and then I'll set my shadows to like a blue color. So that's 2 42 And then right now you'll notice nothing happened because my saturation is set to zero. So if I pull up my saturation, it's gonna add this color this this yellowy orange color into my highlights. And so that adds kind of a warmer feel. I'm gonna turn it down just a little and then in the shadows. If I turn this up, this will add some blues in the shadow, and so you can really just like, fine tune and tweak your photos to get kind of a vintage feel. And so, with my saturation is turned up. Right now, I'm just going to scroll through the different highlight colors, and you can see, like all the different feels that are available to. So if I did the opposite, if I did a blue highlight with, like a warm shadow, it's going to give me a completely different look that way. And so this is a way to add a really stylized effect to your photos on Ben. You know, you can always turn down the saturation if you just want a touch of it. Sometimes I'll use the split toning if I'm shooting on a bright day and a big grassy field , and I've got a ton of weird green colors reflecting on to the people. If I adjusted in a split toning, sometimes that helps take the edge off of that. But anyway, I'm gonna take the saturation back down to zero, which negates any of those effects. And then it's back to normal. So those there are two color drawers that really fine tune the color. We're gonna go down to the detail drawer. This is where we would sharpen images or reduce the amount of noise. And so noises going to show up a lot in your shadow areas. I was able to use a really low I s so and so that means that my noise isn't going to be very bad at all. And so this picture is about example of noise. But if you did want to use the noise reduction slider, if you turn it up, it just kind of blurs and softens any of the area of the photo that had a lot of kind of like Pixley looks to it, and this picture doesn't really need the noise reduction. So I'm going to you take it off. Sharpening is essential. I always sharp in my pictures want to export them, especially if I'm gonna share them on instagram or the Web because those have a tendency to make your photos look less sharp, a lot softer, especially when compression happens. So I like to add some sharpening. It already comes default with a 40 sharpen Ah usually take it up to about halfway in this lighter and then the masking is what I will adjust. Also, I typically just drag it up like this. But if you want to see what's actually happening, you can hold down the old slash option key and you can see things change. And then if you drag a pure masking, it starts at white. So basically, white is anywhere that the sharpening is applied. And so as you mask anything that comes dark, that stuff that's not being sharpened and so you confined to know exactly what you want to have sharpened in the picture. So if I just want to sharpen the edges of these plants, I would put my masking up to 54. Or if I want to sharpen the whole thing, you know, I would bring it down. And so typically, I just bring it about 1/4 of the way. So I have halfway and then 1/4 of the way. And then that applies enough sharpening that I feel like the images really, really clean. So if I come back, yeah, you barely can tell the sharpening here, but it makes it a little bit of a difference. Next up, we have lens corrections. This is what you're gonna want to use if you're shooting portrait's and you are using a really wide England's. This distortion is going to either bring things closer or further away. So if you were shooting wide angle, your pictures going to look kind of like this, and so you would want to fix it And then if you're shooting really close to someone space, you're gonna want to do the opposites. You're gonna wanna pull this back so that the picture appears nice and flat and your horizons are straight. My picture is pretty close. It's not really a person, so I'm gonna undo that distortion. One more thing about distortion, you'll notice it adds thes white boxes to the outside. You're gonna want to crop those off so that they don't appear in your final photo, which will be using the crop tool up here. And we'll talk more about the crop tool in the next section. So distortion is pretty much it for the lens correction section that I use. I don't mess with the d fringing or the vignette in here. I'm gonna close that and open up the transform. This is where if your horizons not straight, which you can see, this is not exactly straight. I can adjust it in my rotate, I can just turn the and adjusted a little bit. You can also adjust this in the crop section. Let's say that I am shooting a building and I wasn't standing perfectly in front of it. I would want to transform using the vertical and horizontal to really help bring my photo so it looks a lot straighter. These tend to almost be a little too strong, and so I would just go easy on them. Only use them if you really need Teoh. There's a lot of fine tuning in here that you can mess with to help. But for the most part, most times my photos don't need to transform unless I'm shooting straight against a wall and it's distracting if I don't, so I'm gonna undo those. The effects section is where we are gonna add artificial vignette, and so the amount of vignette here this will adjust if you bring it down. It brings a dark circle around the outside, and if you bring it up, it brings a light circle. Um, you do not want to go all the way. I'm he's I just think that it's really distracting. So if I had have been yet. I usually keep it somewhere between zero and negative 15 just to kind of like bring your eyes into the center of the frame and you can address the midpoint, so I'll put it on heavy as you can see what's happening so you can make your yet bigger or smaller adjusting the midpoint. The roundness will adjust whether your picture you know, your vigna is oval or tall, and then feather will adjust, like how sharp of a vignette it ISS. So you can add, like a really dewy soft vignette or like a really harsh vignette. I'm gonna undo this. Next up we have grain, so grain is like a film effect. I'm not super familiar with it because I don't typically like the look of grain. But if you added some grain, you can see, like if I add a lot, it's gonna add this really like pick silly look to the picture so you can add more of a dated feel to it. Using the the grain sliders you can add like 50 grain, and then you can change the size. So if we wanted, like really chunky grain, we would bring that up, or if we wanted really fine grain, we would keep it down and then roughness like Right now, maybe they're all really circular. And then if we add a roughness, it kind of makes them more jagged. Or if we take it down, it it makes them a lot more fine. And so, playing with those figuring out what kind of grain that you like, that is something that you can mess with also the calibration drawer I never touch. So that's what's happening with our sliders. For this picture, it turned out pretty much. It's not Brighton area, and it's not really moody either. But if you wanted it to make it really moody, we would take our exposure down just a little bit. Maybe our shadows down a little bit. We would have just like a lot of a lot of contrast. Some things that make a moody photo work is having the photo be predominantly dark and then making sure that our bright spots are bright enough that they give the photo contrast and then typically, moody pictures are a little bit cooler. So I'm gonna take my temperature down a little bit and then I am gonna throw a vignette on here just to kind of dark in it up a bit. Then I'm gonna take my saturation down because I think that right now the colors are a little bit too like happy and vibrant. And so I took the saturation and vibrance down to kind of portray mawr, this moody feel, and then I might take the clarity up just a little bit. Um, I might even bump up my highlights just so that I get, like, a nice stark contrast. So that might be the moody edit that I decide to choose for the picture. And then if you ever decide you don't like something, you could go back in history and then jumped back and you can get back to where you were or all the way back to the beginning on just kind of jump between to see kind of where he started to where you are now. All right. So next up, we're gonna talk about how to use all of these fancy fancy spot tools 6. Cloning, Filters, Cropping and Brushing: All right. So this little bar up at the top is where our spot tools are. This includes our spot healing brush, our adjustment brush, our radial filters or radiant filters. Red eye removal, which I have never used. And crop tool. So I'm gonna show you what each of these do and when I use them and how it makes my editing so much easier because I don't have to pull everything into photo shop to do these kind of fine tuning edits. All right, so this is the photo that we are going to be editing today. I chose it because it's got some shadows. And then there's also a couple blemishes that I'd like to remember. So I'm gonna start out just by doing some edits on this picture. I'm bringing up the exposure and the contrast, taking the blacks down I'm gonna bring up the shadows It's a little too bright I'm gonna bring the exposure back down And then more information in the shadows I'm gonna drop down to the tone curve, bring the darks up, bring the shadows down. I think we're pretty close. I feel like it's still lacking some contrast. Maybe no I like that. Okay. And then Temperature, it feels a little blue. So I'm gonna bring some warmth back into her skin, and then I'm gonna up the vibrance and saturation because this picture has a lot of feeling . And then I think we're pretty much there. We just tweak a few more things. I think I think I like that. Okay, so now, at this point, what I would do is begin using these fine adjustment tools. So the 1st 1 on the left is our crop tool. Since guy is completely adjustable. If I hover my mouse inside the picture inside the crop, I can drag and create my own custom crop. I can also bring my cursor outside of the picture, and I get this little up and down arrow. And if I click and drag, it'll adjust the angle of that for me. And it's set to accustom crop and it's unlocked. That means that I can move it freely. If you wanted to set this to a certain size, maybe one by one for Instagram, you can make it a little bigger. There we go get a little bigger and then if you want to adjust within like I just where the crops have to grab inside the photo and then move it around. So you're actually moving the photo. You can choose a bunch of different crops, like 8.5 by 11. You can choose 16 by nine, so 16 by nine is what I use for these skill share videos. I try to make my pictures like this so that there's no black borders on the top and bottom . And so once you're happy with your crop, you just click out of the crop. It selects it for you. You can always go back in. Readjust your crop. It's never final until you export your image. If you hit the reset, it will go back to original. If you wanted to crop to an eight by 10 but you wanted it tall instead of wide, you just shrink down your crop a little bit and then go against the angle. See how it kind of. If I go try to force it to be tall, it'll snap and be tall, and the same thing goes the other way. If you come diagonally down, it will snap and be horizontal again next up. We are going to be using this spot tool so this tool is awesome for removing blemishes and stuff. So for blemish removal, I like to come in nice and close when you go full screen here. She's got this little blemish right here that I want to get rid of. So I grabbed this spot tool, and right now it's set to this I circle. If you scroll up or down, it addressed the size. You can also drag the slider, so I usually addressed it so that it covers the whole blemish and then you click, and it will automatically sample from a spot that it thinks is gonna be good. I usually have to move this around a little bit. I try to pick a spot that's pretty close to where it is, because down here, her cheek skin is a little bit different, and it's a little closer to the camera. Then right here and so I would just like to make sure and keep it, you know, so it looks as realistic as possible, and nobody ever questions it. She's got a lot of water droplets on her face. This one seems a little bit distracting. I trained remove the ones that don't really look like water droplets. And then right here, she's got a little hair that's distracting. So I'm gonna just my brush to be really small and then I'm gonna draw with it. So I'm just gonna drawn follow this little hair. And then when I let go, it sampled from directly above and I can hover over it to see the sample. And so I think that that was a good selection. She's also got a little tiny purple hair right here. Must been from her towel, I think so. I'm going to get that and remove that one, too. So you can see, like going through fine tuning, bringing out all the spaces that are distracting, and it really just helps, like, bring the focus into the portrait rather than any of the little any of the little spots. Another thing that you can do with the clone brush is change the opacity. So let's say that instead of this being a blemish, if it was a scar or birthmark or something, that they want to be there. But maybe just not quite so distracting. You can address the opacity. So if I take up down halfway and then clone it, it's still there. You can still see. It's like a faint shadow doesn't remove it completely, but it tones it down, so it's not quite so blaring. And so that's a good way to go around. If someone has, like a spot that's really intense, or if you feel inauthentic, removing someone's acne completely, you can just do that. I personally feel like I'm totally good removing people's acne because I think acne is temporary. And so, unless it's like a birthmark, I usually just remove it completely. Okay, next up we have this red eye tool. I'll be honest with you. I never use it because I don't use flash Flash is what creates that red eye looking people . And so you can click on a eyeball and it will detect the I the red eye and then fix it. And so because this doesn't have any red eyes, it's not really sure what to dio. There's also a section for Pet I, which does different things because animals eyes photograph differently than humans. So we're just going to skip over that this is our graduated filter so this will apply Annette it over a section of the image. So, for example, if I thought the sky was way too bright, I could darken it up. So in the effect menu, if I change it, Teoh dark in. So right now it's set to dark. And so my exposure is set to negative 0.30. I can just click and drag straight down, and it creates these three lines. So the middle line is where it applies, and then the other two is kind of like the fade. And so if I hold over it, you can see where exactly that's being applied. And so it's kind of hard to see what's going on. So I'm gonna bring the exposure down just a little bit more, and I'm even going to kick the highlights down, too. And right now we can start to see some more information in the sky. You can see that it actually was kind of a cloudy day, this state, and so you wouldn't have gotten that information without bringing this filter in here. So if we move in and adjust it, we obviously wouldn't want to put a halfway through her face because that looks really fake and bad. So we want to put it just to the point where it makes an effect. But it's not distracting to the image. And if you feel like this great nation is too quick, you can grab the outer two lines and it will stretch it so that the fade is a lot more gradual. And then you can kind of find tune it there. I think that was on a little too heavy. Someone bring it down just a little bit and then take it. So another thing you can do with the graduated filters is down here. You can see she's got a lot of blue light reflected from her swimsuit and from the pool. And so if I felt like her skin looked really cold on this half of the photo, I could bring in a graduated filter that is the temperature slider and then make sure eso right now it's plus 10 on the temperature, which warms it up. And then I can bring this right in here, and then I'll bring this up just a little, and that will warm up her little chest so I can see kind of what my two filters did by clicking here. So this is before with no filters, and then this is with the sky filter and the warmth filter on her chest. And so it's a subtle adjustment, but it's enough that will really kind of fix your photo if needed. You can apply as many graduated filters as you want. Just know that if you're selected on a filter, you can't. If you try and change it, it's going to change what the filter is doing. So you have to make sure you're not selected on a filter or you go over to the new tab to add another one. So if you're selected on it, it'll change it. And then if you hit new, you can go ahead and pulling another one. Lastly, is the brush setting. So let's say I have this filter selected, but I feel like this corner right here is a little too dark. With its elected, I could go to the brush section, and then I come down to erase, so this is going to erase anywhere that it's added. So I'm adjusting my brush so that it's big, and then I'm going to erase it out of this little pull right here. So now if I hover over my filter, I can see the filter is applied except for in that corner. And so that helps take off that little harsh shadow right there. That's pretty much it for the graduated filters. Let's go to the radial filters next. These are very similar, but it's doing it in a circle pattern. So if I wanted the emphasis to be on her face, I wanted to be nice and bright and saturated. I'm gonna add a dodge and then draw a circle so it's a little hard to tell, but you can tell my circle is dark, so right now it's adding light in to the edges, so it's bringing the edges brighter, and it's bringing the center darker. That's the opposite of what I want. So I'm gonna come down here underneath my radio filter settings and check this invert box. This is going to change it. So, no, it's bright in the middle and dark on the outside, and I can really just tune this in to be the same size as her face. If I move it around, there we go So if I wanted to apply something just to her face, if I wanted all the emphasis to be there, I can bring this up. And then I can close this and bring the exposure down. And so it's a way to bring everything else in the picture dark, but leave her face bright so you can kind of see here is before, and then here is after, So it really kind of brought a lot more emphasis right in the middle of the picture rather than the outside. And then, lastly, we have our adjustment brush. So this is where you're really gonna go in and hand paint things that you don't like. So what I typically do with the adjustment brush is I brighten people's eyes and I smooth their skin. I'm in a zoom in. Since I have the brush selected, I need to press the space bar that will give me the zoom tool, and then I can click and zoom and then let go on back to my brush. Right now, I want to set my brush to skin brighten her. This is a preset that I made based on the soften skin. It's just a little more subtle. So I have this often skin selected and this is my brush. If I scroll up or down, it changes the size of the brush. There's two circles. The inner circle is where it's applied, and the outer circle is where it fades. Teoh. So I usually like to size it so that it fits right underneath her eyes, and then I will go ahead and start drawing. So I just I'm clicking and painting in these kind of dark shadows on her face around her mouth and then maybe a little bit underneath her nose, and then I'm gonna get her other eye and then right between her eyebrows and then some of the crevices in her forehead. So let me back out and zoom out so you can see what we did. I'm gonna back up. This is before and then this is after. It's subtle, but it helps lift some of those shadows. So they're they're nice and smooth. Next up, we're going to do her eyes. So I'm gonna go back to this brush and I'm in a select iris. Enhance. This one comes preloaded with light room. It adds a little bit of exposure, a lot of saturation and some clarity. So I'm gonna just this so that it's a little smaller than her eye and then I'm gonna call her in. In little circles, this one is more subtle on this image. Sometimes it's intense and it looks crazy usually all up the saturation. Sometimes I'll even at a color. I know her eyes were kind of grey here, but the really blue in real life. So if I click this little color X, it will bring up a color selector and then I can choose toe at a color. You could make them super blue or you could make them purple. But we're gonna just do like a little tiny bit of subtle blue just enough that it's like there I think that's good. And then I think that they're a little too light. So I'm gonna bring my exposure down just a little bit. And then we're gonna close that and see what it looks like. Yeah, super cute. It's subtle. It's not too much. It's just enough to kind of bring some interest there and then other things that I could do with my adjustment brush. I like to take clarity and then a apply this to the eyelashes, so this really helps Eyelashes kind of adds a little bit of darkness and contrast, and it makes them look really sharp and pointy. It's a little strange on here cause her eyelashes are wet, so they're already kind of dark. But if that's the effect that you're going for, there you go. The adjustment brush has a ton of different things that you can change. And then, if you wanted to make your own like, let's say I wanted something to be to be darker and also bluer, it says, I'm using darkened, but it's edited. I can save the current settings as a new preset and then given a name. And then I will always be able to go back to that. So the one that I made myself a skin brighten her, and I use this one a lot. The teeth whitening, I think, is a little bit intense. I'll show you what that looks like. Her teeth already really white. So this is just gonna be overkill. But what it does is it adds lightness so as exposure, and then it takes down the saturation. So if you get any of their gums, it's gonna be really gray. And so what I like to do is I painted on nice and strong, and then you see that my little brush has a plus sign. If I press option, it turns into a minus sign. And then over here you can see it moves from brush A to brush race, and so it's going to erase stuff. So right after I paint, I go into my negative brush. And then I go in any race where it's applied to her gums so you can really find Tune where it's hitting. And then I also hit option and then hover right over the dot to get my upper down and I click on it and dragged down. And this is going to drag all of my sliders that are being applied all at once, and it's going Teoh, give it a more subtle applications so you can see my differences. This is full strength, and then this is subtle. And then before that is this which is more natural. So yeah, anyway, so that's the That's the teeth whitening. And if you want to get rid of a unjust mint. Totally. Just right click and then click, delete, And then it's totally gone at that point. So those were the spot tools. I'm gonna show you on a product photo. Kind of what I have to deal with these tools. Here is a super clean, crisp product photo of this chocolate look so smooth and delicious. And if I click on my clone tool, you can see just how many little clone tool circles I had to make to get this chocolate toe look this smooth. So let me show you what this looks like without any of this cloning. If I hit this little reset button in the clone window, it will reset it back to what it looked like before. So this is typical of chocolate to just have, like, all these little specks all over it. And it's fine. It looks OK, but I know that for a really clean professional look, they are gonna want me to mark all those out so that it looks really, really just smooth and clean. So I'm gonna click the brush tool, and I'm just gonna sit and clone this out. I'm going to speed this up so that you don't have to watch. It is slowly as it actually takes, but you'll get an idea of kind of what goes into cloning on this intensive level. Okay, so I've gotten this much done so far, and I wanted to show you a little trick with what to do when something appears on an edge and you want to get rid of it. So if I make this the right size and click on it and it's samples what it likes to do, let me zoom in is create a weird blend of a shadow that's coming in, and I hate when it does this. So one trick that I like to do if you're getting this weird shadow blended in from the edge , is drag your picker to the edge, and so if it's grabbing from an edge, sometimes it will figure it out, and then it will make it clean and and then it will clean it up so that it doesn't have that shadow in it. If you're also just having a huge issue with this, you can adjust your crops so that it isn't even in the picture, and then you never have to know that that was a thing. One thing that I like to keep in mind when I'm cropping is not to bring something right to the edge of the crop. So I feel like this crop where this comes right to the edge. People's eyes were drawn to this little spot, and then this little edge takes them off the photo and then they're not looking at the picture anymore. And so I like to give things only a little bit of breathing room, and if things are too close to the edge of their distracting, they're falling off. I'll just remove them. So this guy, I think it's a little bit distracting, saying With this little dot that super close to the edge, I'm going to take him off, too. So just the process of kind of cleaning and shrinking and adjusting the size and making it so that it looks nice and perfect. So here is where we're at, and I think that's pretty good. In the next section, we're going to talk a little bit about library presets. 7. Lightroom Presets: Import, Create, Share: Okay, This section is about light room presets, and I want Teoh start this off by letting you know that I don't have presets for so I don't even use light room presets. I think that I am kind of a black sheep in this area because I really I I understand that they can make your workflow so much faster and they can help your images all look the same . But to me, like every session, there's no way that the light could be exactly the same in every session unless you're using artificial light. And because I am a true natural light photographer, I use naturally for nearly everything that I dio. I prefer to hand at it all of my sessions using no presets whatsoever. So basically, I will edit the first picture in a session, and then I will copy those edits and paste them across the board. But I'm not going to just click through a bunch of edits till I find one. That looks nice because I feel like when you do that, you might miss out on what the photo really needs, though I would rather just teach you how to use the developed tab more fully than rely so heavily on edits do what's gonna be best for you if that means buying a bunch presets and being in love with the process like Amen, do you? That's what's so great about being a photographer. You can do what works for you, and it works, and we're not all the same. And that's amazing. And the fact that we can all kind of do this our own way is what it's all about. So, you know, do what works for you for me. I'm gonna hand it. And that's okay, too. For the sake of being thorough. If you want to play the preset game, here's how it goes here in light room in the developed tab over on this left hand side, right underneath. The preview is our presets menu. You can open and close this drawer, but right in here is what is preloaded with light room classic. So in here we have our different color presets. If I hover over them, they will show me a preview on my big image so you can see kind of what it feels like and that if you click on it, it applies it in your history. And then this is kind of what's added to the image you'll notice over here that some of the sliders have changed. Basically, all a preset is is instructions that tell the the tell the sliders what to do. Basically, so we have different creative presets. We could just do really wild and crazy things to our pictures if we want. We've got a bunch of black and white presets, so feel free to go in here and play with these if you're interested. Um, and then if you want to download some presets from the Internet, I'll show you a couple of different sites that I like. This 1st 1 is called filter grade dot com. They have digital assets for creative professionals. We are going to go to the photo section and right in here. It takes us right to the light room presets. So here is just a bunch of different collections and individual presets that you can download. You can browse through these to kind of figure out what exactly is the look and feel that you want, and then go and click on them and download them so you can see they have the prices here and everything. If you are looking for a specific kind of pictures like here's the travel sections of these are targeted specifically toward people looking to improve their travel photos. This is the master in Labs website, and so they have different preset collections, and these ones are highly acclaimed. Everyone loves these presets. They definitely are pretty accessible to people who want to get their photos to match their Fillmore just have this kind of particular style. Next up, we have the heck ya presets these air By Ben Sasse. Oh, he's an educator, that I've been falling for a really long time. So he has his different preset packs. The's are Sean Dalton's presets. He's a skilled share photography teacher, just like me. He does such an awesome job, and he has a totally different looking feel than I have. And I love how his packs came together. These air pretty I think they're pretty recent, but definitely give him some support. If you like his look, This is presets for good. These air. By when Wiley I've been following him on Instagram for a while. He is an educator, and he just is so awesome and has such a great personality. And so he has presets for Sally's got mobile presets, and then he also has a set, which comes with a preset pack and workflow tutorials. And then you can also get just the presets or just the tutorials. And then 50% of the money toward his presets goes toward a a nonprofit, which he describes here, if you want free presets. I just did a quick Google search and came up greater than Gatsby. I've heard of them before. They air kind of, ah, big part of the industry. They have a ton of Photoshopped actions and presets and overlays and things that you can buy from their website. But they also have free presets that I wanted to show you how to at least download them. So we're gonna go free library presets and put our email in this box. Once you put your email in here, you're basically signing up for newsletters. But when they send you your presets, they will appear as a zip folder in your downloads. So we double click on the Zip folder to get our open folder and then and here we have thes air, adobe camera, raw presets and then these are our light room presets. You can see this file says preset L R. This is a lie. Trump reset file. They have now changed how lightning precept files are so if you you'll see later on that we have a different file to deal with. But they both work. So here's our little folder. There's instructions here, but I'm just gonna show you a quick and dirty way to get these in to light room. So we're gonna hop over in the white rule, and then right in this little presets title, we're gonna press this little plus sign. This brings up a menu where we can hit import presets. Now, normally, it's not gonna take you right to the presets folder. It's gonna take you to your downloads and you're gonna have to press G. And then you're gonna have to scroll and find them. But once we have our folder, we highlight all the presets and then press import light room creates a user presets folder for you and then dumps all your presets right in here so I can scroll over these and it'll give you kind of an idea of what to expect. Each of these are labeled there the greater than Gatsby presets, and they have different names, and they kind of tell you like what collections they come from. So if you really like one specific preset, you can go and buy the rest of the collection. So, yeah, these are different Greater than Gatsby presets. Basically, if you wanted to apply a preset, we're gonna click on Florence. So that puts this preset here, these two ones at the bottom. This is a bonus film green, which applies a film filter to the top. It's just film, so you can add it on. And then they also have a bonus softer vignette, which adds just like a dark circle around the outside of the image. And so that is another ad on, so you can kind of stack these next up. I wanted to show you how to create your own presets. So let's say you have been doing editing for a really long time, and you just want to have your own clean, classic preset to use for all your images. So what we want to do is start up by editing a picture. So I'm gonna clear the edits off this picture by clicking on the important history. So this is my basic photo where I started. I'm gonna go through an edit this picture, so keeping in mind that our exposure and are temperature and tint varies wildly. We want to leave these alone. So don't touch your temp, your tent or your exposure. These three are kind of off limits. Thes air. You are what you're gonna have to edit whenever you apply a filter because you don't want Teoh. If you add a bunch of exposure, it's going toe. Add that exposure to any time you click on the preset. And so because our exposure might be to darker to lie, it's just gonna be too tricky to try and fiddle with that. And so we're just gonna not touch the exposure and not touch the temperature or the tent when we are creating a preset. Okay, so we're gonna up the contrast we're gonna add some shadows we will not add. Shows will add light in the shadows. We're gonna up our lights and take our blacks down a little bit. Maybe even more shadows more wide. So nice and bray and we're gonna take down or highlights a little bits. We have more information in the skin on. Then. At this point, I'm going to I'm gonna add some sharp innings. We go up almost halfway and then almost 1/4 on the masking, and then I'm gonna add a vignette just for fun. So I'm gonna pull this down about 10 and then I think that looks really good. I'm gonna make it a little brighter, so I'm gonna adjust my tone curve a little bit. I'm gonna bring up the darks, bring down the shadows and maybe kick up the lights a little tiny bit. I might pull my highlights down. Okay. So I really like how this looks so far. I'm gonna go over to this history and click import, which is just undoing my edit. So I'm showing you what I did. So this is where I started and this is where I am now. I really like this at it. So what I would typically do if I wasn't using presets is just copy copy, and then go to the next photo and paste boom. But if I turn this into a preset. It does essentially the same thing. So going to the photo that I just edited, I'm gonna go over to my presets menu, press this little plus sign again and I'm gonna say create preset. So this pulls up this dialog box where I get to name it. I'm gonna call it Rich Forest, Okay? And it has all these things checked. So if I were to do some cleaning up on her skin and stuff, I wouldn't want that to be part of my preset, and so I would make sure to uncheck things like that, but it looks like those kind of things are even included. It looks like graduated filters. Radio filters are included, but they're not checked here, so it's going to copy the exposure, and it's going to copy the white balance. But I didn't touch them. And so it shouldn't do anything there. It's still says as shot, and so it's not gonna copy these numbers. It's just gonna remember that there was nothing done to those, and so it's gonna leave them. But if you're just not sure you can uncheck white balance and you can uncheck exposure just to be safe. But anyway, once we have a name, we can click create. This puts our little our little preset down here at the bottom of the user presets menu. So this is our little rich forest presets. So let's see how it works. We're going to go to a different photo, and then we're gonna click Rich Forest It pasted it right on there. It looks awesome. So let's see how this preset plays with some on the recession's. I'm gonna go to another session with completely different lighting, and we are going Teoh at it. This picture develop. Okay, so this has no edits on it. So we're gonna hit Rich Forest and that pace sit there. So it cleaned it up a little bit. You can see it kind of brightened it and added a lot more saturation stuff, but it's still really dark. This picture was under exposed when I took it. So now I'm gonna hand at it and adjust the exposure to my needs. And so taking it up, just adjusting the exposure, fixed that, and then I do think that his skin is a little blue, so I'm gonna add just a little bit of warmth in there, and then from here, I really like how it's looking. But I would want Teoh do some fine tuning. So I'm going to go into my clone tool and fix his cute little chapter hips and then do the same thing on this side. And then I also like to go into my adjustment brush, and I would pull down to skin Breiner. This is one that I made myself. It's basically the same thing as softened skin, but a lot less intense. It's just adding 0.6 and exposure and taking clarity down 30. And so I'm adjust my brush and then paint. I'll show you kind of the track that I take when I paint. Um, I just basically want to soften out the shadows here and then just make sure that there's no like harsh lines on his face. I tend to edit with a lot of contrast, and so I like to make sure the skin is not super contrast ID. And then if I hover over this little black dot, it'll show me exactly where he painted, and you can kind of see where I usually target and then I'm gonna go into Iris and hands. This is a filter that that comes a mask that comes with the light room and then I'm gonna paint in his eyes. And then I think this filter is a bit strong, always. And so instead of trying to tweak all these sliders, I just hold down the old slash option key. And it pulls up this little era when I hover over the dot and then I can drag down to kind of bring all the sliders down altogether. And I usually do this just so that I can add just a hint of brightness in his eyes. But not like a ton. Not so it's overwhelming. And then from there I would call it good. So let's do one more picture real quick. So I really like this photo and I want to keep it, so I'm gonna right click, and I'm going to create a virtual copy. This is exactly the same thing, but in our history, it doesn't show any of the edits. My sliders have moved, but I can't go back in time unless I right click on the photo go to develop settings and hit reset. So this takes us back to a clean slate. I'm gonna hit my rich forest preset and boom. My pictures done right. You can see my original photo. It's similar, but not quite the same. I've got her hair nice and dark about nice, dark, rich shadows here and then this one has brought a little more light into their but honestly , like both are great photos. And so I like that this this preset that I just threw together is super versatile. So next I want to show you how to make a black and white presets. So we're gonna go back into my library. We're gonna pick this folder. I've got this photo that I want to add it for you. So here is my basic photo. I'm going to throw my rich forest preset on here. It does a little bit of edit for me. You can see that's just adding contrasts and stuff. And now I'm going to go from here, change it black and white at a lot more contrast because I love contrast, especially in a black and white photo. I want to have a lot of just, like, really stark highlights and lights. Yeah, I think that looks good Case. So I only did a little bit of edits here in there, actually. Let's add some film. What's that? Some film. Granger's for fun. We're gonna just a little bit of grain here. Yeah, that looks nice. Okay, so now I want to save this preset. So I go back up to the presets at the plus sign, create preset, and I'm gonna call it B W duty create. So here's my BW moody preset. Let's see what this looks like on a person here. I've got this less smiling photo. It's really cute. I love this shot, but we're gonna throw RB w moody preset on here. So we have a really, really dark edit here. We have lots of harsh shadows, super super deep blacks. So from here, I might take up the exposure just a little bit to soften up his skin. But it's a really, really moody, clean, crisp at it. I love how this looks on Guy. I think that it's awesome that it works apparently on people and on food. So once you have presets that you absolutely love, how do you share them with your friends. So to share with your friends, you're gonna go over to your presets. You're in a right click on it, and you're gonna say show in Finder and it's gonna find your presets for you. And this is where I mentioned before that the files a little bit different. Now it is lighter amuses ex MP files. And so basically, here is our two presets. And if I want to send these to my friends, I'm going to put them in a folder on my desktop, so I'm going to shrink light room down, and then I am going to drag these presets onto my desktop. So I highlighted both of them, and I'm dragging them. But before I let go, I want to hit the old slash option. Keep this puts a little plus sign so that I am copying them to my desktop, not moving them. If that makes sense, if you move them like room will no longer know how to access them because it won't know where the files are. So you gotta make sure you copy them to desktop. So here they are, on my desktop, I'm gonna create a new folder called Presets. for my friends on skill share. Yas. Okay, so I'm putting these in here, and I will right click compress the zips up my file for me. So this is a zip file. I am going to upload the zip file to the project section on skill share. So, yes, you can download the presets you just watched we make. Because wouldn't it be annoying to have to sit and make them exactly like I made them? No. You just You just you could just have these. I don't. I'm not selling presets or anything. Maybe someday. Probably not. But you can have the presets that I made for this class and try them out when your photos and see how they go. So, yeah, in the next section, we are going to talk about our export settings. 8. Export Settings: Okay. Welcome, Teoh Export settings. We're gonna talk all about export settings. I remember the first time I ever tried to export a photo. I was greeted with this giant dialog box with all these check marks and and options. And I was just like, I don't know. I just want to have my phone. Oh, I don't know what to do. And so I'm gonna show you what I do and why. And different use cases. Eso obviously, if I'm exporting a photo that's gonna be printed into a giant wall tapestry, I have different settings than the ones that I size for instagram and air dropped to my vote. So let's let's let's do this. So once you have the edits that you want on your photo and you're ready to export it as a file, you can either right click directly on the photo or on the photo down here. In the timeline, we're gonna toggle over to export and were met with a bunch of different options. So in most cases, you're just gonna hit export dot, dot, dot This will bring you up a dialog box, and I'm not sure what exactly this looks like the first time you open light room, but it's going to save the last export settings that you had previously. So for a traditional light room export, I like to choose export to the Pictures folder. That's where I keep all my photos. I'm in a check. Put in some folder and I'm going to put it into the sub folder Instagram. If you don't have this folder already, it's going to create a new one. And if you do have this folder, it'll just add it right to it. We're going to check rename, too, because I like to rename my file so they make sense to me. I go to custom names sequence and then I changed the name so this one will be chocolate cake and then start with number one. So the nice thing about this start number is if I export like two photos of this chocolate cake and then I come back later and I want to export some more, I can change it to three, cause the 1st 2 will be chocolate cake one and chocolate cake, too. And then this next export will be chocolate cake three and four. That way I don't get the style of box that says that they're duplicates or whatever. So next step we come down to file settings. I like to keep my files as a J peg for Instagram, and then I move a quality Teoh 90. You can put it all the way, but 100 if you want, but it makes the file quite a lot bigger, and the difference between 90 and 100 is so minimal. But I doubt you'll ever notice. I leave the color space. That s RGB and I check limit file size to 1800 K This is a size appropriate for skill share . I always just limit my file size to 1800 k because I don't want to ever get to the point where it's like, Oh, you can't upload this file because it's too large. I just always limit vial size 1800. Kate. You'll notice that when I checked this box, the quality slighter disappeared, so it's just kind of faded out. I always leave my quality at 90 because sometimes I uncheck this box if I'm exporting Ah, full size file. So those were just kind of some two settings that I always have on next up. We have image sizing. I check resize to fit, and I said it to long edge. This means that if the photo is tall, like the one I'm exporting, this is the edge that is counting pixels. And then if it's a wide photo, it's the bottom edge. And if it's a square, it's both. So I set long edge to 2500 pixels, and I put the resolution at 2 40 This resolution is compatible with print, and it just is always what I've used. I go to output sharpening. I sharpened for I check the sharpened first screen, and I apply that just the standard amount of sharpening for metadata. You can choose to include the copyright on Lee, or you can include all meta data. It's just up to you. I think if you include all metadata, it is just a slightly larger file size. I typically just include all meta data for fun. I do not watermark the photos that I post on Instagram, and then in my post processing menu, you can choose if you want it to just pop up and show and finder or do nothing or If you need to do further edits, you can have it automatically open in Adobe Photo shop after it exports a copy. So for now, we're just gonna dio nothing. And then we are going to hit actually for demo, we're gonna do, show and find her. That way you can see it happening. We're gonna hit export and wait for the magic to happen. Wow, Here it is. Chocolate cake in my instagram folder. You can see that this there's a lot of other stuff in here. And so here is our photo. It looks so good. Even Zoom Zoom zoomed in. And, uh, yeah, that is my typical export setting for instagram. And then what I usually dio to get photos to my phone is I will open up air drop and then turned my screen on, and then I can just drop this photo right onto my cute little face and then it appears on my phone, and I can share easily on instagram. So let's say I want to export this photo and print it huge. So I need the original file size. I'm gonna right click on the photo export and then change a little bit of my setting, so we wanted to stay. Actually, instead of the instagram folder, we're gonna put it in my chocolate folder and then we are gonna keep this name. I think this name is fine, but I'm just gonna edit it to say full. So I know that this is a full size photo next up, we're gonna uncheck this limit file size to 1800 K and we're gonna have at 90 as our quality. We are gonna uncheck, resize to fit, which means it's gonna be the same size that it is. When I took the picture, we're gonna leave, are sharpening on, and we are gonna leave pretty much everything the same. And then we have export and it will show it to us. Here it is in my chocolate folder and this photo should be Ah, huge. It should be gigantic because it's the full size photo. Yet you can see I can zoom in for days and it's just barely starting to get pixellated. So this is ah, full rez file and I can print this out nice and big. You can see that the file size for this is 10.6 megabytes and the file size for my instagram one is only 1.8 megabytes. As you remember, we had it set to 1800 K which is 1.8 megabytes. Okay, so what if you export things all the time and you don't like switching back and forth in your settings, you can create a preset. So if I have everything set like this is this is my full size settings. What I want to do is change this Pictures folder to choose folder later. It says right here, useful for presets. That means it will prompt you at at the save where you'll save it. That way, you it's not going to save everything to the same folder if you apply this preset, this parts where it gets a little tricky. I'm not sure exactly what to do for this, but for file naming, you just have to know that if you're using user preset, you will have to go in and change your file name unless you just don't rename your files, in which case that that doesn't matter. So if I wanted to save this as my preset, I'm gonna go over here into the preset box and hit at at the bottom. I'm gonna call this whole rez pollution, full resolution photos, and then I'm gonna hit, create, and then it pops down under here in user presets. So this is my full resolution photos. So I want to make another one real quick. I'm going, Teoh, make one for my instagram. So I would do limit vial size to 1800 k resize to fit. Change this to be long edge 2500 2 40 resolution. I could drop this down because it's for Web. I could put 72 have a lot smaller files, but I I'm just gonna leave it sharpen for screen. Blah, blah, blah. Perfect. So now I can add this one as my instagram preset and then hit. Okay, so now I can switch between my instagram preset here and then my full resolution file here and then I don't have to sit in tinker with everything if it's just kind of convoluted and confusing. Light room has its own presets in here. So if you were burning full size shape eggs to a disc, you it's like the whole session and then go here and then it can help you in here to kind of figure out, you know, we're exporting it to a CD or DVD or we're getting ready for email. I have never used any of thes presets. I always just kind of controlling myself in the user presets menu. So, yeah, if I wanted to edit this photo in Photoshop let's see, we want instagram preset. We want to scroll down after export open in Adobe Photoshopped Export. So it's telling me, Okay, where do you want to save it? I'm gonna save it. Pictures Instagram open. Great. So it's exporting the file there and that it's gonna open it up in photo shop for me and then from Photoshopped, I can do the rest of my fine tuned edits, you know, like maybe I had a spot in the background that I really just couldn't get rid of in light room. I could fix it here and Photoshopped or add another layer of sharpening whatever I want and then save the file that way. So it's just nice because it saves you a step. You don't have to go into photo shop and open a file there, So yeah, that's pretty much it for my export settings. And then the next section is just gonna be the catchall with all the rest of the miscellaneous light room tools and tips that might be helpful to you. 9. Miscellaneous Tips: All right, This is our miscellaneous tips and tools section. We're gonna talk about what happens when you right click and in the options how to change the background different things than throughout light room. If you actually had a key and now something disappeared, how do you get it back? That kind of stuff. So let's look at light room by default. This background color is a middle gray. If you right click on it, you can change the color to white or black or somewhere in between. This is super helpful. If you are editing a white background photo for Instagram and you want to see if you're white is truly actually a good white. Or if it's like a little bluish or a little gray, you can reference it against this background photo. Here. I usually keep it at about a medium gray. Sometimes I go to white. It just depends on the session that I am working on. If you go to the developed tab, you can copy the edits on a photo and then apply them to the next photo. Or you can highlight an edited image and then the next several images. Or however many that you want to apply the same edits to, and you compress this little sync button and then hit synchronize, and it will pace the edits all across all of these. This helps if you have all the same settings in the whole session, and you want to just batch at it the whole session. So these have all had the same settings applied to them without me having to go in and hit paste every single time. There is a Siris of keyboard shortcuts that you can push to change your view or bring different information up. And so, if these things happen, usually will tell you how to toggle it away. So, like, for instance, if I hit T, it brings down the toolbar. So my toolbar is gone now I can't see that. And if I press t again, it's back so I could be able to change between these two. This toolbar isn't super helpful. It's just got a few things on it anyway. So if I just needed more room Presti to get rid of that Z's another one z zoom in. Why will take you to the before and after screen? And if you hit? Why? Again? It takes you back to the loop mode. Loop mode is just basically we're looking at one photo at a time. If you wanted Teoh, switch from loop mode. If you're in the library tab. If units which from loop mode to grid, you just hit G and then you see the grid and then to switch back you hit e is loop Ghias grid. Or you can just press these little icons down here. But in case things change or happen, you excellent click to keep. Maybe that's what you did. If you hit F, it's gonna full screen. You can hit the escape button to get out of that, or you can hit the F button again and it will take you back. If you hit L, it'll take you toe lights out mode. I'm guessing Mrs what you would use if you were inviting people over to your studio to show them the pictures that you prepare for them. So light's out mode will dim light room in the background. And then if you toggle it again, it turns it completely off. So all you see is the photo. And then if you press l once more, it takes you back to regular light room view. I've never used that feature before, but there it is. In case that ever happens to a lot of these toggle keyboard shortcuts are hidden in the view and the window drawers up top. So if you ever want to know, you know, if there's a faster way to do something, you can just pop through here and kind of see what we have going on in the library tab. If you hit view and then go to view options, it'll pull up a dialog box where you can kind of change what you see. So right now in the grid view, I'm seeing these compact cells. I can change it to expand its cells, and it means it will show me the star rating. It will show me the file name and how big it is, what number it is. And then I can also change what it says by going into loop view, and I can show the info overlay up here in the corner, and then this will kind of give me an idea of like, my settings right here, and I can choose like between different things like this one tells me in my time in the size, I can control what is shown here by playing with these little toggle menus here you can just really find Tune it to show exactly what you want up in this corner. And then if this ever shows up and you don't like it and you want it to go away, you can press I and that is the info display. So I will show you in full display one and then in foetus late to if you tap again, and then it will disappear if you tap it 1/3 time. And so that might be helpful if you really want, like, a quick and easy way to see, like what your settings are, what time you took the picture. Or you could just make it go away by pressing I in this course I never really touched on map, book, slideshow, print and web, and the reason is I never used the's. I only use the library and develop tabs, but we'll just adventure over here just to see. So the map setting, I'm guessing, is where it's shown you where all your pictures are based on your camera tagging geo location. This could be cool if you do a lot of travelling. And you're really interested in seeing, like, a map? You of where you've been. But again, I've never used that feature. The book tab I'm assuming is going to have, like, overlays on how to create a book. Yep. So this is like prepping maybe a cookbook were held the pages of the same. Um, but yeah, it looks like it will help you kind of build a book. The slideshow tap. I've never used the print tab. I've only used to create a contact sheet so you can adjust how maney grids you have, and then you can, you know, select a bunch of photos and it will fill in. And then you can decide, You know, let's let's give those a little more space. We're gonna gonna space those up a little bit. Maybe we'll will add, like, numbers and watermarks and everything. So this is just kind of If you are preparing something Teoh present to someone, you print it out and they can choose which ones they like in circle What's working or what's not working and then the Web tab Over here, it looks like it kind of gets you ready to share your images online, and you customize it and email it to yourself. I don't really know what's happening over here. So for the most part, as's faras with what I do library and develop our king. So there's one last little trick I want to show you. So typically, when I'm using this clone tool, this hell brush, I have it selected to heal. And so that's just gonna automatically. Like if I wanted to get rid of this dot right here, it's just gonna automatically sample from somewhere and kind of make up what it thinks goes there. If you want to copy exactly what's there, you can toggle over to clone, and it will literally just copy exactly what's in the sore spot and put it there. I'd never really switch it to this because I feel like it looks really harsh, and it doesn't blend well, and so very rarely do I ever have to use the clone setting. I always just have it set to heal, and then that typically gives me, like a more natural rendering. If you adjust the feather size when you're using clone. It is a lot less obvious because you don't have this like perfectly sharp circle. But again, I'm always using hell anyway, So that's just one last little trick for the spot tool in our navigator we have. I haven't set to fit, and so that means it's fitting the page. So there's one other of all these little icons that it will switch to if I zoom in. So if I click, it zooms toe oneto one. So that means this is like full size. I can also toggle it over 2321 and then it will give me like a super zoomed in view. And then if I zoom out, it goes back to fit. And then if I zoom back in, it should jump me back to 3.1. So if it zooming too much and you just can't handle that like intense, massive zoom when exhumed into 3 to 3 to one, just toggle over toe 1 to 1, and then that should give you a more comfortable zoom. You can also use the fill, and then then it will fill your light room page, and so sometimes that's a little better. But again, it's whatever one is highlighted. If you change it from the highlight, then it will toggle between that and whatever else you had it on. So I usually have it on fit and 1 to 1. And then it looks like in here you can also like, fine tune this, like 11 toe one. That's insane. If you really just want to picket your pixels, 11 toe one is perfect. When you are sharpening and image down here and you see this little detail window, I usually like Teoh click on the picture. It'll zoom out, and then I pick a place in the image where there is going to be contrast, and it's going to be in focus so that I can really make sure that the detail is working. If it were to automatically just select some of the blurry background would be hard for me to tell if the sharpening was making a difference. And so sometimes the focus of my pictures not in the very center where this detail thing automatically defaults to, and so I have to click out to zoom out, and then I click again to zoom back in so that I can really just look closely and make sure that it's doing what I wanted to dio. If you have a photo that you want to rotate, you can right click on the photo and then rotate left or rotate right. And so it says CCW, which is counter clockwise and then CDP, which is clockwise. So in case you didn't no, you're lefts and rights, which I can admit that I have problems without sometimes, but I can rotate left, and then it just fixes it there. And then, If you have a bunch that are all sideways, you can highlight them all together and then click the rotate and it will rotate them together. So that helps. If you've If everything is sideways and you don't want to rotate them individually, you can always just highlight the bunch and then rotate them together. Lastly, when your rating images, this one has a one star, you use the one through five to add the stars. So 12345 and then six adds a color label. So six is red. Seven is yellow, eight is green, nine is blue and then to get purple. I think you just have to right click set color label purple. I don't think purple has a a number on the keyboard, which is kind of sad because it's my favorite one, but it's fine. And at long last I think that wraps up everything that I wanted to cover. Thanks there is digging around. 10. Final Thoughts and Project: and that's everything. Thank you so much for taking my class. I hope that you're awake. I hope I didn't bore you. I tried to make this interesting. I know that computer programs could be kind of dry. Hopefully you found something useful. You found something new that you didn't know about. Light room for your class project. I would love to see some photos that you've edit in the light room. So if you want to share a before and after, I would love to see where you take your images and why you can also do a couple different. And it's like Maybe you're like, Oh, I can't decide if I like light and airy or dark and moody. You know? What do you think it's better and all threats and take your leg. So yeah, If you have any questions or need help, make sure you post your questions in the community discussion section here in this class. That way, if anyone else has the same questions is you we can answer all in the same place. If you decide to share your images on Instagram just tagged me. My handle is top of the park. I love to come by and see what you are creating. So, yeah, if you have any suggestions for any future classes you love to see, I always want to hear that. And, uh, yeah, I'll see you next time.